{"title":"Back Issues","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eWe ship all orders via USPS. \u003c\/em\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","products":[{"product_id":"issue-41-03-ah","title":"ART PAPERS 41.03 - Fall 2017","description":"\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAh\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the title of a work by Young Hae Chang Heavy Industries (YHCHI), an artist duo feature in this \u003ca href=\"https:\/\/www.artpapers.org\/ah\/\"\u003eFall 2017\u003c\/a\u003e issue of ART PAPERS, which was conceived around the theme of sound--as artists’ field recordings, as graphic renderings, as aural memory or evidence, as spoken language, and of course, as music. If you interrupt “ah” with a G, you have “agh”: a frustration, the first half of the word “aghast,” an indication of pain, and perhaps the dominant sound of 2017, a year of collective outcry, derailment, struggle for self-determination, and coercion, but certainly also of revelation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/luftmensch\/\"\u003e\u003cb\u003eLuftmensch: \u003c\/b\u003e\u003cb\u003eAn Interview with Paul Holdengräber\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe New York Public Library's \"Curator of Public Curiosity\" on Werner Herzog, inherited trauma, and the art of the question\u003c\/span\u003e\u003c\/p\u003e\n\u003ca href=\"https:\/\/www.artpapers.org\/lawrence-abu-hamden\/\"\u003e\u003cb\u003eLawrence Abu Hamdan: \u003c\/b\u003e\u003cb\u003eTerrain of Auscultation\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRayya Badran\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Echo profiles,\" \"ear witnesses,\" and audio forensics inform the practice of an artist and \"private ear\" working at the intersection of sound and politics.\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/songs-for-disaster-relief\/\"\u003e\u003cb\u003eSongs for Disaster Relief: \u003c\/b\u003e\u003cb\u003eAn Interview with Samson Young\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVivian Chui\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDo they know it's Christmas? Yes, they do. Charity jingles chart the rise of neoliberalism at the Hong Kong pavilion in Venice.\u003c\/span\u003e\n\u003cp\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/young-hae-chang-heavy-industries\/\"\u003e\u003cb\u003eYoung-Hae Chang Heavy Industries\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBlythe Sheldon\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFlash animation to make a frenzied bid for utopia, sex, freedom, and jazz\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePsychopompopolis x Waves of Disaster Remix\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErin Jane Nelson x Jason Benson\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePHILOSOPHY\u003c\/span\u003e \u003cbr\u003e\u003cb\u003eThe Chorus at Dawn: \u003c\/b\u003e \u003cbr\u003e\u003cb\u003eAn Aesthetics of the Tweet\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMeredith Kooi\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIf a bird sings in the morning and there's no one around to record it, did it really make a sound? If the bird is silent, do we still exist?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFour Poems\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJeremy Sigler\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe sound of the heart, the sound of \"it is what it is,\" the sound of the typewriter, and the sound of all the phonemes read aloud at once\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eESSAY\u003c\/span\u003e \u003cbr\u003e\u003cb\u003eSignature Sounds, Cultural Architecture \u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFloyd Hall\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAudio tags, album notes, and creative agency, from Afrika Bambaataa to Zaytoven\u003c\/span\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTIMELINE\u003c\/span\u003e \u003cbr\u003e\u003cb\u003eMP3 Odyssey 2001\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJasmine Amussen\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe year Napster shut down, iTunes was born, and OutKast gave us \"So Fresh and So Clean\"\u003c\/span\u003e \u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/glossary\/trap-2\/\"\u003e\u003cb\u003eGlossary: TRAP\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRYC \u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIt's the sound of the elevator doors closing.\u003c\/span\u003e \u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eKochi Muziris Biennale: Forming in the pupil of an eye\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePujan Gandhi\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cb\u003eGordon Bennett: Be Polite \u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Luo\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cb\u003eThe International of Visionaries\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRaphael Koenig\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eTrue Faith\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrancesca Gavin\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cb\u003eChris Robinson: Southern Lights\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAugust Krickel\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cb\u003eMarching to the Beat\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGlen Helfand\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eSoundtracks\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonica Westin\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eAn Te Liu: Transmission\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Diehl\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eStephanie Comilang: Yesterday, In The Years 1886 and 2017\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHeather Rigg\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eSo I traveled a great deal...\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eYuri Stone\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003cb\u003eSidsel Meineche Hansen: OVER\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLizzie Homersham\u003c\/span\u003e\u003c\/i\u003e  \u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/voice-survival\/\"\u003e\u003cb\u003eVOICE = SURVIVAL\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLogan Lockner\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eBlue in the Face\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cb\u003eStefan Tcherepnin: Forgetting\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePaul Anthony Smith: Walls Without Borders\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErin Jane Nelson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":9631310282795,"sku":"66666","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/AHHHH.jpg?v=1516996878"},{"product_id":"issue-41-02-pkd","title":"ART PAPERS 41.02 - Summer 2017","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eConcerning lies, truths, and the alternate worlds that reveal them; largely inspired by the works of Philip K. Dick.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTABLE OF CONTENTS\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/philip-k-dick\/\"\u003e\u003cb\u003eSummer 2017\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eConcerning lies, truths, and the alternate worlds that reveal them; largely inspired by the works of Philip K. Dick\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePOEM\u003c\/span\u003e \u003cbr\u003e\u003cb\u003ePhilip K. Dick is dead, a Lass\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMichael Bishop\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFICTION\u003c\/span\u003e \u003cbr\u003e\u003cb\u003eThe Hugo Victors:\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eIntroduction to the First American Edition\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Austin Hall\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a world that never needed the Black Panther Party, who else would Tupac Shakur have been?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHOW-TO\u003c\/span\u003e \u003cbr\u003e\u003cb\u003eBlade Runner Unicorn\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKenneth Thompson\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn origami lesson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/men-in-high-castles\/\"\u003e\u003cb\u003eMen in High Castles\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSimone Zelitch\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen adapting science fiction to the \u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003escreen, where does the truth go?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/a-concrete-worm\/\"\u003e\u003cb\u003eA Concrete Worm\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Diehl\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe aesthetics of the truthful lie\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eINDEX\u003c\/span\u003e \u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/dick-index-2\/\"\u003e\u003cb\u003eDick Index\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMeasures of Philip K(indred). Dick\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eARCHIVES\u003c\/span\u003e \u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/the-octavia-e-butler-collection\/\"\u003e\u003cb\u003eStorytelling: \u003c\/b\u003e \u003cb\u003eThe Octavia E. Butler Collection\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNatalie Russell\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn author's annotations, motivations, and meditations, from the collection of The Huntington Library\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Liar\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJean Cocteau\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTranslated by Ariana Reines\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA monologue\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoise\u003c\/b\u003e \u003cbr\u003e\u003cb\u003e(back-broadcast through \u003c\/b\u003e \u003cb\u003ethe persistent illusion)\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA.S.T. (Alliance of the Southern Triangle)\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA video and mixed media installation, dimensions variable, charts and resists the invisible rules.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFinding Fanon\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLarry Achiampong and David Blandy still see colonialism, everywhere.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/dragon\/\"\u003e\u003cb\u003eDRAGON!\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFarah Al Qasimi\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eintroduction by Shumon Basar\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNow is the future inside a dragon-shaped mega-mall in Dubai. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMuseum of Internet \u003c\/b\u003e \u003cb\u003e\u0026amp; the Surrealist Endpoint\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA popular source of viral Facebook memes, unveiled\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eH\u003c\/b\u003e\u003cb\u003eere, There, Together, Now:\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eThe Bilocations of Basma Alsharif\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCoping with displacement, an artist \u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eembraces multiple, simultaneous experiences of place and time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: alt*ern*at*ive (adj.)\u003c\/b\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artpapers.org\/glossary\/alternative-1-3\/\"\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Jasmin Amussen \u0026amp; Tracy Soo-Ming Neale\u003c\/span\u003e\u003c\/i\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artpapers.org\/glossary\/alternative-2\/\"\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Tod Wodicka\u003c\/span\u003e\u003c\/i\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOur alternatives have changed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e \u003cbr\u003e \u003cb\u003edocumenta 14: Learning from Athens\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFanny Singer\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eKochi Muziris Biennale: Forming in the pupil of an eye\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePujan Gandhi\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eFrancis Alys: Le temps du sommeil\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristoph Chwatal\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eSilver Lake Reservoir\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Gilmartin\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eConcrete Happenings\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Boshears\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eJames and Audrey Foster Prize\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily Watlington\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eTo refuse\/To wait\/To sleep\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Luo\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eAlex Schweder + Ward Shelley: ReActor\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eYasmeen Siddiqui\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eYayoi Kusama: Infinity Mirrors\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarcus Civin\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eSigh-Fi\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTara Stickley\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003eDrawing on the Left:\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eBen Shahn and the Art of Human Rights\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eRudy Shepherd: We are all Trayvon Martin\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Bernard Ryan\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003cb\u003ePaul Auster, \u003c\/b\u003e\u003cb\u003e\u003ci\u003e4 3 2 1: A Novel\u003c\/i\u003e\u003c\/b\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJerry Cullum\u003c\/span\u003e\u003c\/i\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.artpapers.org\/john-lewis-march\/\"\u003e\u003cb\u003eJohn Lewis, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eMarch\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e Trilogy\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eE.C. Flamming\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":9631600672811,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/PKDCOVER.jpg?v=1516997360"},{"product_id":"41-01-special-architecture-design-issue","title":"ART PAPERS 41.01 - Special Architecture + Design Issue","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDESCRIPTION: \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis special issue of ART PAPERS explores the Los Angeles landscape not only in content, but in form. Our guest designer, LA-based April Greiman, experiments with the shape of the magazine to extend the pool thematic into its material supports, diving into content using immersive fold-outs and metallics. We offer LA as a case study in the designed domestic and urban environments that should give us clues about America at large.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTABLE OF CONTENTS:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eLetter from the Guest Editor\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennifer Bonner\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWe're in for Better Wetter\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAn Interview with Leonard Koren \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMimi Zeiger\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe founder of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWET: The Magazine of Gourmet Bathing\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e remembers collaborations with young artists and calling a gondola garage in Venice home. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCut to the Pool\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJulie Zook\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA scholar of spatial morphology examines a Quentin Tarantino pool scene through the magical lens of indifference.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA Forward Crawl\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatya Tylevich\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn 18-mile journey stretches west to east, through rec centers and rooftop infinity pools, to chart LA's aquatic geography. With photography by Monica Nouwens. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWindows on the World\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSharon Johnston with Veronika Kellndorfer \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArchitect and artist discuss interdisciplinary collaborations, and their shared interest in the window. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDetails\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDora Epstein Jones\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThree elemental histories, narrated by the executive director of LA's A+D Museum, consider political, social, cultural, and aesthetic detail in a Georgian-era English bathhouse, an atomized architectural installation, and around the sun-soaked pools of suburban SoCal. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSomewhere on Hyperion ...\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnna Hermann\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn architect leads a tour along Hyperion Avenue, where strip-mall facades conceal a wealth of creative practices. With photographs by Gracie DeVito.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePoolside Chat\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBarbara Bestor and Brooke Hodge\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn LA architect and a Palm Springs architectural curator discuss liberated design and pastel color palettes in the American West. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFlat Pools\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePita and Bloom\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWorking through ideas of the visual plunge, architectural flatness, and oversized puddles, an architect-duo proposes a series of large pool figures for the LA River basin. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePool-dles\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaurel Consuelo Broughton\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWELCOMEPROJECTS establishes some \"Pool Rules,\" including a law of \"No Scale\" that combines esteemed works of architecture with everyday objects. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Low Flow\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Cowles\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA landscape architect suggests small-scale interventions to carefully enhance the ecology of Los Angeles' dry creeks. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eStock\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaida Aguirre\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFour images related to swimming pool construction call our attention to the sculpturalism of ordinary, machined objects found in project catalogues and material inventories. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDry Pool\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonica Nouwens\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA 30-foot plywood basin by Ball-Nogues Studio is captured in the high desert of Yucca Valley. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrash Can\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNancy Lupo\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist downscales and endears the institutionally ubiquitous Rubbermaid BRUTE. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThree Front Yards\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThree architects were commissioned to design a swimming pool in the front yard of a Los Angeles home of their choosing. Each site represents an architectural typology: \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e– Low Volume - Schindler House (1922): BairBalliet \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAddress: 835 N Kings Road, West Hollywood, CA 90069 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e– Dingbat Apartments: AAmp Studio \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAddress: 1335, 1341, and 1347 N Poinsettia Place, Hollywood, CA 90046 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e– Water Tower: Sandra Yum \u0026amp; Joakim Dahlqvist\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAddress: 3734 Dwiggins Street, Los Angeles, CA 90063 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Slow Plunge\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFloria Sigismondi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDoug Aitken: Electric Earth\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndrea Dietz\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eRamiro Gomez: On Melrose\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDanielle Rago\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBen Rivers: Urth\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaura Lucking\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSilver Lake Reservoir\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Gilmartin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eYayoi Kusama: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eNarcissus Garden\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatherine Harvey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eCollaboratory: A Column is a System\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJia Gu\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMarie Lorenz: Tide and Current Taxi\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eClaire Barliant\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSamara Scott: Offsite\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennifer Piejko\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":10937182552107,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/unnamed-1.jpg?v=1520009403"},{"product_id":"41-04-walk-dont-walk","title":"ART PAPERS 41.04 - Winter 2017","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDESCRIPTION:  Walking, as it is broadly and not always literally proposed in this issue, is generative of ideas: practical ones, involving cities, as well as philosophical and existential ones that implicate a vision for the future.  To “walk,” here synonymous with any movement toward or contemplation of what is somehow ahead, is to have destination, the attainment of which requires desire, trust, and drive, and promises to enrich things. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTABLE OF CONTENTS:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/winter-2017-2018\/\"\u003e\u003cb\u003eLetter from the Editor\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInterview  \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/dr-doris-adelaide-derby\/\"\u003e\u003cb\u003eDoris Adelaide Derby\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErin Jane Nelson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Not all aspects of our lives are about the injustice.” Atlanta photographer, activist, organizer, and educator on SNCC in 1960s Mississippi, Roy DeCarava, and the importance of multidimensional representation. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhilosophies\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAllora \u0026amp; Calzadilla’s \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePuerto Rican Light\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe + Alex Robbins\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIf the cave is the origin of the artwork, and the readymade is the end of it, what happens when the two combine?  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e(Or, an artist duo, a critic, a philosopher, and a Dan Flavin artwork walk into a cave …) \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInterview \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/everything-is-connected\/\"\u003e\u003cb\u003eEverything Is Connected \u003c\/b\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIwan Baan on Portman’s America \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVictoria Camblin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBuildings are for people; architectural photography is portraiture; walking is a way of seeing; and John C. Portman \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eis your architect\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/the-patty-chang-landscape\/\"\u003e\u003cb\u003eThe Patty Chang Landscape\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarcus Civin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Mao Tse-tung once said that the south had a lot of water and it would be okay if the north borrowed a little.” An artist tracks wandering lakes through piss and tears, from Central Asia to Queens.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eB O D Y PLAY\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith Tschabalala Self, Jonathan Lyndon Chase, and Aurel Haize Odogbo \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAbdu Ali\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e“If the black woman’s body were a physical place, I would see it as Eden.” Artists talk performance and portraiture, visibility and liberty. Also, beauty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artpapers.org\/beyond-the-pleasure-principle\/\"\u003e\u003cb\u003eWong Ping: Beyond the Pleasure Principle\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eUrban life can be alienating; it limits our mobility and entraps us in fantasy. In Hong Kong, an artist’s erotic animations offer brief release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Project \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/the-practice-of-circuit-making\/\"\u003e\u003cb\u003eThe Practice of Making Circuits\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrian Sherman\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo “know” a city, walk it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOpera \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eEddie’s Stone Song: Odyssey of the First Pasaquoyan\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEssay: Daniel Fuller\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLibretto: Carey Scott Wilkerson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Columbus, GA, a visionary artist’s life is set to verse and music, performed with his life’s work as the stage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonologue \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDon’t Walk\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHannah Palmer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA woman walks alone at night. What does she carry in her hands? In her thoughts?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEssay \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/beverly-buchanan\/\"\u003e\u003cb\u003eLife on the Line:\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/beverly-buchanan\/\"\u003e\u003cb\u003eBeverly Buchanan\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndy Campbell\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt the Brooklyn Museum, then at Spelman College in Atlanta, an exhibition reveals a practice about memory, place, and endurance, honed across manifold divides.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGlossary \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/glossary\/fla-neur\/\"\u003e\u003cb\u003eFlâneur \u003c\/b\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward A. Hall\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLuxuriant carlessness vs. walking to work in Atlanta.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Project \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDesire Paths\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKeith Wilson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDid you know: the unplanned trail in your office park is a beautiful monument to collective will and individual agency.