Abstract Since the passing of the Americans with Disabilities Act in 1990, museum reformers have struggled to comply with the federal codes for accessibility. This essay accounts for the ambitions and limitations of these debates around access in the museum that were caught in the double bind between public expectation and private market forces, ultimately giving rise to a particular type of bottom-up reform organized around parametric gradients and attitudinal shifts. It does so by juxtaposing manuals for museum educators from the 1990s with artworks by New York City–based artists such as Carolyn Lazard, Jordan Lord, and Park McArthur who all worked with the incorporation of access into their artistic practice during the 2010s. The essay argues that these artistic practices force us to decouple the teaching of access from its narrow focus on shifting individual attitudes and instead belabor the form and content of stories about structural conditions.
{"title":"Scenes of Access, Politics of Difference","authors":"Pujan Karambeigi","doi":"10.1162/artm_a_00314","DOIUrl":"https://doi.org/10.1162/artm_a_00314","url":null,"abstract":"Abstract Since the passing of the Americans with Disabilities Act in 1990, museum reformers have struggled to comply with the federal codes for accessibility. This essay accounts for the ambitions and limitations of these debates around access in the museum that were caught in the double bind between public expectation and private market forces, ultimately giving rise to a particular type of bottom-up reform organized around parametric gradients and attitudinal shifts. It does so by juxtaposing manuals for museum educators from the 1990s with artworks by New York City–based artists such as Carolyn Lazard, Jordan Lord, and Park McArthur who all worked with the incorporation of access into their artistic practice during the 2010s. The essay argues that these artistic practices force us to decouple the teaching of access from its narrow focus on shifting individual attitudes and instead belabor the form and content of stories about structural conditions.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"29-49"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49310025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hidden Green by Miklós Erdély","authors":"Eszter Bartholyì, Katalin Orbán","doi":"10.1162/artm_a_00317","DOIUrl":"https://doi.org/10.1162/artm_a_00317","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"102-105"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43376954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Within the span of only four years, two books on the same subject and with almost identical titles were published on two sides of Europe: Hans Prinzhorn's Artistry of the Mentally Ill (Berlin, 1922) and Pavel Ivanovich Karpov's Creativity of the Mentally Ill (Moscow, 1926). Whereas the first book was recognized as one of the key steps in the “discovery” of the psychotic art and its eventual mainstreaming, the second one quickly fell into obscurity. Its author perished in Stalinist purges of the 1930s, together with a number of his colleagues from the Russian Academy of Artistic Science (RAKhN, 1921-1931), in which he served as the head of the Commission for the Creativity of Mentally Ill. This article is the first in-depth study of Karpov's book and his theory of creativity, which he based on his extensive collection of the works of his patients (which was also lost in the purges). The article argues that his approach to psychotic art is completely independent from Prinzhorn's. Instead, it places this book in the context of the specific form of Kunstwissenschaft that was practiced in RAKhN, suggesting that this placement is of primary importance for understanding Karpov's methods and aims. More specifically, the article argues that in his research on the creativity of the mentally ill, Karpov engages in a productive dialogue with the philosopher and prominent RAKhN member Gustav Shpet's work on epistemology from the same period. The result is an original contribution to the clinical literature on art of the mentally ill patients.
