Issue 6 (2018)
Curated by Holly Coulis
20 featured artists, 3 Artist-Run features and full-length interviews
Full color throughout. 80 pages.
Maake talks with painter Joy Garnett about her process, myriad source imagery, and her visceral relationship to color. Full interview online, link in profile! Issue 6 was curated by Holly Coulis. Interview Questions by Beatrice Helman
The Nuclear Culture Source Book
The Nuclear Culture Source Book is a resource and introduction to nuclear culture, one of the most urgent themes within contemporary art and society, charting the ways in which art and philosophy contribute to a cultural understanding of the nuclear. The book brings together contemporary art and ideas investigating the nuclear Anthropocene, nuclear sites and materiality, along with important questions of radiological inheritance, nuclear modernity and the philosophical concept of radiation as a hyperobject.
Contributing writers: Peter C van Wyck; Gabrielle Hecht; Timothy Morton; Jahnavi Phalkey; Noi Sawaragi; Eiko Honda; Susan Schuppli; Victor Gama; and Nicola Triscott.
Contributing artists: James Acord; Shuji Akagi; Lise Autogena and Joshua Portway; Erich Berger; Chim↑Pom; Thomson & Craighead; Nick Crowe and Ian Rawlinson; Gair Dunlop; emptyset; Merilyn Fairskye; Nina Fischer and Maroan el Sani; Victor Gama; Joy Garnett; Giuliano Garonzi; Grand Guignol Mirai; Dave Griffiths; Annie Grove-White; Helen Grove-White; Isao Hashimoto; Hilda Hellström; Cornelia Hesse-Honegger; Hollington and Kyprianou; Martin Howse; Pierre Huyghe; Ai Ikeda; Robert Jacobs and Mick Broderick; Miyamoto Katsuhiro; Yoi Kawakubo; Bridget Kennedy; Yves Klein; Erika Kobayashi; Karen Kramer; Sandra Lahire; Jessica Lloyd-Jones; Veronika Lukasova; David Mabb; Cécile Massart; Eva and Franco Mattes; William Morris; Yoshinori Niwa; Takashi Noguchi; Chris Oakley; Uriel Orlow; Trevor Paglen; Yelena Popova; Monica Ross; Susan Schuppli; Taryn Simon; smudge studio; Isabella Streffen; Shimpei Takeda; Nobuaki Takekawa; Kota Takeuchi; Mika Taanila and Jussi Erola; Robin Tarbet; Suzanne Treister; Alana Tyson; Mark Aerial Waller; Andy Weir; Jane and Louise Wilson; Louise K Wilson; and Ken + Julia Yonetani.
UK Sep 16 | US/CAN Oct 16
25 cm x 18 cm, 208 pages
Joy Garnett: Ends of the Earth
Essay: Deborah Frizzell
52 pages; full color illus.
(17.5 x 15 cm/ 6 x 7 inches)
Slag Gallery, NY
Download: EOE catalogue essay [PDF]
Garnett’s paintings dwell on scenes that cannot be observed with the naked eye: overlooked edges of unknown landscapes in moments that resemble twilight, the interval between night and day that is paradoxically both and neither. Her source material, found images drawn from surveillance footage and night vision photographs, reveals our contemporary condition of watching and being watched. Her painted landscapes invite a contemplative gaze as they conjure an atmosphere of a world half-asleep but waking and on the cusp of something new.
published on the occasion of
JOY GARNETT Ends of the Earth
March 25 – April 24, 2016
56 Bogart Street
The Tool at Hand
Milwaukee, Wis. – In March of 2011, the Chipstone Foundation invited sixteen established artists from Britain and America to participate in an unusual experiment: each artist was asked to lay aside his or her standard tool kit and craft a work of art with one tool alone. The Tool at Hand showcased these works, the tools that crafted them, and short, explanatory videos produced by each artist, in the Milwaukee Art Museum’s Decorative Arts Gallery, December 8, 2011–April 1, 2012. Exhibition schedule: Milwaukee Art Museum (Dec 8 2011-Apr 1 2012); Philadelphia Art Alliance (Feb 1-Apr 28, 2013); Houston Center for Contemporary Craft (May 31-Sept 8, 2013); Museum of Contemporary Craft Portland (October 3, 2013-January 11, 2014).
