{"id":24,"date":"2015-09-29T21:26:41","date_gmt":"2015-09-29T21:26:41","guid":{"rendered":"http:\/\/www.jeanfisher.com\/?page_id=24"},"modified":"2017-05-21T16:29:31","modified_gmt":"2017-05-21T16:29:31","slug":"publications-list","status":"publish","type":"page","link":"https:\/\/www.jeanfisher.com\/publications-list\/","title":{"rendered":"Publications List"},"content":{"rendered":"<div class=\"oversal-shuffle-before-to\">\n<h2 class=\"oversal-shuffle-text\">Publications<\/h2>\n<\/div>\n<div class=\"column-grid column-grid-2\">\n<div class=\"column column-span-1 column-central-div\">\n<div class=\"videoWrapper\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/142128148?autoplay=1&#038;color=3ba4a4&#038;title=0&#038;byline=0&#038;portrait=0\" width=\"1280\" height=\"719\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/p>\n<\/div>\n<h4 class=\"om-text-08-h2-the-bold\">Authored book<\/h4>\n<p><strong>2003<\/strong>:<br \/>\n<em>Vampire in the Text: Selected Essays on Contemporary Art<\/em>, London: inIVA.<br \/>\nPreface by Cuauht\u00e9moc Medina. The volume assembles many of the essays published pre-2000, and is divided into two parts, Art in Practice, which focuses on specific artists\u2019 work, and Art in Context, which explores some contemporary issues of art and critical practices.<\/p>\n<h4 class=\"om-text-08-h2-the-bold\">Edited books with Introductions<\/h4>\n<p><strong>2013<\/strong>:<br \/>\n<em>The Triumph of Icarus: Writings on the Work of Rasheed Araeen<\/em>. Introduction by Jean Fisher. The book is a collection of essays written over several decades that contextualise the evolution and influence of Rasheen Araeen\u2019s art practices. Contributors: Patricia Bickers, Guy Brett, Iftikhar Dadi, Jean Fisher, Osman Jamal, Amna Malik, Courtney J Martin, Ian McLean, Michael Newman, Paul Overy, Deas Philippi, John Roberts and Stephen Wright.<\/p>\n<p><strong>2012<\/strong>:<br \/>\nJimmie Durham, <em>Waiting to be Interrupted<\/em>, M KHA, Antwerp. A selection of essays and poems published since ca.1996. Introduction by Jean Fisher: \u2018Stranger at the Gate\u2019.<\/p>\n<p><strong>2012<\/strong>:<br \/>\n<em>James Coleman, catalogue raisonn\u00e9,<\/em> Madrid: Nacional Centro de Arte Reina Sof\u00eda. The chronology section is edited by Jean Fisher, who wrote 35 of the 49 entries. It consists of readings of each of the artist\u2019s works, including many early works for which there is no previously published account, and excerpts from essays by Manuela Ammer, George Baker, Mieke Bal, Lynne Cooke, Luke Gibbons, Frank Lubbers, Kaja Silverman, Michael Tarantino, Dorothea von Hantelmann.<\/p>\n<p><strong>2005<\/strong>:<br \/>\n<em>The American West,<\/em> Compton Verney.<br \/>\nCatalogue to the exhibition curated by Jimmie Durham and Richard W Hill. Essay contributors: Jen Budney, Jimmie Durham, Jean Fisher, Bonnie Fultz, Richard W Hill and Simon Ortiz.<\/p>\n<p><strong>2004<\/strong>:<br \/>\n<em>Over Here: Issues of Contemporary Global Art,<\/em> MIT Press. Co-editor Gerardo Mosquera.<br \/>\nAn anthology of writings exploring the critical, curatorial and aesthetic discourses on globalisation from the perspective of practitioners living and working outside the western metropolises. Introduction by Gerardo Mosquera and Jean Fisher. Artist\u2019s book project: graphics by Francis Al\u00ffs. Contributors: Rustom Bharucha, Jos\u00e9 Luis Brea, Gustavo Buntinx, Lee Weng Choy, John Clark, Angela Dmitrakaki, Jos\u00e9 Gatti, \u00c9douard Glissant, Pam Johnston, Geeta Kapur, Everlyn Nicodemus, Nikos Papastergiadis, Marian Pastor Roces, Gabriel Peluffo Linari, Carolina Ponce de Le\u00f3n, Apinan Poshyananda, Kathryn Smith, Jalal Toufic, Chang Tsong-zung, Victor Tupitsyn, Jos\u00e9 Manuel Valenzuela Arce, Carlos Vidal.