Caroline A. Jones


    HUMANS WAGE THEIR POLITICS WITH LANGUAGE: “Wuhan virus,” “Kung Flu,” “the Chinese virus.” And then come the material actions, such as a scapegoating racist who loads a thousand nanoscale virions—bits of RNA in their sovereignty-shaped protein capsids—into an actual gob of spit for hurling onto anyone Asian-looking in Trump’s America. Yet the toxic politics (language and action) operate at the wrong scale. But let’s start there, since narcissistic humanity lives out its affects at the scale of the individual person, the only representative we can imagine of a herd identity.

    Of course you are

  • interviews March 05, 2019

    Naeem Mohaiemen

    Redoing histories—through essays, fiction films, and documentary forms—is a primary motivator for artist and writer Naeem Mohaiemen. He restlessly interrogates the peripheral narratives he finds in the “non-aligned” and “socialist” movements during the Cold War. United Red Army (2011) revisits the surreal moment when Japanese left-wing terrorists hijacked a plane in support of Palestinian liberation in 1977; Tripoli Cancelled (2017) fictionalizes the condition of being stranded in stateless limbo; and Two Meetings and a Funeral (2017) follows the dramatic architectures in which third-world

  • passages April 07, 2018

    Helen Mayer Harrison (1927–2018)

    HELEN MAYER AND NEWTON HARRISON, often referred to simply as “the Harrisons,” became known for their ecological systems art, which first emerged in the early ’70s. Helen is no more on this earth she loved, but we can imagine her serenity at contributing to its energies on another level. In her own words in a recent catalogue, she relates how her art career began: “I, Helen, began to invest myself in the earth that Newton had made.” But we are not obliged to take such a modest statement literally; we can leverage it by listening to the sharp wit and lively voice in scores of online interviews

  • “Marina Abramović : The Cleaner”

    Will polyglot Europe (Eastern, Western, Mittel) fragment into a thousand shards, or will it be dreamed anew as a collective hallucination of syncretic secularity? This question may seem removed from a Marina Abramović retrospective, but one could argue that the grandiose, anything-goes performances from this visionary/celebrity artist propose such issues as personal, mystical choices. This exhibition, which includes sketches, archival materials, and some ninety-five works made between 1960 and 2017, places renewed focus on Abramović’s

  • “Anish Kapoor: Archaeology, Biology”

    Rebounding from the vandalism of his giant yoni Dirty Corner, 2015, at Versailles last September, Anish Kapoor will present twenty-three major pieces at Mexico City’s MUAC, which opened in 2008 at the country’s most prestigious university. The exhibition includes works made between 1980 and 2015, organized into four sections: “Auto-Generated Forms,” which includes the early pigment piles and the artist’s signature optical devices; “Many Kinds of Beauty,” in which soulful pristine geometries (including When I Am Pregnant, 1992) will appear with more

  • passages October 15, 2015

    Shigeko Kubota (1937–2015)

    One of Shigeko Kubota’s best-known works may have happened only because George Maciunas and Nam June Paik “begged her” to do it, but it still took a lot of guts. Arriving in New York from an art community in Tokyo that seemed determined to ignore her, she recalled being met at the airport by Maciunas, who scripted her into his summer Perpetual Fluxus Festival in 1965. It was here that she attached a brush to her underwear and squatted down to produce Vagina Painting, immortalized in Maciunas’s photograph of the one-time event.

    Vagina Painting, perhaps not surprisingly, echoed Paik’s Zen for Head

  • “ZERO: Countdown to Tomorrow, 1950s–60s”

    RATHER THAN ARTWORKS, visitors entering the ambitious “ZERO: Countdown to Tomorrow, 1950s–60s” exhibition at the Solomon R. Guggenheim Museum in New York were immediately confronted by a large glowing screen. Mesmerically cycling (and visible from either side), the projection showed a celebratory crowd of mostly young people standing on a nighttime street—cute girls in strange outfits stamped with the number 0, a man swabbing the same 0 onto the pavement with white paint, a group launching an oddly shaped hot-air balloon into the sky. Made for the Hier und heute (Here and Today) television

  • the Year in “Re-”

    A reckoning is in order. Given the extraordinary number of returns, revisits, and repetitions of all kinds this past year, including the extensive refabrications of postwar art at the Solomon R. Guggenheim Museum’s exhibition “Gutai: Splendid Playground” and the astonishing reboot in Venice of Harald Szeemann’s 1969 show “Live in Your Head: When Attitudes Become Form”—not to mention the steadily increasing interest in repeating historic works of performance art over the last decade—we offer here a provisional taxonomy of contemporary art-world keywords dangling from the prefix re. The

  • Janet Cardiff and George Bures Miller

    This survey of Janet Cardiff and George Bures Miller’s collaborations brings together eight installation works made between 1995 and 2010.

    This survey of Janet Cardiff and George Bures Miller’s collaborations brings together eight installation works made between 1995 and 2010. Viewers will encounter a series of environments, including a miniature diorama (the 1999 Muriel Lake Incident, for which you put on earphones and poke your head into the eerily accurate model), some rooms you can’t enter (as in the cabin-size construction Opera for a Small Room, 2005, seemingly possessed by poltergeists), and newer works you can huddle in with a good friend (such as the abandoned dentist’s office of

  • “Otto Piene: Energy Fields”

    Legend has it that when the seventeen-year-old Otto Piene was discharged from his post as a gunner at the end of World War II, after extricating himself from some POW situations, he walked across Europe to get home. And that during that long, hungry pilgrimage, he saw a way to turn the fire and cacophony of combat into art—starting with the tabula rasa he would, in 1957, dub Group Zero. Now, the ZKM presents a special selection of works in celebration of the German-born artist’s eighty-fifth birthday, ranging from a 1959–60 raster painting to his 1969 inflatable

