NEWSgrist - where spin is art

Human Territory @ SLAG CONTEMPORARY’s 2nd location: Sunday, July 26, 3-6 PM

 

 

Joy Garnett, Tangerine Dream, 2015, oil on canvas, 20x24 inches. Photo: Samantha Keely Smith.

“Human Territory” brings together works from twelve primarily Brooklyn-based artists in an exploration of man’s experiences and interactions with landscape. No longer confined to the traditional definition of landscape as pastoral scene, the works focus on varied territories - whether those are aerial views and scenes of a city-made-war-zone, the imagined playscapes of fairytales, or the shifting topographies of faces and everyday life.

Tirtzah Bassel
Tirtzah Bassel studied drawing and painting at the Jerusalem Studio School in Israel and holds an MFA from Boston University. Her work has been reviewed in Huffington Post, Hyperallergic, New York Daily Report, Arts in Bushwick, Ynet, The Forward, and The Boston Globe. Bassel is Assistant Director of the Institute for Music and Art at Brandeis University.  She is the recipient of a 2011-2012 LABA Artist Fellowship at the 14th Street Y in New York, was invited to the Sixpoint Asylum International Artist Retreat in 2013, and currently serves as a resident artist of the Chashama Visual Arts Program in Sunset Park, Brooklyn.

Avital Burg
Avital Burg is a New York based artist. She has shown work recently at various venues such as Spaceship Gallery in Tel Aviv, the Greenpoint Film Festival in New York, Hanina Gallery in Tel Aviv, and Slag Gallery in New York.  She is the recipient of Award for Excellence from the Israel Museum (2003), among other awards. Burg attended the Bezalel Academy of Art and Design in Jerusalem, the “Hatahana” school of figurative drawing and painting in Tel Aviv, The Slade School of Art in London, and the New York Studio School.

Henry Chung
Born and raised in New York City, Henry Chung studied engineering at Columbia University's School of Engineering and Applied Science and Photography at New York University's Tish School of the Arts. In 1992, Henry established his first photography studio in Brooklyn, which he has maintained at various locations since. In the years during and after his education Henry worked as a typesetter and computer programmer. Henry lives in Brooklyn, NY and his current studio is in Red Hook, Brooklyn. His work has most recently been seen at Lesley Heller Workspace (2014), HERE Art Space, New York City (2013), Harbor Gallery, Bushwick (2013), Governor’s Island Art Fair (2012), Aqua Art Miami (Miami, FL, Fall 2011), The Affordable Art Fair (NYC Spring, 2011), Old Stone House (Brooklyn, 2011), Storefront Gallery (Brooklyn, 2011), The London Art Fair (London, UK, 2011), and in numerous private collections.

Hannah Cole

Hannah Cole holds a MFA in painting from Boston University, Boston, MA, a Post-Baccalaureate degree in painting from Brandeis University, and a BA in Art History from 
Yale University. Cole’s first museum solo show "Time's Wife", curated by George Kinghorn was hosted in 2014 at the University of Maine Museum of Art. Also, her work was exhibited  at the Hickory Museum of Art, North Carolina. Hannah Cole's previous solo exhibitions include: AAA: Hannah Cole, Maria Stabio, Kaitlin McDonough, Galleria Atlantica, Vicenza, Italy, Two Way Street, Slag Gallery, New York “Mantle”, Steven Zevitas Gallery, Boston, 
”I Move to Keep Things Whole”, Laconia Gallery, curated by James Hull, Boston, “Instant Sublime”, Greene Contemporary, New York, 
”Wish You Were Here”, former Lebanon Pavilion, Venice.

Joy Garnett
Joy Garnett is an artist in Brooklyn, NY. Her paintings, based on night vision and surveillance imagery, dwell on scenes that cannot be observed with the naked eye. Her work has been shown at the Milwaukee Art Museum, Museum of Contemporary Craft Portland, BALTIC Centre for Contemporary Art (Newcastle upon Tyne, UK), aeroplastics (Brussels, Belgium), Boston University Art Gallery, Illinois State University Galleries, MoMA PS1, CUNY Graduate Center, and the Whitney Museum of American Art, and is included in the permanent collections of the National Academy of Sciences (Washington DC), Altria and The West Collection (Oaks, PA). She has received grants from Anonymous Was a Woman, Lower Manhattan Cultural Council, Wellcome Trust (UK) and The Chipstone Foundation (Milwaukee).

