The International Awards for Art Criticism ( IAAC ) are now in their fifth year. Since the Awards were established, their international influence has gradually expanded, and many have decided to share this journey with us. With their help and support, we have formed a larger current in the river of art criticism. We feel grateful for the praise we have received, and it has also made us more confident.

Art criticism today is confronted with a ‘crisis of prosperity’. In one sense, art is receiving an unprecedented level of attention from all corners of society, and the number and quality of art exhibitions is increasing rapidly; the development of web technologies and the arrival of the digital era has made it possible for everyone to have their voices heard. This flood of opinions has created an unprecedented force for art’s dissemination, breaching the original confines of the art criticism community; new ideas and forces are bubbling up from all corners of the internet. In another sense, this unprecedented situation has made art criticism a more ephemeral phenomenon. Art criticism featuring fresh ideas, discerning attitudes and precise, pithy observations has become increasingly rare; noise and restlessness have buried calm reflection.

The crisis faced by art criticism is a crisis of thought in the Anthropocene. For Bernard Stiegler, the development of technology brought about a constant increase in entropy, and only art could allow for the emergence of the Neganthropocene and lead us out of our predicament. In this situation, forces for professionalism and stability are even more necessary to uphold a sense of responsibility and safeguard the future. Over a period of five years the IAAC has received 1,108 submissions from 63 countries and regions around the world and chosen 87 finalists and 16 winners. Through the International Awards for Art Criticism, these finalists and winners have received more attention, and the IAAC has propelled the professional development of those dedicated to art criticism.

An art museum is not an exquisite, isolated island. It is a linking mechanism that stirs up constant dialogue between the past, the present and the future: it boosts the give-and-take of cultural diversity, and it allows us to stand firm in the present, looking back to and reflecting on yesterday, so that we can more confidently and responsibly move forward. Museums are places to present artistic creation, but they are also places in which people give voice to thoughts and ideas. Museums represent a high ladder out of this crisis of prosperity. Here, art exists to be contemplated, but it is also a mode of knowledge production. The elegance of art and the refinement of diction allow people to experience the world’s depth and value amid the vastness of human thought. This is a responsibility that the Shanghai Minsheng Art Museum embodies.

In 2018 the International Awards for Art Criticism received a total of 157 Chinese and English entries from 24 countries and regions around the world, with 94 Chinese entries and 63 English entries. The Chinese submissions came from 18 provinces in China and 8 countries and regions outside the mainland. These overseas Chinese-language submissions came from the largest number of countries and regions to date, showing that Chinese-language writers of art criticism are becoming more active around the world. In addition, the data shows that the Chinese art critic pool is becoming more diverse – they are curators, artists, media professionals, museum professionals or researchers in the field of art. The English submissions maintained an extremely high level of quality, and more than 50 per cent of the submissions were from professional writers; artists and curators were also prominent forces.

For five years, the artistic voices we have assembled have prismatically refracted our silhouettes and footsteps in the world, as well as our prospects for the future. The IAAC has become a gateway for new forces entering the art world, and 33 per cent of the Chinese submissions were written by current graduate and undergraduate students. The IAAC has promoted art criticism and supported the validation of intellectual values, academic guidance and new ideological forces.

We aren’t waiting for the future to arrive; we are creating the future and walking with friends into it. With the promotion of the International Awards for Art Criticism, the winners and finalists from the last five years have received more attention; the IAAC has also become a starting point for their professional rise and a platform for success. Thus, the IAAC has become a professional accelerator for people in the field, planting an important seed for a bright artistic future. Our initial intention to help these young people open their wings and fly, as well as their subsequent success, have given further protection and hope to the world of art criticism.

Behind-the-scenes support is indispensable to keep a prize running for five years. The IAAC has continued during this period due to our wonderful partners. The Pudong New Area government, Shanghai, has been a sponsor for five consecutive years. The Royal College of Art, the International Association of Art Critics and the China Academy of Art have become long-term partners, and the China Minsheng Banking Corporation and the Shanghai Minsheng Art Foundation have also sponsored and supported the International Awards for Art Criticism for the last five years. More importantly, the professional judgement and scholarly support of the IAAC’s Organising Committee have been the cornerstones of this endeavour; earning the trust and confidence of every edition of judges and writers has been our primary motivation.

As the IAAC moves into its next five years, we hope that it will become an even more wide-reaching and keenly intellectual prize that will allow us to embrace hope, while looking to the future.

Gan Zhiyi
Director of the Shanghai Minsheng Art Museum

Exhibition Reviews Annual 5

A publication containing a selection of entries from the Fifth International Awards forArt Criticism ( IAAC 5 ), 2018 – 19

www.iaac-m21.com

Edited by Henry Meyric Hughes, with Gu Jia ( for the Minsheng Art Museum, Shanghai ) and Anne Duffau ( for the Royal College of Art, London )

Copyedited by Lise Connellan, Zhang Yuting, Wang Conghui

Designed by Sun Shujie

Translations into Chinese by Gu Qianfan, Huang Yedan, Liang Xiao

Translations into English by Richard Dobson, Duncan Hewitt, Bridget Noetzel

Proofreading by Lise Connellan, Henry Meyric Hughes, Gu Jia

A publication of the International Awards for Art Criticism Ltd. ( IAAC ), in partnership with the Minsheng Art Museum, Shanghai, and the Royal College of Art, London

With the support of the Shanghai Minsheng Art Foundation, China, the China Minsheng Banking Corporation ( CMBC ) and the International Association of Art Critics ( AICA ), Paris

The Board of the IAAC would like to thank Anne Duffau, Lise Connellan and Gu Jia.

