Keywords: Engaging Across Disciplines in the Fine Arts

Assigned: Rebecca Giordano. “keyword.” The Chicago School of Media Theory, n.d.

Assigned: Pauline Oliveros. “The Earth Worm Also Sings: A Composer’s Practice of Deep Listening.” Leonardo Music Journal 3 (1993), 35–38.

Assigned: Jarrett Martineau. “Resonances: Liner Notes for the (Present) Future.” In An Indigenous Present, eds. Jeffrey Gibson and Janelle Porter (2023), 344–353.

Assigned: Christen A. Smith et al. “Cite Black Women: A Critical Praxis (A Statement).” Feminist Anthropology 2 (2021), 10–17.

Assigned: Shawn Wilson. “The Elements of an Indigenous Research Paradigm,” excerpt in Research Is Ceremony: Indigenous Research Methods (2008), 71–79.

Assigned together: Pam Lins. “Reviews.” In I Like Your Work: Art and Etiquette (2009); Michael Wilson. “Pam Lins: Owl [review].” Artforum, March 2009.

Assigned: Zarina Muhammad. “The Sound Voice Project.” The White Pube, November 23, 2024.

Optional review examples: Esse Arts + Opinion, C Magazine, e-flux, Canadian Art, ArtReview, Temporary Art Review, Galleries West, Frieze, newspaper arts sections, Sight & Sound, Pitchfork, The White Pube, Rock Paper Shotgun.

Assigned: Amy Fung. “Witness.” In Before I Was a Critic I Was a Human Being (2019), 105–113.

Assigned multimedia: Lindsay Nixon’s interview with Rebecca Belmore in Canadian Art; Belmore’s description of Wave Sound (2017); Wave Sound audio at Remai Modern.

Assigned: Helena Björk and Laura Kokkonen. Never Under-Estimate the Institution, CuMMA Papers 11 (2014), pp. 5–6, 8, 11, 14, 28, 36.

Choice-based institutional critique resources: International Indigenous Arts Community statement; Gulf Labor Artist Coalition; Global Ultra Luxury Faction; The Natural History Museum; W.A.G.E.; We Are Not Surprised; statue toppling.

Assigned: Todd Ayoung et al. “Why Do Art Collectives End?” Frieze, February 23, 2023.

Assigned: Yael Padan, Vanesa Castán Broto, Jane Rendell, and David Roberts. “A ‘Minifesta’ as the Promise of Collective Voice.” Axon 10.2 (2020), 1–17.

Assigned: “Manifesto for the Advancement of Indigenous Arts, Artists, and Arts Organizations in Québec.” Primary Colours / Couleurs primaires (2017), English or French.

Assigned: Adam Pendleton, “Manifesto” and “Afterward”; Susan Thompson, “The Black Dada Reader: Coming into Being”; Laura Hoptman, “A History of Dada in Three Parts.” In Black Dada Reader, ed. Stephen Squibb (2017), 9–15, 333–349.

Assigned: Carmen Papalia. “An Accessibility Manifesto for the Arts.” Canadian Art, January 2, 2018.

Assigned: Design Justice Network. Design Justice Network Principles, updated Summer 2018.

Assigned: adrienne maree brown. “Principles of Emergent Strategy,” “Elements of Emergent Strategy,” and “Fractals.” In Emergent Strategy (2017), 43–66.

Assigned: Cassie Thornton. “Preface: Artist’s Update,” “The Practice,” and “Wikipedia Entry from the Future.” In The Hologram (2020), xiv–xvii, 51–61, 62–68.

Assigned: Yoko Ono. Grapefruit (1964): “A Piece for Orchestra,” “Water Piece,” “Time Painting,” “Painting for the Burial,” “Omnibus Film,” “Imaginary Film Series,” “Dance Piece for Stage Performance.”

Assigned: Rick Rubin and Neil Strauss. The Creative Act (2023): “Make it Up,” “Patience,” “Inspiration,” “Try Everything,” “Expect a Surprise,” “Openness,” “Play”; pp. 77–81, 113–116, 127–131, 157–159, 273–275, 283–287, 353–356.

Assigned: “Talking About People Through Dance: The Life Story of Pina Bausch.” PINA website. Screening: excerpt from Wim Wenders, Pina (2011).