Ben Godward
Ben Godward was born in Indianapolis, grew up in Webster Groves, MO and received his B.F.A. at Alfred University after a year-long hiatus at Shidoni Art Foundry in New Mexico. Ben received his M.F.A. in Sculpture from the University at Albany and won the 2007 Outstanding Achievement in Contemporary Sculpture award from the International Sculpture Center. After Albany, Godward moved his studio to Brooklyn, where he currently lives. He has shown at Lesley Heller, Moti Hassan, The Laundromat Gallery, Pocket Utopia, Famous Accountants Gallery, NYCAMS, Norte Maar Creative projects in the Art, Storefront Gallery and Factory Fresh. Recently he has brought to life two large outdoor art projects, in 2010 at Franconia Sculpture Park in MN and in 2011 at Socrates Sculpture Park in Queens, NY. Ben’s work has also been featured in The L Magazine, The Brooklyn Rail, Sculpture magazine and on WNYC Radio.

Dumitru Gorzo
Dumitru Gorzo received a BA in Painting and a Post-Graduate Diploma in Advanced Studies in Painting from the University of Arts in Bucharest, Romania. He is a co-founder of the artist group and movement Rostopasca, the most influential artist group in Romania for the last few decades. Gorzo has had solo shows in museums such as MNAC (Bucharest), NJ MoCA (New Jersey), and Brukental Art Museum (Sibiu), as well as in art galleries and not-for-profit art institutions across the US and Europe. He has participated in numerous group exhibitions at prestigious art venues such as the Istanbul Biennial, Marina Abramovici Institute (San Francisco), Kunsthalle Budapest (Mucsarnok), MODEM Modern and Contemporary Art Center (Debrecen), and Museum Küppersmühle (Duisburg) and Boulder MoCA just to name a few.

Tim Kent
Tim Kent received a Masters of Fine Arts degree from University of Sussex at West Dean College, UK and a Bachelor of Fine Arts from Hunter College, NY. His work continues to be exhibited both nationally and internationally, in both group and solo shows such as The Gambit, Slag, Brooklyn, NY;  The Best of Times, Moncrieff Bray Gallery, London, UK;  All That is Solid Melts Into Air, Factory Fresh, Brooklyn, NY;  Camera to Camera, Moncrieff Bray Gallery, Petworth, UK.   Kent’s work has been appeared in the likes of Brooklyn Rail, Fine Art Connoisseur, New American Paintings, and in the New Criterion. 

Naomi Safran-Hon
Naomi Safran-Hon received a Masters of Fine Arts degree from Yale University in 2010 and a Bachelor of Arts degree in Studio Art and Art History from Brandeis University in 2008. She is also a 2012 Skowhegan Residency alumnus. Some of her selected  exhibitions include: Brooklyn Museum, “Heimat: Chronicle of Absentees”; Brandt Gallery, Amsterdam, Netherland, “ Salmat Beton va-Melet Gown of Concrete and Cement”, Hartford, CN;  Centaurs and Satyrs”, Asya Geisberg Gallery, New York, NY.  Currently, Safran-hon’s work can be viewed as part of a group show at Haifa Museum of Art.  In 2016, a solo exhibition of her work will be hosted by Silber and Rosenberg Art Galleries, Baltimore, Maryland.

Hartmut Stockter
Hartmut Stockter (1973) was born in Wilhelmshaven (DE), lives and works in Copenhagen (DK). He graduated from Hochschule für bildende Künste Braunschweig in 1998, and received his MFA in 2002.  Stockter had numerous solo shows such as "Hut-Imker, Nachtwandler, Privatkartograph", Frise Künstlerhaus und Abbildungszentrum, Hamburg, Germany/ "Day Trip Tool Box", ON gallery Posznan, Poland/ "Wundergarage", Kirkhoff Contemporary Art, Copenhagen, Denmark/ "Approved Inventions", CirkulationsCentralen, Malmö/ Kristinehamns Konstmuseum, Sweden/ “Messages from hibernation”, Skulpturi, Copenhagen, Denmark/ “From the treasure chest of an affable blackberry picker", LARMgalleri, Copenhagen, Denmark.