The Board would also like to express their deep appreciation to the following, for their help with the first round of selections:
Emily LaBarge and Jonathan P. Watts, in London
Fei Dawei, Gao Minglu and Shen Yubing, in Shanghai

© 2019 the editors and authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means mechanical, photocopying or otherwise, without prior permission in writing from the publisher and the Board of the IAAC.

The Board of the IAAC have made every effort to trace copyright holders, but if any have been overlooked, they will be pleased to make the necessary accreditations at the first opportunity.

Adam Gordon:
The Grey Room
The Power Station
Dallas, TX
亚当·戈登：灰色房间
电厂艺术空间
达拉斯，德克萨斯
11.04.18 – 14.09.18

Aesthetics of Shape
and Illuminations
of Symbol
Egyptian Syndicate of
Plastic Arts Gallery
Cairo
造型美学与符号启示
埃及塑料艺术画廊辛迪加
开罗
21.10.18 – 03.11.18

Ana Vaz:
The Voyage Out
LUX
London
安娜·瓦兹：远航
卢克斯画廊
伦敦
12.09.18 – 07.10.18

Animals & Us
Turner Contemporary
Margate, UK
动物& 我们
特纳当代美术馆
马尔盖特，英国
25.05.18 – 30.09.18

Another Spring
Exeter Phoenix
Exeter, UK
另一个春天
艾克赛特凤凰艺术中心
艾克赛特，英国
04.05.18 – 17.06.18

Art and China after
1989: Theater of
The World
Solomon R. Guggenheim Museum
New York
1989 后的艺术与中国： 世界
剧场
古根海姆美术馆
纽约
06.10.17 – 07.01.18

Bi-City Biennale
of Urbanism /
Architecture ( UABB )
Shenzhen
深港城市 / 建筑双城双年展
深圳
15.12.17 – 17.03.18

Biennale Architettura
2018: 16th International
Architecture Exhibition
Venice
2018 建筑双年展: 第16 届国
际 建筑大展
威尼斯
26.05.18 – 25.11.18

Brazil: Knife in
the Flesh
PAC ( Padiglione d'Arte Contemporanea )
Milan
巴西：肉中刺
当代艺术馆
米兰
04.07.18 – 09.09.18

Can Aytekin:
Empty House
Arter Space for Art
Istanbul
卡恩·特金：空房间
雅特美术馆
伊斯坦布尔
16.03.18 – 15.07.18

Candy Shop
– the Circus
Supercontinent², Drodesera
XXXVIII
Centrale Fies, Dro, Trento, Italy
糖果店 — 马戏团
第38 届Drodesera 戏剧节“超
级大陆的平方”
Centrale Fies，意大利特伦托自治省德罗市
22.07.18

Charles Gaines
Paula Cooper Gallery
New York
查尔斯·盖恩斯
宝拉·库珀画廊
纽约
03.05.18 – 23.06.18

Charlie Engman: Mom
Scrap Metal Gallery
Toronto
查理·恩曼：妈妈
废金属画廊
多伦多
03.05.18 – 16.06.18

Cosmogonies, au gré
des éléments
MAMAC ( Mus é e d'a r t
moderne et d'art contemporain )
Nice, France
宇宙起源
现代当代博物馆
尼斯，法国
09.06.18 – 16.09.18

Counter Investigations: Forensic Architecture
ICA ( Institute of Contemporary Arts )
London
反调查：法证建筑
伦敦当代艺术中心
伦敦
07.03.18 – 15.05.18

EDC aka Etalier des
Chene: Music is Art
Ullens Center for
Contemporary Art
Beijing
陈冠希：音术
尤伦斯当代艺术中心
北京
12.01.18 – 11.02.18

Entropy
Faurschou Foundation
Beijing
熵
林冠艺术基金会
北京
09.09.18 – 13.01.19

EYE Art & Film Prize:
Hito Steyerl, Ben
Rivers, Wang Bing
Eye Filmmuseum
Amsterdam
EYE 艺术与电影奖：
黑特·史德耶尔，
本·里弗斯，王兵
眼睛电影博
24.03.18 – 27.05.18

Floating Utopias
nGbK ( neue Gesellschaft
für bildende Kunst )
Berlin
漂流乌托邦
nGbK
柏林
27.04.18 – 24.06.18

From Ear to Ear to Eye:
Sounds and Stories
from Across the
Arab World
Nottingham Contemporary
Nottingham, UK
从耳朵到耳朵到眼睛：来
自阿拉伯世界的声音和故事
诺丁汉当代艺术中心
诺丁汉
16.12.17 – 04.03.18

