- Edge, Nina,
'Eight Ways to Speak', n34, Spring 1996, 103-7: review of performance
and installation by British Asian artists Oudit, Zaidi and associates
- Editorial,
'Cultural Identity: Whose Problem', n18, Spring 1992, 3-5: intro to
special bilingual issue, also in Dutch
- Editorial,
'Editorial', n20, Autumn 1992, 3-4: intro to bilingual English/ Spanish
issue from Havana Biennial
- Editorial,
'Editorial', n24, Autumn 1993, 3-4: on violence
- Editorial,
'Editorial Note', n2, Winter 1987/88, 3-4: call for contributions,
especially in reviewing history.
- Editorial,
'Why Third Text', n1, Autum 1987, 3-5: founding statement of the journal
- Edwards, Susan
E, 'Photography and the Representation of the Other: A Discussion
Inspired by the Work of Sebastiao Salgado', n16/17, Autumn/Winter
1991, 157-172: the possibility for radical documentary in work of
Brazilian photographer
- Egerer, Claudia,
'Ambivalent Geographies: The Exotic as Domesticated Other', n.55,
Summer 2001, 15-28: theoretical essay
- Ekpo, Denis,
'How Africa Misunderstood the West: The Failure of Anti-West Radicalism
and Postmodernity', n35, Summer 1996, 3-13: postmodern anticolonialism
as response to the collapse of both Marxist and conservative Afrocentrism
- Enwezor, Okwui,
'The Body In Question: Whose Body?', n31, Summer 1995, 67-70: review
of 'Black male: Representations of Masculinity in Contemporary American
Art'
- Enwezor, Okwui,
'Social Grace: The Work of Lorna Simpson', n35, Summer 1996, 43-58:
phototext and installation work of African American woman artist
- Enwezor, Okwui,
'Reframing the Black Subject: Ideology and Fantasy in Contemporary
South African Representation', n40, Autumn 1997, 21-40: critical overview
- Escobar, Elizam,
'The Fear and Tremor of Being Understood: The Recent Work of Bertha
Husband', n3/4, Spring/Summer 1988,119-141: art and politics in painting
by Scottish lesbian artist working in the US
- Escobar, Ticio,
'Identity and Myth Today', n20, Autumn 1992, 23-32: Paraguayan critic
on identity and Latin America; also in Spanish
- Faber, Paul,
'Double Dutch', n18, Spring 1992, 127-141: review of installation
exhibition by artists working in pairs across cultural identity borders;
also in Dutch
- Fallon, Kathleen
Mary, 'A Closelook at Cloudstreet', n.53, Autumn 2000, 69-76:
Australian play by Nick Enright and Justin Monjo from the novel by
Tim Winton on aboriginal reconciliation
- Feldman, Melissa,
'Matters of Fact: NewConceptualism in Scotland', n37, Winter 1996-7,
75-84: including Callum Innes, Christine Borland, Douglas Gordon and
Simon Starling
- Fernández,
María, 'Postcolonial Media Theory', n47,
Summer 1999, 11-17: exploration of the gap between media and postcolonial
theories
- Fernando, Tanya,
'The Distance from "Primitivism"', n49, Winter 1999-2000, 73-82: comparison
of major exhibitions of African traditional art ten years apart.