{"title":"Madness as a Form of Knowledge: Pavel Ivanovich Karpov's Creativity of the Mentally Ill","authors":"B. Jakovljević","doi":"10.1162/artm_a_00308","DOIUrl":"https://doi.org/10.1162/artm_a_00308","url":null,"abstract":"Abstract Within the span of only four years, two books on the same subject and with almost identical titles were published on two sides of Europe: Hans Prinzhorn's Artistry of the Mentally Ill (Berlin, 1922) and Pavel Ivanovich Karpov's Creativity of the Mentally Ill (Moscow, 1926). Whereas the first book was recognized as one of the key steps in the “discovery” of the psychotic art and its eventual mainstreaming, the second one quickly fell into obscurity. Its author perished in Stalinist purges of the 1930s, together with a number of his colleagues from the Russian Academy of Artistic Science (RAKhN, 1921-1931), in which he served as the head of the Commission for the Creativity of Mentally Ill. This article is the first in-depth study of Karpov's book and his theory of creativity, which he based on his extensive collection of the works of his patients (which was also lost in the purges). The article argues that his approach to psychotic art is completely independent from Prinzhorn's. Instead, it places this book in the context of the specific form of Kunstwissenschaft that was practiced in RAKhN, suggesting that this placement is of primary importance for understanding Karpov's methods and aims. More specifically, the article argues that in his research on the creativity of the mentally ill, Karpov engages in a productive dialogue with the philosopher and prominent RAKhN member Gustav Shpet's work on epistemology from the same period. The result is an original contribution to the clinical literature on art of the mentally ill patients.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"126-151"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42756945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The introductory text interprets Eszter Bartholy's article about Miklós Erdély's exhibition Hidden Green. Bartholy's article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély's own interpretation of his exhibition Hidden Green is present in Bartholy's article. Bartholy's analysis of Hidden Green sheds light on the way that Erdély combines ars poetica and art theory, while directly reflecting on utopia and on the social function and significance of art. While the text about Hidden Green seems like the interpretation of an exhibition, Bartholy and Erdély, in a virtual dialogue with thinkers including Ernst Bloch, Kurt Gödel, and Allan Kaprow, also make categorical claims about art theory and social theory. The introductory text argues that Erdély's Hidden Green and Bartholy's article connected and confronted–in the spirit of neo-avant-garde montage techniques–Hungarian popular and folk culture, Marxist aesthetic theories of utopias, and the paradoxes of modern natural sciences.
{"title":"Miklós Erdély, Ernst Bloch, Kurt Gödel, and Hidden Green","authors":"Sándor Hornyik","doi":"10.1162/artm_a_00316","DOIUrl":"https://doi.org/10.1162/artm_a_00316","url":null,"abstract":"Abstract The introductory text interprets Eszter Bartholy's article about Miklós Erdély's exhibition Hidden Green. Bartholy's article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély's own interpretation of his exhibition Hidden Green is present in Bartholy's article. Bartholy's analysis of Hidden Green sheds light on the way that Erdély combines ars poetica and art theory, while directly reflecting on utopia and on the social function and significance of art. While the text about Hidden Green seems like the interpretation of an exhibition, Bartholy and Erdély, in a virtual dialogue with thinkers including Ernst Bloch, Kurt Gödel, and Allan Kaprow, also make categorical claims about art theory and social theory. The introductory text argues that Erdély's Hidden Green and Bartholy's article connected and confronted–in the spirit of neo-avant-garde montage techniques–Hungarian popular and folk culture, Marxist aesthetic theories of utopias, and the paradoxes of modern natural sciences.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"94-101"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44582279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Two exhibition and research projects, Creativity Exercises and Back to the Sandbox, are united by the history of reform pedagogy, Friederich Fröbel, and the legacy of the Bauhaus. The books related to the projects explore didactic and participatory art, questioning how to teach art, how to reform or radicalize education, and what participatory art practices share with pedagogy. The centerpiece of the first project is the work of Miklós Erdély and Dora Maurer, specifically the classes they organized at the Ganz-MAVAG factory in Budapest from 1975–1977. Although framed as part of an international turn toward creativity research during the cold war, a framing that crosses any East/West divide, the workshops and related projects reveal an interest in the psychology of creativity, focusing on the social subjects produced as Bauhaus-style education turned inside out. The second publication uses the sandbox as an object lesson and figure of thought to learn from the past of reform education while looking to the future. Although both projects highlight the contradictions and constraints of pedagogy, they succeed where they provide direction for the work of learning and leave the question of education's paradoxes behind.
