Contemporaneity: Historical Presence in Visual Culture <p dir="ltr"><em>Contemporaneity</em> is an open access and peer-reviewed journal that publishes scholarly and artistic explorations of the diverse ways in which the complexities of being in time are expressed. <span style="color: black;">It is based</span> in the department of the History of Art &amp; Architecture at the University of Pittsburgh, and emerges from its innovative <a href="" target="_blank" rel="noopener">constellations program</a>. We publish question-driven research that resonates across disciplines, interrogating diverse visual material from across time using multiple methods. Our editorial board seeks to:</p> <ul> <li class="show" dir="ltr"> <p dir="ltr">Adhere to high publishing standards that preserve the integrity of scholarship</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Bring junior and senior scholars and editors together through a constructive, double-blind peer-review process</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Generate content of lasting intellectual interest to emerging and tenured scholars</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Provide a forum for junior and senior scholars to develop under-researched topics and experimental methodological approaches</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Make scholarly writing free and accessible online</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Lead critical discussions around current publications and developments in curatorial and artistic practice in flexible formats.</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Link art historical practice to a global discussion of visual cultures across disciplinary and methodological boundaries.</p> </li> <li class="show" dir="ltr">Encourage non-traditional formats</li> </ul> University Library System, University of Pittsburgh en-US Contemporaneity: Historical Presence in Visual Culture 2153-5914 <p>Authors who publish with this journal agree to the following terms:</p><ol><li>The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.</li><li>Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.</li><li>The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a <a title="CC-BY" href="">Creative Commons Attribution 4.0 International License</a> or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:<ol type="a"><li>Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;</li></ol>with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.</li><li>The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.</li><li>Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. 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Revision Description: Removed outdated link. </span></p> Presenting Race: Institutional Contexts and Critiques This special issue was inspired by the inaugural Consortium Workshop,<span class="Apple-converted-space"> </span><em>Race-ing the Museum, </em>funded by the A.W. Mellon Foundation. The contributions are mostly drawn from the participants of the workshop and their collaborators and students on projects begun after the workshop. Coming from anthropology, art, communication, education, and theatre arts, the articles in this edition are extremely diverse, taking a broad understanding of institutions. Like the workshop, this issue seeks to contribute to dialogues between fields surrounding issues of race, representation, and institutions. Marina Tyquiengco Copyright (c) 2018 Marina Tyquiengco 2018-10-30 2018-10-30 7 i iv 10.5195/contemp.2018.268 Reflections on Race-ing the Museum, Two Years Later History of Art and Architecture professors and co-facilitators of the <em>Race-ing the Museum</em> workshop, Fozi and Savage offer insights into the workshop, its context, and its achievements. Shirin Fozi Kirk Savage Copyright (c) 2018 Shirin Fozi and Kirk Savage 2018-10-30 2018-10-30 7 1 4 10.5195/contemp.2018.241 “An Imagined Border of Safety, Humanitarian Relief, and Creativity”: J.M. Design Studio’s Other Border Wall Project <p> </p><p class="AboutAuthorTitle">In April 2017, J.M. Design Studio—three Pittsburgh-based artists and designers—responded to the Customs and Border Protection's public request for proposals for a wall along the US-Mexico border. J.M. Design Studio then announced their own call for more border "wall" proposals from other artists. The following commentary details these prototype concepts and tracks the executive policies and rhetoric that established a foundation for the border wall. </p><p> </p><p class="AboutAuthorTitle">This commentary also shows how J.M. Design Studio’s prototype submission and the subsequent artistic platform they initiated both model how creative connection and the co-option of established public channels are themselves acts of political resistance in an era of disrupted democratic participation and ossified partisanship.