<\/p>\n<p><strong>2000<\/strong>:<br \/>\n<em>Re-Verberations: Tactics of Resistance, Forms of Agency in Trans\/cultural Practices,<\/em> Maastricht: Jan van Eyck Publications.<br \/>\nThe book derives from a symposium organised by Jean Fisher at the Akademie, combining students and invited speakers, exploring trans\/cultural artistic and critical practices using the metaphor of the trickster. The book is divided into three sections: Improvisation, Syncopation and Caprice. Contributors: Maria Thereza Alves, Sonia Boyce, Ben Cain, Peter Mason, Robert Farris Thompson, Coco Fusco, Sue Golding, Gilliom Grantsaan, Tina Gverovic, Mirjam Kort, Zeina Maasri, Sarat Maharaj, Danio Man, Cuauht\u00e9moc Medina, Jim Mooney, Celeste Olalquiaga, Sytze Steenstra, Nasrin Tabatabai and Gerald Vizenor.<\/p>\n<p><strong>1996<\/strong>:<br \/>\nLee Ufan, <em>Selected Writings 1970 -1996,<\/em> Lisson Gallery, London. A selection of the artist\u2019s writings from catalogues, magazines and newspapers. Edited with Introduction by Jean Fisher.<\/p>\n<p><strong>1994<\/strong>:<br \/>\n<em>Global Visions: Towards a New Internationalism in the Visual Arts,<\/em> Kala Press and inIVA.<br \/>\nProceedings of a symposium organised by Third Text and Iniva at the Tate Gallery, exploring the meaning and significance of internationalism in art, curatorial and critical practices. Edited with Preface by Jean Fisher. Contributors: Rasheed Araeen, Gordon Bennett, Hal Foster, Hou Hanru, Gavin Jantjes, Geeta Kapur, Raiji Kuroda, Sarat Maharaj, Gerardo Mosquera, Everlyn Nicodemus, Olu Oguibe, Guillermo Santamarina, Elizabeth Sussman, Gilane Tawadros, Fred Wilson and Judith Wilson.<\/p>\n<p><strong>1993<\/strong>:<br \/>\nJimmie Durham, <em>A Certain Lack of Coherence,<\/em> Kala Press and inIVA, 1993<br \/>\nA selection of the artist\u2019s study papers, commentaries, poetry and essays published in newspapers, art magazines and art catalogues 1974 \u2013 1991. Edited with Preface by Jean Fisher.<\/p>\n<h4 class=\"om-text-08-h2-the-bold\">Essays in books\/ catalogues\/journals since 2001<\/h4>\n<p><strong>2015<\/strong>:<br \/>\n\u2018Joy Reflected Upon A Lake of Sorrow: Reading Kamal Boullata\u2019, in Kamal Boullata\u2026And There Was Light, London: Berloni, pp 50-77.<\/p>\n<p>\u2018Emily Jacir: Visual Poems and Silent Songs\u2019, in Emily Jacir: Europa, eds Emily Jacir and Omar Kholeif, London: Whitechapel Gallery and Prestel, pp 22-34. <\/p>\n<p>\u2018Jimmie Durham: Holding a Mirror to Humanity\u2019, in Jimmie Durham: Various Items and Complaints, London: Serpentine Galleries and Koenig Books, pp 8-11.<\/p>\n<p><strong>2014<\/strong>:<br \/>\n\u2018McQueen\u2019s Dialogues with the Image of Precarious Life\u2019, English and Japanese, in Steve McQueen, Tokyo: Espace Louis Vuitton, pp 6-23.<\/p>\n<p><strong>2013<\/strong>:<br \/>\n\u2018Reflections\u2019, in Unseen: Willie Doherty, London: Matt\u2019s Gallery and Derry: Nerve Centre. Includes \u2018Seeing Beyond the Pale\u2019, essay republished from Unknown Depths: Willie Doherty, Cardiff: Ffotogallery, 1990. <\/p>\n<p>\u2018In Defiance of Gravity\u2019, Yinka Shonibare MBE: Fabric-ation, Yorkshire Sculpture Park.<\/p>\n<p>\u2018Themes and Variations in the Work of Steve McQueen\u2019, I Want the Screen to be a Massive Mirror: Lectures on Steve McQueen, Laurenz-Stiftung, Schaulager Basel. <\/p>\n<p>\u2018The Importance of Words and Actions\u2019, 2012, Maria Thereza Alves, Mus\u00e9e d\u2019historie de Nantes. <\/p>\n<p>\u2018Fictional Histories\u2019, Afterall Exhibition Histories: Magiciens de la Terre. (Re-published from Artforum International, Sept., 1989.). <\/p>\n<p>\u2018Thinking Otherwise: Cosmopolitanism, Indigeneity and the Commons\u2019, Ja Natuurlijk (Yes, Naturally), Den Haag: Stichting Niet Normaal and Gemeentemuseum.