Dan Voinea
Dan Voinea is a graduate of the National University of Art Bucharest. He had his first solo exhibition with Beers Contemporary in May 2013, which was also the first time he exhibited in the United Kingdom.  His work has been exhibited in a number of solo and group exhibitions in Europe such as East Wind ‘Les Cordeliers’ Romans Sur Isere, France; Finish the Poem, ‘S.A.N’ San de Senart, France; Heroes and Judges, Carturesti Gallery, Bucharest.  In 2014 Voinea’s work was exhibited at Boulder MoCA, Colorado. Voinea’s first solo show in US will take place in September 2015, at Slag Gallery.

Robert Walden
Robert Walden attended the Atlanta College of Art (BFA, 1994). He received a grant from the Pollock-Krasner Foundation (2003), participated in Emerge 2001 at Aljira, A Center for Contemporary Art, Newark, NJ and was a fellow at the Edward Albee Foundation (2005). Walden’s work has been seen in galleries and museums throughout the United States and in Europe, including The Berardo Collection Museum, Lisbon, Portugal and the Kemper Museum of Contemporary Art, Kansas City, MO. Robert Walden lives and works in Brooklyn, NY.

 

Irina Protopopescu

Slag Contemporary (1st location)

56 Bogart St.

Brooklyn, NY 11206

T 212 967 9818

Thursday - Sunday 1-6PM

Monday - Wednesday by appointment

[email protected]

www.slaggallery.com

 

Slag Contemporary (2nd location)

81 Grand Street

Williamsburg, NY 11249

T 212 967 9818

Thursday - Sunday 1-6PM

Monday - Wednesday by appointment

[email protected]

www.slaggallery.com

 

 

In Memoriam: Jackie Brookner (1945-2015)

 

Jackie Brookner, a pioneering ecological artist and educator, died of cancer on May 15, 2015. She was 69.

Born in l945 in Providence, Rhode Island she received a BA in art history from Wellesley College in l967 and completed all work for a Ph.D. in art history at Harvard except for a dissertation before shifting her focus to sculpture in l971.

Her early career as an artist working in cast bronze was informed, in part, by the welded abstract sculpture of Isaac Witkin and by the Abstract Expressionist sensibility prevalent at The New York Studio School where she studied with Nicholas Carrone. Brookner had a brief stint as a co-dean there in the l970s before beginning a long career at Parsons The New School for Design in l980 where she taught until her death. She also taught at Harvard in the Department of Visual and Environmental Studies (VES) Harvard in 2002.

Brookner was one of the few remaining artists to have originally lived in Soho when it was the international center for new art. Today the sculptures in her loft—dating from four decades—co-habit with hundreds of succulents and cacti, many of which she grew from seed or cuttings. Some plants have their roots embedded into the sculptures thus designed to encourage plant life on their surface. These are similar to her "biosculptures," what she called living sculpture, innovative ecological projects that bridged the gap between biology, social science, art and urban architecture in major site-specific works that have been an intrinsic part of her practice for the past twenty years.

Brookner's work was always distinguished by an engagement with natural materials. Early on she made numerous graphite drawings, small and large scale cast bronze sculpture, always informed by bodily touch and the human hand. Throughout her career there has been a metonymy between material and concept: in her later work more specifically she drew analogies between morphological patterns and systems in nature and the human body, her work crystalizing the moment when these became philosophical points about the connection between the body and the world. Local resources became the focal point for community collaboration, what Brookner called "neighborhood driven solutions" moving beyond the goal of creating permanent works of art. Likewise her writing in the l990s also anticipated by several decades recent philosophical trends in materiality and theoretical efforts to decenter and re-define the boundaries of the human in relationship to nature, ecology, and technology.