Garnett, Joy, and Tom McGlynn. Unmonumental: 2008-2013. New York, first pulse projects, inc., 2013. http://unmonumental.org Book produced In conjunction with Memphis Social. Download: Unmonumental [PDF] / Purchase: Hardcover
Read the 2nd edition at issuu. It includes new images and text, and the original essay by Tom McGlynn (~ 54 pages):
Download unmonumental_2016 2nd edition [PDF]
Memphis Social, (May 10-18, 2013), an apexart exhibition curated by Tom McGlynn (Beautiful Fields collective) is an exhibition and performance event that hopes to broaden the definitions of a socially engaged art happening. Memphis is a place that becomes universal in its specifics. The wider world knows the importance of Memphis as the birthplace of the Blues, yet, locally the blues still live there. It’s being the location of Martin Luther King’s assassination is important to the wider public, but, locally, the struggle for racial and class equality still continues. On view at multiple sites in Memphis, Tennessee: The Hyde Gallery at the Memphis College of Art, The Cotton Museum, Marshall Arts, Crosstown Arts, and Caritas Village Community Center.
National Academy of Sciences (U.S.), J. D. Talasek, Alana Quinn, and Lee Boot. Convergence: The Art Collection of the National Academy of Sciences. Washington, DC: National Academy of Sciences, 2012. Online version. “Strange Weather: Joy Garnett and the Tradition of Landscape Painting,” by Lucy R. Lippard. Download: catalogue essay [PDF]
The National Academy of Sciences has been collecting and exhibiting diverse works of art since 1924, when its landmark building opened on the National Mall in Washington. Convergence: The Art Collection of the National Academy of Sciences presents for the first time a significant portion of that collection, including historic pieces by John James Audubon, Harry Bertoia, Hildreth Meière, and J.P. Wilson as well as contemporary works by Mia Brownell, Joy Garnett, Jill Greenberg, David Maisel, Vik Muniz, and many others. Convergence is the first publication to present the Academy’s historic and prescient holdings. No other force has had greater impact on contemporary culture than advancements in science and technology, providing rich terrain for artists to explore and investigate. The Academy’s growing collection encompasses painting, prints, sculpture, photography, and architecture (in the form of its newly restored historic building). Convergence includes essays by E. O. Wilson, Roald Hoffmann, Anne Collins Goodyear, Andrew Solomon, and Lucy R. Lippard, who help to connect the dots between the emerging and increasingly influential intersections of visual culture and science.
An Exchange With Sol LeWitt
MASS MoCA: January 22-March 31, 2011; Cabinet , Brooklyn, NY: January 20–March 5, 2011. Press release: LeWitt_PRFor LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. The story of Sol LeWitt’s exchanges with other artists is by now widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life. Such exchanges were not limited to the well-known artists that were his peers; he consistently traded works with admirers whom he did not know at all, with admirers who had sent their work to him, as well as amateur artists with whom he interacted in his daily life. He responded to these by sending a piece of his work for every work he received—fostering an ongoing form of artistic communion and, in some cases, a source of support and patronage through the gift. The Sol LeWitt Private Collection retains evidence from most of these gifted exchanges.