<\/p>\n<p><strong>2012<\/strong>:<br \/>\n\u2018Thinking, Weaving: Another Approach to Cosmopolitanism\u2019, All Our Relations, 18th Biennale of Sydney. <\/p>\n<p>\u2018Introduction\u2019, Guy Mannes-Abbott, In Ramallah, Running, London: <\/p>\n<p>Black Dog Publishing. \u2018Introduction\u2019, Kamal Boullata, Between Exits: Paintings by Hani Zurob, London: Black Dog Publishing. <\/p>\n<p>\u2018On Space and Place in the Work of Steve McQueen\u2019, Steve McQueen Works, Catalogue Raisonn\u00e9, Laurenz Foundation, Schaulager Basel.<\/p>\n<p>\u2018Between Earth and Sky: A Brief Encounter\u2019, Brief Encounters, Hassan Hourani Young Palestinian Artist of the Year Award 2010, London and Ramallah: AM Qattan Foundation. (English and Arabic). <\/p>\n<p>\u2018Storying Art: The Everyday Life of Tricky Practices\u2019, in Piercing Brightness: Shezad Dawood, Oxford: Modern Art Oxford\/London: Koenig Books.<\/p>\n<p><strong>2011<\/strong><br \/>\n\u2018Tricksters, Troubadours \u2013 and Bartleby: Art from a State of Emergency\u2019, in Fear, Alberto Balsima (ed), Madrid: Exit Publicaciones. Republished in Tricksters, Troubadours, In\/sight, no 2, Dublin Institute of Technology, 2013.<\/p>\n<p>\u2018Minerva Cuevas and the Art of Para-sitic Intervention\u2019, Afterall, 27, Summer 2011. <\/p>\n<p>\u2018Art, Agency and the Hermetic Imagination\u2019, in Zoya Kocur (ed.), Global Visual Cultures: Representation, Place, Power, Oxford: Blackwell. <\/p>\n<p>\u2018On Drawing\u2019 (with Stella Santacatterina), in Twice Drawn: Modern and Contemporary Drawings in Context, (Eds) Ian Berry and Jack Shear, Museum and Art Gallery, Skidmore College, and New York: DelMonico books. Republished from The Stage of Drawing: Gesture and Act, London: Tate and New York: Drawing Center, 2003.<\/p>\n<p><strong>2010<\/strong><br \/>\n\u2018Palestinian Art from 1850 to the Present\u2019, Third Text, 102, Vol.24, Issue 4. <\/p>\n<p>\u2018Neither North Nor South\u2019, in Cuauht\u00e9moc Medina (ed), Sur, Sur, Sur, Sur\/South, South, South, South\u2026 M\u00e9xico DF: Primera edici\u00f3n, Papers to the 7th International Symposium of Contemporary Art (SITAC), M\u00e9xico DF. <\/p>\n<p>Preface: \u2018Not From Anywhere\u2019, in Gerardo Mosquera, Caminar con el Diablo, Madrid: Exit Publicaciones.<\/p>\n<p><strong>2009<\/strong><br \/>\n\u2018The Other Story and the Past Imperfect\u2019, Tate Papers (Online Research Journal), issue12, Autumn. <\/p>\n<p>\u2018Voices in the Singular Plural: Palestine c\/o Venice and the Intellectual Under Siege\u2019, Third Text, vol 23, issue 6. <\/p>\n<p>\u2018A Distant Laughter: The Poetics of Dislocation\u2019, in Intercultural Aesthetics, (eds) Anton van den Brambussche, Heinz Kimmerle and Nicole Note, Springer. <\/p>\n<p>\u2018So Different\u2026 and Yet\u2019, James Coleman, Dublin: Irish Museum of Modern Art. <\/p>\n<p>\u2018Remembering the Future: Tradition and Modernity in the Work of Hock E Aye Vi Edgar Heap of Birds\u2019, in Most Serene Republics: Edgar Heap of Birds, (ed) Kathleen Ash-Milby and Truman Lowe, Washington and New York: National Museum of the American Indian.<\/p>\n<p><strong>2008<\/strong>:<br \/>\n\u2018Diaspora, Trauma and the Poetics of Remembrance\u2019, in Exiles, Diasporas and Strangers, (ed) Kobena Mercer, Mass.: MIT Press. <\/p>\n<p>\u2018Alternating Currents\u2019, \u2018New Horizons of the Past\u2019 and \u2018Migration\u2019s Silent Witness\u2019, in Plot, (ed) Simon Read, Confluens Series, Middlesex University Fine Art Publications. <\/p>\n<p>\u2018Where Here is Elsewhere\u2019, in Belonging and Globalisation, (ed) Kamal Boullata, London: Saqi Books.<\/p>\n<p><strong>2007<\/strong>:<br \/>\n\u2018Theses on the Philosophy of Violence\u2019, in System Error, Milano: Silvana Editoriale. <\/p>\n<p>\u2018In Living Memory\u2026 Archive and Testimony\u2019, in The Ghosts of Songs: The Film Art of Black Audio Film Collective 1982-1998, (eds) Liverpool University Press\/ Chicago University Press.