- Figueiredo,
Luciano, 'The Other Malady', n28/9, Autumn/Winter 1994, 105-116: on
the posthumous reception of Brazilian artist Helio Oiticica
- Figueroa, Eugenio
Valdes, 'Africa: Art and Hunger - A Critique of the Myth of Authenticity',
n31, Summer 1995, 3-8: historical conditions of the market in African
art
- Fijalkowski,
Krzysztof and Michael Richardson, 'Years of Long Days: Surrealism
in Czechoslovakia', n36, Autumn 1996, 15-28: surveys the period from
1920 to the present
- Finci, Predrag,
'Refugee Blues', n30, Spring 1995, 47-52: Bosnian view on refugees
- Finci, Predrag,
'The Work of Art in the Time of War Destruction', n24, Autumn 1993,
5-12: the difficulty of making art in the Balkans
- Firstenberg,
Lauri, 'A Stylist of Subjectivities: Interface in the Photography
of Iké Udé', n46, Spring 1999, 53-60: work of the African
American photographer
- Fisher, Jean,
'Body Politics: Editorial Note', n12, Autumn 1990, 3-4: intro to special
issue
- Fisher, Jean,
'Dancing with Words and Speaking with Forked Tongues', n14, Spring
1991, 26-41: Native American perspectives on the film 'Dances with
Wolves'
- Fisher, Jean,
'Editorial', n8/9, Autumn/Winter 1989, 3-4: introduction to special
issue on The Other Story, Afro Asian Artists in Postwar Britain
- Fisher, Jean,
'Editorial: Some Thoughts on "Contaminations"', n32, Autumn 1995,
3-7: introduction to special issue critiquing hybridity and syncretism
- Fisher, Jean,
'The Health of the People is the Highest Law', n2, Winter 187/88,
63-75: Native American installation art show in Alberta reviewed in
light of Derrida on Law: references Alan Michelson, Jimmie Durham
and Edgar Heap of Birds
- Fisher, Jean,
'Other Cartographies' n6, Spring 1989, 78-82: the Native American
trickster, personnified in Gerald Vizenor's film 'Harold of Orange',
offers a critique of homogenisation of cultures in Magiciens de la
terre.
- Fisher, Jean,
'The Savage Gift: Jimmie Durham's "Ama"', n21, Winter 1992/93, 25-28:
installation by Native American artist
- Fisher, Jean,
'Adrian Piper: Out of Order, Out of Sight', n38, Spring 1997,
108-9: rveiew of collected writings (MIT Press) by African American
woman mixed media artist
- Fisher, Jean,
'Everlyn Nicodemus: Between Silence and Laughter', n40, Autumn 1997,
41-53: the work of Tanzanian belgian woman artist
- Fisher, Tony,
'Isaac Julien: Looking for Langston - Montage of a Dream Deferred',
n12, Autumn 1990, 59-70: account of the film about African American
Harlem poet Langston Hughes, with an interview with the director on
Black homosexuality and film
- Fouser, Robert
J., 'Duck-Hyun Cho and the Art of "Memories"', n33, Winter 1995-6,
73-84: woks on the history of colonialism by South Korean artist
- Francis, Jacqueline,
'Bill Gaskins: Good and Bad Hair', n44, Autumn 1998, 106-8: on the
African American photographer
- Frank, Patrick,
'Los Artistas del Pueblo and the Beginnings of Latin American
Social Realism', n.53, Autumn 2000, 55-68: history of committted art
in Agentina from 1918
- Freire, Cristina,
'Focusing Symbolic Territories', n35, Summer 1996, 89-91: review of
'Novas Tavessias: New Directions in Brazilian Photography'
- Freire, Cristina,
'The 23rd Sao Paolo International Biennial: Dematerialisation and
Contextualisation', n38, Spring 1997, 95-8: review
- Frowein, Cordula,
'German Artists in War-Time Britain', n15, Summer 1991, 47-56: political
intrigue and censorship in art institutions
- Fusco, Coco,
'The Border Art Workshop/ Taller de Arte Fronterizo: Interview with
Guillermo Gomez-Pena and Emily Hicks' n7, Summer 1989, 53-76: on the
group of Mexican, Chicano and Anglo American performance and mixed
media artists working across the US Mexico border
- Fusco, Coco,
'El Diario de Miranda', n20, Autumn 1992, 133-144: diary about politics
of curation of show of Cuban artists
- Fusco, Coco,
'Sublime Abjection: An Interview with Andres Serrano', n16/17, Autumn/Winter
1991, 173-187: Catholicism, censorship and work of Hispanic American