Keely Orgeman. Atomic Afterimage: Cold War Imagery in Contemporary Art. Boston, MA: Boston University Art Gallery, 2008. Download essay: catalogue [PDF]
Atomic Afterimage: Cold War Imagery in Contemporary Art. September 5–November 8, 2008. The exhibition includes works that incorporate declassified reports, and conceptual pieces based on still-classified material. The artists in the show address complex themes ranging from government pro-nuclear propaganda to the power of “sublimely beautiful” nuclear images to distill fear about dangers posed by nuclear testing. Participating artists: Michael Anastassiades, Bruce Conner, Anthony Dunne, Joy Garnett, Vincent Johnson, Michael Light, Robert Longo, Richard Misrach, Trevor Paglen, and Fiona Raby. Installation shots
Art Gallery of the Graduate Center, City University of New York, and Whitney Museum of American Art. Image War: Contesting Images of Political Conflict. New York City: Art Gallery of the Graduate Center, the City University of New York, 2006. Download catalogue essay: Godsill-ImageWar [PDF]
IMAGE WAR Contesting Images of Political Conflict examines recent artistic practices that explore media representations of war and conflict. May 19 -June 25, 2006. Organized by the 2005-06 fellows of the Whitney Independent Study Program: Benjamin Godsill, Stamatina Gregory, Katy Rogers, Susanne Ø. Sæther. The Art Gallery of the Graduate Center, The City University of New York, 365 Fifth Ave @ 34th St. Download: isp-exhibitionrelease [PDF] Participating artists: Willie Doherty, Claire Fontaine, Coco Fusco, Rainer Ganahl, Joy Garnett, Johan Grimonprez, Jon Haddock, Amar Kanwar, An-My Le, Din Q. Lê, Radical Software Group (RSG), Tamiko Thiel and Zara Houshmand. IMAGE WAR brings together artistic responses to the mediation of images of war and conflict in our current digitized media culture. It focuses on strategies of appropriation of mass-disseminated images of conflict, many of which have received an iconic status due to the mass media’s extreme packaging and filtration of images since the first Gulf War. The works in Image War remix, transform, or mimic images from the Vietnam War, the Iraq War, the U.S. internment of Japanese-Americans, hijackings, popular uprisings, recent American military interventions, and other violent political events.
curated by Joy Garnett
Night Vision presents artists who are influenced by technologies developed by the military, government intelligence agencies, and NASA for use in research, surveillance and combat. The title of the exhibition is taken from the high-tech optical apparatus used in nocturnal military operations, whose green glow has become familiar to television viewers. Some of the artists in this exhibition co-opt these technological advancements while others examine public perception of them as revealed by film, television and news media in order to explore the various murky implications surrounding their uses.
Originated: Illinois State University Galleries (2002)
White Columns, New York (2002)
Central Michigan University Art Gallery (2003)
The catalogue for an exhibition of Joy Garnett’s rocket and projectile-based paintings. Artwork by Garnett; catalogue essays by Bruce Sterling and Manuel DeLanda. Staple-bound, stiff wraps; 20 pages; color reproductions throughout; 8.5 x 6 inches. Sources, author biographies.
Paperback: 20 pages
Publisher: Debs & Co. (2001)
Package Dimensions: 8.5 x 6 x 0.3 inches
Shipping Weight: 6.1 ounces
May 6th – June 5th, 1999
Debs & Co.
525 West 26th Street
New York, NY 10001
Review by Tim Griffin
TimeOut, Issue No. 193, June 3-10, 1999
How many atomic bombs did the U.S. explode between the years 1945 and 1963? Twenty? Fifty? One hundred maybe? Try 354, detonated above ground, under sea and even in midair, where high-ocean or desert breezes could keep their radioactive particles aloft for hours. Painter Joy Garnett took these tests as her subject when she discovered a cache of photos of the blasts on the Web–many of which had only recently become available through the Freedom of Information Act. Some of these images are official government records; others are snapshots by soldiers who were fatefully exposed to the experiments at close range. Garnett’s interest has its deepest roots in the latter: Many of the G.I.’s said that the towering atomic mushrooms were the most beautiful things they’d ever seen.
It’s in this paradoxical realm of terrible beauty that the canvases are most engaging, tying together the histories of the bomb and American landscape painting…