<\/p>\n<p><strong>2006<\/strong>:<br \/>\n\u2018New Contact Zones: A Reflection\u2019, Vision, Space, Desire, Smithsonian National Museum of the American Indian, Washington DC and New York. <\/p>\n<p>\u2018Conversation Pieces Revisited\u2019, in Protections: This is Not an Exhibition, (eds) Pakesch, Budak, Kaup-Hasler and Peters), Cologne: Verlag der Buchhandlung Walter K\u00f6nig. (German and English). \u2018Speaking with Difference\u2019, Steirischer Herbst catalogue.<\/p>\n<p><strong>2005<\/strong>:<br \/>\n\u2018Chronicle of a Myth Retold\u2026\u2019, in The American West, Compton Verney. <\/p>\n<p>\u2018Where Here is Elsewhere\u2019, in Belonging: Sharjah Biennial 7. (English and Arabic).<\/p>\n<p>\u2018Dialogues\u2019 section, in Shades of Black: Black British Art in the 80s, (eds) David A. Bailey, Sonia Boyce and Ian Baucom, Duke University Press and inIVA. <\/p>\n<p>\u2018El Sue\u00f1o de la vigilia\u2019 (1993) in Textos sobre las obras de Gabriel Orozco, CONACULTA\/Turner Publicaciones, 2005. (Spanish) Re-published from The Kanaal Art Foundation, Kortrijk, Belgium, 1993.<\/p>\n<p>\u2018El juego del mundo\u2019, (1996) in Textos sobre las obras de Gabriel Orozco, CONACULTA\/Turner Publicaciones, 2005. (Spanish) (Re-published from Gabriel Orozco: The Empty Club, Artangel, London, 1996.)<\/p>\n<p><strong>2004<\/strong>:<br \/>\n\u2018In the Spirit of Conviviality\u2019, in Francis Al\u00ffs, London: Phaidon Contemporary Artists Series. <\/p>\n<p>\u2018Before Testimony\u2019, in Susan Hiller: Recall, (ed) James Lingwood, London: Artangel and Gateshead: Baltic. <\/p>\n<p>\u2018Embodied Subversion\u2019, in Live: Art and Performance, (ed) Adrian Heathfield, London: Tate Publishing. <\/p>\n<p>\u2018Introduction\u2019 to Electronic Shadows: The Art of Tina Keane, London: Black Dog Publishing.<\/p>\n<p>\u2018Tales from the Dark Side: Double Agency\u2019, in Shaheen Merali: Blackpop, London: Black Dog Publishing,<\/p>\n<p><strong>2003<\/strong>:<br \/>\n\u2018A Citizen of Memory\u2019, in Luis Camnitzer, Kiel: Schleswig-Holsteinischer Kunstverein.<\/p>\n<p>\u2018Introduction\u2019 to Fisher, Vampire in the Text: Narratives of Contemporary Art, London: inIVA. (Republished in Changing States: Contemporary Art and Ideas in an Era of Globalisation (ed) Gilane Tawadros, London: inIVA, 2004.) <\/p>\n<p>\u2018Toward A Metaethic of Shit\u2019, in Complex Entanglements, (ed) Nikos Papastergiadis, London: Rivers Oram. <\/p>\n<p>\u2018On Drawing\u2019 (with Stella Santacatterina), in The Stage of Drawing: Gesture and Act (curator Catherine de Zegher) London: Tate and New York: The Drawing Center, 2003. <\/p>\n<p>\u2018The Place of the Spectator in the Work of James Coleman\u2019, in James Coleman, (ed) George Baker, MIT Press: October Files. (Republished from Open Letter, Halifax, Nova Scotia, 1983.)<\/p>\n<p>\u2018The Enigma of the Hero in the Work of James Coleman\u2019, in James Coleman, (ed) George Baker, MIT Press: October Files. Republished from Derry: Orchard and London: Whitechapel Gallery, 1983.<\/p>\n<p><strong>2002<\/strong>:<br \/>\n\u2018Toward a Metaphysics of Shit\u2019, catalogue to Documenta_11Platform5: Exhibition, Ostfildern &#8211; Ruit: Hatje Cantz. (Republished in Firkun wa Fann\/ Art and Thought, No 76, Oct 2002-Mch 2003.)<\/p>\n<p>\u2018Intimations of the Real\u2019, in Steve McQueen: Caribs\u2019 Leap\/ Western Deep, London: Artangel and Portugal: Funda\u00e7\u00e3o de Serralves. <\/p>\n<p>\u2018The Outsider Within: Shonibare\u2019s Dandy and the Parasitic Economy of Exchange\u2019, in Yinka Shonibare: Double Dress, Jerusalem: The Israel Museum. \u2018The Intimacy of the Infinite\u2019, in Lili Dujourie Videos 1972-1981, Brussels: Argos Editions. <\/p>\n<p>\u2018Duncan Newton: Abstract Pictures\u2019, Nottingham: Bonington Gallery. <\/p>\n<p>\u2018Jack Goldstein: The Trace of Absence\u2019, in Jack Goldstein, (eds) Yves Aupetitallot and Lionel Bovier, Grenoble: Magasin-Centre National d\u2019Art Contemporain 2002. (Republished from Artforum International no 22, June, 1983.)