Notable among Brookner's projects is "Of Earth and Cotton," a series of museum installations that traveled for four years (1994-8), evolving at it crossed the southern United States. Artist Jackie Brookner followed the westward migration of the cotton belt, speaking with people who farmed and picked cotton by hand in the 1930's and 40's.

As people spoke about their memories, Brookner sat on the ground sculpting portraits of their feet out of soil from nearby cotton fields. The "portraits" became the focal points of the installations where they rested on 60 tons of soil or 2500 pounds of ginned cotton. Made of many different colors and textures of soil, the portraits were a metaphor for all the soils that were worked and the diversity of peoples who worked them.

The installations were accompanied by forty FSA photographs, commissioned by the US Government in the 1930's, depicting living and working conditions of cotton farmers during the Depression

Brookner created sculptural environments throughout the United States and in Europe, at the Joan Miro Center in Barcelona, in Grossenhaim Germany, Salo Finland, and other locations. Since the late 1990s all of her work focused on plant-based water remediation. Her work "Prima Lingua (First Language/First Tongue)" from 2001, an iconic touchstone work for artists working with environmental issues, is a monstrously large tongue that licks the polluted water in which it stands. The mosses, liverworts and other plants that live on the surface are a fascinating microcosm that help clean air as well as filter the water. Among her recent major projects were "Veden Taika (The Magic of Water)," consisting of three man-made floating islands in Salo, Finland: Veden Taika was a collaboration with local volunteers, regional science experts, the students and faculty of the Salo Polytechnic Institute, the Salo Parks Department and Office of Environmental Protection, Biomatrix Water and the coordination of Finnish artist Tuula Nikulainen. Emblematic of her work, the islands provide nesting habitat for birds and plant based filtration for improving water quality in the Salo Bird Pools, lagoons that were formerly used in the sewage treatment processes of the Salo Municipal Sewage Treatment Facility. Because an abundance of migrating and nesting birds now use the lagoons, the pools have been established as a EU-directive conservation site.

At the time of her death Brookner was working on a pilot project with The City of Fargo, ND to transform a neighborhood drainage basin into a community commons that will reflect the cultural vibrancy of the Fargo community. Meanwhile, the basin will maintain its function as a storm water collection site. "The Fargo Project" was made possible thanks to a partnership with Brookner and by a $100,000 National Endowment for the Arts (NEA) Our Town Grant followed by a $450,000 grant. Brookner recently wrote to a friend, "After 5 years we are just breaking ground and there are years to go--but it is the most amazing and rewarding work I have ever done. Your wonderful questions will prod our thinking …. My own health is unfortunately quite fragile right now. I am not sure I will get to see this through, but none of us will get to do more than start the turning of the Great Wheel."

Brookner gave a TEDx lecture on The Fargo Project in 2012.

Brookner was the recipient of numerous commissions, awards, and grants including from the Nancy Gray Foundation for Art in the Environment and the New York Foundation for the Arts. Her writings were published in The College Art Association’s Art Journal, M/E/A/N/I/N/G, WEAD Magazine, and Paper Monument’s recent book Draw it with your eyes closed: the art of the art assignment. Urban Rain: Stormwater as Resource, a book about Brookner’s water reclamation projects was published in 2009. Art and Ecology, her 1992 guest edited issue of Art Journal is still today considered a milestone in ecological thinking.

Brookner was an inspiring and much beloved teacher and administrator. At Parsons, she had taught in the Fine Arts MFA Program since its inception and served as the Interdepartmental Program Coordinator: Design for Social Change in 2000-2001. She was the recipient of The New School University, Pedagogical Innovation Grant in 2011.

In a statement about her practice Brookner wrote: "Hidden in the roots of our words we find what we seem to want to forget--that we are literally the same stuff as earth. My work explores this identity while undermining the assumptions and values that keep us from acknowledging it."

She is survived by her wife Terry Iacuzzo and by her brother Philip Weinstein and nephews Noah and Benjamin. Plans for a memorial service to be held in New York in the fall will be announced at a later date.