</p><p> </p> Nicole F Scalissi Copyright (c) 2018 Nicole F Scalissi 2018-10-30 2018-10-30 7 5 16 10.5195/contemp.2018.260 Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to reignite our shared sense of possibility and energy. Caitlin Frances Bruce Copyright (c) 2018 Caitlin Frances Bruce 2018-10-30 2018-10-30 7 17 26 10.5195/contemp.2018.236 Kanaka 'Ōiwi Critical Race Theory: Historical and Cultural Ecological Understanding of Kanaka 'Ōiwi Education <p>The effects of colonization on Kanaka 'Ōiwi, the Indigenous people of Hawai'i, have led to the systematic distancing of Kanaka 'Ōiwi from their cultural ways of knowing, replacing it, instead with eurocentric standards of education that adversely impact Kanaka 'Ōiwi wellbeing. In this article, I provide an overview of the history of colonization of Kanaka 'Ōiwi through a critical race lens. Critical Race Theory and TribalCrit are reviewed in relation to their theoretical relevance to Kanaka 'Ōiwi epistemologies. A synthesis model of an adapted CRT and TribalCrit framework called, Kanaka'ŌiwiCrit is presented and discussed within the context of education as a space for resistance.</p> Nik Cristobal Copyright (c) 2018 Nik Cristobal 2018-10-30 2018-10-30 7 27 44 10.5195/contemp.2018.240 Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance <span>Gregg Deal (Pyramid Lake Paiute) is a performance and visual artist whose work deals explicitly in decolonizing the contemporary experience of Indigenous peoples. An analysis of his performance of</span><em>White Indian</em><span> in 2016 at the Denver Art Museum opens up the possibilities of performance as a method for museums to decolonize their spaces and curation. </span> Christiana Molldrem Harkulich Copyright (c) 2018 Christiana Molldrem Harkulich 2018-10-30 2018-10-30 7 45 52 10.5195/contemp.2018.239 OjO Latino: A Photovoice Project in Recognition of the Latino Presence in Pittsburgh, PA <p>In recent years, the Latino population has increased rapidly in areas with traditionally low concentration of Latinos. In these emerging communities, Latinos often live scattered, confronting social isolation and social services not tailored to serve their cultural and linguistic needs. Latinos’ invisibility in Pittsburgh is evidenced by the absence of records of the Latino presence in the city’s museums and public archives. <em>OjO Latino</em>, a community engaged project, sought to advance the inclusion of the Latino community in Pittsburgh through Photovoice. This participatory expression methodology enables individuals to share their stories with the larger public through cultural and artistic expression. The intentional organization of the project as a group activity facilitated the transfer of power over the project to participants, creating solidarity and fomenting trust. During four meetings participants took part in a short photography training, discussed their photographs addressing the meaning of being Latino in Pittsburgh, and selected 34 photographs for exhibition organizing them in four themes: Work, Costumes, Family and Landscape and climate. <em>OjO Latino</em> held one exhibit in a community venue and another one at the university. In addition, the photographs are available in an electronic public repository. <em>OjO Latino</em> served a dual purpose of expanding the visibility of Latinos in and educating the larger community. The <em>OjO Latino</em> team got closer to the ways Latino immigrants see and experience the city. Their gaze challenged our own views and experiences and also spoke the saliency of nostalgia and social networks in their lives. The open discussion of what it means to be Latino in an emerging community and the opportunity to produce a visual account of it, along with the acknowledgment of the presence of this diverse population promote human rights, ethnic identity as well as mental and social health.