<\/p>\n<p><strong>2001<\/strong>:<br \/>\n\u2018Polymorphous Perversity\u2019, in Gert Verhoeven, The Blob, Brussels: Palais des Beaux-Arts.<\/p>\n<p>\u2018Provisional Acts: Tariq Alvi\u2019, London: Whitechapel Gallery. <\/p>\n<p>&#8216;Witness for the Prosecution: The Writings of Coco Fusco&#8217;, Intro for Coco Fusco, The Bodies That Were Not Ours, London and New York: Routledge. <\/p>\n<p>\u2018In the Garden of Forked Desires\u2019, Judith Barry, Centro Jos\u00e9 Guerrero, Grenada, 2001. (Spanish). <\/p>\n<p>\u2019Figuring Difference: the Work of Jack Goldstein\u2019, (with Stella Santacatterina), Afterall, Issue 04.<\/p>\n<\/div>\n<div class=\"column column-span-1\">\n<div class=\"oversal-shuffle-before-to\">\n<h3 class=\"oversal-shuffle-text\">Writings pre &#8211; 2001<\/h3>\n<\/div>\n<h4 class=\"om-text-08-h2-the-bold\">On art and cultural theory<\/h4>\n<p><strong>2000<\/strong>:<br \/>\n\u2018The Everyday Life of Tricky Practices\u2019, Documents, Paris. <\/p>\n<p>&#8216;Truth&#8217;s Shadows&#8217;, in Dream Machines, South Bank Touring Exhibition. <\/p>\n<p>&#8216;The Proletarianisation of Art,&#8217; in Art For All?, London: Peer.<\/p>\n<p><strong>1999<\/strong>:<br \/>\nConversation Pieces\u2019, in Carnegie International 99\/00, Carnegie Museum of Art, Pittsburg.<\/p>\n<p>\u2018Tricky Manoeuvres \u2013 Concerning Reflected Plums and Artistic Agency\u2019, In Mirror\u2019s Edge, (ed) Okwui Enwezor, catalogue to exhibition, Umea: Bildmuseet.<\/p>\n<p><strong>1998<\/strong>:<br \/>\n&#8216;Vitrines from the Pathology Museum&#8217;, in Who&#8217;s Afraid of Red, White and Blue?, (ed) David Burrows, London: ARTicle Press. <\/p>\n<p>&#8216;Intercultural Relations for the Next Millennium&#8217;, in Power Up: Between Experience and Expectation, Museum voor Moderne Kunst, Arnhem.<\/p>\n<p><strong>1997<\/strong>:<br \/>\n&#8216;The Magician Offside&#8217;, in Passate, Presente, Futuro, catalogue to the XLVII Biennale de Venezia. <\/p>\n<p>&#8216;The Work between Us&#8217;, in Trade Routes, cat. to 2nd Johannesburg Biennale, Johannesburg.<\/p>\n<p>&#8216;Art&#8217;s Caress: Some thoughts on aesthetics and ethics&#8217;, in Beyond Ethics and Aesthetics, (eds) Ine Gevers and Jeanne van Heeswijk, Nijmegen: Uitgeverij SUN.<\/p>\n<p><strong>1996<\/strong>:<br \/>\n&#8216;The Echoes of Enchantment&#8217;, Inside the Visible, ICA Boston\/MIT Press. <\/p>\n<p>&#8216;Destabilising Art&#8217;, in Passaggi, Fondazione Sandretto re Rebaudengo per l&#8217;Arte, Franco Masoero, Edizioni d&#8217;Arte, Torino. <\/p>\n<p>&#8216;Where I am visible I cannot speak: Cross-cultural practices and &#8220;multiculturalism&#8221;&#8216;, in Inclusion\/Exclusion, Dumont, Graz, Austria.<\/p>\n<p>The Art of Living Vicariously&#8217;, Young British Artists, Wolfsburg Museum. <\/p>\n<p>&#8216;The Syncretic Turn&#8217;, in New Histories, ICA Boston, USA. <\/p>\n<p>&#8216;The Syncretic Turn: Possibilities for Cross-cultural Practice in the Age of Multiculturalism&#8217;, in Issues in Contemporary Culture and Aesthetics, Jan van Eyck Akademie, Maastricht. <\/p>\n<p>\u2018In the Domain of Crossed Destinies: A Travellers Tales from North America\u2019, Wonder Stories, Maastricht: Jan van Eyck journal No 2. (revised 2013)<\/p>\n<p><strong>1994<\/strong>:<br \/>\n&#8216;Hors d&#8217;Oeuvres&#8217;, in Cocido y crudo, Centro de Arte Reina Sofia, Madrid.<\/p>\n<p><strong>1993<\/strong>:<br \/>\n&#8216;El arte en un estado de emergencia&#8217;, in Valen todos, Habana, Cuba.