Brookner’s last site-specific installation was her own body; wrapped in a shroud, placed on a rustic plank of wood and lowered directly into the earth that she loved so much.

by Lenore Malen and Mira Schor, May 18, 2015

***

Cultural Politics: Arnold Mesches: American Uncanny

Cover: Arnold Mesches [Archive of contemporary artist contributions: http://culturalpolitics.org]

 

Announcing the arrival of:

Cultural Politics Volume 11.1

Featuring essays and art by:

• Cover/interior art and essay by Arnold Mesches: American Uncanny, which can be accessed freely online (as are all Cultural Politics cover artists) courtesy of Duke University Press. Color html or B&W formatted PDF.

To date, Arnold Mesches has had 142 solo exhibitions and countless group shows. His work is included in the permanent collections of both the Whitney Museum of American Art and the Metropolitan Museum of Art in New York, the National Gallery in Washington, DC, and the Albright-Knox Art Gallery in Buffalo, New York, as well is in numerous other public and private collections. He was awarded a National Endowment for the Arts grant, a New York Foundation for the Arts Fellowship, a Florida State Individual Artist Fellowship, and three Pollock-Krasner Foundation grants. In 2009, the University of Florida awarded him an honorary doctorate. He lives in Gainesville, Florida, and Brooklyn, New York, and is married to the American novelist Jill Ciment.

• Life in Gaza, a photo essay by David Segarra.

David Segarra (b. 1976) is a documentary filmmaker and journalist from Valencian Country, Spain. He began working as a journalist for independent Catalan newspapers in Valencia and Catalonia, and since 2007 he has been directing documentaries for Venezuelan public television. Segarra directed the award-winning documentary Fire on the Marmara (2011) about the Gaza Freedom Flotilla, a humanitarian mission that was attacked by Israeli commandos in 2010. It won first prize in international film festivals in Venezuela, Argentina, and Morocco, and garnered special mentions in Finland, Qatar, Mexico, and Spain. In 2014, Segarra lived for three months in Gaza. A book of his photographs, accompanied by essays and poems about life in the Gaza Strip, Viure, Morir i Nàixer a Gaza (Living, Dying, and Being Born in Gaza), was published by Sembra Llibres in 2014.

 

• Vespertine, an essay by John Armitage about twilight happenings, with paintings by Joy Garnett.

John Armitage is professor of media arts at Winchester School of Art, University of Southampton. He specializes in the work of Paul Virilio, the French critic of the art of technology. He is the editor of Paul Virilio: From Modernism to Hypermodernism and Beyond (2000), Virilio Live: Selected Interviews (2001), Virilio Now: Current Perspectives in Virilio Studies (2011), and The Virilio Dictionary (2013); author of Virilio and the Media (2012); and coeditor, with Ryan Bishop, of Virilio and Visual Culture (2013).

Joy Garnett is a multidisciplinary artist and writer based in Brooklyn. The paintings in her Crepuscular Dawn series are based on images she finds on commercial hunting websites that depict unknown landscapes recorded with night vision technology. Her work has been shown at the Milwaukee Art Museum, Museum of Contemporary Craft (Portland, OR), Houston Center for Contemporary Craft, BALTIC Centre for Contemporary Art (Newcastle-upon-Tyne, UK), Kettle’s Yard (Cambridge, UK), De Bond Cultuurcentrum Brugge (Belgium), and MoMA PS1 and the Whitney Museum of American Art (New York). Her writings have appeared in Harper’s, Art21 Magazine, artnet, Journal of Visual Culture, and Ibraaz. Information about her work can be found at joygarnett.net.

• In BOOK REVIEWS:
  • Jane Ursula Harris: Dark Pageantries

  Cultural Politics (2015) 11(1): 139-143; doi:10.1215/17432197-2842807
  Pleading in the Blood: The Art and Performances of Ron Athey, edited by Johnson Dominic, with a foreword by Hegarty Antony, London: Intellect Live, 2013, 248 pages, £25, $35.50 (hardcover), ISBN 978-1-78320-035-1.