</p> Héctor Camilo Ruiz Sánchez Paulina Pardo Gaviria Rosa De Ferrari Kirk Savage Patricia Documet Copyright (c) 2018 Hector Camilo Ruiz, Paulina Pardo, Rosa DeFerrari, Kirk Savage, Patricia Documet 2018-10-30 2018-10-30 7 53 71 10.5195/contemp.2018.243 Border Check <div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p>Artist Portfolio </p></div></div></div></div> Hazel Batrezchavez Copyright (c) 2018 Hazel Batrezchavez 2018-10-30 2018-10-30 7 72 75 10.5195/contemp.2018.253 Looking/Not Looking Artist Portfolio Aaron Henderson Copyright (c) 2018 Aaron Henderson 2018-10-30 2018-10-30 7 76 80 10.5195/contemp.2018.269 Destruction and Solution Artist Portfolio Meghan Kozal Copyright (c) 2018 Meghan Kozal 2018-10-30 2018-10-30 7 81 85 10.5195/contemp.2018.245 Coming to Confidence <p>Artist Portfolio </p> Cecelia Ivy Price Copyright (c) 2018 Cecelia Ivy Price 2018-10-30 2018-10-30 7 86 90 10.5195/contemp.2018.238 Gringolandia <div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span style="font-family: TimesNewRomanPSMT;"><span style="font-size: 16px;">Artist Portfolio </span></span></p></div></div></div> Jezabeth Roca Gonzalez Copyright (c) 2018 Jezabeth Roca Gonzalez 2018-10-30 2018-10-30 7 91 97 10.5195/contemp.2018.250 Football <p dir="ltr">Artist Portfolio </p> Nick Simko Copyright (c) 2018 Nick Simko 2018-10-30 2018-10-30 7 98 103 10.5195/contemp.2018.255 Lawrence Paul Yuxweluptun: Unceded Territories <p class="p1">Book Review: Karen Duffek and Tania Willard, eds. <em>Lawrence Paul Yuxweluptun: Unceded Territories</em>. With contributions by Glenn Alteen, Marcia Crosby, Jimmie Durham et al. Vancouver: Figure 1 Publishing and Museum of Anthropology at UBC, 2016. 182 pp.; 85 ills (chiefly color). Hardcover $45.00 (9781927958513)<span class="Apple-converted-space"> </span></p> Annika Johnson Copyright (c) 2018 Annika Johnson 2018-10-30 2018-10-30 7 104 106 10.5195/contemp.2018.266 The Invention of Race in the Middle Ages <p class="p1">Book Review: Geraldine Heng, <em>The Invention of Race in the Middle Ages</em>. New York: Cambridge University Press, 2018. 504 pp.; 10 ills. Hardcover, £34.99 (9781108422789)<span class="Apple-converted-space"> </span></p> Jacqueline Lombard Copyright (c) 2018 Jacqueline M. Lombard 2018-10-30 2018-10-30 7 107 109 10.5195/contemp.2018.265 Modern Art in the Arab World: Primary Documents <p class="AboutAuthorTitle">Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. <em>Modern Art in the Arab World: Primary Documents</em>. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)</p> Golnar Yarmohammad Touski Copyright (c) 2018 Golnar Yarmohammad Touski 2018-10-30 2018-10-30 7 110 112 10.5195/contemp.2018.264 Unsettled: Exhibiting the Greater West <p class="p1"><span class="s1"><span class="Apple-converted-space">Unsettled </span></span>Exhibition schedule: The Nevada Museum of Art, Reno, Nevada, August 26, 2017—January 21, 2018; Anchorage Museum, Anchorage, Alaska, April 6, 2018—September 9, 2018; Palm Springs Art Museum, Palm Springs, California, October 27, 2018—February 18, 2019<span class="Apple-converted-space"> </span></p> Lily Brewer Copyright (c) 2018 Lily Brewer 2018-10-30 2018-10-30 7 113 116 10.5195/contemp.2018.263 20/20: The Studio Museum of Harlem and the Carnegie Museum of Art <p class="p1">Exhibition schedule: Carnegie Museum of Art, July 22–December 31, 2017<span class="Apple-converted-space"> </span></p> Rebecca L. Giordano Copyright (c) 2018 Rebecca L. Giordano 2018-10-30 2018-10-30 7 117 122 10.5195/contemp.2018.267 Blue Ruins: LaToya Ruby Frazier in Two Parts <p class="AboutAuthorTitle">This review considers LaToya Ruby Frazier's work in The Notion of Family, LaToya Ruby Frazier, The Silver Eye Center for Photography, September 21– November 18, 2017 and On the Making of Steel Genesis: Sandra Gould Ford, LaToya Ruby Frazier, The August Wilson Center, September 22– December 31, 2017. </p> Benjamin Ogrodnik Copyright (c) 2018 Benjamin Ogrodnik 2018-10-30 2018-10-30 7 123 127 10.5195/contemp.2018.261 Letícia Parente in Pacific Standard Time: LA/LA (Los Angeles/Latin America) This exhibit review considers three separate exhibitions that were part of <em>Pacific Standard Time: LA/LA (Los Angeles/Latin America)</em> for how their simultaneous showcase of works by Letícia Parente (Brazil, 1930–<ins cite="mailto:Annalisa%20Weaver" datetime="2018-09-02T14:19">19</ins>91) effectively revealed multiple layers of meaning in her work, while acting as a through line between exhibitions. Paulina Pardo Gaviria Copyright (c) 2018 Paulina Pardo Gaviria 2018-10-30 2018-10-30 7 128 133 10.5195/contemp.2018.262