Jennie Waldow is a PhD candidate in Art History at Stanford University, where she studies postwar American art with a focus on 1960s and 1970s Conceptualism.
Intermedia, Fluxus, and the Something Else Press: Selected Writings by Dick HigginsBy Jennie Waldow
In a remembrance in PAJ: A Journal of Performance and Art, Richard Kostelanetz described his fellow artist Dick Higgins as a prolific, unlimited source of creative production: “One principle clear to him from the beginning was that there should be no limits upon a creative person’s activities […] Richard C. Higgins was really at least three people in one big body.”
Christopher Howard's The Jean Freeman Gallery Does Not ExistBy Jennie Waldow
Between Summer 1970 and Spring 1971, advertisements appeared in Artforum, Art in America, Arts Magazine, ARTnews, and Avalanche touting exhibitions at the Jean Freeman Gallery in New York.
John Stezaker: LoveBy Jennie Waldow
The collages and silkscreens of John Stezaker contain stutters and elisions, gaps and coverings that pull viewers into an act of empathetic engagement, as the artist said in a 2011 interview included in the catalogue for his retrospective at the Whitechapel Gallery.
Aaron Schuman's SLANTBy Jennie Waldow
SLANT, published by MACK, alternates between police blotter excerpts from the Amherst Bulletin and black-and-white photographs taken by Schuman within a thirty-mile radius of the town.
Esopus's Modern ArtifactsBy Jennie Waldow
The new book collects the illustrated features dedicated to the Museum of Modern Arts archive and combines them with six freshly commissioned artists projects, a foreword by journal editor Tod Lippy, and an introduction by MoMA chief of archives Michelle Elligott. The documents reproduced testify to the erasures, misfires, pivots, and gambles, ingrained in the museums history, but kept locked away in its archive.
Jim Jarmusch’s Some CollagesBy Jennie Waldow
The seams of the transposition show: colors dont match, resolutions are out of whack, and scale is distorted, imparting a cartoon-like sense of textured unreality. The tactics create fresh narratives out of overdetermined symbols, personae, and visual paradigms.
Zoe Leonard’s Al río / To the RiverBy Jennie Waldow
The publication’s release coincides with Leonard’s 2022 exhibition of the series at Mudam Luxembourg and the Musée d’Art Moderne de Paris, but it stands alone as a unique, multi-voiced analysis of the US-Mexico border, thanks to its intelligent and thoughtful two-volume format. The images and texts are richly complementary, together forming a complex portrait of the river as both physical and symbolic terrain.
Lampo FolioBy Jennie Waldow
These scores expand the parameters of the format to incorporate visual elements, lengthy texts, and the paper containing the instructions itself, resulting in scores of great sensitivity and imagination. One method of complicating the event score was to imagine enactors of the scores performing simultaneously, though they would be invisible to one another in their isolated spaces.
Dara Birnbaum’s Note(s): Work(ing) Process(es) Re: Concerns (That Take On/Deal With)By Jennie Waldow
Materially detached from Birnbaums finished products, her working documents chart the theoretical motivations behind each piece, along with the novel technical solutions she devised to translate thorny concepts into external space. While this is not a publication for the casual reader, its complexity and resolute physical presence dovetail with the concerns of Birnbaums body of work, linking means and ends.
Dick Higgins’s A Something Else ReaderBy Jennie Waldow
The Reader models how contemporary artists and publishers can build on and subvert the communicative forms of the recent past. It collects excerpts from the multifarious output of its namesake press: event scores, concrete poetry, conceptual collages, philosophical essays, and reprints of classic modernist publications.
Brick Press’s N.E. Thing Co.: Companies ActBy Jennie Waldow
A reinterpreted facsimile of a 1978 book project by the N.E. Thing Co., a corporation that served as the umbrella for the activities of the Vancouver-based artists Iain and Ingrid Baxter, is a fascinating hybrid that succeeds as an informational compendium, a reinterpreted facsimile, and an artistic project in its own right.