Jane Ursula Harris is a Brooklyn-based writer who has contributed to publications from Art in America and the Paris Review to the Believer and Time Out New York. She has also contributed essays to various catalogs, including Hatje Cantz’s Examples to Follow: Expeditions in Aesthetics and Sustainability (2010), Phaidon’s Vitamin D: New Perspectives in Drawing (2005), Universe-Rizzoli’s Curve: The Female Nude Now (2004), and Twin Palms’ Anthony Goicolea (2003). Harris is a member of the art history faculty at the School of Visual Arts and founder of the blog janestown.net.

............................................................

 TABLE of CONTENTS:

Cultural Politics an International Journal
Volume 11, Number 1, March 2015

Articles [abstracts + extracts]

The Cultural Logics of Neoliberalism: Baudrillard’s Account
Mike Gane
Cultural Politics (2015) 11(1): 1-17
 
Political Spirituality: The Devils, Possession, and Truth-Telling
Bülent Diken
Cultural Politics (2015) 11(1): 18-35
 
American Uncanny
Arnold Mesches
Cultural Politics (2015) 11(1): 36-52; OPEN ACCESS
 
The Media, Democracy, and Spectacle: Some Critical Reflections
Douglas Kellner
Cultural Politics (2015) 11(1): 53-69
 
“Participatory Drama”: The New Left, the Vietnam War, and the Emergence of Performance Studies
Christina Larocco
Cultural Politics (2015) 11(1): 70-88
 
Life in Gaza
David Segarra
Cultural Politics (2015) 11(1): 89-99
 
Smart Dust and Remote Sensing: The Political Subject in Autonomous Systems
Ryan Bishop
Cultural Politics (2015) 11(1): 100-110

A Deweyan Experience Economy for Higher Education: The Case of the Australian Indie 100 Music Event
Phil Graham, Michael Dezuanni, Andy Arthurs, and Greg Hearn
Cultural Politics (2015) 11(1): 111-125

Vespertine
John Armitage and Joy Garnett
Cultural Politics (2015) 11(1): 126-133


Book Reviews

Next Exit: Drift Culture
Nathan Van Camp
Cultural Politics (2015) 11(1): 134-138
 
Dark Pageantries
Jane Ursula Harris
Cultural Politics (2015) 11(1): 139-143; doi:10.1215/17432197-2842807

 ..........................

Cultural Politics (ISSN: 1743-2197) is an international, refereed journal that explores the global character and effects of contemporary culture and politics. It analyzes how cultural identities, agencies and actors, political issues and conflicts, and global media are linked, characterized, examined and resolved. In doing so, the journal explores precisely what is cultural about politics and what is political about culture. It investigates the marginalized and outer regions of this complex and interdisciplinary subject area.

Edited by:

John Armitage, Winchester School of Art, University of Southampton, UK
Ryan Bishop, Winchester School of Art, University of Southampton, UK
Douglas Kellner, University of California, Los Angeles, USA

Mark Featherstone, Book Reviews Editor 

Joy Garnett, Arts Editor

Each issue includes essays and projects by visual artists solicited and edited by New York artist Joy Garnett. Contributing artists include Stephen Andrews, Kathe Burkhart, Paul Chan, Christos Dikeakos, Gair Dunlop, Yevgeniy Fiks, Zoe Leonard, David Humphrey, Dominic McGill, Julia Meltzer & David Thorne, Arnold Mesches, Carrie Moyer, Richard Mosse, Steve Mumford, Sarah Peters, Mira Schor, Susanne Slavick, Nancy Spero, and others.

Cultural Politics is published by Duke University Press.

 

 

Art & Labor

 

The old issue of intellectual labor produced in exchange for little or no pay has been coming up more than usual this week, probably because the College Art Association conference is in full swing. Also, National Adjunct Walkout Day is upon us. In the meantime, I had all but forgotten about this recent email exchange:

Last month, I was contacted by an academic publisher, let’s call her Dorothy Lamour, self-described “publisher for visual arts journals” at [insert name of the largest global academic publisher you can think of].

Dorothy Lamour informed me that the long-time editor of one of their "flagship visual art journals"  had just retired. Would I be interested in taking on the editorship?