\u003c\/span\u003e\u003c\/p\u003e\n\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ea good neighbor: 15th Istanbul Biennial\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eReema Salha Fadda\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eUNE BRÈCHE EN TOUTE CHOSE\/A CRACK IN EVERYTHING\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eTidalectics\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristoph Chwatal\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/prospect-4-the-lotus-in-spite-of-the-swamp\/\"\u003e\u003cb\u003eProspect.4: The Lotus in Spite of the Swamp\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan\u003eEric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/carolyn-castano-a-female-typography-2001-2017\/\"\u003e\u003cb\u003eCarolyn Castaño: A Female Topography, 2001–2017\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/sabine-gruffat-a-kiss-of-the-earth\/\"\u003e\u003cb\u003eSabine Gruffat: A Kiss of the Earth\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElizabeth L. Delaney\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eImmigrancy\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHG Masters\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eNancy Ann Coyne: Speaking of Home\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMichael Fallon\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDanez Smith: Don’t Call Us Dead\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEC Flamming\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAl Taylor: What Are You Looking At?\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRebecca Dimling Cochran\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.artpapers.org\/architecture-is-all-over\/\"\u003e\u003cb\u003eArchitecture Is All Over\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRobert Wiesenberger\u003c\/span\u003e\u003c\/i\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":10938504708139,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/ArtPapers-Winter2017-4104-cover_copy.jpg?v=1520014018"},{"product_id":"art-papers-40-06-home","title":"ART PAPERS 40.06 - Nov\/Dec 2016","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e This winter issue of ART PAPERS considers what happens to the notion of “Home” when it is dislodged from the simplicity, comfort, and familiarity implied on all the novelty pillows embroidered with with platitudes about how hime is “sweet,” or “where the heart is.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eArtist Statement: Simone Leigh\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCiara Moloney\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe artist and activist behind a Brooklyn-based homeopathic health care service is inspired by the temples of Angkor Wat and vernacular architecture in Natchez, Mississippi. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eMeaning Attribution:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Inflation of Personal Life \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eInterview With Péter Forgács\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonja Simonyi and Niels Van Tomme\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen a family secret is revealed, a Hungarian artist processes a private past, and a public politics. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eLooking for Black Art in Baltimore \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConversations With \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJoyce J. Scott \u0026amp; Theresa Chromati\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAbdu Mongo Ali\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFaced with limited support and resources in their city, artists discuss what it means to leave—and what it means to come home.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpecial Dossier:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGeopolitics on the Edge\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Arctic archipelago of Svalbard is the new arena in a global sprint for power, influence, and resources—and an emerging site for artistic and interdisciplinary research. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003e- Four Edges of Pyramiden: Ieva Epnere\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA woman in a blue dress \"symbolizes the Russian 'dream' of an ideal state or place on earth.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003e- Fieldwork: Cédric Maridet\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the territory of Svalbard as an archive for the idea of deep time, and a wasteland \"where primordial and modern history can both be traced.\" \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e- The Good Soil: Michael John Whelan\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhotographing the Global Seed Vault, an artist experiences \"a sobering feeling of inescapability\" at the juncture of geological past and humanity's future physical fragility. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003e- Flow Through: Bahar Yürükoğlu \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eProcessing the politics of \"a timeless, borderless place,\" an artist proposes a new mythology. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e- Frost: Aggie Peterson and Petra Hermanová\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"You could feel the presence of the people, but you could not see them\": archival photographs of Svalbard's residents are reworked into portraits of a ghost town.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003e- Synnøve Persen, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Land Outside The Map\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Sami poet, visual artist, and activist calls for us to \"unsubscribe from the map of the colonizers.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eArtist Projects: The Last Mile\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFour young Atlanta-area artists explore landscapes of transition. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e- Saige Rowe: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eExterior Engagements (Parts I \u0026amp; II)\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e- Steffen Sornpao: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEschatology for a Scrapper\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e- Brandon English: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eUntitled \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e(Naw... but for real, fuck 'em)\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e- Ignacio Rivera: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLupita\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eClass Assignment: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMining the Museum\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpelman College curatorial students propose a thematic exhibition of works from Atlanta university collections.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eGlossary: Ordinary\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennifer Bonner\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTransitions: States of Being\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLiz Flamming\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eTurn the Page: The First Ten Years of Hi-Fructose\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Ryan\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eSouthern Accent: Seeking the American South in Contemporary Art\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRisa Puleo\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eEstamos contra el muro \/ We Are Against the Wall\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonica Westin\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eJacqueline Gordon: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eInside You is Me\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEva Mak\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eDuane Michals: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Narrative Photograph\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristina Price Washington\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eUH-OH: Frances Stark 1991-2015\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily B. Watlington\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eMika Rottenberg\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTeresa Carlesimo\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eAnne Imhof: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eAngst\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristoph Chwatal\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eArtist and Empire: (En)Countering Colonial Legacies\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennifer Piejko\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11059537510443,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_40.06_highres.jpg?v=1520527029"},{"product_id":"art-papers-40-04-public-health","title":"ART PAPERS 40.04 - July\/Aug 2016","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe dangerous pandemics of racism and gun violence are matters of public health. Where do the arts and artists fit into the conversation?\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Way of Looking\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSamantha Gregg\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBauhaus-trained architect Marcel Breuer designed civic and cultural buildings with an eye for function and form; now, Atlanta faces a moment of blindness toward his final work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Principles of Participatory Art:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWhat Artists Can Learn From Bioethics\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlexander Robins\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtists using other humans in their work may require examination, monitoring, and a philosophical prescription. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eContagions (spatial, imaginary)\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlan Sondheim\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a visual and verbal essay, an artist narrates his work on human vitality at the edge of the virtual world. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCorrespondence: La Cura\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSalvatore Iaconesi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist\/technologist used the Internet to crowd-source the treatment for his own cancer; here, in an email, he considers its emotional—and communal—side effects. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOPINION:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e#TRUVADAWHO: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Spiritual and Commercial Language of PrEP \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatthew Terrell\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA new preventive medicine changes the say we communicate about sex, safety, and disease—with both positive and negative results. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichael Rakowitz: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA Desert Home Companion\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn an effort to suture the communicative divide between Middle Eastern and American cultures, an artist nourishes discourse through the palate, and the tongue. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWe Ride the MARTA Bus\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuth Dusseault\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIf highways and thoroughfares are Atlanta's arteries, its bus stops are its pulse sites—places at which human life most authentically inhabits a city on the move. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUtopia Today\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy P.A. Cooper\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe 500th anniversary of Thomas More's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUtopia\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e leads London to try mapping the theoretical \"nonplace\" in history, and in real, urban space. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Anxiety\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKimberly Drew\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn fear, inhibition, and \"freedom\" \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e9th Berlin Biennale: The Present in Drag\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCourtney Malick\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFashion Utopias\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMartha Rosler: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eHousing Is a Human Right\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSusan Noyes Platt\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eNon-Fiction\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFalse Flags\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDorota Biczel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eShattering the Concrete\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist \u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJiha Moon: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eBlue Yolo, Yellow Chrysanthemum\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMystery and Benevolence\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElizabeth Grant\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIt Can Howl\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErin Jane Nelson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChloé Elizabeth Maratta: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWasteland\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEvan Hyde\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11059907461163,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_40.04_highres.jpg?v=1520528901"},{"product_id":"art-papers-40-03-global-economy","title":"ART PAPERS 40.03 - May\/June 2016","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHumans relate to water as beneficiaries of it and as threats to itm but not as its masters; countless maxims and cliches attest to the element's perceived purity and inherent contradictions. Running through this issue of ART PAPERS, however, is not a discussion of water’s endangerment (drought, lead poisoning), or its dangerous new distribution (storms, flash floods), but of the force it exerts on culture, geopolitics, and global economies.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSeeds InService: Works on Paper\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoey Orr and Sally Eaves Hughes\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Chicago garden grows feminism, social practice—and a papermaking institute \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCast Iron\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMichi Meko\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist almost drowns, then reflects on Black Buoyancy, Hemingway, and Mami Wata \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAtlantis, GA:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Home Depot, the Georgia Aquarium, \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eand the Corporate Sublime\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarson Chan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt the largest aquarium in the Western Hemisphere, the alien world of the ocean has corporate sponsors \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMen and Women in Water Cities\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKim Anno\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDante's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePurgatorio\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the musical backdrop for an artist's exploration of how humans relate to water, and to each other \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDOSSIER \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTwo Sides of the Same Sea\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt the 2015-2017 Athens Biennale, Greece at last joins the Middle East in the global south, crises and all \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe School of Athens\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDespina Zefkili\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA call for a departure from the trope of the Greek capital as \"southern experiment\" in creative sustainability \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Bridge\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVangelis Vlahos\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecreating a ferry service between Greece and Syria \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDrachmas\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAla Younis\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 1970s Athens, a Palestinian family vacation, and an Arab film and TV production boom \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterview: Chrysanthi Koumianaki\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIliana Fokianaki\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist's existentialist account of Greek economics, via Paris May 1968 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWaterlines\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBruce Lampros\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 2015, half of South Carolina was under water; at a Columbia, SC-based festival in 2016, people finally talked about it \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Lemonade\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJasmine Amussen\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDrink what moves you. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRachel Rose: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEverything and More\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Humphrey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMario García Torres: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLet's Walk Together\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Demeuse\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist and Empire\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy P.A. Cooper\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlasgow International\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFanny Singer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTerrence Malick: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKnight of Cups\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBruce Lampros\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTameka Norris: Not Acquiescing\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Shelton\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eScout\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBruno DiCorcia\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJonathan Griffin, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eOn Fire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatie Geha\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKirstin Mitchell: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTropic of Gemini\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMeredith Kooi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAltered Land Works by Damian Stamer and Greg Lindquist\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElizabeth L. Delaney\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11060159610923,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_40.03_highres.jpg?v=1520529812"},{"product_id":"art-papers-40-02","title":"ART PAPERS 40.02 - Mar\/Apr 2016","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrequent movement certainly increases the likelihood of collision...but it also maximizes one’s responsiveness and agility. This issue began as a consideration of human movement as such, embodied through voluntary or involuntary displacement, or the condition of having fallen out of one’s boat. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMobilization:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChris Kraus\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatie Geha\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn interview with the Los Angeles-based filmmaker and writer on reportage, R.B. Kitaj, and political assemblage \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGive Me the Colors ... and the Country:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlbanian Propaganda in the 21st Century\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVincent W.J. van Gerven Oei\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the troubling alliance between a mayor-turned- prime minister in Tirana, the artist-godfathers of relational aesthetics, and the greatest spin doctors in European politics \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGarage Museum of Contemporary Art\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVictoria Camblin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Moscow's Gorky Park, a museum provides infrastructure for national social change; here, its director Anton Belov and chief curator Kate Fowle discuss programming for accessibility and integrity \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eL'âme voyageuse: Agathe Snow\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThree new projects (by one New York artist) consider the poetry of moving in, and moving together \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eImage Search: Crisis, Redistributed\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCat Dawson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhat did displacement look like in 2015? Visual historical comparisons highlight an absence—or an impossibility—of representation, despite a surplus of attempts \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAMERIKKKA\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIgnacio Gonzalez-Lang\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist's textile collaborations with undocumented artisans unravel the cloaks of American nationalism \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSoft Mobility\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKari Altmann\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMovement, currency, and flexibility, transparency, energy, and trade: all find conduits in the objects we wear, touch, and \"swipe\" \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCapacious Tapes\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy P.A. Cooper\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe perfect container for popular, secular, religious, and underground cultural archives—and DIY cultural production and distribution—the audiocassette is still the medium of record in Afghanistan (and should be, everywhere) \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRadio Somebodies\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMeredith Kooi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNarrowcast transmission projects create new bandwidths for experimentation and communication—and catalyze \"IRL\" communities, all over the world \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMilo van der Maaden\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLizzie Homersham\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRefugee Theaters\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMyrta Köhler\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAddis Video Art Festival\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChasing Justice\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthony Torres\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJennie C. Jones\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKelly Johnson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePeter Wächtler\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLee Ann Norman\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJ\u003c\/b\u003e\u003cb\u003eacqueline Humphries\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan\u003eEric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNir Evron\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRB\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily Watlington\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Clarkston\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJust outside Atlanta, one of America's most diverse refugee destinations \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11060472184875,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_40.02_highres.jpg?v=1520530924"},{"product_id":"art-papers-40-01","title":"ART PAPERS 40.01 - Jan\/Feb 2016","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta is a place built around its transportation infrastructure, not the other way around. ART PAPERS was founded in Atlanta in 1976, during a decade of particularly energetic regional and national growth both for the art and art publishing communities. It is with this history and these new discussions in mind that ART PAPERS begins our 40th anniversary year, and launches a special edition of our magazine \"Terminus,\" named for and devoted to the force of our home city's transportation legacy, and its impact on art, design, and the urban plan. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLetters from the Editors\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVictoria Camblin \u0026amp; Ryan Gravel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Possibility of an Airport\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eReinier de Graaf\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the seductive paradigm of Atlanta's Hartsfield-Jackson International \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAchieving Blankness\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHannah Palmer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNotes from the edge of the Atlanta Airport\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith photography by Johnathon Kelso \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMegabus, and Other Routes\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJasmine Amussen\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIntimate reflections on southern inter-city travel\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith new photocollage by artist Erin Jane Nelson \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBlack Folks on Bikes\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ezahra alabanza\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eInterviews with members of community and advocacy groups changing the iconography of the American cyclist \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith portraits of MOBB-ATL Cycling Club by Zach Wolfe \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArt on Marta (part 2)\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Naugle\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA photo essay documenting the public art of Atlanta's rapid transit system brings a vast collection of commissions out of the stations' shadows\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith an introduction by John Cocker \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArt on the Beltline\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVictoria Camblin, Daniel Fuller, and Ryan Gravel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA comparative look at public art initiatives on transit greenways, and a case for curating for infrastructure, and designing for art\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith research by Grace Thornton \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCASE STUDY\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAssemble\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTwo projects by the Turner Prize winning design collective transform disused urban spaces into venues for public and artistic programming\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003etext and images by Assemble \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSYLLABUS\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAutohaus:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eToward a New Typology for Living and Driving\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVolkan Alkangolu\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA course description proposes a study of the garage, birthplace of Apple and Nirvana, and architectural key to suburban design \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eEXCERPT\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoundabout Revolutions\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEyal Weizman\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn \"Islands\" and \"Circles of Hell,\" two chapters from a recent release from Sternberg Press, an often maligned traffic intersection becomes a catalyst for social change \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eM+\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA Museum at Future Crossroads\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Hong Kong, a massive new cultural district is also the rail gateway to and from Mainland China \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUniversal Serial Bus\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Demeuse\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArt of the Airport Tower\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNASA Graphic Standards Manual\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRobert Wiesenberger\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOffice Space\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCourtney Malick\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e6th Street Viaduct\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Southern\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe State of the Art of Architecture\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eZac Rose\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eStrange Tools\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRobbie Kubala\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGlossary: Uber\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKeller Easterling\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOnce just a prefix, an old superlative becomes a noun, a verb, an adverb, an adjective— and a universal elementary particle \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11060626489387,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_40.01_highres.jpg?v=1520531445"},{"product_id":"art-papers-39-06","title":"ART PAPERS 39.06 - Nov\/Dec 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis November\/December issue of ART PAPERS tackles the end of a sad and strange year--or the end of the world--- at the very least, a society in transition. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eCORRESPONDENCE:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Age Ahead: Tim Keane\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVictoria Camblin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta's new commissioner of planning and community development designs for a bigger, better city. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGrits\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarisa J. Futernick\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist's research took her to all 13 Presidential Libraries in the United States; notes from her stopover at the Carter Center weave archival research into intimate historical fiction. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterview: Colin Renfrew\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn archaeologist at the University of Cambridge known to ask big-picture questions, such as \"Where do we come from?\" and \"Where are we going?,\" answers some of ours. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIn Version After Version\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBethany Collins and Natasha Trethewey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA visual artist pairs new text-based work with an illustrative poem, using text and image to stress the language of race, and the violence of the word.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEverything Will Be Fine:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWim Wenders' Road\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe New German Cinema director behind \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntil the End of the World\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (1991) reflects upon his 70th year, while looking forward: in the future, he predicts, we're going to be okay. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Change\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilliam Cordova and Emily Wilkerson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFollowing the death of a friend, an artist considers the reciprocal passage between the immaterial and the material, and the mechanics of realities altered. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eProject Biennial of Contemporary Art\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat D-0 ARK Underground, Konijc, Bosnia and Herzegovina\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy P.A. Cooper\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIstanbul Biennial 2015:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSaltwater: A Theory of Thought Forms\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ecitywide, Istanbul, Turkey\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFanny Singer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUnder the Clouds: From Paranoia to the Digital Sublime\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Serralves Museum, Porto, Portugal\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdam Cvijanovic\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Kemper Museum of Contemporary Art, Kansas City, MO\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaroline Rush\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbbas Akhavan\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Mercer Union, Toronto\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMichael DiRisio\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRuby Chishti\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Twelve Gates Arts, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIman Sultan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJani Leinonen\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Museum of Contemporary Art Kiasma, Helsinki\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRites\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Zuckerman Museum of Art, Kennesaw, GA\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLogan Lockner\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eEsotericism in African American Religious Experience \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrill Academic Publishers\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJerry Cullum\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Durham Peters, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Marvelous Clouds:\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eToward a Philosophy of Elemental Media\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eUniversity of Chicago Press\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Boshears\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11060931919915,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.06_highres.jpg?v=1525198695"},{"product_id":"art-papers-39-05","title":"ART PAPERS 39.05 - Sept\/Oct 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFashion, liberally understood, thus has a desirable ability to reveal, despite its ostensible function to cover. Often it does this so much more coherently than art does that fashion has to show up in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtforum\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e or pull an artist onto the runway every once in awhile, just to give everyone a reality check. This issue attempts to provide precisely that insurance, by turning toward artists who put fashion in the service of inquiry, without compromising either.  --Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCORRESPONDENCE:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIdle Weeds are Fast in Growth\u003c\/b\u003e\u003cbr\u003e\u003cstrong\u003eRoe Ethridge and Victoria Camblin\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA photographer and an editor compare their practices to weeding; new photographs remind us to look down. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYaloRun Textile Supply Workshop\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSusan Cianciolo and Coulter Fussell\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Brooklyn artist and a Southern waitress-turned-quilter collaborate in Mississippi. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRallou Panagiotou:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eModernism on the Shore\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA tragedy, and a post-mortem\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Greek artist's practice treats liquids as solids, and materials as ideas. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcrete Utopia\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarald Gründl, co-curator of the 2015 Vienna Biennale's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e2051: Smart Life in the City,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e explains an ambition to redefine citizenship through design. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAll-Star Cast\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCentre For Style\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA contemporary fashion exhibition space, store, and publication based in Melbourne expands the field of art-makingÑthis time, with an advertorial. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Painting of the van Veldes,\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eor the World and the Trouser\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJonathan Bouknight (photography \u0026amp; styling)\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Swisher (text)\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist explores the form of the fashion editorial, divested of its bling; an \"uncut\" Samuel Beckett essay, translated from the French, surveys the fabric of art criticism. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eART PAPERS: Scenes Deferred \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDirty (South) Dancing\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDaniel Fuller\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNexus Contemporary Art Center had a \"new building\" gala; a critic reports. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMad Max: Fury Road\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGeorge Miller, Warner Bros. Pictures\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNathan Lee\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMaggie Nelson: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Argonauts\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGraywolf Press\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatie Geha\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChika Okeke-Agulu: \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePostcolonial Modernism\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eArt and Decolonization in Twentieth-Century Nigeria \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDuke University Press \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarol Thompson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNorman J. Girardot: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEnvisioning Howard Finster\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eThe Religion and Art of a Stranger from Another World\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eUniversity of California Press\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJerry Cullum\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLarry Jens Anderson\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Museum of Contemporary Art of Georgia, Atlanta \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSally Hansell\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSprawl! Drawing Outside the Lines\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat High Museum of Art, Atlanta \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDan Weiskopf\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Second Lowennial\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat The Low Museum of Contemporary Culture, Atlanta\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRaven Schley\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTamara Henderson + Julia Feyrer: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eConsider the Belvedere\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Institute of Contemporary Art, Philadelphia \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlassBook Project: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eProvisions\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat The Gateway Project, Newark, NJ \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCat Dawson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoah Purifoy: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eJunk Dada\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Los Angeles County Museum of Art \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Welfare State\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Museum of Modern Art, Antwerp, Belgium \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e:mentalKLINIK: \u003c\/b\u003e\u003cb\u003e\u003ci\u003e83% SatisfactionGuaranteed\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Louise Alexander Gallery, Porto Cervo, Italy \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11061238300715,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.05_highres.jpg?v=1520533054"},{"product_id":"art-papers-39-04","title":"ART PAPERS 39.04 - July\/Aug 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen we discuss our professional paths we often use architectural, not medical, metaphor, and we’re particularly attached to the structural element of the door. We want to get our foot in it, and keep it ajar; if it closes, we reassure ourselves that another one will open as a result. If the household door is a basic means of access, then a gateway is a grand one, a point of entry for real progress--sometimes, toward extremes. When a “gateway” appears in literature it is a landmark,too, traditionally denoting a passage from one phase of life to the next--often, death, and its associated ascent or descent into the afterlife. Whether we can “go back” or not, presented in this July\/August issue are reflections upon the architecture of the various doors one might encounter on a creative path. Perhaps they will inform an artist’s decision when it comes to which ones to open. --Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTABLE OF CONTENTS:\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eIt’s Only the Beginning\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDaniel Fuller\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA curator enters the artist book archives of Atlanta’s Nexus Press, encounters his preadolescent, sports-obsessed self amidst its treasures.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDead Ends\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite-Wassilak\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta's Great Southwest Industrial Park was once home to masterpieces of American mid century minimalism; now the site is overgrown and semi-disused, and we can't find the Donald Judd.  \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eGatecrashing \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRaphael Koenig\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn interview introduces Katherine Jentleson, scholar and curator of folk art, now at the High Museum of Art. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eTo Demonstrate Something About the World: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eMarc Fischer's Public Collectors\u003c\/b\u003e \u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNiels Van Tomme\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist conserves, curates, and circulates ephemeral collections of questionable material value, and infinite cultural value. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eArt \/ AIDS \/ America? \u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJason Foumberg \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn exhibition highlighting artists' responses to AIDS in America aims to bring a crisis that has migrated \"over there\" back into view \"over here,\" say curators Rock Hushka and Jonathan D. Katz. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eA Body of Work \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilliam Gass\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eA critic leaves the art world for nursing school. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eMake It Big and Flat \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJonas Lund\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist's investigation of industry success comes complete with a handy \"how-to.\" \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Pavilions of India and Pakistan\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the 56th Venice Biennale (Venice, Italy)\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy Cooper\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDraft\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Studio X, Mumbai, India\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRoshan Kumar Mogali\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichael Beutler: Moby Dick\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Hamburger Bahnhof-Museum für Gegenwart, Berlin \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMyrta Köhler\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLindsay Lawson: The Inner Lives of Objects\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Gillmeier Rech, Berlin\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTess Edmonson\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe City Lost and Found\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Princeton University Art Museum \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarcus Civin\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFaycal Baghriche: What Looks Back at Us\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Taymour Grahne Gallery, New York, NY \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSandra Skurvida\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIan Wallace: Meta Masculin\/Féminin\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Jessica Silverman Gallery, San Francisco\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonica Westin\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJered Sprecher: The Hollow That Echoes\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Gallery Protocol, Gainesville, FL \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaggie Davis\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTriple Play\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Marcia Wood Gallery Castleberry, Atlanta \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaggie Davis\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChris Salter, Alien Agency:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eExperimental Encounters with Art in the Making\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003efrom MIT Press \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDan Weiskopf\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eTod(d), or German for \"Death\" \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTod Wodicka\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn abominable first name, explained. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11061567586347,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.04_highres.jpg?v=1520533797"},{"product_id":"art-papers-39-03","title":"ART PAPERS 39.03 - May\/June 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne of the ways in which “high” art seems to distinguish itself from its ostensibly lower or more democratic forms is by condemning expressions of fanaticism in favor of a projected criticality. It is without bias, like Hogarth’s turbaned observer, that this May\/June issue of ART PAPERS provided a (discrete) forum for discussions of renown, and its impact on artistic identity and process; on accessibility; and on longevity--effects mediated through television, theory, and new technology. It is not, however, without enthusiasm, or imagination--while we can do without fanaticism, we cannot do without fantasy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFandom\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Humphrey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn artist finds fandom, celebrity, and sacrifice in Chelsea. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTriple Seven Emerald Legend Fellowship\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e$hawty Arabia\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta's multidisciplinary collective announces the recipients of a community— driven award. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKahlil Joseph’s Double Act\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Los Angeles, a filmmaker pioneers a new kind of auteurship, guided by the voices of W.E.B. Dubois and Kendrick Lamar.\u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0506-syms.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA Pilot for a Show About Nowhere\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMartine Syms\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn interrogation of identity, television, and choice inspires an unrealized sitcom about \"futility and hope, individuality and community, privacy and fame.\" \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0506-cyberfeminism.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRevisiting Cyberfeminism\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCornelia Sollfrank \u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTwenty years on, a reality check, and a methodology, from an instigator of a still-relevant resistance. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0506-sniffers.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Sniffers\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaija Timonen\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a new work of analytic fiction, a woman subjects every encounter to absurd levels of scrutiny, often with recourse to theory. Fantasy suffers. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnimalaise\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Diehl\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew video works harness, then unleash, the disquieting liveliness of our robot creations. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Crypt of Civilization\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eYuri Pattison\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOglethorpe University's \"successful\" (but forgotten) time capsule turns 75; an artist considers the artifacts entombed therein. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eManifesto for a Photocopier\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Osbaldeston\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn editorial and material philosophy from the author of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSTELLAR\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, an artist's fanzine. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIn Memoriam \u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhil Dietz (1929-2014)\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGlossary: Fan\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Swisher\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA critical etymology reveals a word's many phantom limbs. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0506-review1.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbra: BLQ Velvet\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAwful Records, Atlanta\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSam Thorne\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKatherine Behar\/ Matt Haffner\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAtlanta\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMeredith Kooi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNate Boyce: \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePolyscroll\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Yerba Buena Center for the Arts, San Francisco \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCourtney Malick\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMyron Helfgott: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eAn Inventory of My Thoughts\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Anderson Gallery, Virginia Commonwealth University, Richmond, VA\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Shelton\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Unfinished Conversation: Encoding \/ Decoding \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat The Power Plant, Toronto, Canada \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMichael DiRisio\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eImaging Eden: Photographers Discover the Everglades\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Norton Museum of Art, West Palm Beach, FL \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErica Ando\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Forever Now:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eContemporary Painting in an Atemporal World\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e+ Björk\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat The Museum of Modern Art, New York, NY \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Ryan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChitra Ganesh: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEyes of Time\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Brooklyn Museum, Brooklyn, NY \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCatherine Dawson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFiber Legends\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Kaneko, Omaha, NE \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKim Carpenter\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eViktor Timofeev\/John Gerrard\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite-Wassilak\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTakis: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eChamps magnétiques\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Palais de Tokyo, Paris \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eViolaine Boutet de Monvel\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11061824913451,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.03_highres.jpg?v=1520534461"},{"product_id":"art-papers-39-02","title":"ART PAPERS 39.02 - Mar\/Apr 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e This March\/April issue of ART PAPERS celebrates and interrogates island living. It looks across the Gulf of Mexico and over Florida to our neighbors in the Caribbean, where waves made by mass processional city traditions such as Carnival crash upon the region’s ostensible northernmost city--New Orleans--and create a cultural resonance so strong that it connects the American South to a global one. This issue’s contributors consider the physical migration of bodies through geopolitical space (those of the displaced, of the diaspora, and those of separatists), and the digital migration of artifacts through cyberspace, where piracy thrives, at times for the cultural good. Permeating a number of these features is a tension between escapism and a longing for connectivity--one evident, perhaps, in the nomadicism that seems to inhere to art world production and participation today. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Plastic Gyre\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePam Longobardi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhat is the material marker of the Anthropocene? Artists, scientists, and activists respond; QR codes elaborate. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0304-tancons.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterview: The Political Aesthetics of Carnival\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan mce-data-marked=\"1\"\u003eEric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\" mce-data-marked=\"1\"\u003eCurator Claire Tancons talks with D. Eric Bookhardt in New Orleans, the \"northernmost city of the Caribbean.