In the late 1970s and early 80s, artist’s books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist’s book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch … Read more

In May 1970, Rasheed Araeen’s work “8bS” appeared in Manufactured Art, a group exhibition dedicated to artistic engagements with industrial processes and advanced technology. Araeen’s contribution, like many of his 1960–70s works, comprised lattice-like structures that engaged forms and techniques common to his professional training as a civil engineer. Like the Minimalist object, “8bS” deployed the grammar of productive techniques to structure artistic form, breaking with the compositional principles of formalist modernism and moving towards art beyond objecthood. Yet Araeen’s contribution to Manufactured Art suggests that Araeen’s structures also avoided the limitations of the Minimalist object’s negative mimesis of technological … Read more

This article examines how contemporary artists from the Western Balkans have sought to engage with the legacy of ethnonationalist violence. While attempts to examine and openly discuss war crimes that occurred in this region during the 1990s have largely been undermined by populist politics in successor states, the domain of art has provided a critical platform for disrupting the official erasure of these atrocities. This investigation focuses on the Four Faces of Omarska art collective, whose members examine the war crimes that occurred following the break-up of socialist Yugoslavia by studying the transformation of the Omarska site in north-western Bosnia … Read more

Household casebearers are a genus of moths primarily distinguished by the spindle-shaped cases they carry and live in throughout their larval life. The cases, woven from household dust, typically comprise an array of materials from textile fibers to dead insect parts. As they thrive in domestic spaces in tropical climates, they are commonly viewed as a domestic pest. Anthropocentrism as such has led to a fundamental imbalance of knowledge concerning these creatures: we are more knowledgeable in their capacity for damage than we are in understanding how they live, even as we cohabit with them very closely, at home. In … Read more

In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion’s emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses … Read more

When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the tendency to dismiss the postcolonial, or announce its demise, by claiming it has been superseded by other paradigms, namely the global and the decolonial. This introductory essay, and its accompanying special issue of ARTMargins, seeks to trace the postcolonial, global, and decolonial as … Read more

In the days before the arrival of the internet, Western art history education in Pakistan was mostly disseminated through black and white photocopies of original publications. The glossy pages of art books were transformed into rough copies in varying shades of gray. Rather than understanding this as a disadvantage, I propose, conversely, that this practice constituted a form of radical piracy—the blurred, partial and often completely indecipherable nature of this material proved to be, in fact, a kind of liberation.

ARTMargins, Volume 12, Issue 2, pp. 95-105.

doi:10.1162/artm_a_00353

https://direct.mit.edu/artm/article/12/2/95/116483/Color-Charts

What does it mean to see Third World “development” as a problem of untapped creativity? This paper argues that quick celebrations of ingenuity across the world has been part of a new mode securing expertise and legitimizing intervention that emerges after the Second World War. Propelled by architects and planners, this mode bypasses the quantitative and historical questions of colonial drain and global financial regimes to project qualitative “patterns” across the Third World as a source of immanent and self-generative change.

ARTMargins, Volume 12, Issue 2, pp. 43-57.

doi:10.1162/artm_a_00351

https://direct.mit.edu/artm/article/12/2/43/116482/Counting-Quality-Seeing-Patterns

In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe’s Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge the exoticist and primitivizing tropes that, in Europe, have characterized the representation of im/migrant presences at least since the official colonial period. Among the most conspicuous and intractable of these tropes have been those connected with … Read more

This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos’s work, I propose a shift in the discourse on global contemporary art, from postcolonial figures of the oriental, the subaltern and the hybrid to strategies of representation such as transformation, ambiguity and queering – a shift intended to foster alliances amongst members of BIPOC communities, against the divisive politics of settler … Read more