She mentioned that I had been vetted, my name, rank and serial number put forward by a friend and mutual colleague, along with a handful of other potential candidates. Her wording had the distinct air of pre-job interview. It was a given that I would be interested if not thoroughly stoked by the offer, and that I would be eager to compete with these other candidates, and win.

I re-read the email. Its tone was somehow familiar, off-kilter in a Nigerian scam mail kinda way. On one hand it was deferential, and on the other, it seemed obvious I was about to be robbed, or worse.

Dorothy Lamour pasted a description from the journal’s press release: "Journal X explores how visual language is structured and visual meaning communicated… illustrates how picture collections are acquired, organized, indexed, and preserved…assesses the effect of electronic technology on current and future uses…provides a platform for reporting innovative ways to organize and access visual information…to increase the recognition and appreciation of visual documentation."

Indeed, an image does come to mind: oceans of papers, a never-ending stream of .docx flooding my Inbox, demanding to be read and re-read, the horror vacui of track changes. Preliminary deadlines before deadlines, reams of rejections written at different levels of sensitivity, endless requests for peer review, endless requests for revisions, all endlessly usurping my weekends, ruining date night, drowning me. Sounds like a job.

Dorothy Lamour suggested we set up a time for an informal, cross-Atlantic phone convo, so I quickly responded: "I'm unfortunately not in a position to take on an unpaid academic post at present. I assume that this editorship is an unpaid post."

I thought that would be the end of it.  But no.

Dorothy Lamour shot back within the hour: "...we do not offer a salaried income for the position. If, however, your interest would extend to perhaps considering some involvement in the journal as part of an editorial collective or an expanded editorial board, so that the workload is shared, could that potentially entice?..."

Yes, it could, but you also have to provide the lavender unicorns.  

I responded: float a number and then we can talk. That made me feel like a character in The Godfather. The story finally does end there, of course. The shoes of the previous editor will no doubt be filled by some poor, ravenous, beleaguered, tenure-track art professor. This is what that system was set up for. But I'm a superstitious person. And if some unlucky accident should befall the new editor… If s/he should get shot in the head by a police officer, or if s/he should hang him/herself in his/her jail cell - or if s/he's struck by a bolt of lightning, then I'm going to blame some of the people in this room, and that I do not forgive. But, that aside, let me say that I swear, on the souls of my grandchildren, that I will not be the one to break the peace we've made here today.

Cultural Politics: Mira Schor: The Ground

 

 

Announcing the arrival of:

Cultural Politics Volume 10.3

Featuring cover art and an essay by Mira Schor, this entire issue is available open access, courtesy of Duke University Press.

Happy New Year!

Joy Garnett

Art Editor, Cultural Politics

 

Cultural Politics (ISSN: 1743-2197) is an international, refereed journal that explores the global character and effects of contemporary culture and politics. It analyzes how cultural identities, agencies and actors, political issues and conflicts, and global media are linked, characterized, examined and resolved. In doing so, the journal explores precisely what is cultural about politics and what is political about culture. It investigates the marginalized and outer regions of this complex and interdisciplinary subject area.

Edited by:

John Armitage, Winchester School of Art, University of Southampton, UK
Ryan Bishop, Winchester School of Art, University of Southampton, UK
Douglas Kellner, University of California, Los Angeles, USA

Mark Featherstone, Book Reviews Editor 

Joy Garnett, Arts Editor

Each issue includes essays and projects by visual artists solicited and edited by New York artist Joy Garnett. Contributing artists include Stephen Andrews, Kathe Burkhart, Paul Chan, Christos Dikeakos, Gair Dunlop, Yevgeniy Fiks, Zoe Leonard, David Humphrey, Dominic McGill, Julia Meltzer & David Thorne, Arnold Mesches, Carrie Moyer, Richard Mosse, Steve Mumford, Sarah Peters, Mira Schor, Susanne Slavick, Nancy Spero, and others.

Cultural Politics is published by Duke University Press. Access all articles online. Artist contributions are freely available (pdf and html) courtesy DUP.