\" \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eThe New World, Application for Turtle Island\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" mce-data-marked=\"1\"\u003eJosef Strau\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\" mce-data-marked=\"1\"\u003eAn illustrated, narrative petition for immigrant status replaces formal paperwork in a commission adapted from a solo exhibition at Chicago's Renaissance Society, the artist's first at a US museum. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0304-blackmarket.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn Informality and Nomadism\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTimothy P.A. Cooper\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTorrent sites and pirated media form the black market archives preserving visual culture in postcolonial Pakistan. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDesire is Irrelevant, or Is It?\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOmar Kholeif\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrom its curator, a reflexive overture to the Cyprus Pavilion at the 2015 Venice Biennale. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0304-lifealtars.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLife Altars\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIyawó (Kristin Naca)\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eEkphrastic poetry emerges from a journey via Latino art to Cuba, where the author is initiated into the religion Santería. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHayley Silverman's SOUP: A Play in Two Acts \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePablo Larios\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSongs excerpted from Aimé Césaire's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Tempest\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e accompany a poetic essay accompanying recent works exhibited in artist Hayley Silverman's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUnmanned Lander\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNo Fair Is an Island\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBade Stageberg Cox\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStudies and schematics from the architecture firm behind the Armory Show's evolving occupation of Piers 92 and 94 in Manhattan. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew Spaces of Queer Separatism\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRisa Puleo\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRadical communities update—and revindicate—off-the-grid feminist movements of the 1970s. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEscape from Berlin\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaia Hagel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew travel magazines suggest that print is the muse-medium for the post-digital flaneur. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0304-glossary.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: #TMAI\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eShumon Basar\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSometimes futurist discourse is just #TMI. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDays of Endless Time \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWashington, DC\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErin C. Devine\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0304-review1.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCreating Matter: The Prints of Mildred Thompson\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Michael C. Carlos Museum, Atlanta\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDan Weiskopf\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGreer Lankton: LOVE ME\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Participant, Inc., New York \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily Colucci\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eShahzia Sikander: Parallax\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Linda Pace Foundation, San Antonio, TX\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRachel Adams\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNot Ready to Make Nice:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Guerrilla Girls in the Artworld and Beyond\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Georgia Museum of Art, Athens, GA \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eForecast\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat Anderson Gallery, Virginia Commonwealth University School of the Arts, Richmond, VA \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTaipei Biennial 2014: The Great Acceleration\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Taipei Fine Arts Museum, Taipei, Taiwan \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarcus Civin\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRepurposing the Wunderkammer\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Samuel P. Harn Museum of Art, Gainesville, FL \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGalen Olmsted\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSatin Island + \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEmpire's Crossroads\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBook Review\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJerry Cullum\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11061839036459,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.02_highres.jpg?v=1520534536"},{"product_id":"art-papers-38-06","title":"ART PAPERS 38.06 - Nov\/Dec 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMagazines make exhibitions. What is compelling about this model is that it is, like this November\/ December issue, about coming together: magazines unite people on a masthead and connect audiences through discourse; exhibitions get everyone in a room together with drinks at hand. --Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTABLE OF CONTENTS:\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFood and Art: Better Together?\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFanny Singer sheds historical light on contemporary art practices using food sourcing, making, and eating as platforms for social engagement. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAugmented Reality Revolution\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCéline Browning introduces a wave of artists using smart phone apps to reclaim public spaces of protest. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAcquiring Modernity\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe collaboratively curated Pavilion of Kuwait will have an impact that far outlasts the Venice Biennale for which it was conceived, writes Desi Gonzalez.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEcotopia\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuth Dusseault expands her study of the lives and networks of young people using downloadable information to live in off the grid communities. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAmanda Sharp\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Frieze co-founder takes us from the birth of an art magazine to the establishment of the world's most innovative art fairs. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePROFILE\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePhong Bui\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin traces the past, present, and future of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Brooklyn Rail\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e through the eyes of its publisher and editor-in-chief. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEXCERPT\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe \"We\" of \"I\" \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eEntrepreneur Martine Rothblatt reveals her transcendent reality and everlasting ambition. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFresh Direct\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs Body by Body, artists Melissa Sachs and Cameron Soren deny the world outside of their apartment. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdida\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtists review new works of poetry in the first edition of this new fifteen dollar zine, based in Brooklyn.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGLOSSARY\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChargeurism – Mermaids\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOmar Kholeif defines a range of terms for post-digital physical and intellectual engagement. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCats\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSan Francisco artist and DJ Primo Pitino's \"sensual cat art\" migrates off the dance party poster. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFood Magazines (International); Geta Bratescu\/MARTIX 254 (Berkeley, CA); Xanti Schawinsky (New York); NOW-ism: Abstraction Today (Columbus, OH); State of the Art (Bentonville, AR); Sophia Al-Maria (Manchester, UK); 10 (Berlin) \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063103324203,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.06_highres.jpg?v=1520537704"},{"product_id":"art-papers-39-01","title":"ART PAPERS 39.01 - Jan\/Feb 2015","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis issue is about space and place, and various attempts to engage or overcome them. Our networks today, far from evenly distributed, are by turns empowering, exploitative, galvanizing for activism, surveillant, and emotionally exhausting, as we project joy, empathy, or moral outrage to ever more places from afar. What are the infrastructures on which we rely, and who are their architects, figuratives and literal? As a magazine based in the South with a global reach, ART PAPERS has long asked these kinds of questions. And the logics of design and architecture can venture answers, making these structures visible or building them anew.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTABLE OF CONTENTS:\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003eMultiple\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Reinfurt (O-R-G)\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhat does it mean to make an artist's multiple now? A software commission. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLogistics Makes the World\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJesse LeCavalier\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSynchronizing the world of commerce means attempting to overcome time and space. A study of logistics with a photo essay on UPS. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-feature2.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLosing Interest\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eShumon Basar\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA letter in response to a request to write about architecture.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTV University, ca. 1964\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Harwood\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSol Cornberg, a forgotten architect of media, harnessed telepresence— first in the name of commerce, then in the name of the Enlightenment. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTypographic Fictions\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eErik Brandt\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrandt's Minneapolis garage has become a global platform for experimental graphic design.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOpen Architecture in Berlin-Kreuzberg\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEsra Akcan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA public housing exhibition in 1980s Berlin stands out not just for its famous architectural cast, but for inviting future residents into the design process. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-feature3.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn Vernacular Computing\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJacob Gaboury\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA manifesto confronts the ways we actually use technology. \u003c\/span\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-feature5.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal Reset\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKaren Kubey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIdeas for affordable housing from the Institute for Public Architecture. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eStrange Shapes\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMTWTF\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne person one vote—sort of. A design commission considers the geometry of gerrymandering. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Knoll Transcripts\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMargot Weller\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePreviously unpublished interviews with Knoll designers revise the story of midcentury modernism. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcept Models\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAllied Works Architecture\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeyond site or program, these models focus the minds of designers and communicate viscerally with clients. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews: Books\u003c\/b\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-review1.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eExtrastatecraft: The Power of Infrastructure Space\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Keller Easterling\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarson Chan\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBauhaus Weaving Theory:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFrom Feminine Craft to Mode of Design\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eby T'ai Smith\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRachel Silveri\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePhotographic Architecture in the Twentieth Century\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Claire Zimmerman \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEsther Choi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews: Exhibitions\u003c\/b\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-review2.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAmie Siegel: Provenance\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat The Metropolitan Museum of Art, New York\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRattanamol Singh Johal\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFin de Siècle\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Swiss Institute, New York \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGregor Quack\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBeyond the Supersquare\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat the Bronx Museum of the Arts, New York \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElis Mendoza\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Space Between\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat One Athens, Athens, Greece\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDesign and Violence and Disobedient Objects\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eat MoMA and the V\u0026amp;A, New York and London \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily King\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003ca href=\"http:\/\/artpapers.org\/feature_articles\/2015_0102-feature4.html\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlossary: Curate\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBarry Bergdoll\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA re-definition releases some hot air from the cult of the curator. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063123443755,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_39.01_highres.jpg?v=1520537756"},{"product_id":"art-papers-38-05","title":"ART PAPERS 38.05 - Sept\/Oct 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis fall at ART PAPERS, we find ourselves to be exploring inner experience and interconnectivity. There is an unusual density of interviews and diaristic content in the pages that follow, these personal formats being particularly suited to the intimacy of the subject matter.Oblivious to boundaries, new or alternative means of communication--including zines and graphic novels, antifunctional web sites, eblast, discursive performance and even interpretative readings of cosmic phenomena--are intuitive but effective.--Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eHALLOWEEN SPECIAL\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eThe Zombies Are Real\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKojo Griffin has a theory about the undead, the art world, and you.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eHALLOWEEN SPECIAL: OPINION\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eAtlanta's White Walkers #SnowJam2014\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Boshears applies the zombie metaphor to an enduring urban racial divide.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eINTERVIEW\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eJoyce Pensato\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin \"hangs out\" with the many and varied inhabitants of Joyceland.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eINTERVIEW\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eEverything Is Intertwined\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe're still learning from author, editor, and artist Jay Kinney's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGnosis: A Journal of Western Inner Traditions\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (1985–1999). \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eARTIST PROJECT\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eInstitutional Astrology\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKaren Tauches reads the natal charts of five American arts institutions, all in periods of change. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGLOSSARY\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDefining Provincialism, the Primal Scene\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTerry Smith reminds us that provincialism is still a problematic, 40 years after he first addressed it in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtforum\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e magazine. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAquarium Proletarium\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eHead Gallery's latest press release mortifies the art world lexicon, and redefines the \"exhibition\" and the \"opening.\" \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHistory of the Paranormal in Kinderhook, NY\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStills from the trailer for Bruce G. Hallenbeck's unfinished film \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCannibal Church\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (1983) preface an upcoming commission by Christopher Kline.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePREVIEW\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNotes for Now\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFranklin Sirmans walks Rebecca Dimling Cochran through the history and geography of this year's Prospect New Orleans.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChicago Gothic\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJason Foumberg presents new and archival materials that speak to the sustained relevance of the Hairy Who and the Chicago imagists.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eQuickeners\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStills from Jeremy Shaw's latest video explore alterity and altered states, faith and future man. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRoving Room (Demorest, GA); Colliding Worlds (Book); Ryan Gander (Manchester, UK); Josh Mannis (Los Angeles); Margo Sawyer (Austin, TX); Lygia Clark (New York); Liverpool Biennial + Generation: 25 Years of Contemporary Art in Scotland (UK); Berlin Biennale + Manifesta (Germany + Russia); The Esoteric Secrets of Surrealism (Book) \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eESSAY\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDuane Michals' Human Condition\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey pays homage to a photographer who refused the limits of his medium, and those of the physical world. \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063191175211,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.05_highres.jpg?v=1520538014"},{"product_id":"art-papers-38-04","title":"ART PAPERS 38.04 - July\/Aug 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe participatory spirit inhere to arts community driven efforts pervades a number of the commissions in this July\/August issue. This summer, ART PAPERS, investigates the means through which artists acquire agency, with an emphasis on identity and education.--Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDOSSIER\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eArt Education Reaches an Apex\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ein the American South\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs Emory University closes its fine art department, Lilly Lampe asks what it says about the system.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Data Self\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDan Weiskopf examines the portraiture of the digital age, then speaks to Rob Horning about social media and subjectivity. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDOSSIER\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eBruce Mau Commencement Address\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGerald FitzGerald interviews RISD's 2014 graduation speaker, who told students to \"work on what [they] love.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDOSSIER\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eAn Informal Survey of Post-Graduate Visual Arts Programs\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKari Rittenbach asks about professional development.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eProcess Processes\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs My Holy Nacho, Jamie Allen and Bernhard Garnicnig visualize data relative to the creation of artworks.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eShowing and Sharing in Philadelphia\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLocal magazines are shaping the arts through public programming; Becky Huff Hunter reports.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew British Ceramics\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFanny Singer addresses the recent past and near future of ceramics in the UK, and speaks to Aaron Angell and Jesse Wine, two artists working with clay.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Statement, 9.7, and Sixty Five Percent of What I Throw Away Is Compost\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThree poems by Elaine Kahn.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eShanzhai Biennial No. 3\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew experiments in the art of branding are coming soon. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eProust's Mirror\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJordan Silver and Jakob Haglof illustrate the creative condition, daily. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGLOSSARY\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSocial Capital\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMartin G. Fuller is \"kind of friendly with\" the ART PAPERS editorial team. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDonelle Woolford (US Tour); Institutional Time (Book); Sae A Lee (Staunton, VA); Jerstin Crosby (Raleigh, NC); Jake and Dinos Chapman (Montreal); Before Our Eyes (Barcelona); A Thousand Doors (Athens, Greece); Instructions for an Ordinary Utopia (Frome, UK) \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063238164523,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.04_highres.jpg?v=1520538279"},{"product_id":"art-papers-37-06","title":"ART PAPERS 37.06 - Nov\/Dec 2013","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt a certain point however, I untied the knot: the entire issue would have to be about art magazines themselves. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIn Praise of a Newsstand\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSteve Locke\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Steve Locke remembers how the world of magazines opened his world. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: William Powhida\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Pithy, Subjective, and Incomplete Analysis of Mostly Print-Based Art Publications\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInside the Box \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGwen Allen\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGwen Allen shows how two very different periodicals - the legendary \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAspen\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and present-day \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePop-Up -- \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eboth radically interpret “magazine” in its etymological sense, as a kind of free-form storehouse.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBetween and Across\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJulian Myers - Szupinska\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJulian Myers-Szupinska asks why the best journal from the 90s - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDocuments-\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e isn’t better remembered. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063238950955,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.06_highres.jpg?v=1520538198"},{"product_id":"art-papers-38-03","title":"ART PAPERS 38.03 - May\/June 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA number of projects and initiatives featured in this May\/June issue share a concern with public document, the right to access and distribute information freely, and the tangibility--the desirability, even--of “truth” in digital age. --Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eÀsìkò in Dakar\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmanda H. Hellman discusses the tradition and future of West African experimental arts education.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Common Network\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey follows Amar Kanwar's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Sovereign Forest\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and Stephen Willats' \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eInside the Ocean\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e as maps towards social reform.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOPINION\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eGive Us CPR\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTrial lawyer Gerald FitzGerald calls for a centralized provenance database, funded by a levy on market sales.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e*CORRESPONDENCE*\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eTo: Constant Dullaart; From: Carson Chan; \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRe: Balconism\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA curator and writer responds to a manifesto calling for sovereign communication in the digital age. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBeing as Glass Eel\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRosa Aiello's textual veil reveals the form of the object beneath it.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbove and Beyond the Fence Line\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBreonne DeDecker and Darin Acosta map the uncharted industrial territories of southern Louisiana.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVisibility Machines:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHarun Farocki and Trevor Paglen\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNiels Van Tomme and Jeroen Wille scan the work of two artists confronting the structures concealed within military image-making.