of Cuban and Honduran descent
- Fusco, Coco,
'Uncanny Dissonance: The Work of Lorna Simpson', n22, Spring 1993,
27-31: on photo-text works by African American woman
- Gagnon, Monika,
'Al Fannanah 'l Rassamah: The Work of Jamelie Hassan', n7, Summer
1989, 23-32: video and installation works by Lebanese canadian woman
artist as critique of orientalism
- Gal, Meir and
Gadi Gofbarg, 'The Flying Donkey of the Messiah: The Hierarchies of
Suffering in the Promised Land', n36, Autumn 1996, 55-64: analysis
of Zionism's effects on Asiatic Jews and Palestinians in Israel by
Israeli American artists
- Garcia-Anton,
Katya, 'DAK'ART 98', n44, Autumn 1998, 87-92: on the 3rd dakar biennial
- Garfield, Rachel,
'Ali G: Just Who Does he Think He Is?', n54, Spring 2001, 63-70, Britrish
Jewish comedian and the blackface tradition
- Garfield, Rachel,
'Ali G: A Response to Ali Nobil Ahmad' n57, Winter 2001-02, 87-89;
auhtor of essay in n54 responds to critique in n56
- Gbadamosi, Raimi,
'Ignatius Sancho: An African man of Letters', n40, Autumn 1997, 103-5:review
of exhibition on the life of 18th century writer and artist
- Gbadamosi,
Raimi, 'Am I Black Enough?', n44, Autumn 1998, 69-78: the question
of 'black', critique of 'white' and the role of the artist.
- Gaywood, James,
'"yBa" as Critique: The Socio-Political Inferences of Mediated Identity
in Recent British Art', n40, Autumn 1997, 3-12: epistemological analysis
of 'young British artists' movement
- Geiger, Jeffrey,
'The Camera and Man: Colonialism, Masculinity and Documentary Fiction',
n42, Spring 1998, 3-17; comparison of two ethnographic films, Jean
Rouche's Moi, Un Noir and Denis O'Rourke's The Good Woman
of Bangcock
- Genocchio,
Benjamin, 'The Subject of Rape', n33, Winter 1995-6, 98-100: "Motel
Vilina Vlas" exhibit by Italian Australian artist on Bosnian rape
camps
- Genocchio,
Benjamin, 'Postcards from the Edge', n39, Summer 1997, 59-66:on the
installation 'Edge of the Trees' by Australian artists Fiona Foley
and Janet Laurennce concerning first contact with Europeans
- Genocchio,
Benjamin and Melissa Chiu, 'Silencing Sexuality: The Art of Truong
Tan', n37, Winter 1996-7, 85-90: institutional and censorship issues
in the career of Vietnamese artist
- Gennocchio,
Benjamin, 'The Discourse of Difference: Writing "Latin American" Art',
n43, Summer 1998, 3-12: insitutional racism in contemporary art
- Genocchio,
Benjamin, 'everyday: The Biennale of Sydney 1998', n45, Winter 1998-99,
81-84: review of controversial biennial
- Genocchio,
Benjamin, 'Antidote to Oblivion: Popular Memory in the Work of Juan
Sánchez', n49, Winter 1999-2000, 41-50: on the USartist of
Afro-Puerto Rican descent
- Geoffrey, Iqbal,
'The Odder Storey: AesthETHICS through a Neovocabulary in Nine Mini-Essays',
n8/9, Autumn/Winter 1989, 107-112: poetic and humourous account of
Muslim and Western interface by the Pakistani painter
- Gevers, Ine,
'Cultural Identity: Fiction or Necessity', n18, Spring 1992, 7-13:
the Dutch context; also in Dutch
- Gertsakis,
Elizabeth, 'A Glamourous Private History', n19, Summer 1992, 49-56:
Greek Australian artist's account of identity in autobiographical
photography installation
- Gibson, Ann
Eden, 'Diaspora and Ritual: Norman L:ewis's Civil Rights Paintings',
n45, Winter 1998-99, 29-44: on the African American Abstract Expressionist
- Gilroy, Paul,
'After the Love has Gone: Bio-politics and Etho-poetics in the Black
Public Sphere', n28/9, Autumn/Winter 1994, 25-45: ethical and political
issues in analysis of popular culture
- Gilroy, Paul,
'Art of Darkness: Black Art and hre Problem of Belonging to England',
n10, Spring 1990, 45-52: the dangers of 'two mutually opposed definitions
of cultural nationalism: one white, one black'
- Gilroy, Paul,
'Cruciality and the Frog's Perspective: An Agenda of Difficulties
for the Black Arts Movement in Britain', n5, Winter 1988/89, 33-44:
a celebration of difference within Black British art, and critique
of ethnic identity and postmodernism.