Additionally, an archive of artist contributions can be found at http://culturalpolitics.org

Cultural Politics is a welcome and innovative addition. In an academic universe already well populated with journals, it is carving out its own unique place—broad and a bit quirky.  It likes to leap between the theoretical and the concrete, so that it is never boring and often filled with illuminating glimpses into the intellectual and cultural worlds.

~Lawrence Grossberg, University of North Carolina, USA.

 

 

Table of Contents

Volume 10, Number 3, November 2014

 

 Current issue

Articles

• Chris Hables Gray and
  Ángel J. Gordo

  Social Media in Conflict: Comparing Military and Social-Movement Technocultures

  Cultural Politics (2014) 10(3): 251-261; doi:10.1215/17432197-2795645
  • Abstract
  • Full Text
  • Full Text (PDF)
• Kevin Robins

  Europe and Its Complexity: What Would Like to Be Said?

  Cultural Politics (2014) 10(3): 262-274; doi:10.1215/17432197-2795657
  • Abstract
  • Full Text
  • Full Text (PDF)
• Sean Cubitt

  Decolonizing Ecomedia

  Cultural Politics (2014) 10(3): 275-286; doi:10.1215/17432197-2795669
  • Abstract
  • Full Text
  • Full Text (PDF)
•  Elspeth Probyn

  The Cultural Politics of Fish and Humans: A More-Than-Human Habitus of Consumption

  Cultural Politics (2014) 10(3): 287-299; doi:10.1215/17432197-2795681
  • Abstract
  • Full Text
  • Full Text (PDF)
•  Anna-Verena Nosthoff

  Art After Auschwitz: Responding to an Infinite Demand: Gustav Metzger’s Works as Responses to Theodor W. Adorno’s “New Categorical Imperative”

  Cultural Politics (2014) 10(3): 300-319; doi:10.1215/17432197-2795693
  • Abstract
  • Full Text
  • Full Text (PDF)
• Mira Schor

  The Ground

  Cultural Politics (2014) 10(3): 320-332; doi:10.1215/17432197-2795705
  • Extract
  • Full Text
  • Full Text (PDF)
• Phillip Roberts

  Godard In Sarajevo: Media Control in Deleuze and Virilio

  Cultural Politics (2014) 10(3): 333-353; doi:10.1215/17432197-2795717
  • Abstract
  • Full Text
  • Full Text (PDF)
• Niels van Doorn

  The Neoliberal Subject of Value: Measuring Human Capital in Information Economies

  Cultural Politics (2014) 10(3): 354-375; doi:10.1215/17432197-2795729
  • Abstract
  • Full Text
  • Full Text (PDF)
• Geoffrey Winthrop-Young

  The Kultur of Cultural Techniques: Conceptual Inertia and the Parasitic Materialities of Ontologization

  Cultural Politics (2014) 10(3): 376-388; doi:10.1215/17432197-2795741
  • Abstract
  • Full Text
  • Full Text (PDF)
•  Adam Sharr

  The Cultural Politics of Queuing Tape

  Cultural Politics (2014) 10(3): 389-403; doi:10.1215/17432197-2795753
  • Abstract
  • Full Text
  • Full Text (PDF)
•  John Beck

  The Call of the Anthropocene

  Cultural Politics (2014) 10(3): 404-414; doi:10.1215/17432197-2795765
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Book Reviews

•  Jussi Parikka

  On Designerization of Media Culture in the Age of Software

  Cultural Politics (2014) 10(3): 415-419; doi:10.1215/17432197-2796082
  Software Takes Command, by Lev Manovich, New York: Bloomsbury, 2013, 376 pages, £17.99 (softcover), ISBN 978-1-6235-6745-3
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•  Mark Featherstone

  After Austerity?

  Cultural Politics (2014) 10(3): 420-423; doi:10.1215/17432197-2796094
  Philosophy and Resistance in the Crisis: Greece and the Future of Europe, by Costas Douzinas, Cambridge: Polity Press, 2013, 220 pages, £14.99 (paperback), £50.00 (hardback), ISBN 978-0-7456-6544-3
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