<\/p>\n<p>&#8216;On Dis-placement&#8217;, in Place, Position, Presentation, Public, (ed) Ine Gevers, Jan Van Eyck Akademie, Maastricht, and De Balie Amsterdam.<\/p>\n<p>&#8216;Patrullas frontizeras: cr\u00edtica de arte y los m\u00e1rgenes del arte&#8217;, Arte Expo, Guadalajara, M\u00e9xico, 1992.<\/p>\n<p><strong>1992<\/strong>:<br \/>\n&#8216;In Search of the &#8220;Inauthentic&#8221;: Disturbing Signs in Contemporary Native American Art&#8217;, CAA (US )Art Journal, Special issue: &#8216;Institution\/Revolution: Contemporary Native American Art&#8217;. Re-published in Race-ing Art History (ed. Kimberly Pinder), Routledge, 2002. <\/p>\n<p>&#8216;Fragments of a Fictional Body&#8217;, in Turning the Map: Images from the Americas, Camerawork, London. <\/p>\n<p>&#8216;Itinerarios equivocos&#8217;, catalogue to Edge &#8217;92, London and Madrid. (English and Spanish).<\/p>\n<p>&#8216;Vacaciones\/Vacations&#8217;, Re-View 1492-1992&#8242;, NYC. <\/p>\n<p>&#8216;The &#8220;Bride&#8221; Stripped Bare. Even So&#8230;&#8217;, (on the exhibition America: Bride of the Sun), Artforum International, November.<\/p>\n<p><strong>1991<\/strong>:<br \/>\n&#8216;V-I-D-E-O-Z-O-N-E&#8217;, in Topographie 11: Untergrund, Wiener Festwochen, Austria.<\/p>\n<p>&#8221;Dancing with Words and Speaking with Forked Tongues&#8217;, Third Text, No 14, Spring.<\/p>\n<p>\u2018Unsettled Accounts of Indians and Others&#8217;, 1986, in The Myth of Primitivism, (ed) Susan Hiller, London: Methuen.<\/p>\n<p><strong>1990<\/strong>:<br \/>\n&#8216;Reflections on Echo: Notes Towards a Dialogue on Sound by Women Artists,&#8217; Eau de Cologne, Koln, 1989; Extended version for Signs of the Times, MOMA, Oxford.<\/p>\n<p><strong>1989<\/strong>:<br \/>\n&#8216;Fictional Histories: Magiciens de la terre&#8217;, Artforum International. {Republished in Magiciens de la Terre, Exhibition Histories, Afterall Publications, 2013)<\/p>\n<p>&#8216;Autres Cartographies&#8217;, Les Cahiers du Mus\u00e9e National d&#8217;Art Moderne, Paris, May, No 28, 1989; (reprinted in Third Text, No 6, 1989)<\/p>\n<p><strong>1988<\/strong>:<br \/>\n&#8216;The Health of the People is the Highest Law&#8217;, in Revisions, The Banff Centre, Alberta, Canada; (reprinted in Third Text, No 2, April 1988.)<\/p>\n<p>&#8216;The ground has been covered&#8217; (with Jimmie Durham), Artforum International, Vol 26, No 10.<\/p>\n<p>&#8216;The First Americans: A Return Visit&#8217;, First Glance, No 2, Oct, London, 1988.<\/p>\n<p>What Cheer, Englishmen, What Cheer, What do you come for?, Jimmie Durham and Edgar Heap of Birds at Matt&#8217;s Gallery, October.<\/p>\n<p><strong>1987<\/strong>:<br \/>\n&#8216;Guidelines&#8217;, introduction to We the People, Artists Space, NYC.<\/p>\n<p>&#8216;Object of Fetishism&#8217;, in Framing Feminism, (eds) Griselda Pollock and Roszika Parker, London: Pandora.<\/p>\n<p>&#8216;Re-Framing the Subject&#8217; (Antonioni&#8217;s Blow Up and Brian de Palma&#8217;s Blow Out), in Blow Up, (travelling exhibition on photography and art), Wurttembergischer Kunstverein Stuttgart.<\/p>\n<p><strong>1986<\/strong><br \/>\nIntroduction to Ni&#8217; Go Tlunh A Doh Ka, Amelie A Wallace Gallery, SUNY, Old Westbury.<\/p>\n<p>&#8216;Coyote Comes Laughing&#8217;, in The Fairy Tale: Politics, Desire and Everyday Life, Artists Space, NYC.<\/p>\n<p><strong>1985<\/strong><br \/>\n\u2018Die Inszenierung des Verschwindens\u2019, Kunst mit Eigen-Sinn, Vienna.<\/p>\n<p>&#8220;Lost and Found Traditions&#8221;: Contemporary Native American Art at the Museum of Natural History&#8217;, review in Artforum International.<\/p>\n<p><strong>1984<\/strong>:<br \/>\n&#8216;Art into Play: The &#8220;Alternative Space'&#8221;, LAICA Ten Year Catalog, LA.<\/p>\n<p>ON INDIVIDUAL ARTISTS<\/p>\n<p><strong>1999<\/strong>:<br \/>\nDancing on a Tightrope (for Anne Tallentire), Project Art Centre, Dublin.