  • Caroline A. Jones on Jack Burnham’s “Systems Esthetics”

    A BRIEF METEOR, Jack Burnham blazed forth in September 1968 declaring “Systems Esthetics” to be the preeminent mode of contemporary artmaking. How could this sculpture teacher from the Midwest have gotten it so right? In the ensuing decades, what Burnham called “systems” came to define some of the most significant cultural developments of our time, even if this genealogy has been obscured. Undeclared as such, systems thinking now suffuses the art world as we know it. Consider: The work of such different artists as Olafur Eliasson, Andrea Fraser, Damien Hirst, Seth Price, and Tino Sehgal, as well

  • representations of oil spills

    HAVE WE ALREADY FORGOTTEN? On April 20, 2010, a high-pressure methane bubble shot up through the drilling pipe of Deepwater Horizon, an offshore oil rig operated on behalf of British Petroleum in the Gulf of Mexico. The gas exploded and killed eleven workers; the giant rig was still burning two days later when it sank, and over the course of the next eighty-four days the ruptured mile-down well released approximately 206 million gallons of oil, constituting the largest petrochemical “spill” in history. Images played a unique role in the crisis, accompanying it at every turn but also failing, by


    The audience is like a dog. They can feel immediately that you are afraid, that you are insecure, that you’re not in the right state of mind—and they just leave. . . .

    —Marina Abramović

    I think the twenty-first century will hopefully be more guided by “how” questions—how am I a product or how am I related to these people here? . . . And what is the ethics implied by this?

    —Tino Sehgal

    IN 1973, VITO ACCONCI CROONED about his desperate need for an audience. For Theme Song, the artist taped himself singing banal pop entreaties into a video camera, in close-up and prone on the

  • Caroline A. Jones

    ONLY IN THE TWENTIETH CENTURY have the cargo cults of modernity given us handmade objects that mimic so intently the processes of industrial manufacture. Even more surprising are the rare instances in which those objects accurately predict the unfolding of a modernity whose future has been otherwise wrested from their makers’ hands. At times, that accuracy is exhilarating in its conceptual force; at other moments, the match between the modernist past and a commodified future is merely formal, and the art collapses into kitsch. Sperone Westwater’s show on Zero last winter in New York (organized

  • “Speed Limits”

    In a show that holds up the CCA’s usual intelligent standards, Stanford Italianist Jeffrey T. Schnapp presents his angle on the centenary of Futurism by examining the legacy of its most fervent dream.

    In a show that holds up the CCA’s usual intelligent standards, Stanford Italianist Jeffrey T. Schnapp presents his angle on the centenary of Futurism by examining the legacy of its most fervent dream. We can expect not only streamlining and hygienic bodies but also—among the show’s 240 works including videos, photographs, posters, and collages—ruminations on city and country, information architectures, “24 frames a second,” and chemical stimulants. Explicit in Schnapp’s framing of the exhibition—and in the multiauthored catalogue-cum-reader that accompanies the

  • Anish Kapoor

    WHO KNEW THAT MINIMALISM would have such generative power for those once seen as beyond its borders? It is as if all the women and “others” once presumed not to get it, got it—and got more of it than the founding fathers (Stella, Flavin, Judd) ever dreamed. This “it” was the abject body, as the art historian Michael Fried made explicit a decade ago when rereading his own previous take on Minimal art (or “literalism,” as he termed it):

    [L]iteralism theatricalized the body, put it endlessly on stage, made it uncanny or opaque to itself, hollowed it out, deadened its expressiveness, denied its

  • “The Cinema Effect: Illusion, Reality, and the Moving Image”

    In the age of digital convergence, film is increasingly becoming a touchstone for new media and video art—no longer as antipode to these media (themselves divergent), but as constructed archetype for all moving images. Whereas earlier surveys have posited film as metaphor or have emphasized sampling and mimicry, the Hirshhorn’s two-part endeavor focuses on cinema’s cognitive effects. The first installment (Feb. 14–May 11) explores the ways time-based media transport us to dreamlike states; the second (June 19–Sept.


    FEW ARTISTS have had Picasso’s arrogant confidence: “I do not seek. I find.” Far more typical of modernity was the desire to align one’s work with research: Constable’s cloud studies, Seurat’s Chevreul-inspired pointillism, Kandinsky’s work on synesthesia. Materialization could sometimes seem incidental—yet materialization was exactly what the artist could bring: a way to make research come alive as experience in the body of the viewer. Robert Irwin’s collaborations with scientists from Bell Labs began to mean something when he materialized those laboratory setups of the ganzfeld in public art

  • David Joselit

    THE FIELD OF ART HISTORY registered a seismic shift in the late 1990s, when crops of grad students began to designate “video art” as a topic for their oral exams, or even to write their dissertations on the formerly bereft genre. The appeal of the subject was clearly driven by a new historical fact: Digital convergence was bringing about the end of magnetic-tape video art as such, even while projected digital video was becoming the ubiquitous medium of choice in the circuitry of global exhibitions. A similar transformation is taking place today within the broader landscape of communications

  • Globalism and the Venice Biennale

    FOR FOUR DAYS in December 2005, art-world luminaries, city officials, and academics gathered in Venice at the stunning Palazzo Cavalli Franchetti, just off the Ponte dell’Accademia on the Grand Canal. Mission: to debate the future of large-scale international exhibitions in general (and, by implication, the Venice Biennale in particular). Art historian and critic Robert Storr, next curator of what Italians call, simply, la Biennale, had been charged by the institution’s leadership to organize the event, which he attempted to democratize by opening each session to discussion with the audience.