- Gilroy, Paul,
'It Ain't Where You're From, It's Where You're At . . . The Dialectics
of Diasporan Identification', n13, Winter 1990/91, 3-16: questioning
the concept of resistance in the context of diasporan music
- Gilroy, Paul:
see also Smith, Marquard, 'On the State of Cultural Studies: An Interview
with Paul Gilroy', n49, Winter 1999-2000, 15-26: discussion with Black
British cultural studies scholar
- Giroux, Henry
A, 'Private Satisfactions and Public Disorders: Fight Club,
Patriarchy and the Politics of Masculine Violence', n.53, Autumn,
2000, 31-41: on the American film
- Gioni, Massimiliano,
'An Interview with Olu Oguibe', n47,
Summer 1999, 51-57: the editor of Italian Flash Art interviews the
inventor of the term Digital Third Worlds.
- Goldman, Shifra
M., 'How Latin American Artists in the US View Art, Politics and Ethnicity
in a Supposedly Multicultural World', n16/17, Autumn/Winter 1991,
188-192: multiculturalism in the US
- Goldman, Shifra
M., 'Metropolitan Splendors: The Buying and Selling of Mexico', n14,
Spring 1991, 17-26: Mexico as a work of art in the context of tourism
and colonialism
- Gomez-Pena,
Guillermo, 'A Binational Performance Pilgrimage', n19, Summer 1992,
64-78: diary of performance and installations by Mexican American
artist
- Gomez-Pena,
Guillermo, 'Marcos: The Subcommandante of Performance', n28/9, Autumn/Winter
1994, 100-104: cultural politics and the Zapatista uprisings in Mexico
- Gomez-Pena,
Guillermo, 'The New World (B)order: A Work in Progress', n21, Winter
1992/93, 71-79: texts from mixed media and performance work by Mexican
American artist
- Gooding, Mel,
'Grace Abounding: Bowling's Progress', n31, Summer 1995, 37-46: on
the Black British painter Frank Bowling
- Gott, Richard,
'"Our FinanciAl Times": An Exhibition by Peter Kennard and Ken Livingstone',
n30, Spring 1995, 107-111: installation by British photo-montage artist
and politician
- Goulart, Claudio,
'Postcards on the Road', n18, Spring 1992, 65-83: documentation of
performance by Brazilian artist working in Holland; also in Dutch
- Gray, Nicola,
'Conversation with Guillermo Kuitca', n31, Summer 1995, 31-36: interview
with Argentinian installation artist and painter
- Gray, Nicola,
'Interferences', n34, Spring 1996, 89-93: review of show by 3 British
and 3 New York women artists
- Gray, Nicola,
'Elisions: A Report on the 11th BiennialConference of the Native American
Art Studies Association, Berekeley, California', n42, Spring 1998.
- Gray, Nicola,
'Excellente: Hybridity and Travel in Art from Mexico City and Beyond;
El Super Show de Puro Pop: Television from Greater Mexico', n45, Winter
1998-99, 90-4: San Francisco shows of Mexican and Border arts
- Gray, Nicola,
'Reverberations: Tactics of Resistance; Forms of Agency in Trans/Cultural
Practices', n46, Spring 1999, 108-110: report on the Maastricht symposium.
- Gregory, Stephen,
'John Berger and Subcommandante Marcos: Peasants, Parables and Politics',
n52, Autumn 2000, 3-10; constructions of the peasantry in European
and Mexican discourses
- Greitschus,
Jennifer, 'Tierra de tempestades: New Art from Guatemala, El Salvador
and Nicaragua', n30, Spring 1995, 79-84: review essay of group show
from Central America
- Grimshaw, Ann,
'Popular Democracy and the Creative Imagination: The Writings of C.L.R.