<\/p>\n<p>\u2018Poetic Machinations\u2019, in Andrew Webb: A Small Box of Air Trapped and Drawn, Campo Santo, Belgium.<\/p>\n<p>The Breath between Words\u2019, in Adrian Piper: A Retrospective, (ed) Maurice Berger, Maryland University Baltimore County, Maryland.<\/p>\n<p><strong>1998<\/strong>:<br \/>\nJudith Cowan:\u2019 present&#8230;passing\u2019, Angel Row Gallery, Nottingham.<\/p>\n<p>Gert Verhoeven: Auto-Mio, MUHKA, Antwerp.<\/p>\n<p><strong>1997<\/strong>:<br \/>\nAdrian Piper: \u2018Out of Order, Out of Sight&#8217;, review for Bookforum, Summer, 1997<\/p>\n<p>Kate Smith: Matt&#8217;s Gallery, London, 1997<\/p>\n<p>Everlyn Nicodemus: \u2018Between Silence and Laughter\u2019, catalogue to exhibition, Displacements, University of Alicante.<\/p>\n<p><strong>1996<\/strong>:<br \/>\nWillie Doherty: The Only Good One is a Dead One, The Post-colonial Landscape Project, Edmonton Art Gallery and Mendel Art Gallery, Canada.<\/p>\n<p>&#8216;James Coleman&#8217;s &#8220;Box&#8221;&#8216;, in Boxer: An Anthology of Writings on Boxing and Visual Culture, London: inIVA,<\/p>\n<p>Susan Hiller: &#8216;Light and its Double:\u2019 Portfolio, No 23.<\/p>\n<p>Ria Pacqu\u00e9e Tomb: Ria Pacqu\u00e9e and; Jon Thompson, Dhondt-Dhaenens Museum, Belgium.<\/p>\n<p>Gabriel Orozco: \u2018The Play of the World\u2019, in The Empty Club, Artangel, London.<\/p>\n<p>\u2018Susan Hiller: \u00c9lan and Other Evocations\u2019, in Inside the Visible, ICA Boston and MIT Press.<\/p>\n<p>Alanna O&#8217;Kelly, Arte Irlandesa, 23rd S\u00e3o Paulo Biennale, Brazil.<\/p>\n<p>Judith Cowan: Passages and Incidents, Kettle&#8217;s Yard, Cambridge.<\/p>\n<p><strong>1995<\/strong>:<br \/>\nRos\u00e2ngelo Renn\u00f3: de Appel Foundation, Amsterdam.<\/p>\n<p>Eponce: A Line of Infinite Variation, Cotina Scamas, London.<\/p>\n<p><strong>1994<\/strong>:<br \/>\n\u2018Concerning James Coleman&#8217;s Recent Work\u2019, in James Coleman, DIA Art Foundation, NY, 1994; (republished in James Coleman, Georges Pompidou Centre, Paris and Yves Gevaert \u00c9diteur, Bruxelles, 1996)<\/p>\n<p><strong>1993<\/strong>:<br \/>\nLynn Silverman: Reveries on 1:1: Angel Row Gallery, 1993; republished in Portfolio, No 20, 1994, and Inside the Visible, ICA Boston and MIT Press, 1996.<\/p>\n<p>Jimmie Durham: &#8216;Preface&#8217; to A Certain Lack of Coherence, (ed) Jean Fisher, London: Kala Press.<\/p>\n<p>Rasheed Araeen: An Art of Transformation: Fukuoka Modern Art Gallery, Japan.<\/p>\n<p>James Coleman: &#8216;The Inexorable Dissolve:, Artforum International.<\/p>\n<p>Jimmie Durham: \u2018The Savage Gift&#8217;, in America: Bride of the Sun, Koningklijk Museum voor Schone Kunsten, Antwerp, 1992; (reprinted in Third Text, 1993)<\/p>\n<p>Gabriel Orozco:\u2018 El sue\u00f1o de la vigilia\u2019, The Kanaal Art Foundation, Kortrijk, Belgium, (Reprinted by Marion Goodman Gallery, NY, 1994)<\/p>\n<p><strong>1991<\/strong>:<br \/>\nDavid Dye: Devices and Desires: David Dye&#8217;s Installations, Riverside Studios.<\/p>\n<p><strong>1990<\/strong>:<br \/>\nWillie Doherty:\u2018Seeing Beyond the Pale\u2019, in Unknown Depths, Ffotogallery, Cardiff, 1990<\/p>\n<p>Susan Hiller: The Revenants of Time: Susan Hiller&#8217;s time-based work, Matt&#8217;s Gallery, Mappin Gallery and the Third Eye Centre.  <\/p>\n<p><strong>1989<\/strong>:<br \/>\nSusan Hiller: \u2018Disturbances in the Field of Vision: Photographic Work of Susan Hiller, in Life-Lines, Tate Gallery, Liverpool.<\/p>\n<p>Tim Rollins and KOS: &#8216;A Question of Literacy\u2019, Parkett, No 20. John Hilliard: Empire of Shadows\u2019, The Renaissance Society, Chicago.