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRELiable COMmunications\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eYuri Pattison finds humanity in advanced communication technologies; he and Karen Archey discuss.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArt of the Stateless State\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJonas Staal calls for a state of permanent, stateless revolution.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOccession\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDouglas Coupland secedes the Occident (so you don't have to).\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRed Wine\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA poster hails Nicolas Ceccaldi's public institutional debut at Kunstverein München [April 25-June 15, 2014].\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eInside CERN (Lars Müller Publishers); Alien She (Philadelphia); James Lee Byars (Detroit); Mel Chin (New Orleans); Simon Denny (Colchester, UK); HIWAR (Amman, Jordan); Critical Machines (Beirut, Lebannon) \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063289741355,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.03_highres.jpg?v=1520538415"},{"product_id":"art-papers-38-02","title":"ART PAPERS 38.02 - Mar\/April 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eART PAPERS believes that the margins of culture and of print to be free, dynamic, authentic and thus invaluable places of visual and textual communication. The first issue under the tenure of Editor and Artistic Director, Victoria Camblin.  --Victoria Camblin, excerpt, Letter from the Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHow are you today?\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHans Ulrich Obrist interviews AGNES, an emotionally perceptive spam bot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA State for the Arts\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSlavs and Tatars proposes Gulf solutions for Central Asia and the Caucasus; Stephanie Bailey reports.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBalconism\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eConstant Dullaart advocates for intelligent communication, adapted for the state of privacy in the digital age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBiennial Migrations: Geographical Data from the Whitney and the World\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNat Slaughter visualizes data from the Whitney and the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eNeptune,\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e Antoine Coysevox\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Jeppesen previews his series of object-oriented word works, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e16 Sculptures\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRegion Impossible\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBelinda Grace Gardner investigates the Romanian biennial that never was.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e[Title?]\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJeremy Sigler responds to David Humphrey responding to Marcel Proust responding to himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Can't make it\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNiko Princen memes Facebook nonattendance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJOMO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eShumon Basar beats #FOMO with a new acronym.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMarginalia\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMolly Springfield selects \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eExcerpts (Marginalia Archive)\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (2014) for the interior covers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHello World: Where Design Meets Life (Overlook Press, NY); Gulf Coast + Alongslide + South as a State of Mind (Magazines, Intl); Readykeulous by Ridykeulous (Saint Louis, MO); Return Journey (Llandudno, Wales); Toyin Odutola (Indianapolis, IN); Follow Suit (Vancouver, Canada) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCanvass: Atlanta\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBlack Panther Emory Douglas at the Centers for Disease Control; Georgia State University studio visits; learning from American modernist Paul Rand; Renée Stout's Tales of the Conjure Woman at Spelman College; George King's Lonnie Holley documentary; Ria Pell by R. Land \u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063331160107,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.02_highres.jpg?v=1520538964"},{"product_id":"art-papers-38-01","title":"ART PAPERS 38.01 - Jan\/Feb 2014","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMic check, 1-2, 1-2...This issue is dedicated to investigating hip-hop and contemporary art--not as isolated encounters, but rather where they intersect, how they complement and enhance each other, and, ultimately, how in conversation they act to transgress the status quo. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e— Fahamu Pecou, excerpt, Letter from the Guest Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: DJ Adrain Loving\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eArt x Hip-Hop Mixtape\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLetter from the Guest Editor\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Devil Is a Liar: The Diasporic Trickster Tales of Jean-Michel Basquiat \u0026amp; Kendrick Lamar\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eShantrelle P. Lewis\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eShantrelle P. Lewis introduces us to the Yoruba deity Eshu (Exu), the keeper of the crossword, the way-maker, the quintessential trickster and his hip-hop manifestations in the work of Jean-Michel Basquiat and Kendrick Lamar. Ase.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEye Candy Is Dandy: \u003c\/b\u003e\u003cb\u003eRashaad Newsome’s Hip-Hop Heraldry \u0026amp; the New Black Swag\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatie Cercone\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKatie Cercone fashions the linkage between Rashaad Newsome’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHeraldry\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e series and a new-millennial Black dandysim as embodied by A$AP Mob.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRender, R.A.P. \u003c\/b\u003e\u003cb\u003e\u003ci\u003eMusic\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e, and “Reagan”: \u003c\/b\u003e\u003cb\u003eKiller Mike \u0026amp; the Hip-Hop Imagination\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoycelyn Wilson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoycelyn Wilson sits down with Killer MIke for an exclusive and revealing interview on artist responsibility, Ronald Reagan’s ghost, and how the hip-hop imagination presents an alternative context for looking at the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: Marcia Jones \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eDisplaced Oshum Theory\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNeither Queer nor There: \u003c\/b\u003e\u003cb\u003eCategories, Assemblages, and Transformations\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Morris\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEssayist Matt Morris contends that the burgeoning queer hip-hop movement provides a different context for articulating “queer.” It’s not just theory anymore!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: Robert Pruitt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eLooking for the Perfect Beat \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBeyond the Abyss: \u003c\/b\u003e\u003cb\u003eNeo-Hip-HOp Cultural Expression\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA.M. Weaver\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA.M. Weaver mines the new aesthetic tradition in film and video emerging from hip-hop’s visual, cultural, and social sensibilities. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterview with Charlie Ahearn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilliam Corwin\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the 30th anniversary of the release of Wild Style, William Corwin sits down with legendary filmmaker Charlie Ahearn to discuss the art-historical merits of a nascent cultural movement called “hip-hop.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: Bayete Ross Smith\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eGot the Power\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003ePicasso Baby\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e: Hip-Hop and the Appropriation of Space\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMark Anthony Neal\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMark Anthony Neal considers the power of hip-hop. Whether it’s on the block, in a gallery, or at your mom’s book club--once hip-hop enters, things will never be the same again.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn the Production Value: \u003c\/b\u003e\u003cb\u003eMohamed Bourouissa’s \u003c\/b\u003e\u003cb\u003e\u003ci\u003eAll-In\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey examines the global aesthetics of commerce and value in hip-hop culture through the work of French artist Mohamed Bourouissa.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eReviews:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eArt Beat + Lyrics\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Andrew Alexander\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWangechi Mutu\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Laura McLean-Ferris\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeat Nation\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Andrew Forster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLoretta Fahrenholz\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Kari Rittenbach\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBanksy\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, David Everitt HOwe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOdd Future, Henry Darger \u0026amp; Art Brut\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Christopher Lirette\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063362388011,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_38.01_highres.jpg?v=1520538865"},{"product_id":"art-papers-36-06","title":"ART PAPERS 36.06 - Nov\/Dec 2012","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe first issue in a series of six guest editors, designed to open everything up for reinterpretation. — Saskia Benjamin, excerpt, Letter from the Executive Director\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003etête-à-tête a conversation with Mickalene Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarmen McCleod and Mickalene Thomas discuss collaboration, identity, and  performance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttack of the Boogeywomen: Visualizing Black Women’s Grotesquerie in Afrofuturism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJared Richardson explores the use of the grotesque as an Afrofuturist tool in contemporary painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShe Put a Spell on Us: The Persisting and Mercurial Legacy of Nina Simone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarmen Winant looks at the legacy of Nina Simone and her timeless and transgressive ability to give form, word, and music to the political, the angry, and the emotionally complex.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist Project Jacolby Satterwhite: Reifying Desire 5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJacolby Satterwhite’s interdisciplinary practice moves between 2-D and time-based formats activating an alternate reality is both tied to and re-creates an existing history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Association for the Advancement of Cinematic Creative Maladjustment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCauleen Smith and the Association of Creative Maladjustment of Cinema propose a new life for time-based media and the moving image. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerra Nova\/ Terra Nullius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Miller builds a multi-faceted project examining our modern relationship to nature through a sonic exploration of Antarctica and global climate change.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBlack Contemporary Art\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA re-creation of the Tumblr blog that archives and prioritizes works by emerging artists in the diaspora, and more uncommonly viewed works by many well-known artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArrested Transmission: from Periphery to Center\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWith a look at the work of two Caribbean artists, Leon Wainwright discusses the transnational flow of influence and understanding in the digital age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFuture Anterior:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn index to contemporary art’s imminent history\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaterial Girls, Dinah McClintock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRashid Johnson, Meaghan Manuel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJimmy Robert, Michelle Garbner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCenter for Land Use Interpretation, Mary Walling Blackburn\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlvin Baltrop, Kate Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKarina Bisch, Yelena Popova, and Mary Simpson, Eva Kenny\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJustin B. Hansh, Kathryn Scanlan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSue Tompkins, Anne Reeve\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eZachary Fabri, Wayne Hodge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eQuerelle - photographed by Roger Fritz, David Everitt Howe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGregory Green, Alex Jovanovivh \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVideoSur II, Becky Huff Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMark Bradford + Carlos Avendano, Melissa Potter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063578263595,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.06_highres_69633ab4-119c-477a-bd48-4e49446ecbcc.jpg?v=1520539897"},{"product_id":"art-papers-37-05","title":"ART PAPERS 37.05 - Sept\/Oct 2013","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“I bought the theatre ticket, was not given it -- and that I have tormented myself for two days with the idea of going to the theatre, of watching a theatrical performance, actors and behind all these actors to scent a miserable and stinking director (Mr. T.H!) and so on...but, above all, that I had changed for the theatre.” - Thomas Bernhard, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIs it a Comedy? Is it a Tragedy? \u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNo One Is Less Dead than Franz - Gelitin and Sarah Lucas\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e in conversation with Kathy Noble\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKathy Noble acts as ringmaster for a zany and touching discussion about the influence of Franz West on the lives of Sarah Lucas and the artist collective Gelitin: the artists discuss alignments between their practices and the late Austrian artist, collaborations they undertook with him, and the Lucas\/Gelitin collaboration at the Kunsthalle Krems in 2011. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFarming in Europe: Four Character Studies\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e- Calla Henkel, Pablo Larios, Max Pitegoff and Dena Yago\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCalla Henkel, Pablo Larios Max Pitegoff, and Dena Yago devise four character sketches for the debut play at New Theater, a Berlin theater space run by artists Henkel and Pitegoff that opens this fall: a story revolving around a failing restaurant, the figures who surround it, and their oblique acts of self-representation. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVictory Against Time: Demonstrative Urgency of Performance in the State of Resistance\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e - Sandra Skurvida\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSandra Skurvida weaves a shimmering and lyrical portrait of performance and video practices in Iran and the wider Middle East, questioning the postion of artists and their work in a social framework where cultural institutions are perceived as, and probably are, instruments of repression and control. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSix short plays about art and performance\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e- Tim Etchells\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist and writer Tim Etchells shares six new dialogues involving performance makers and podiums, invigilators and low budgets, things that disappear, the concrete floor, a Korean karaoke machine, and artists who would like to make a performance. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA Theatrical Swirl \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMonika Lipchitz\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCurator Monika Lipchitz spins the tale of an onstage exhibition, featuring trips to a Baltic supermarket, a stage light, her uncle and a fall from a Lithuanian proscenium. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e18 down, 17 up: a pause with Maria Hassabi\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fitzpatrick\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fitzpatrick speaks with Maria Hassabi on a vaporetto about her Venice Biennale performance \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIntermission\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and intermissions- ending up two and a half hours away, thirty minutes later.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBody Sketches for a Universal Stage \u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennifer Teets\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eVirtual spirals, useful faking, and head-body banging are just a few of the metafictional conceits explored by curator and writer Jennifer Teets in a text that scrolls through recent performances by Darius Miksys, Ieva Miseviciute, Bouchra Ouizguen, and the farther reaches of the internet. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Projects\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKroOt Juurak\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTyler Coburn\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Lucas\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSantiago Sierra -\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRaimar Stange\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAllen Ruppersberg - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Sharp\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eOscar Tuazon - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Beeson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eElemental - \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLars- Erik Hjertstrom Lappalainen\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJogging - \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA.E Benenson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eKorakrit Arunanondchai - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePost Brothers\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eLi Ran - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVenus Lau \u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eKristine Kemp - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaura McLean-Ferris\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eRichard Hawkins - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndrew Berardini\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMath Bass \u0026amp; Leidy Churchman - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOlivian Cha\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eChanna Horwitz - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Lehrer-Graiwer\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJose Leon Cerrillo - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGabriela Jauregui\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMike Kelley - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFilipa Ramos\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJack Goldstein - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJon Bywater\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eSubstance -\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Sabrina Tarasoff\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJesper Just - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGitanjali Dang\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eSubTehran - \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVakhtang Urushadze\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eoO - \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFatos Ustek\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063625351211,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.05_highres.jpg?v=1520540107"},{"product_id":"36-05","title":"ART PAPERS 36.05 - Sept\/Oct 2012","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eQuick: When I say “democracy,” what comes to mind? YOu might imagine levers being pulled at polling booths, or the ink-stained fingertip of an Iraqi woman, or perhaps an ossified tableau of old men in powdered wigs and knee breeches.But what about contemporary art?--Cinque Hicks, excerpt, Letter from the Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnn Liv Young: Fabulosity in Analysis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNatalie Bell explores the extreme performance work of Ann Liv Young whose escapades variously involved a Cinderella costume, a Mariah Carey cover, and choreographed defecation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHosted in Athens: A Social (re)Generation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA city-wide convocation of art collections ponders the nature of collectivity in one of the cradles of democracy. Stephanie Bailey explores the city.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Few Invisible Sculptures: The Perception of Immateriality Andrea Galvani\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNiels Van Tomme talks with Andrea Galvani about what is means to make unseen things seen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist’s Project Luca Buvoli: \u003ci\u003eISS Log - Day 32\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA new work imagines space travel as an artistic exercise. Based in New York, Luca Buvoli makes animated films and videos, installations, sculptures, paintings, and drawings. His work has been show at MoMA, Venice Biennale, the Guggenheim Museum, and will be featured at Gallery Hyundai in Seoul in September 2012.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHomeShop: Research-Based Practice and the Spirit of the Hutong\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn alternative space for art in Beijing combines research and an expanded definition of community action.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist’s Project Nat Slaughter:\u003ci\u003e Art \u0026amp; Money\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInvestigating complex relationships in two complex realms. Nat Slaughter is founder of the Atlanta-based design studio SLAUGHTER, which currently focuses on information visualization. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNoteworthy: the editor’s pick of notable shows\u003c\/p\u003e\n\u003cp\u003eDanya Ahmed, Alexandria Pierce\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNowhereisland, Joel Robinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFuture Anterior:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn index to contemporary art’s imminent history\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCraig Dongoski, Diana McClintock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e7th Berlin Biennale, Rosemary Heather\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEverything is Index, Nothing is History, Alex Jovanovich\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOmer Fast, Jennie Klein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDmitry Gutov, Alan Pocaro\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndrew Kotting and Iain Sinclair, David Gleeson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Pierce, Pil + Galia Kollectiv\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCynthia Girard, Kevin Rodgers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAbbas Akhaven, Anja Bock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Burtynsky, Matt Christy \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristopher Wool, Lucas Carpenter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTropicomania, Ruth Erickson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrain Kokoska and Jonathan VanDyke, Edward Epstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eScott Kip, Becky Huff Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePotential Images, Paul Ryan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHedieh Javanshir, Danielle O’Steen \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063630659627,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.05_highres.jpg?v=1520544741"},{"product_id":"art-papers-36-04","title":"ART PAPERS 36.04 - July\/Aug 2012","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCan there be a coherence to the narrative of performance in an artistic mode that seems to reinvent its own conventions with every expression of itself? --Cinque Hicks, excerpt, Letter from the Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEditor’s Desk\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRadically Unbound: in Conversation with Performa 11 Curator Mark Beasley\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeking clarity on her own experience of the dizzying and bewildering array of performance that was Performa 11. Catherine A. Hollwingsworth speaks with curator Mark Beasley, who shares the thinking behind the vent and the intersecting through lines that gave it shape. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtists’ Project: \u003c\/b\u003e\u003cb\u003e\u003ci\u003eelipse de montes y paramos: Transmissions\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eScience fiction writer Ivette Vian Altarriba, artist WIlliam Cordova, artist Leslie Hewitt, and poet Julio Mitjans Cabrera meet at a crossroad in Cuba. This is the result. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRita Ackermann and the Traumas of War\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno rereads the chameleon-like painter as immigrant and runaway, both fleeing warfare and the psychological traumas of modernity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpectres: Niels Van Tomme in Conversation with Sven Augustijnen\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSven Augustinejnen explores how Europe labors under the ghosts of its colonial past and the connections to its ongoing political configurations. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy: the editor’s pick of notable shows\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWish You Were Here: The Buggalo Avant-garde in the 1970s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Eric Baden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArt Histories\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Anja Bock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePainters Panting\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDiana McClintock\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGregor Turk\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJoan Jonas,\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCaroline Koebel \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYou Killed Me First,\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarry J Weil\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Mannis\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Pyper\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRachel Kneebone\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarry J Weil\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJocahim Koester\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Parrish\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDisobedience: An Ongoing Archive\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtine Tanga\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAnn Coddington Rast\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJane Durrell\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpectacle: The Music Video\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTodd Meyer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew Ecologies of Practice,\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e John Gayer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNo Lone Zone\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMark Storor\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Stephanie Bailey\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMathilde Roussel\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFairy Tales, Monsters, and the Genetic Imagination\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Matt Christy\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDue to Unforeseen Events...\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e , \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBerin Golonu\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYou, Me We, She\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Huff Hunter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFirst Among Equals\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDiana Al-Hadid\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBrandon Anschultz\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Baran\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063653761067,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.04_highres.jpg?v=1520540265"},{"product_id":"art-papers-37-04","title":"ART PAPERS 37.04 - July\/Aug 2013","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe decide to call the issue Suddenly, Last Summer after the title of the cover art by Jody Fausett  - an emoji plot summary of the movie by the same name. Jody has painstakingly recreated each of these emoji from real life subjects to layer a material, tangible process onto a digital one. This desire to reinsert the physical, the body back in into the virtual is an emergent theme in our issue. --MALONE, excerpt, Letter from the Editors\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLetter from the Guest Editors\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArt After Social Media\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrad Troemel\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist and writer Brad Troemel explores the decentralization of art’s hierarchies and ponders a new era of “artists without art.”\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: Office Nostalgia by Andreas Ervik\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndreas Ervik\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAndreas Ervik presents a series of altered images where new age desire overlays corporate culture.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eSo Old It’s New: Painting in the Information Age\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Everitt Howe\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Everitt Howe discusses contemporary painters whose practice addresses the social networks and institutional supports that make the production and circulation of their work possible.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e√\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA conversation between artists Alex Da Corte and Artie Vierkant.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eModeling Portfolio by Jill Pangallo\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJill Pangallo “had some work done,” and she’s showing it off in her latest series of self portraits.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e18+\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWhatever Bodies, Races, and Things\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEm Rooney\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eEm Rooney digs deep into the uncanny valley, uncovering the dirty secrets of the YouTube duo 18+\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSkying with Coffee and Cats: Interview with Amy and Wendy Yao\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCurator Rachel Reese chats with sisters Amy and Wendy Yao about DIY culture past and present, their all teen-girl punk band, and how the Internet changed everything.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDelinquent Bodies\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJesse Darling\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Jesse Darling introduces a curated series of performances for GIF on rhizome.org:”Laboring bodies in the spectral ether: from body to bo and back, and again, and again, and again, and forever and ever, whatever, amen.”\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e#selfie\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn this series of one-page artist projects, a graphic designer, a furniture designer, a dancer, and a performance artist were commissioned to create advertisements to promote their own work. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e-Keri Bonk\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e-AAQ\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e-HOw to Make Modern Dance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e-Justin Vivian Bond\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe editors’ pick of notable shows\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAubrey Longely-Cook, Andrew Alexander\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eConor Backman, Erin Devine\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAi Weiwei, Claudine Ise\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMade in Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Jen Hutton\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMoving the Still,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e Luke Baker\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Pictures of Common Objects, Jennifer Piejko\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSebastian Black and Robin Cameron, Christopher Howard\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhite Petals Surround Your Yellow Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Carmen Winant\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063684988971,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.04_highres.jpg?v=1520540413"},{"product_id":"art-papers-36-03","title":"ART PAPERS 36.03 - May\/June 2012","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe political season is decidedly upson us. No real news there...but something is different this time, and the arts have much to do with it. How will we deploy the battery of skills that we have developed as cultural producers to strategically challenge the apparatus of power? --Sylvie Fortin, excerpt, Letter from the Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEditor’s Desk\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCultural Producers at the Wild Heart of Occupy Wall Street\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNato Thompson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtists have shaped the Occupy Movement in the US. Nato Thompson challenges cultural producers of grasp the potentials and responsibilities of their, vastly expanded theater of action. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMuseal Ethics and the Art of Public Relations:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Bloomberg Machine + MCNY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarisa Jahn\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLooking into three recent exhibitions at the Museum of the City of New York, Marisa Jahn ponders the museum’s relationship to Mayor Bloomberg’s agenda. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eClaire Culture: Milford Thomas and the Public Work of Filmmaking\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoey Orr\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoey Orr demonstrates that Milford THomas’ unusual approach to fundraising and production is a form of public practice that truly shapes the filmmaker’s cinematic work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy: the editor’s pick of notable shows\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpaces\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eD. Eric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInnovate or Die\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuth Erickson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLawrence Abu Hamdann\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephen Lee\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMuntadas\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCathy Byrd\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTommy Taylor\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDorothy M. Joiner\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAlejandro Aguilera\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLilly Lampe\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRay Johnson\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLucas Carpenter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMatt Mycoff\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHesse McGraw\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJ.J. McCraken\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDanielle O’Steen\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOkay Mountain\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFeast\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDasha Shishkin\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTodd Meyer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChristi Birchfield\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDouglas Max Utter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReverend Howard Finster\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCurt Riegelnegg\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMarilyn Murphy + Bob Trotman\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDorothy M. Joiner\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJeremy Deller\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Trigg\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWith Schott to the Pole\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSophie Arkette\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eValerie Blass\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnja Bock\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThorton Dial\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eD. Eric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRyan McNamara\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarry J Weil\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMounir Fatmi\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBerin Golonu\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHappenings: New York, 1958-1963\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarry J Weil\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNONILLION\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlex Jovanovich\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRon Johnson + Ray Kass\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Dinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMarcel Dzama\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDaniel McGrath\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChris Kline\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephen Horne\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJulia Feyrer\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Fung\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCarrie Moyer,\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Parrish \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063694884907,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.03_highres.jpg?v=1520540473"},{"product_id":"art-papers-36-02","title":"ART PAPERS 36.02 - Mar\/Apr 2012","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInfectious Sovereignty:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEditorializing the Exhibition with Triple Candie\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Huff Hunter catches up with Triple Candie to discuss their exhibition-making practice and related questions of misrepresentation, permission, and censorship. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBetween Words and Deeds:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJill Magid\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist talks with Jill Magid about her Austin project, premised on the media’s casting of torture, sniping, surveillance, and other military activities as “intimate.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFree Your Mind: The Art of Inner Course\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey delves into the provocative mix of intimacy and theater mobilized by Inner Course’s installation\/performances\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNetworks and Interfaces: On Beta Tank’s \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTaxing Art\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e Project\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLooking at Beta Tank’s recent project, which probed German tax law, Gean Moreno demonstrates that complex networks now shape cultural production\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy: the editor’s pick of notable shows\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLiselot van der Heijden\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Kasper\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGyun Hur\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDiana McClintock\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDean Dass\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCharlottesville, VA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeborah McLeod\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWillard Tucker + Jacob Isenhour\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCincinnati \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMaterial Witness\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCincinnati \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlan Pocaro\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eClaire Ashley\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDallas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCharissa N. Terranova\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLiam O’Callaghan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDublin, Ireland\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUnited Enemies\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLeeds, UK\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBetween Heaven \u0026amp; Earth\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSara VanDerBeek\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Motley\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Music Box: A Shantytown Laboratory\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Orleans\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Eric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cb\u003eSarah Sze\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEric Ando\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMarilyn Minter\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corbin\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePer Kirkeby\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Miller\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWalter Benjamin Smith\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAjay Kurian\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNatalie Bell\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Wedding (The Walker Evans Polaroid Project)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarry J Weil\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePatricia Gómez + Maria Jesús González\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhiladelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJayson Musson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhiladelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTelling Tales\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRichmond, VA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJeff Williams\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSan Antonio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpencer Finch\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSan Diego\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Stezaker\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSt. Louis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDaniel McGrath\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEmily Wardill\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSt. Louis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSlipstreams\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStamford, CT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaura Barlow\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063768809515,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.02_highres.jpg?v=1520540885"},{"product_id":"art-papers-37-03","title":"ART PAPERS 37.03 - May\/June 2013","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis, the fourth in a series of guest-edited issues of ART PAPERS, touches on a multitude of spatial concepts and considerations in contemporary art, with the intention of embracing the fervent energy and forward thinking present in the work of Ana Mendieta. --Erin Dziedzic, excerpt, Letter from the  Guest Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLetter from the Guest Editor\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMike Kelley’s \u003c\/b\u003e\u003cb\u003e\u003ci\u003eMobile Homestead\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA Re-Envisioning of Space in Public Sculpture\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRana Edgar\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRana Edgar introduces the highly anticipated first permanent public sculpture and final project of Mike Kelley, and its pivotal importance as a public endeavor in the context of his otherwise conceptually private oeuvre.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA discussion on “regionalism” with Stuart Horodner, Sandra Jackson-Durmon, and Dominic Molon\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIsolde Brielmaier\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIsolde Brielmaier guides a lively discussion with US institution leaders on the topic of “regionalism” and the varying perceptions of its use in the art world.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eXaviera Simmons\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn her multidisciplinary practice involving archival research and mining collections, Xaviera Simmons reconfigures historical content to open up spaces for exploring the performative in the political.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Complex Geographies of Shirin Neshat\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn J. Corso\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn J. Corso looks to David Harvey’s aspects of geographic space to explore place, space and environment in the individual works of the Iranian American artist and in context at the Detroit Institute of Arts retrospective. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe “Fairennial” Shift: Art Fairs, Biennials, and the Great Exhibition(s)\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey addresses shifts between the art fair and the art biennial in shaping a global context mediated by concept and economy.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAdam Cvijanovic\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAdam Cvijanovic’s site-specific installations and immersive painted environments explore the space beyond the walled structures in which they reside, and provide multiple perspectives on aspects of the painted two-dimensional surface.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBecause the Night: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCurating One-Off Nocturnal Events\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHelena Reckitt \u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFlux Project’s Flux Night 2013 curator Helena Reckitt surveys the recent history of international one-night art events and discusses the curatorial, artistic, and audience-driven energy involved in these brief experiences.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTheaster Gates and Hesse McGraw in conversation\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist and curator discuss realizing projects in unexpected places, and the surprise results of these contemporary investigations.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePreview\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePalace of Propositions:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMassimilano Gioni’s \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Encyclopedic Palace\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e at the 55th Venice Biennale\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBelinda Grace Gardner\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNOteworthy:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe editor’s pick of notable shows\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eOh, Canada\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e Leonie Bradbury\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eTHomas Lanigan-Schmidt,\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Steve Locke\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAn index to contemporary culture’s imminent history\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003egloATL, Dinah McClintock\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Rankin, Andrew Alexander\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLisa Sigal, Gregory Eltringham\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSummer Wheat, Denise Stewart-Sanabria\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDetouched\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, John Gayer\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Calderwood\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Jablonowski, Becky HUff Hunter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRyan Travis CHristian, Lilly Lampe\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMariah Garnett, Emma Tramposch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJack WHitten \/ ANgel Otero, Kalin ALlen\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAbbas Akhavan, Amy Fung\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063815995435,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.03_highres.jpg?v=1520540912"},{"product_id":"art-papers-36-01","title":"ART PAPERS 36.01 - Jan\/Feb 2012","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaking our publication’s 36th anniversary, this issue of ART PAPERS delves into technology and sound. Niels Van Tomme’s interview with Larissa Sansour looks at the use of fiction to provide new answers to the Palestinian question. Technological advance, sustained by sound, is at the core of Sansour’s investigation. Andrew Bucksbarg’s work mobilizes bodies and technology to provide new models of sociality and democracy. David Zink Yi models his artistic experiments on Afro-Cuban polyrhythms and structuralist and cinema. The voice figures prominently in all of their projects.  --Sylvia Fortin, excerpt, Letter from previous Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYou think you know, but you are lost: on the peculiar power of the irreconcilable\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Gean Moreno’s interview, David Zink Yi discusses cultural fluency, structuralist cinema, and Cuban music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHi, Lo + No Tech: Andrew Bucksbarg Experiments in Participation, Sociality, and Democracy\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrett M. Levine assesses Andrew Bucksbarg’s “social system art,” a realm programming, product design, performance, and olfaction. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSpace Oddity: The Possibility of a Palestinian Space Program: Larissa Sansour\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLarissa Sansour talks to Niels Van Tomme about the role of fiction in creating a new conceptual framework for the Palestinian question.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCrossroads: Two Critics’ Assessments\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDublin Contemporary 2011\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDublin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDublin Contemporary 2011\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDublin \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilliam Morrow\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUntitled (The 12th Istanbul Biennial)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIstanbul\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBerin Golonu\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUntitled (The 12th Istanbul Biennial)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIstanbul\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNat Muller\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy: the editor’s pick of notable shows\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOstalgia\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJulia Friday\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Québec Triennial\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMontréal \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnja Bock\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGlexis Novoa\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDianna McClintock\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGoran Djordjevic\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBelgrade\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMelissa Potter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSeeing is believing\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBerlin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohan Lundh\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVictoria Sambunaris\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBuffalo\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Stuart Keeler\u003c\/span\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cb\u003eWendy White\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChattanooga\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDenise Stewart-Sanabria\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePlay Van Abbe, Parts 3 + 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEindhoven, The Netherlands\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRebecca Uchill\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWords\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFort Worth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCharissa N. Terranova\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDonald Moffett\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHouston\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKate Green\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLuis Tomasello\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKansas City\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHeather Lustfeldt\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDuncan Campbell\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Peripatetic School\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite-Wassilak\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRyan Gander\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichael E. Smith\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSharon Mizota\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAntonia Wright\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiami\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnnie Hollingsworth\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWayne Gonzales\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Orleans\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Eric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cb\u003eYamini Nayar\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDaniel McGrath\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMatthew Northridge\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAdam Thompson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBoris Mikhailov\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJulia Friday\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIain Ball\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhiladelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Hunter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBlowing on a Hairy Shoulder\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhiladelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Hunter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCathy Wilkes\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePittsburgh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdrian Kellard\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSt. Louis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Baran\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJanet Biggs\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTampa\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCathy Byrd\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063828578347,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_36.01_highres.jpg?v=1520541021"},{"product_id":"art-papers-37-02-architecture-design-environmental-transformation-future","title":"ART PAPERS 37.02 - Architecture + Design Issue","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDesign and the built environment provide the context for our experience, a framework for memory, and a way to envision the future. This issue of ART PAPERS casts a loose and wide net around the expansive theme in order to consider the vital engagement between art-making and design practices.  --Susan Morgan, excerpt, Letter from Guest Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e… And Now We Plan\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 1939, a group of young architects, urban planners, and thinkers started Telesis—taking their name from the Greek word for “progress intelligently planned.” Susan Morgan and doreen Morrissey look back at Telesis and explore the vital intersection of art, design, and activism. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTransformational Intent:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe East River Blueway\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta-based urban planner Ryan Gravel talks to Claire Weisz, a founding partner of WXY Architecture + Urban Design in New York, and a wonderfully new and viable infrastructure for the 21st-century city comes clearly into view.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Have Seen the Future:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNorman Bel Geddes\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDesigns America\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBack to the future: art historian Sandra Zalman reports from Austin, Texas, where a major retrospective spotlights the work of Norman Bel Geddes (1893-1958), one of America’s most influential industrial designs.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA Concept for Future Development:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSugar Hill Arts District Minority Report\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eA tale of eutopia: art historian John J. Corso recognizes urban planners as fortunetellers when architect Marshall Brown invents a new narrative for Detroit.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Latham’s\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFlat Time House\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Will Corwin visits the studio home of John Latham (1921-2006), a once ordinary London residence transformed into a living sculpture teeming with ideas.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBuilding:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLouis I. Kahn at Roosevelt Island\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn his attentive reading of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBuilding\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, curator Joel Smith appreciates Barney Kulok’s black-and-white images as both visual meditation and an evocative tribute to Kahn.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGreta Magnusson Grossman:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalking Away\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Car and Some Shorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a Greta Magnusson Grossman retrospective, introduces writer Arianna Schioldager to the Swedish-born designer’s wit, sophistication, and ineffable mystery. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMolten\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMulticolored Oobleck:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKen Price Sculpture\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKen Price Sculpture\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a retrospective at the Los Angeles County Museum of Art, expertly mixes scholarship and joyful celebration. Artist Karin Lanzoni considers Price’s astonishing work and his mutually inspiring friendship with architect Frank Gehry.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhite cube,\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGreen Maze:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNew Art Landscapes\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen Co-Curator Raymund Ryan examines the museum as a vibrant site, a place where culture, nature, and experience commingle, architect Paul Rosenblatt welcomes a chance to just get lost.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project: \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArchitecture and Its Discontents\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecent paintings by New York-based artist Shirley Irons.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAn index to contemporary culture’s imminent history\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSaran Oppenheimer\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBaltimore\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCara Ober\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRichard pare\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eChicago\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBuilding: Inside Studio Gang Architects\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eChicago\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDebra Riley Parr\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGreen Acres: Artists Farming Fields, Greenhouses and Abandoned Lots\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCincinnati\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennie Klein\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRobert Ladislas Derr\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eColumbus, OH\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennie Klein\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eContours of the Common\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDerry-Londonderry\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoanne Laws\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEero Saarinen\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eReba Saxon\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCalifornia’s Designing Women, 1896-1986\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eReba Saxon\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSantiago Borja, Edgar Orlaineta + Tilman Wendland\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Diehl\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJennifer Bolande\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravis Diehl\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLucy + Jorge Orta\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eMedford, MA\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMartina Tanga\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Bernadette Corporation\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBerin Golonu\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSharon Lockhart \/ Noa Eshkol\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNaomi Fry\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMonika Sosnowska\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristopher Howard\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe World of D.D. and Leslie Tillett\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJosh Blackwell\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eImperfect Health\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003ePittsburgh\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Huff Hunter\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eField Conditions\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSan Francisco \u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLamar Anderson\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAnne Hardy\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eVienna, Austria\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMyrta Kohler\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMaynard L. Parker: Modern Photography and the American Dream\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBook\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBetsy Lin Seder\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11063909122091,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.02_highres.jpg?v=1520541363"},{"product_id":"art-papers-37-01","title":"ART PAPERS 37.01 - Jan\/Feb 2013","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e Temporality should be understood here as the manifold complexities relating to the experience of time, and in particular the ways in which such experiences resonates and changes in diverse artistic practices, geographies, and sociopolitical contexts. --Niels Van Tomme, excerpt, Guest Editor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDoes Anybody \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eReally Know \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWhat Time It Is?\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGregory Zinman critically considers Christian Marclay’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Clock\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, situating it in a broader art historical context.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIt’s About Time\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eCuratorial office Rivet offers an exercise in simultaneity, dialoguing between São Paulo, Quito, New York, and Paris. \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNostalgic Pasts and Utopian futures in Yael Bartana’s\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e...and Europe will be Stunned\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaliv Melamed looks at the Israeli artist’s controversial trilogy of works depicting the imagined Jewish Renaissance Movement in Poland.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRaqs Media Collective:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eHow to Seize It?\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe New Dehli-based Raqs Media Collective’s multidisciplinary practice is located at the intersections of contemporary art, historical inquiry, philosophical speculation, research, and theory.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAfrican Art\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIn Time\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eKaren E. Milbourne addresses time as a concept, method, and practice in African contemporary art, exploring the work of British-born nigerian artist Yinka Shonibare.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOn being\u003c\/b\u003e\u003cbr\u003e\u003cb\u003econtemporary —\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ere-activating the present\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eNat Muller in conversation with Lebanese artists Joana Hadjithomas \u0026amp; Khalil Joreige and the ways in which they defy notions of nostalgia while investigating the present moment.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCyclical Time:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ethe Trap\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGridthiya Gaweewong explores the Buddhist notion of cyclical time in the framework of diverging artistic practice in Thailand.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn temporality, lost future \u0026amp;\u003c\/b\u003e\u003cbr\u003e\u003cb\u003estatic journeys in the works \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eof David Maljković. \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eJelena Vesić finds in the work of Croatian artist David Maljković new possibilities for altering the present reality.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtist Project\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSociété Réaliste:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eNew Alphabetical Order\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe French-Hungarian cooperative Société Réaliste works with political design, experimental economy, territorial ergonomy, and social engineering consulting.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Politics of Making\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eUncanny: Two Experimental \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFilms from India\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eDebashree Mukherjee discusses two films that engage with a familiar recent past, posing provocative questions about time and representation.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Perfect:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArtist-Run Spaces in\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNew Orleans\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Mackie surveys the brief history of three artist-run spaces and the challenges they face confronting New Orleans’ endless historicity. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGambian Mean Time (GMT):\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIt irks, but it\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eworks all the same \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eHassoum Ceesay reflects on the Gambian society’s view on time, defined as the moment when it is most appropriate to start.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAn index to contemporary culture’s imminent history\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Brodsky\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eSolo Exhibition\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSophie Arkette\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Clock: or, 89 Minutes of “Free Time”\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFilm Screening\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonja Simonyi\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDying for Time: Proust, Woolf, Nabokov by Martin Hägglund\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eBook\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Markus\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBUSY. Exhausted Self \/ Unlimited Ability\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eGroup Exhibition\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMyrta Köhler\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNicolas Rey’s anders, Molussien\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eFilm\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRachael Rakes\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Nightclub\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eExhibition Series\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCatherine A. Hollingsworth \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064051859499,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_37.01_highres.jpg?v=1520541972"},{"product_id":"art-papers-35-06","title":"ART PAPERS 35.06 - Nov\/Dec 2011","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFlash black: 1976. Elvis and David Bowie power through Atlanta. February 1977, a single, hand-typed flyer launches what is now ART PAPERS. Flash back: 1978. The Sex Pistols launch their North American tour in Atlanta. The multi-page Art Workers Coalition newsletter is now stapled. \u003c\/span\u003e-- Sylvie Fortin\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditor’s Desk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStealing from Oneself: Jose Lerma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJose Lerma talks to JOhn McKinnon about the import of political satire, the power of  suggestion,, and the pitfalls of clarity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStop.Stop.Stop.Stop\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Artist’s Institute As Space for Thinking\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUnruly excerpts from a series of freewheeling conversations between Anthony Elms and Anthony Huberman.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Mexican Revolution was Funded by Bubble Gum: Carlos Sandoval de Leon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno reflects on the delicate balance between the autobiography and the material that Sandoval de Leon achieves in his work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Sandoval de Leon’s Photo-Essay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntitled, 2011\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarlos Sandoval de Leon’s special artist’s project for ART PAPERS plays on the unique private-public properties of magazines. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoteworthy: the editor’s pick of notable shows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWilliam Cordova, Felicia Feaster\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthony Goicolea, Amy White\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCreative TIme Summit: LIving as Form, Chris Fite-Wassilak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCui Xiuwen, Diana McCLintock\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCao Fei, Kate Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eConvergence: Literary Art Exhibitions, Chris Fite-Wassilak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTony Cruz, Micah Malone\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eClose Distance, Silvia BOttinelli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmily Hanako Momohara, Jane Durrell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTony Cragg, Charissa N. Terranova\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePersona: A BOdy in Parts, Mac Halperen\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJani Ruscica, John Gayer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Salvest, Heather Lustfeldt\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHole in the Universe, John Gayer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMark Clare, Dorothy M. JOiner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBarbara Duval + Meredith Root, Paul Ryan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTemporary Structure, Sarah Parrish\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSam Porritt, Chris Fite-Wassilak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eField of Action, Pil + Galia Kollectiv\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCHeryl Pope, Annie HOllingsworth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKendra Wallace, ANja Bock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDistributed Collectives, Becky Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eArt=Text=Art, John Priestly\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Noonan, Jeffery Hughes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Granat, Daniel McGrath\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEva Rothschild, Daniel McGrath\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064154030123,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.06_highres.jpg?v=1520542561"},{"product_id":"art-papers-34-06","title":"ART PAPERS 34.06 - Nov\/Dec 2010","description":"\u003cp\u003eThis issue mirrors the 2010 midterm election season, counterpoising the cacophony of the mediasphere with willed, communal silence, to explore the effects of their concomitance. Highlights include James Franco's conversation with Alanna Heiss and Will Corwin about the influence of Faulkner and soap opera tropes on the show \u003cem\u003eThe Dangerous Book Four Boys,\u003c\/em\u003e Berin Golonu's examination of the claims and implications of BRAVO's reality show \u003cem\u003eWork of Art: The Next Great Artist,\u003c\/em\u003e and Grant Johnson's effort to trace the silence at play from the political realm to the museum in Guillermo Kuitca's traveling retrospective. The issue includes reviews of Theaster Gates' \u003cem\u003eGestures of Resistance\u003c\/em\u003e by Andrea Mellard, Sally Sheinman's \u003cem\u003eLet's Celebrate! \u003c\/em\u003eby David Gleeson, and Jef Geys' \u003cem\u003eQuadra Medicinale\u003c\/em\u003e by Todd Meyers.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064198365227,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.06_highres.jpg?v=1520542753"},{"product_id":"art-papers-35-05","title":"ART PAPERS 35.05 - Sept\/Oct 2011","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditor’s Desk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlyse Emdur’s Prison Landscapes: THe Archive COnfronts a Cultural Taboo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlyse Emdur’s project opens up an ambiguous representational field. Niels Vans asks her pointed questions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeteroptopia on the High Seas: Battles of Representation Around the Gaza Flotilla\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist casts the 2011 Gaza FLotilla as a  utopian performative project at the intersection of art and activism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChild of Technology: Jillian Mayer’s Multimedia Identity Games\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiami artist Jillian Mayer has already stormed YouTube and the Urban DIctionary Annie Hollingsworth introduces her work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoteworthy: the editor’s pick of notable shows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRadcliffe Bailey, Arturo LIndsay\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVesna Pavlovic, Matt Christy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHarmony Korine, Maury Gortemiller\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChip Simone, Diana McClintock\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLOL: Decade of Antic Art, Becky HUnter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eYto Barrada, Berin Golonu\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCady Noland + Santiago Sierra, Gean Moreno\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilliam J. O’Brien, Karsten Lund\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMairead O’hEocha, John Gayer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNathan Green, Kate Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSlater Bradley, Daniel McGrath\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome: Dream Home, Annie Hollingsworth \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePioneer Winter + Jared Sharon, Annie Hollingsworth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAElab, Andrew Forster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLake, Roberson Newton, D. Eric BOokhardt\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCorey Arcangel, Grant Johnson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Chadwicks, Adam Thomson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDebo Eilers, Natalie Bell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuna Islam, Grant Johnson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eElaine Cameron-Weir, Natalie Bell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJeff Williams, Edward Epstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne is the Loneliest Number, Edward Epstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGreg Stewart, Michael Kennedy Costa\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWonder Konch + ELiza Newman-Saul, Dinah Ryan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMimi Kato, Jessica Baran\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSyntax, Megan Voeller\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInigo Manglano-Ovalle, R. Stuart Keeler\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064210915371,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.05_highres.jpg?v=1520542853"},{"product_id":"art-papers-35-04","title":"ART PAPERS 35.04 - July\/Aug 2011","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSummer is a dichotomy, free and busy, life long artistic projects and impossible tasks. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist’s Project\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMutations\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSerene Al-Kawas \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn her six page infiltration, Serene Al-Kawas enlists the properties of language and print to recast east-west relations after the Arab Spring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElegiac Happenings:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAndrew Kotting’s Gallivant and In the Wake of a Deadad\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoel David Robinson explores Andrew Kotting’s reconfiguration of elegy into a collective and interactive space. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEveryone alive:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDouglas Huebler’s Reason and Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn McKinnon revisits Douglas Huebler’s ambitious project, where surface, disorder, and distraction pressure both the documentary and the archive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMika Rottenberg \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eby \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Bors\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAaron King\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e by \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eStephanie Bailey\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJill Storthz \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eby \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDiana McClintock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJill Magid \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eLucas Carpenter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTodd Pavilisko \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristian Holland \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDaniela Rivera \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eSilvia Bottinelli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEames Demetrios + Paolo Ventura \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Amy Stockwell Mercer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAlex Martinis Roe \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNarcissus Reflected \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichael Sailstorfer \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eEva Heisler\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSuzanne Caines \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAdam O’Reilly\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWim Wenders \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Sophie Arkette\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMarie Jager\u003c\/b\u003e \u003cspan style=\"font-weight: 400;\"\u003eSharon Mizota\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJiha Moon \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNeon Sigh \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGillian Wearing \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eWill Corwin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWanda Koop \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ePetra Halkes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFahamu Pecou \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eArturo Lindsay \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRichard Harrod \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHiro Sakaguchi \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMixed Signals \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Baran\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAnn Hamilton \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eDinah Ryan \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCosima Von Bonin \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Baran \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064234377259,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.04_highres.jpg?v=1520542978"},{"product_id":"art-papers-35-03","title":"ART PAPERS 35.03 - May\/June 2011","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis issue is built around two lengthy conversations. Mark Hardt in conversation about the book he co-authored with Antonio Negri, “Commonwealth” and Nicholas Schafhausen in conversation with Noah Simblist. \u003c\/span\u003e--Sylvie Fortin, excerpt, Letter from the Editor\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRaw Acts Gracefully Posed: \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIngridMwangiRobertHutter’s Social Performance\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRebecca Dimling Cochran immerses herself in the emotional rawness of IngridMwangiRobertHutter’s performative work and finds transcendence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Locations of the Common:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA Conversation with Michael Hardt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno asks pointed questions about the realm of cultural translation, its relationship to art, and the import of collective intelligence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhat Can You Do?