Jennie Waldow
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. She is currently at work on a dissertation about the American artist Allen Ruppersberg.
Intermedia, Fluxus, and the Something Else Press: Selected Writings by Dick Higgins
By Jennie WaldowIn 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 Exist
By Jennie WaldowBetween 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: Love
By Jennie WaldowThe 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 SLANT
By Jennie WaldowSLANT, 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 Artifacts
By Jennie WaldowThe new book collects the illustrated features dedicated to the Museum of Modern Art’s archive and combines them with six freshly commissioned artist’s 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 museum’s history, but kept locked away in its archive.
Brick Press’s N.E. Thing Co.: Companies Act
By Jennie WaldowA “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.