<\/p>\n<\/div>\n<\/div>\n<div class=\"om-content-divider\">\n<div class=\"column-grid column-grid-2\">\n<div class=\"column column-span-1 column-central-div\">\n<div class=\"oversal-shuffle-before-to\">\n<h3 class=\"oversal-shuffle-text\">Writings pre &#8211; 1988<\/h3>\n<\/div>\n<p><strong>1988<\/strong>:<br \/>\nTina Keane: Beyond the Grey Horizon: Tina Keane&#8217;s Video, Performance, Installation, Riverside Studios.<\/p>\n<p>James Coleman: \u2018Seeing for Oneself: A Perspective,\u2019 Artists Space, NYC.<\/p>\n<p>Tim Rollins and KOS: The Nature Theatre of the South Bronx, Riverside Studios, London.<\/p>\n<p>Judith Barry: Through the Mirror of Seduction, Douglas Hyde Gallery, Trinity College, Dublin.<\/p>\n<p><strong>1987<\/strong>:<br \/>\n&#8216;Hans Haacke&#8217;s Corporate Muse&#8217;, Artforum International,  Vol 25, No 7.<\/p>\n<p>Judith Barry: &#8216;The Vampire of the Text: Judith Barry&#8217;s Projections&#8217;, Parkett, No 13.<\/p>\n<p>Judith Barry: \u2018The Vampiric Effect\u2019, in Non in Codice, American Academy in Rome.<\/p>\n<p>Avis Newman: On the Margins of Forgetfulness: Lisson Gallery, London and the Renaissance Society, Chicago<\/p>\n<p>Anselm Kiefer: \u2018A Tale of the German and the Jew&#8217;, Artforum International, September.<\/p>\n<p><strong>1985<\/strong>:<br \/>\nFrank Stella: \u2018Modernist Fables (Frank Stella and the Critical Text\u2019), ICA, London.<\/p>\n<p>Lawrence Weiner and Conceptual Art, script for slide\/tape, Fruitmarket Gallery, Edinburgh.<\/p>\n<\/div>\n<div class=\"column column-span-1\">\n<div class=\"oversal-shuffle-before-to\">\n<h3 class=\"oversal-shuffle-text\">Writings pre &#8211; 1984<\/h3>\n<\/div>\n<p><strong>1984<\/strong>:<br \/>\nJack Goldstein: Feuer-Korper-Licht:, Stadtische Museum, Erlangen, W Germany.<\/p>\n<p>Jack Goldstein: \u2018&#8217;The Space of Absence:, Artforum International.<\/p>\n<p>Matt&#8217;s Gallery, The Serpentine Gallery, London.<\/p>\n<p><strong>1983<\/strong>:<br \/>\nAlfred Hitchcock\/Victor Burgin: \u2018Chasing Dreams:, Artforum International.<\/p>\n<p>James Coleman: The Enigma of the Hero, Derry Orchard Gallery and Whitechapel Gallery London.<\/p>\n<p>Tim Head: Provinciaal Museum, Hasselt, Belgium.<\/p>\n<p>Mark Chaimowicz: Past Imperfect: Bluecoat Gallery, Liverpool.<\/p>\n<p>James Coleman: &#8216;The Place of the Spectator in the Work of James Coleman&#8217;, Open Letter, Halifax, Nova Scotia.<\/p>\n<p>John Hilliard: Kolnischer Kunstverein, W Germany.<\/p>\n<p>John Blake: Vliesshalle, Belgium.<\/p>\n<p><strong>1982<\/strong>:<br \/>\nJames Coleman: Douglas Hyde Gallery, Dublin.<\/p>\n<p><strong>1981<\/strong>:<\/p>\n<p>John Blake: ICA, London.<\/p>\n<p>Gerard Hemsworth: Orchard Gallery, Derry and Kettle&#8217;s Yard, Cambridge.<\/p>\n<p>Ger van Elk: (slide\/tape), Serpentine Gallery, Arts Council of Great Britain.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Publications Authored book 2003: Vampire in the Text: Selected Essays on Contemporary Art, London: inIVA. Preface by Cuauht\u00e9moc Medina. The volume assembles many of the essays published pre-2000, and is divided into two parts, Art in Practice, which focuses on specific artists\u2019 work, and Art in Context, which explores some contemporary issues of art and [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-full-width-template-cuatro.php","meta":{"_mi_skip_tracking":false},"yst_prominent_words":[89,95,43,100,93,97,88,94,92,96,48,91,90,98,106,104,108,110,102,99],"_links":{"self":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/pages\/24"}],"collection":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/comments?post=24"}],"version-history":[{"count":0,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/pages\/24\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/media?parent=24"}],"wp:term":[{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/yst_prominent_words?post=24"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}