James, 1950-1963', n10, Spring 1990, 11-24: the Trindadian writer's
histical analysis of North American civilization pened the way to
'Beyond a Boundary'
- Guttsman, Willi,
The Influence and Failure of Weimar Radicalism in Emigre Art in Britain',
n15, Summer 1991, 39-46: German and British cultures in the 30s
- Guha, Tania,
'Andrea Fisher/Mona Hatoum', n24, Autumn 1993, 103-106: conceptual
installations reviewed
- Guha, Tania,
'Mrinalini Mukherjee', n28/9, Autumn/Winter 1994, 165-8: review of
the Indian woman sculptor
- Guha, Tania,
'Transition of Riches', n25, Winter 1993-94, 81-86: review of group
show of British Asian artists
- Guha, Tania,
'Yinka Shonibare: "Double Dutch"', n27, Summer 1994, 87-90: review
of painting / installation
- Hagiwara, Hiroko,
'Edgy Blues: Tam Joseph's "Great White" Paintings', n30, Spring 1995,
89-91: review of the Black British painter
- Hagiwara, Hiroko,
'Silenced by History: Taeko Tomiyama's "Harbin Station" series', n33,
Winter 1995-6, 67-72: on the Japanese woman artist )(see also Tomiyama)
- Hall, Stuart,
'Whose Heritage? Un-settling 'The Heritage', Re-imagining the Post-Nation',
n49, Winter 1999-2000, 3-14: Black British scholar on multiculturalism
and concepts of heritage
- Hall, Stuart,
'Constituting an Archive n54, Spring 2001, 89-92, the case for an
archive of Black British Art.
- Hanru, Hou,
'Bi-Biennial: The Venice Biennial and the Biennale de Lyon', n24,
Autumn 1993, 93-101: review article
- Hanru, Hou,
'The Impossible Formulation of the Informe: On "L'Informe: mode d'emploi"',
n37, Winter 1996-7, 91-3: review of Paris show curated by Yves-Alain
Bois and Rosalind Krauss
- Hanru, Hou,
'Towards an "Un-Unofficial Art": De-ideologisation of China's Contemporary
Art in the 1990s', n34, Spring 1996, 37-52: the intention to transcend
ideology and official/unofficial art in young Chinese artists
- Hanslot, Sehnaz
and Margherita Sprio,'Other than This: "An Economy of Signs" and "Fabled
Territories"', n13, Winter 1990/91, 48-56:review essay on two photographic
exhibitions of Indian and British Asian phtographers curated by Sunil
Gupta
- Harris, Michael
D., 'Ritual Bodies - Sexual Bodies: The Role and Representation of
the Body in African American Art', n12, Autumn 1990, 81-95; deals
especially with Nelson Stevens, Renee Stout and Ed Sorrells-Adewale
- Harris, Michael
D, 'Memories and memorabilia, art and identity: Is Aunt Jemima really
a Black Woman?', n44, Autumn 1998, 25-42: colecting and re-appropriating
racist memorabilia in African American art and culture
- Harris, Wilson,
'Excerpt from a Novel in Progress to be Called "Resurrection at Sorrow
Hill"', n19, Summer 1992, 25-29: allegory by Guyanese writer
- Harris, Wilson,
'In the Name of Liberty'', n10, Spring 1990, 6-15: an essay against
postmodernism drawing on Guyanese shamanism to argue that only Being
can give difference a meaning
- Harris, Wilson,
'Aubrey Williams', n34, Spring 1996, 79-82: appreciation of the Guyanese
painter
- Harting, Heike
and Tobias Dori[ng, 'Amphibian Hermaphrodites: A Dialogue with Marina
Warner and David Dabydean', n30, Spring 1995, 39-45: hybridity in
new writing
- Harvie, Stephanie,
'Aubrey Williams' "Cosmos Series"', n34, Spring 1996, 83-6: review
of exhibit by Guyanese painter
- Hasan, Rafeeq,
'Da-Sein in the Diaspora: Some Thoughts on British telephone cards',
n52 Autumn 2000, 79-82contradictions of ethnicity in the graphic design
of phone cards
- Hassan, Ihab,
'Counterpoints: Nationalism, Colonialism, Multiculturalism etc., in
Personal Perspective', n41, Winter 1997/98, 3-14: intellectual autobiography
of Egyptian critic
- Hassan, Ihab,
'Queries for Postcolonial Studies', n43, Summer 1998, 59-68: critical
