Irena Knezevic (born Serbia, 1982) is an artist who works in various media, including prints, ceramics, sculpture, video, music, and architecture. Her work often addresses issues related to the political and cultural history of her native Serbia. She was a student organizer who helped organize protests against Slobodan Milosevic’s government before moving to Chicago in 2000, where she studied at Columbia College, the University of Chicago, and the University of Illinois at Chicago (MFA, 2007). Knezevic is currently an assistant professor at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis and researches at the Kemper Art Museum...
In late June 2012, Larissa Babij met with Bjorn Geldhof to talk about his work at the PinchukArtCentre; his views on Ukrainian contemporary artists and the local art audience; and the political implications of artistic practice in the current political climate.
Since he began working at the PinchukArtCentre in 2009, artistic manager and curator Bjorn Geldhof's curatorial intelligence has caught the attention of local artists and viewers. ...
Marge Monko (born 1976) is an artist living and working in Tallinn, Estonia. She studied at the Estonian Academy of Arts (MA in Photography, 2008) and at the University of Applied Arts in Vienna. Monko's main mediums are photography and video. She has examined psychoanalysis and its impact on gender representation in visual culture. Recently she has been focusing on gendered work in the context of paradigmatic changes in labour policies.
Articles: Luis Castañeda (Syracuse) on conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. Chelsea Foxwell (Chicago) reconsiders the uses of nihonga in contemporary Japanese art.
In the Document section, we present a previously untranslated section from S.R. Choucair's seminal text "How the Arab Understood Visual Art," a quasi-manifesto for modernist art in the Arab world (introduction and translation, Kirsten Scheid). FREE ACCESS.
Two independent outlets, in separate media, of one and the same publication.
PRINT: Contemporary art in a global context
Published triquarterly by the MIT Press, ARTMargins provides a forum for the discussion of postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history.
Founded in 1999, ARTMargins Online publishes articles, interviews, essays, and reviews devoted to contemporary art. Unlike ARTMargins (print), ARTMargins Online has traditionally had a regional focus, central and Eastern Europe.