\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePutting the Question Back into Curating\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist talks with Witte de With Director Nicolaus Schafhausen about social practice, education, and his recent yearlong Morality project. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFrances Barth + Mernet Larsen \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGyun Hur \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGabriel Kuri \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eEvan J. Garza\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLeslie Wayne \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmy Stockwell Mercer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eARCH: Exploring Made Space \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJane Durrell \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNatalie Djurberg \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennie Klein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFor the Person Who Has Everything \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennie Klein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eElaine Byrne \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDavid Bates \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePhil Collins \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePhyllis Green \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJody Zellen \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVoyage on Uncanny Seas \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnnie Hollingsworth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDrawing in Progress \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChris Salter + LabXmodal \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnja Bock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Way We Move \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Christy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSean Raspet \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmanda Parmer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Like the Art World and the Art World Likes Me \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Bors\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRagnar Kjartansson \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYou Are Here: Architecture and Experience \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eKristina Olson \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhich Witch is Which? And\/or Summertime \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eCorinna Kirsh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJessica Stockholder \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Baran\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYoshua Okon \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Bors\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHans Op De Beeck \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064249057323,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.03_highres.jpg?v=1520543076"},{"product_id":"art-papers-35-02","title":"ART PAPERS 35.02 - Mar\/Apr 2011","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe current issue looks into the birth of a new state in Berlin and ventures deep into the psychic territory of reclusiveness with Alec Soth, and then follows Miami-based artist Christy Gast to meccas of masculinity. \u003c\/span\u003e--Sylvie Fortin, excerpt, Letter from the Editor\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn Density, Flow and Destabilizing the Visual : Dennis McNulty\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer talks with Dennis McNulty about his use of sound to trigger spatial knowledge in installations and performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBlocked Escape Routes: Alec Soth’s \u003c\/b\u003e\u003cb\u003eBroken Manual\u003c\/b\u003e\u003cb\u003e and the Urge to Disappear\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKarsten Lund delves into Alec Soth’s recent work to ponder the contradictory role of escape in contemporary culture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTruly Awesome: Christy Gast’s Alter-Tourism of Uncertain Landmarks\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuba Katrib follows Christy Gast’s incursions into masculine territory -- queering performances that yield a broad range of interpretive paths.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBirth of a State: A Distant Report on the First Congress of the NSK in Berlin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv ponder the still uncertain status of the NSK State to find that, nearly 20 years after its formation, it remains a vital proposition. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKoo Jeong A: Constellation Congress, A Reality Upgrade \u0026amp; End Alone, Dr. Vogt \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eSarah Demeuse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSix Solos \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJennie Klein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichael Scoggins \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAlison Elizabeth Taylor \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEric Zimmerman \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eKate Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOut of Place \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eKate Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJohn Bankston\u003c\/b\u003e \u003cspan style=\"font-weight: 400;\"\u003eRenny Pritikin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChido Johnson \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eChristian Holland\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eYamini Nayar \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMatt Morris\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDuke Riley \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eLisa Kurzner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGuillermo Faivovich + Nicolas Goldberg \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAileen Burns + Johan Lundh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSarah Oppenheimer \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eUndone \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecky Hunter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSusan Hiller \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eDavid Trigg\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCan Altay \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite - Wassilak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIsaac Julien \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnnie Hollingsworth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNelson Henricks \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnja Bock\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSimryn Gill \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnnie Hollingsworth \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWangechi Mutu \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eLara K. Herndon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSally Mann \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Priestley\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSiemon Allen \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaul Ryan \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDarkroom \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eDynah Ryan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJulie Nord \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eIlona Niemi\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLook Again \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eGeorge Scheer\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064265736235,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.02_highres.jpg?v=1520543166"},{"product_id":"art-papers-35-01","title":"ART PAPERS 35.01 - Jan\/Feb 2011","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe current issue scans the peripheries of the art world for signs of the possible futures. McKinnon gets a rare interview with the reclusive Jim Nutt, whose work, influenced by self-taught art and often reductively confined to regionalism, has had limited reach. --Sylvie Fortin, excerpt, Letter from the Editor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTABLE OF CONTENTS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e“Excuse me” (a touch surprised):\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJim Nutt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a rare interview with Jim Nutt, John McKinnon discusses the concept of the grotesque and the varied influences that converge in his work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBeneath the Bureaucracy, the Beach: \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFernando García Dory\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite-Wassilak probes the pastoral utopianism at play in García Dory’s work, which spans the spectrum of legislative consultation, social intervention, and aesthetic action.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFrom Readymade to Readybought: JODI and the Ongoing\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHistory of Computer Art\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNiels Van Tomme catches up with JODI to explore the import of conceptual art, mass media, and contradiction in their work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNoteworthy: the editor’s picks of notable shows\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe People’s Biennial\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Katherine Bovee\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePortland, OR\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTouched: Liverpool Biennial 2010\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRegine Basha\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLiverpool, UK\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePolytechnic\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePil + Galia Kollectiv\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFuture Anterior: an index to contemporary art’s imminent history\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFree People of Colour \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBrian Dettmer\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelicia Feaster\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAtlanta \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFrances Stark \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEvan J. Garza\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCambridge, MA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRose Freymuth-Frazier + Michael Vasquez \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDenise Stewart-Sanabria\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChattanooga, TN\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMark Booth \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWendy Koenig\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChicago\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDerek Chan \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eKarsten Lund\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChicago\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eX-Treme Studio \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMelissa Potter\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChicago\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAvantika Bawa \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eShannon Fitzgerald\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eColumbus, GA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTuomo Kangasmaa \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohn Gayer\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHelsinki\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHussein Chalayan \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSophie Arkette\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNina Beier \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChris Fite-Wassilak\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLondon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eProfane Expressions \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGean Moreno\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiami\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDaniel Arsham + Jonah Bokaer \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnnie Hollingsworth\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiami\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEiko + Koma \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMinneapolis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLesley Dill \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eD. Eric Bookhardt\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMinneapolis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKnight’s Move \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJohan Lundh\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDynasty \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTodd Meyers\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eParis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAnne Chu + Matthew Monahan \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePhiladelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhatever it Takes \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCurt Riegelnegg\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePittsburgh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eForum 65: Reanimation \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGrant Johnson\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePittsburgh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOn the Road \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNoah Simblist\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSan Antonio, TX\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJudy Major-Girardin + Scott Stephens \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDorothy M. Joiner\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTroy, AL\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDavid Mabb \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdward Epstein\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWilmington, DE\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11064289230891,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_35.01_highres.jpg?v=1520543253"},{"product_id":"art-papers-34-05","title":"ART PAPERS 34.05 - Sept\/Oct 2010","description":"Following in the wake of the BP Oil Spill and amidst the looming double-dip recession, the slippery play of intention, effort, and outcome by authorities is at the center of this issue. Highlights include Renzo Marten's conversation with Niels Van Tomme about Martens' film \u003cem\u003eEpisode III\u003c\/em\u003e and Martens' fierce critique of contemporary art's claims for political and social change, as well as Eva Heisler's discussion of Matts Leiderstam's incursions into traditional painting and academic research by contextualizing his insertion of a gay male subject position into art historical narrative. The issue also includes a review by Sam Durant of the exhibition \u003cem\u003eKurt\u003c\/em\u003e at the Seattle Art Museum, Aaron Peck's examination of the exhibition \u003cem\u003eKerry James Marshall,\u003c\/em\u003e and David Trigg's review of Kerry Tribe's \u003cem\u003eDead Star Light\u003c\/em\u003e.","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11192908480555,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.05_highres.jpg?v=1521144688"},{"product_id":"art-papers-34-04","title":"ART PAPERS 34.04 - July\/Aug 2010","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis issue tackles implementing change and personally taking action amidst the disillusionment and empty promises directly following the BP Oil Spill. Highlights include Marc James L\u003c\/span\u003eéger's interview with cultural theorist Brain Holmes on what real change and direct intervention can actual mean and require under transnational capitalism; Zoe Beloff's interview with Niels Van Tomme, where she explains her ambitious exhibition \u003cem\u003eDreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972\u003c\/em\u003e as an homage to the Jews of her grandparents' generation; and Noah Simblist's look at the play of sex, violence, and power in Quentin Tarantino's \u003cem\u003eInglourious Basterds\u003c\/em\u003e. Notable reviews include Felicia Feaster's examination of Andrew Moore's \u003cem\u003eDetroit\u003c\/em\u003e, Silvia Bottinelli's look at Amy Ross' \u003cem\u003eBrother Wolf\u003c\/em\u003e, and Adam Thompson's review of Liam Gillick's exhibition \u003cem\u003eDiscussion Bench Platforms\u003c\/em\u003e. \u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11192915296299,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.04_highres.jpg?v=1521144758"},{"product_id":"art-papers-34-03","title":"ART PAPERS 34.03 - May\/June 2010","description":"This summer issue explores the question: what is at stake in image making, while exploring the role of the artist as witness. Articles to note include Anthony E. Elm's assessment of Liam Gillick's recent retrospective, where he casts the artist as witness to institutional shortcomings; Thom Vink discussing various strategies he enlists to subvert viewer expectation; and Gean Moreno's interview with Laurence A. Rickels on the role of the ghost to the artist. Notable reviews include Jennie Klein's review of Shepard Fairey's \u003cem\u003e\u003cem\u003eAndr\u003c\/em\u003e\u003c\/em\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cspan\u003eé\u003c\/span\u003e the Giant has a Posse,\u003c\/em\u003e Felicia Feaster's review of Olaf Hajek's\u003cem\u003e Masquerade\u003c\/em\u003e, and Dinah Ryan's review of Amy Hauft's\u003cem\u003e Counter Re-formation. \u003c\/em\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11192960319531,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.03_highres.jpg?v=1521144913"},{"product_id":"art-papers-34-02","title":"ART PAPERS 34.02 - Mar\/Apr 2010","description":"This issue was developed around two fascinating interviews that put forth very different understandings of context, site, and specificity. Notably, Noah Simblist's interview with Walead Beshty explores the artist's precise understanding of context and each venue's specific mode of interpretation, crucial questions of inclusion and exclusion, and the importance of theory; Niels Van Tomme's conversation with the collective What, How \u0026amp; for Whom about their curatorship of the Istanbul Biennial; and Berin Golonu's examination of the uncertain relationship between public and practice in her review of the Creative Time Summit. Significant reviews include Felicia Feaster's review of Erick Swenson's work in \u003cem\u003eCaught Captive\u003c\/em\u003e, Max Halperen's review of Leonardo Drew's mid-career retrospective \u003cem\u003eExisted: Leonardo Drew\u003c\/em\u003e, and Grant Johnson's examination of Luc Tuymans' retrospective.","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11192962514987,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.02_highres.jpg?v=1521144994"},{"product_id":"art-paers-34-01","title":"ART PAPERS 34.01 - Jan\/Feb 2010","description":"This issue welcomes the teens by revisiting and recasting notions that have been debated quite extensively in the recent past: collaboration, community, documentary, orientalism, revolution, and more. Notable articles include Niels Van Tomme's conversation with video artist Julika Rudelius; Gean Moren's investigation of Manny Prieres' adolescent universe and the spell of Prieres' drawings; and Ruba Katrib's examination of Hadassah Emmerich's navigation of a post-colonial minefield, playing with concepts, history, and technique. Notable reviews include Paul Ryan's review of \u003cem\u003eRichard Carlyon's Richard Carlyon: A Retrospective\u003c\/em\u003e, Will Corwin's look at Emily Jacir's exhibition \u003cem\u003eDispatch\u003c\/em\u003e, and Dorothy M. Joiner's review of Sally Heller's \u003cem\u003eIn the Thicket of It\u003c\/em\u003e.","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11192965890091,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_34.01_highres.jpg?v=1521145088"},{"product_id":"art-papers-33-06","title":"ART PAPERS 33.06 - Nov\/Dec 2009","description":"\u003cp\u003eThe debris left behind from the collapsing financial market of 2009 introduces a heightened interest in the existing political relationship art has to objects. This issue reflects on the impact of the market on the way we make and think about art. It opens with a conversation between Niels Van Tomme and Claire Fontaine, a conceptual artist founded by several, who interrogate the “crisis of singularity in contemporary art.” Gean Moreno’s playfully perceptive reading of Tonel’s drawings gives us yet another take on the ideological shackles that have contrived our thoughts and actions in the last thirty years. Finally, Stephanie Bailey introduces the work of Greek artist\/creative director Em Kei, whose \u003cem\u003eMonument to the Unknown Hooligan\u003c\/em\u003e condenses many of the ideas that make up this issue. The issue concludes with many reviews, including two reviews of exhibitions in Atlanta by Felicia Feaster: Sarah Emerson’s \u003cem\u003eSoft Trap\u003c\/em\u003e at Whitespace Gallery and Latoya Ruby Frazier’s \u003cem\u003eThe Notion of Family \u003c\/em\u003eat Hagedorn Foundation gallery.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11193028935723,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_33.06_highres.jpg?v=1521145242"},{"product_id":"art-papers-33-05","title":"ART PAPERS 33.05 - Sept\/Oct 2009","description":"\u003cp\u003eEmergence and visibility, or rather, new practices that evade traditional notions of visibility, are at the core of this issue. Economic and political realities are responded to in a multitude of ways- from activism to artwork concerning nothingness. Jennie Klein defines spurse as an amorphous, on-demand art collective. spurse has done away with old collective structures in favor of a more expansive definition geared towards action. Stephanie Bailey’s discussion of the recent work of Greek artist George Lazongas’ draws similar reflections: the erroneous recasting of recent events in outdated revolutionary rhetorics. This issue concludes with reviews, including Rachel Sawatsky’s on \u003cem\u003eThe Making of Art \u003c\/em\u003ein Frankfurt.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11193071239211,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_33.05_highres.jpg?v=1521145665"},{"product_id":"art-papers-33-04","title":"ART PAPERS 33.04 - July\/Aug 2009","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eIntersections of travel and mobility, the practice of history, and institutions that pose themselves as didactic spaces are critiqued in this issue. \u003cem\u003eThe Jazz Century\u003c\/em\u003e shows that institutions, in order to fulfill their specific mandates, sometimes choose to withhold crucial dimensions of history. Cay Sophie Rabinowitz holds Musée du quai Branly accountable for locating racism on the other side of the ocean, in denial of their own colonial past. Museums like Iris Häussler address history by purposefully exhibiting fictive archaeology. Joep Van Liefland’s project \u003cem\u003eVideo Palace \u003c\/em\u003etackles power play in cultural production, dissemination, and conservation through VHS technology. Reviews of recent art exhibitions by Gerard Byrne, Angus Fairhurst, and Robin Rhode also demonstrate that the questioning of mobility, dispersal, and institutions are alive and generative.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11205356257323,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_33.04_highres.jpg?v=1521212635"},{"product_id":"art-papers-33-03","title":"ART PAPERS 33.03 - May\/June 2009","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis issue brings together a number of texts that explore visual and literary mediums, film appropriation, historical writing, and the complexities of political identity. Gean Moreno discusses Carl Pope’s \u003cem\u003eThe Bad Air Smelled of Roses, \u003c\/em\u003ean iterative essay on Blackness that echoes disparate voices, as fluent in the museum as they are on the street. In contrast to this identification with Blackness, South African artist Moshekwa Langa refuses to be labeled an African artist. Stephanie Bailey examines his work by focusing on his use of the exhibition as a narrative medium and his reconciliation of form and materials. Exploration of media also occurs in Johans Grimonprez’ work discussed with Niels Van Tomme. This issue also includes reviews on many exhibitions, including Atlanta’s \u003cem\u003eOasis\u003c\/em\u003e at Marcia Wood Gallery, \u003cem\u003eCumanana \u003c\/em\u003eat Saltworks Gallery, and \u003cem\u003eMake Room\u003c\/em\u003e at Atlanta Contemporary Art Center.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11205357568043,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_33.03_highres.jpg?v=1521212695"},{"product_id":"art-papers-33-02","title":"ART PAPERS 33.02 - Mar\/Apr 2009","description":"\u003cp\u003eA major focus of this issue is the intersection of performance and community. In this issue, Natalie Bell looks at the politics and ethos of community in Nick Cave's work, Jed Lipinski finds similar issues in the public theater and elaborate performances of the collective the Fantastic Nobodies, and Caitlin Haskell reveals how Matt Stokes' project for Austin confronts the way the city wants its culture to be \"raw at a distance\" but \"cleaned-up close up.\" Notable reviews include Pil + Galia Kollectiv's review of Keith Coventry's \u003cem\u003ePaintings \u0026amp; Sculpture Part I: Early Groups,\u003c\/em\u003e Lara Kristin Lentini's review of O Zhang's photography installation, and Jeffrey Hughes' reflections on \u003cem\u003eBeverly Fishman: New Paintings\u003c\/em\u003e.\u003c\/p\u003e","brand":"Art Papers Shop","offers":[{"title":"Default Title","offer_id":11205358977067,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/products\/Cover_33.02_highres.jpg?v=1521212744"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2589\/9878\/collections\/IMG_4671-to_white.jpg?v=1524168564","url":"https:\/\/art-papers-shop.myshopify.com\/collections\/back-issues.oembed?page=6","provider":"Art Papers Shop","version":"1.0","type":"link"}