speculations and a plea for spirit
- Hassan, Ihab,
'The Language of Trust: Bernard Smith, Global Antipodean' n56, Autumn
2001, 3-17; portrait of the Australian art historian
- Hatoum, Mona,
'Body and Text', n1, Autumn 1987, 26-33: photo text by Palestinian
artist based on her performance work
- Hegde, Sasheej,
'In-Difference Or a Preface to Culture Critique', n25, Winter 1993-94,
51-60: critical account of Ashish nandy's 'Intimate Enemy'
- Hill, Katie,
'Zhao Bandi: The Real and the Unreal', n40, Autumn 1997, 101-3: review
of performance sculpture by Chinese artist
- Hitchcock,
Peter, 'The Otheringof Cultural Studies', n25, Winter 1993-94, 11-20:
problems of rethinking the I/Other relation
- Hochberg, ~Gil,
'National Allegories and the Emergence of Female Voice in Moufida
Tlatli's Les silences du palais', n50, Spring 2000, 33-44:
account of the film set in pre and post-revolutionary Tunisia
- Holmes, Brian,
'Kosov@: Carnival in the Eye of the Storm', n.53, Autumn 2000, 93-6:
review fo group show on Balkans: (http://projects.pnca.edu/kosovo)
- Holt, John,
'Tampered Surface: Six artists from Pakistan', n36, Autumn 1996, 87-90:
review of touring exhibit
- Holt, John,
'The Subjective Image: "The Impossible Science of Being": Dialogues
between Anthropology and Photography', n37, Winter 1996-7, 104-106:
review
- Holt, John,
'Chila Kumari Burman: A Martial Artist Beyond Two Cultures', n41,
Winter 1997/98, 96-8: review of British Asian woman artist
- Holt, John,
'Anwar Jalal Shenza: A Search for the "Significant"', n42, Spring
1998, 104-8:retrospective of the Pakistani and British artist
- Horne, Stephen,
'Cildo meireles: The Gold Thread' n52, Autumn 2000, 31-44; impacts
of the Brazilian artist, especially the early work
- Hoorn, Jeanette,
'Captivity and Humanist Art History: The Case of Poedua', n42, Spring
1998, 47-56: history and critique of John Webber's 1777 painting of
the Tahitian woman taken captive by Captain Cook
- Horne, Stephen,
'Michel Fernandes: The Everyday Escapes', n41, Winter 1997/98, 43-52:
career overview of Trindad-born Canadian artist
- Horne, Stephen,
'The Fifth Istanbul Biennial: 'On Life, Beauty, Translations and Other
Diofficulties', n42, Spring 1998, 85-8
- Hourhane, Shelagh,
'Homeland and Foundland: The Sculpture of Avtarjeet Dhanjal', n8/9,
Autumn/Winter 1989, 165-172: account of the Indian sculptor's work
in Britain and Europe
- Hubbard, Sue,
'The Art of Saleem Arif', n27, Summer 1994, 37-44: account ofthe British
Indian artist
- Husband, Bertha,
'A Deep Sea Diver in the Phantom(ly) Country: Art and Politics of
Elizam Escobar', n3/4, Spring/Summer 1988, 105-118: on the painting
and writing of Puerto Rican artist and activist then imprisoned in
the US, with translations from his writings on art and a brief biography
- Hutchinson,
Elizabeth, 'Indigeneity and Sovereignty: The Work of Two early Twentieth
Century Native American Art Critics', n52 Autumn 2000, 21-30; on Charles
East,man of the Santee Sioux and Angel de Cora of the Winnebago in
the early 20th century
- Hylton, Richard,
'Phaophanit and Piper', n31, Summer 1995, 95-7: review of show pairing
Black British and Laotian British artists
- Hylton, Richard,
'Re-Framing Africa: Reading the Contemporary: African Art from
Theory to the Marketplace edited by Olu Oguibe and Okwui Enwezor',
n50, Spring 2000, 122-4: critical reading of major anthology
- Hylton, Richard,
'Yinka Shonibare: Dressing Down', n46, Spring 1999, 101-103: critical
review of photographic exhibit by British African artist
- Ilona, Anthony,
'Olu Oguibe: Recent Works Guha, Tania, 'Transition of Riches', n25,
Winter 1993-94, 81-86: review 87-89: paintings by Nigerian artist,
curator and poet.
