https://muse.jhu.edu/journal/901 Project MUSE®: Latest articles in ARTMargins. daily 1 2026-05-15T00:00:00-05:00 text/html en-US Vol. 13 (2024) through current issue Latest Articles: ARTMargins TWO Project MUSE® ARTMargins 2162-2582 2162-2574 Latest articles in ARTMargins. Feed provided by Project MUSE® https://muse.jhu.edu/article/985352 <p></p> In 2018, artists La Vaughn Belle and Jeannette Ehlers unveiled on the Copenhagen waterfront I Am Queen Mary, an imposing twenty-three-foot-tall monument to Mary Thomas, one of the leaders of the 1878 Fireburn labor revolt in the former Danish West Indies. Composed of black-painted polystyrene and a coral plinth, the monument serves as Denmark&#39;s first public commemoration of its colonial past. The coral plinth still stands while the Styrofoam sculpture of Mary Thomas is now gone, and the goal is to replace the latter with a permanent, bronze version, provided that the artists collect sufficient funds to cover the cost. Developed through the artists&#39; independent initiative and therefore without preestablished ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall A Monument in Conflict: Transnational Resistance and the Politics of Commemoration in La Vaughn Belle and Jeannette Ehlers's I am Queen Mary 2026-03-08 text/html en-US A Monument in Conflict: Transnational Resistance and the Politics of Commemoration in La Vaughn Belle and Jeannette Ehlers's I am Queen Mary 2026-03-08 2026 TWO Project MUSE® 68621 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985382 <p></p> Applying a methodology that integrates walking art research with acts of mapping and territory marking alongside cognitive architectural analysis, this project seeks to illuminate the underlying politics of bodily control inherent in urban planning. By mimicking the structure of sightseeing programs and juxtaposing examples of sophisticatedly designed public restrooms and police booths, This Is the Way introduces the concept of the anti-route. Presented as part of an expanded photographic essay, this concept is developed by mapping a virtual/digital infrastructure for walking. As a subtle conceptual intervention and counter-monument, this project aims to disrupt the prevailing narrative surrounding public and ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall This is the Way: The Landmarks: Rethinking and Hacking Urban Planning through Walking: A Script from a Case Study of Tokyo 2026-03-08 text/html en-US This is the Way: The Landmarks: Rethinking and Hacking Urban Planning through Walking: A Script from a Case Study of Tokyo 2026-03-08 2026 TWO Project MUSE® 10195 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985384 <p></p> Informalism emerged in Colombia in the early 1960s as an alternative artistic language and a means of resisting the prevailing artistic status quo. Through the use of everyday materials in highly gestural and textured abstract paintings, artists such as &#xC1;lvaro Herr&#xE1;n, Miguel &#xC1;ngel C&#xE1;rdenas, Leonel Estrada, and Guillermo Wiedemann questioned the very nature of painting and the aesthetic values traditionally associated with it.1 Their aesthetic approach, however, reached beyond the artistic spheres. Reflecting the realities of poverty, chaos, and &#x201C;underdevelopment,&#x201D;2 Informalist abstraction subverted and rejected the notions of modernity and modernization that were central to the dominant political ideologies of ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall Informalism and The Aesthetics of Underdevelopment: Colombian Abstract Painting in the Cold War 2026-03-08 text/html en-US Informalism and The Aesthetics of Underdevelopment: Colombian Abstract Painting in the Cold War 2026-03-08 2026 TWO Project MUSE® 67182 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985385 <p></p> Until recently, the museum of modern art was characterized as a critical organ/an organizer of a retrospective nature. As an institution that appropriates and coordinates, nothing substantially distinguished its functions from those of a traditional museum. The peculiarity of a museum of modern art evidently resides in the need for an available discernment about the most recent productions and debates. But this museum, modeled on the traditional museum consecrated to ancient art, defined itself by ultimately operating on the premise that the artwork is a fully executed fact. In recent years, however, we start imagining a museum ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall New Direction for the Museum of Contemporary Art 2026-03-08 text/html en-US New Direction for the Museum of Contemporary Art 2026-03-08 2026 TWO Project MUSE® 13506 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985386 <p></p> Benjamin H. D. Buchloh and Hal Foster. Exit Interview. New York: no place press, 2024.Branislav Dimitrijevi&#x107; and Jelena Vesi&#x107;. The Yugoslav Art Space: Je&#x161;a Denegri in the First Person. Zurich: JRP/Ringier; Dijon: Les Presses du r&#xE9;el, 2024.The last great flourishing of the arts in the West that took place during the 1960s and 1970s was in great part supported, aided, and in some cases spearheaded by a generation of critics, art historians, and curators who came of age in the wake of the Second World War. We need only think of Harald Szeemann (b. 1933), Lucy Lippard (b. 1937), Achile Bonito Oliva (b. 1939), Germano Celant (b. 1940), Seth Siegelaub (b. 1941), and Rosalind Krauss (b. 1941), among many others. In 2024 ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall The Project and The (ART) Object: Conversations with Ješa Denegri and Benjamin Buchloh 2026-03-08 text/html en-US The Project and The (ART) Object: Conversations with Ješa Denegri and Benjamin Buchloh 2026-03-08 2026 TWO Project MUSE® 46052 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985387 <p></p> Under the leadership of Walter Zanini, the Museu de Arte Contempor&#xE2;nea at the Universidade de S&#xE3;o Paulo (MAC USP) gained significant institutional presence among artists and museum professionals in Brazil, positioned itself internationally, and became an enduring reference for contemporary art throughout Latin America. Zanini, who was born in S&#xE3;o Paulo, completed his PhD in art history at Universit&#xE9; Paris VIII in 1961 and joined USP (the largest public research university in Brazil) as a professor of art history upon his return to Brazil in the early 1960s. As the only USP professor with a terminal degree in this field, in 1963 Zanini was called to direct the newly created MAC. Well beyond his tenure at MAC USP, a ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall The Museum Forum: An Introduction to Walter Zanini's “New Direction for the Museum of Contemporary Art” 2026-03-08 text/html en-US The Museum Forum: An Introduction to Walter Zanini's “New Direction for the Museum of Contemporary Art” 2026-03-08 2026 TWO Project MUSE® 56838 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985388 <p></p> This issue of ARTMargins offers a broad variety of perspectives on key problems of current cultural analysis, including colonialism, the problem of class from the point of view of specific historical contexts, and the need to gather multiple perspectives on art&#39;s global circulation and the critical methodologies we use to engage with it. In the opening article, &#x201C;A Monument in Conflict: Transnational Resistance and the Politics of Commemoration in La Vaughn Belle and Jeannette Ehlers&#39;s I Am Queen Mary,&#x201D; Kristine Nielsen discusses a 2018 monument that highlights the history of Danish colonialism and Denmark&#39;s role in the Atlantic slave trade. I Am Queen Mary commemorates a 19th-century rebellion against Danish ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall From the Editors 2026-03-08 text/html en-US From the Editors 2026-03-08 2026 TWO Project MUSE® 7710 2026-05-15T00:00:00-05:00 2026-03-08 https://muse.jhu.edu/article/985389 <p></p> This roundtable focuses on the connections between art or culture and class, as well as on the multiple forms this connection takes today. Even as class distinctions have evolved over the years, and even as the role played by social class in contemporary struggles for social justice and recognition has been obscured, class remains formative of late-capitalist subjectivity and continues to have a significant, if mostly unacknowledged, impact on our lives. When Karl Marx was formulating class as a key category for social analysis&#x2014;positing class struggle as a motor for the historically unfolding contradictions within the relations of production in the mid-19th-century&#x2014;he envisioned class as both the formative category ... <a href="https://muse.jhu.edu/article/985389">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-15T00:00:00-05:00 https://muse.jhu.edu/journal/901/image/coversmall “And What About Class?” 2026-03-08 text/html en-US “And What About Class?” 2026-03-08 2026 TWO Project MUSE® 99355 2026-05-15T00:00:00-05:00 2026-03-08