Writing is an inherently participatory, communal act, as a scholar can only form a meaningful argument in dialogue with other artists and authors. Students in WR 100, “When Cultures Collide: Global Perspectives in Contemporary Art,” directly addressed this issue of participation in their third paper assignment, which asked them to contextualize an international visual artist’s work against relevant theories of interactive art. Yoko Ono, an artist renowned for her individuality, nuance, and grace, seemed a natural choice for Eva Gallagher, who exhibits these same qualities in her sophisticated prose.
Eva’s essay is notable for its dexterous treatment of multiple types of sources. A historical performance such as Ono’s Cut Piece must be contemplated through its documentation: videos, photographs, and an “event score” or script that dictates the action. Eva met this challenge by translating her visual source materials into lush descriptions, which in turn, she interpreted using the theoretical texts assigned for class. She further expanded the discussion to include carefully selected sources from her own research. Perhaps Eva’s nuanced approach to these visual and textual materials stems from her concurrent work in graphic design: her composition Puddle Illusions adorns the cover of this issue of WR. Ultimately, Eva’s conclusion links Ono’s proto-feminist examination of gender to contemporary feminist efforts, such as the “free the nipple” campaign on social media. In so doing, Eva reveals how Ono’s piece transcends its original 1960s iteration to illuminate urgent contemporary concerns, both within and beyond academia and the art world.
— SARAH PARRISH
WR 100: When Cultures Collide: Global Perspectives in Contemporary Art