- Inaga, Shigemi,
'To Be a Japanese Artist in the So-Called Postmodern Era', n33, Winter
1995-6, 17-24: Toshimitsu Imai, Yayoi Kusama and Yasumasa Morimura
in their context
- Inayatullah,
Sohail, 'Understanding the Postmodern World: Why Khomeini Wants Rushdie
Dead' n11, Summer 1990, 91-98: deconstructive analysis of reality
construction in Rushdie and Islam
- Irvine, Jaki,
'Zarina Bhimji: "I Will Always be Here"', n22, Spring 1993, 106-110:
review of installation by British Asian woman artist
- Irvine, Jaki,
'Rita Donagh', n31, Summer 1995, 73-6: review of new paintings by
Irish woman artist
- Irvine, Jaki,
'Jimmie Durham: Original Re-Runs', n28/9, Autumn/Winter 1994, 179-184:
review of native American Cherokee artist
- Irvine, Jaki,
'Mise en Scene', n30, Spring 1995, 101-106: review of phtographic
and film exhibit of works by Tacita Dean, Claude Cahun and Virginia
Nimarcoh
- Irvine, Jaki,
'The Only Good One is a Dead One: An Installation by Willie Doherty',
n26, Spring 1994, 102-106: reviewof Irish artist
- Irvine, Jaki,
'Rites of Passage: Art at the End of the Century', n33, Winter 1995-6,
104-8: review of group show at Tate Gallery, London.
- Jachec, Nancy,
'David Craven's Abstract Expressionism as Cultural Critique: Dissent
During the McCarthy Period', n49, Winter 1999-2000, 108-110: book
review on US politics and art
- Jachec, Nancy,
'Aspects/Positions: How Central is Central Europe?', n.55, Summer
2001, 29-42: on exhibition of Eastern European vanguards
- Jain, Jyotindra,
'Ganga Devi: Tradition and Expression in Madhubani Painting' n6, Spring
1989, 43-50: appreciation of Indian woman painter.
- Jamal, Osman,
'E.B. Havell: The Art and Politics of Indianness', n39, Summer 1997,
3-19:impact of the principal of the Calcutta Art School at the beginning
of the 20th century
- Jamal, Osman,
'EB Havell and Rabindranath Tagore: Nationalism, Modernity and Art',
n.53, Autumn 2000, 19-30: on the Benagli Indian poet and painter's
relations to the Anglo-Indian head of the Calcutta art school
- James, C.L.R.,
'Popular Art and the Cultural Tradition', n10, Spring 1990, 3-10:
the Trinidadian historian, writer and activist on the films of Griffith,
Chaplin and Eisenstein
- Jantjes, Gavin,
'The Artist as a Cultural Symptom: A View from the Frying Pan', n23,
Summer 1993, 103-106: dynamism, tradition and ambiguity in African
art
- Jellinek, Alana,
'Working within and against Tate Modernism' n57, Winter 2001-02, 61-64;
problems at the newly opened Tate Modern, London.