{"title":"Learning on the Run: From Psycho-Modernism to Fugitive Sociality","authors":"Timothy Ridlen","doi":"10.1162/artm_r_00315","DOIUrl":"https://doi.org/10.1162/artm_r_00315","url":null,"abstract":"Abstract Two exhibition and research projects, Creativity Exercises and Back to the Sandbox, are united by the history of reform pedagogy, Friederich Fröbel, and the legacy of the Bauhaus. The books related to the projects explore didactic and participatory art, questioning how to teach art, how to reform or radicalize education, and what participatory art practices share with pedagogy. The centerpiece of the first project is the work of Miklós Erdély and Dora Maurer, specifically the classes they organized at the Ganz-MAVAG factory in Budapest from 1975–1977. Although framed as part of an international turn toward creativity research during the cold war, a framing that crosses any East/West divide, the workshops and related projects reveal an interest in the psychology of creativity, focusing on the social subjects produced as Bauhaus-style education turned inside out. The second publication uses the sandbox as an object lesson and figure of thought to learn from the past of reform education while looking to the future. Although both projects highlight the contradictions and constraints of pedagogy, they succeed where they provide direction for the work of learning and leave the question of education's paradoxes behind.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"81-93"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49323620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article explores the connections between dreams, cinema, and Palestine. Drawing upon the work of Ghassan Hage, the author argues that dreams and cinema should not be valued only for their connection to resistance and that these phenomena can sometimes reveal unoccupied spaces, even in occupied Palestine. The author then turns to two documentary films: Mohammad Malas’ The Dream (1987) and Mais Darwazah's My Love Awaits Me by the Sea (2013). Whereas the former film documents the dreams that haunt Palestinians at night, the latter investigates those dreams that follow them throughout the day. Through these dreams, both films stage an encounter with the unoccupied.
{"title":"Dreams/Cinema/Palestine: Unoccupied Spaces in The Dream and My Love Awaits Me by the Sea","authors":"Greg Burris","doi":"10.1162/artm_a_00309","DOIUrl":"https://doi.org/10.1162/artm_a_00309","url":null,"abstract":"Abstract This article explores the connections between dreams, cinema, and Palestine. Drawing upon the work of Ghassan Hage, the author argues that dreams and cinema should not be valued only for their connection to resistance and that these phenomena can sometimes reveal unoccupied spaces, even in occupied Palestine. The author then turns to two documentary films: Mohammad Malas’ The Dream (1987) and Mais Darwazah's My Love Awaits Me by the Sea (2013). Whereas the former film documents the dreams that haunt Palestinians at night, the latter investigates those dreams that follow them throughout the day. Through these dreams, both films stage an encounter with the unoccupied.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"152-170"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43257559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract As a young artist active in socialist Zagreb in the 1970s, Željko Jerman subjected photographic prints and negatives to destructive techniques such as scratching, scribbling, and intentionally poor development. Jerman's work was heralded by curator Radoslav Putar as an attempt to “cross the boundaries and overcome the limitations of classical photography,” but also met with dismissal from less open-minded critics due to its rejection of traditional aesthetics. This article shows how through his destructive tactics, Jerman enacted a formal “death” of the photograph, while also taking death as a central philosophical and representational theme at the level of the image. His work ultimately rendered photographic development a performative act, which was intimately tied to his identity as an author and to questions about his own mortality. Via a close reading of Jerman's magnus opus My Year, 1977, the essay moreover demonstrates how he didn't dispense with notions of beauty but rather resituated them relative to questions about desire, masculinity, and the fallibility of artistic authorship. Closely connected to the New Art Practice yet more romantic and introspective in its mentality, Jerman's art adds important nuance to understandings of the role of images for Yugoslavia's famous conceptual generation.
{"title":"Photography Against Reproduction: Željko Jerman's My Year, 1977","authors":"Adair Rounthwaite","doi":"10.1162/artm_a_00311","DOIUrl":"https://doi.org/10.1162/artm_a_00311","url":null,"abstract":"Abstract As a young artist active in socialist Zagreb in the 1970s, Željko Jerman subjected photographic prints and negatives to destructive techniques such as scratching, scribbling, and intentionally poor development. Jerman's work was heralded by curator Radoslav Putar as an attempt to “cross the boundaries and overcome the limitations of classical photography,” but also met with dismissal from less open-minded critics due to its rejection of traditional aesthetics. This article shows how through his destructive tactics, Jerman enacted a formal “death” of the photograph, while also taking death as a central philosophical and representational theme at the level of the image. His work ultimately rendered photographic development a performative act, which was intimately tied to his identity as an author and to questions about his own mortality. Via a close reading of Jerman's magnus opus My Year, 1977, the essay moreover demonstrates how he didn't dispense with notions of beauty but rather resituated them relative to questions about desire, masculinity, and the fallibility of artistic authorship. Closely connected to the New Art Practice yet more romantic and introspective in its mentality, Jerman's art adds important nuance to understandings of the role of images for Yugoslavia's famous conceptual generation.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"201-225"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41662391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay argues for a radical reassessment of Moscow Conceptualism to incorporate the underappreciated Nest, the group of artists Gennady Donskoy, Mikhail Roshal, and Victor Skersis active in Moscow from 1974 to 1979. The Nest's emphasis on models of shared artistic investigation, audience autonomy, and unconstructed aesthetic response helped reshape Moscow Conceptualism in the late 1970s and early 1980s, making their experience essential to understanding both the era and the works of particular artists they influenced, including Yuri Albert, Vadim Zakharov, Nadezhda Stolpovskaya, and others. The Nest's focus on alternative media and new genres, particularly on unstructured performative works, helped transform Moscow's unofficial art world, freeing it from lingering insularity and modernist conventions.