- Jimenez, Carlos,
'The Enthusiasm of Edgar Negret', n30, Spring 1995, 88: on a Colobian
exhibition of the Latin American ssculptor
- Johnson, Vivian,
'Especially Good Aborigine Art' n56, Autumn 2001, 33-50; response
to Eric Michaels on politics and evaluation especially of Papunya
Tula Artists
- Jones, Kellie,
'In the Thick of It: David Hammons and Hair Culture in the 1970s',
n44, Autumn 1998, 17-24: on the African American artist
- Jones, Lindsay,
'ArteFactoin Contemporary Nicaragua: Haunting the Borders of
Acceptance', n48, Autumn 1999, 17-28: on the magazine of the dissident,
neo-Dadaist art movement Artefactoría
- Jouanno, Evelyne,
'Out of the Centre or Without the Centre', n28/9, Autumn/Winter 1994,
196-8: review of group show of young Chinese artists
- Joyce, Conor,
'Mark Wallinger', n31, Summer 1995, 80-83: review of video and installation
work by British artist
- Jussawalla,
Feroza, 'Of "The Satanic Verses"' Mohajirs and Migrants: Hybridity
vs Syncretism and Indigenous Aestheics in Postcoloniality', n32, Autumn
1995, 85-93: theoretical implications of Salman Rushdie's novel
- Kabbani, Rana,
'Behind him Lay the Great City of Cordoba', n21, Winter 1992/93, 67-70:
Muslim critique of Columbus myth
- Kapoor, Geeta,
'Francis Newton Souza: Devil in the Flesh', n8/9, Autumn/Winter 1989,
25-64: reprinted 1978 critical account of Indian painter who worked
in Britain and US
- Kapur, Geeta,
'The Centre-Periphery Model or How are We Placed? - Contemporary Cultural
Practice in India', n16/17, Autumn/Winter 1991, 9-17: Indian perspective
on identity and colonialism
- Kapur, Geeta,
'Contemporary Cultural Practice: Some Polemical categories' n11, Summer
1990, 109-117: concepts of tradition and contemporaneity in the cultural
polemic of decolonization
- Kapur, Geeta,
'Globalisation and Culture', n39, Summer 1997, 21-38:explorations
in theory and in film, performance and installation in India
- Ker, Dorian,
'Britain Dioes Not Exist: "Live in Your Head: Concept and Experiment
in Britain 1965-75"', n50, Spring 2000, 116-121: review of limitations
of historical survey exhibit at Whitechapel Galery, London.
- Ker, Dorian,
'Legnetti e fasci: Alighiero e Boetti', n49, Winter 1999-2000,
97-100: review of Italian Arte Povera artist
- Kerkham, Ruth,
'Contemporary South African Art 1985-1995', n45, Winter 1998-99, 104-6:
review of book edited by Emma Bedford and published by the South African
national gallery
- Kerkham, Ruth,
'Crossings; Transnational Echoes and the Proximity of Distance', n46,
Spring 1999, 97-100: review of group show at National Gallery of Canada.
- Kerkham, Ruth,
'A DeadlyExplosive on her Tongue: White Artists/Black Bodies', n50,
Spring 2000, 45-60: critical account of white Sotyuh African women
artists in response to Enwezor (Third Text 40) and Axel (Third Text
44)
- Kester, Grant
H, 'The Art of Listening (and of Being Heard): Jay Koh's Discursive
Networks', n47, Summer 1999, 19-26: on the exile Thai artist and activist
working in Germany
- Khair, Tabish,
'Modernism and Modernity: The Patented Fragments', n.55, Summer 2001,
3-14: theoretical essay
- Khanna, Ranjana,
'The Battle of Algiers and The Nouba of the Women
of Mont Chenoua: From Third to Fourth Cinema', n43, Summer 1998,
13-32: problems of the representation of Algeria in cinema
- Kooane, David,
'The Identity Question: Focus on Black South African Expressio', n23,
Summer 1993, 99-102: 'identity' as a smokescreeen for racism
- Kravagna, Christian,
'Bring on the Little Japanese Girls: Nobuyoshi Araki in the West',
n48, Autumn 1999, 65-70: (translated from the German by Elisabeth
Frank-Grossebner): orientalist reception of Japanese photographic
artist
- Kunzle, David,
'A Cuban Donation to Los Angeles for US-Cuba-Vietnam Reconciliation:
A Mural by Rene Mederos', n25, Winter 1993-94, 33-42: contradictions
of art and politics
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