{"title":"Reassessing Moscow Conceptualism: The View from the Nest","authors":"Mary A. Nicholas","doi":"10.1162/artm_a_00310","DOIUrl":"https://doi.org/10.1162/artm_a_00310","url":null,"abstract":"Abstract This essay argues for a radical reassessment of Moscow Conceptualism to incorporate the underappreciated Nest, the group of artists Gennady Donskoy, Mikhail Roshal, and Victor Skersis active in Moscow from 1974 to 1979. The Nest's emphasis on models of shared artistic investigation, audience autonomy, and unconstructed aesthetic response helped reshape Moscow Conceptualism in the late 1970s and early 1980s, making their experience essential to understanding both the era and the works of particular artists they influenced, including Yuri Albert, Vadim Zakharov, Nadezhda Stolpovskaya, and others. The Nest's focus on alternative media and new genres, particularly on unstructured performative works, helped transform Moscow's unofficial art world, freeing it from lingering insularity and modernist conventions.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"171-200"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44497581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Alberro, Homi K. Bhabha, A. Castillo, Keti Chukhrov, T. Demos, Keyna Eleison, Irmgard Emmelhainz, D. English, P. Flores, Jennifer A. González, Boris Groys, T. Holert, Andreas Huyssen, Amelia Jones, D. Joselit, Joan Kee, N. Mirzoeff, P. Osborne, J. Roberts, Nizan Shaked, Terry Smith, K. Stiles, Ming Tiampo, A. Wagner
Abstract What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarship are necessary to address the great challenges of our uncertain future?
{"title":"What is Radical?","authors":"A. Alberro, Homi K. Bhabha, A. Castillo, Keti Chukhrov, T. Demos, Keyna Eleison, Irmgard Emmelhainz, D. English, P. Flores, Jennifer A. González, Boris Groys, T. Holert, Andreas Huyssen, Amelia Jones, D. Joselit, Joan Kee, N. Mirzoeff, P. Osborne, J. Roberts, Nizan Shaked, Terry Smith, K. Stiles, Ming Tiampo, A. Wagner","doi":"10.1162/artm_a_00301","DOIUrl":"https://doi.org/10.1162/artm_a_00301","url":null,"abstract":"Abstract What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarship are necessary to address the great challenges of our uncertain future?","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"8-96"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45085748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The heads of states met at the end of World War I to sign the Versailles treaty in 1919 in the Palace's hall of mirrors. This was at the time when Europe was infected with the Spanish flu pandemic that lasted until 1922. The project is a visual narration of the conjunction of these two historical events that have uncanny reverberations in the present: the Versailles treaty has charted the path towards present-day geopolitical crises, and the Spanish flu can be seen as a prelude to the COVID pandemic and its response.
{"title":"The Ghosts of Past Events in the Hall of Mirrors","authors":"Anna Boghiguian","doi":"10.1162/artm_a_00305","DOIUrl":"https://doi.org/10.1162/artm_a_00305","url":null,"abstract":"Abstract The heads of states met at the end of World War I to sign the Versailles treaty in 1919 in the Palace's hall of mirrors. This was at the time when Europe was infected with the Spanish flu pandemic that lasted until 1922. The project is a visual narration of the conjunction of these two historical events that have uncanny reverberations in the present: the Versailles treaty has charted the path towards present-day geopolitical crises, and the Spanish flu can be seen as a prelude to the COVID pandemic and its response.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"192-201"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49631790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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