Get Out and Push!
Focal Point Gallery
Southend-on-Sea, UK
滚出去
焦点画廊
滨海绍森德，英国
12.05.18 – 19.08.18

Glenn Brown:
Come to Dust
Gagosian
London
格伦·布朗：归于尘土
高古轩画廊
伦敦
24.01.18 – 17.03.18

Heidi Bucher
Parasol Unit
London
海蒂·布彻
伦敦
19.09.18 – 09.12.18

Huang Zhe: The
Glimpse of the Past
Liang Project Co Space
Shanghai
黄喆：过去的瞬间
Liang Project Co Space
上海
18.08.18 – 02.09.18

Ibrahim Khattab:
Poetry in Motion
Safar Khan Art Gallery
Cairo
易卜拉欣·哈塔卜：
运动中的诗歌
萨法尔汗艺术画廊
开罗
12.03.18 – 07.04.18

Ilya and Emilia Kabakov:
Not Everyone Will Be
Taken Into The Future
Tate Modern
London
伊利亚和艾米莉亚·卡巴科
夫：不是每个人都会达到未来
泰特现代美术馆
伦敦
18.10.17 – 28.01.18

International Notation
Colloquium
Centro Cultural Universitario
de la UNAM
Mexico City
国际记谱法讨论会
墨西哥国立自治大学文化中心
墨西哥城
12.09.18 – 14.09.18

Jing Shijian:
The Snail's
Universe and Playful Landscape
Arario Gallery
Shanghai
井士剑：蜗牛的宇宙和戏谑的
风景
阿拉里奥画廊
上海
26.05.18 – 29.07.18

Jesse Jones:
Tremble Tremble
Project Arts Centre
Dublin
杰西·琼斯：颤抖 颤抖
项目艺术中心
都柏林
07.06.18 – 18.07.18

John Akomfrah: Purple
The Curve, Barbican Centre
London
约翰·亚康法：紫
巴比肯中心曲线画廊
伦敦
06.10.17 – 07.01.18

Judy Chicago: Pussies
Jessica Silverman Gallery
San Francisco
朱迪·芝加哥个展
杰西卡·西尔弗曼画廊
旧金山
08.09.17 – 28.10.17

Keith Haring:
The Alphabet
Albertina Museum
Vienna
基思·哈林：字母表
阿尔贝蒂娜博物馆
维也纳
16.03.18 – 24.06.18

Krijn de Koning:
Volumes and Voids
Grand Café, Centre
d'Art Contemporain
Saint-Nazaire, France
体积和空洞
当代艺术中心咖啡馆
圣纳泽尔，法国
02.06.18 – 23.09.18

L'Almanach 18
Le Consortium
Dijon, France
年历18
联盟画廊
第戎，法国
22.06.18 – 14.10.18

Lin Tianmiao: Systems
Rockbund Art Museum
Shanghai
林天苗：体·统
上海外滩美术馆
上海
26.06.18 – 26.08.18

Lorna Simpson: Unanswerable
Hauser & Wirth
London
罗娜·辛普森：无法回答
Hauser & Wirth 画廊
伦敦
01.03.18 – 28.04.18

Louise Bourgeois:
To Unravel a Torment
Glenstone
Potomac, MD
路易斯·布尔乔亚：解开折磨
Glenstone 艺术博物馆
波托马克，马里兰州
05.05.18 – 01.20

Martine Syms:
Grand Calme
Sadie Coles HQ
London
玛蒂娜·西姆斯：高贵的沉默
赛迪HQ 画廊
伦敦
06.09.18 – 20.10.18

Mary Reid Kelley
and Patrick Kelley:
We Are Ghosts
Tate Liverpool
Liverpool, UK
玛丽·里德·凯利& 帕特里克·凯
利：我们是幽灵
泰特利物浦
利物浦，英国
17.11.17 – 18.03.18

Michael Mieskes: Corpus
Munich
迈克尔·米斯克斯个展
慕尼黑
02.02.18 – 16.02.18

Mika Rottenberg
Goldsmiths CCA
London
麦卡·罗滕伯格
金史密斯学院当代艺术中心
伦敦
08.09.18 – 11.11.18

Mona Hatoum:
Terra Infirma
Pulitzer Arts Foundation
St. Louis, MO
莫娜·哈透姆个展
普利策艺术基金会
圣路易斯，密苏里州
06.04.18 – 11.08.18

Norman Ackroyd: Fragments
Eames Fine Art Gallery
London
诺曼·阿克罗伊德：碎片
伊姆斯画廊
伦敦
06.09.18 – 30.09.18

Parapolitics: Cultural
Freedom and the
Cold War
Haus der Kulturen der Welt
Berlin
政变：文化自由与冷战
世界文化之家
柏林
03.11.17 – 08.01.18

Park Rzeźby. Rozdział
X. Weneckie Biennale
na Bródnie
Bródno
Warsaw
第十届布鲁德诺雕塑公园艺术项
目“威尼斯双年展”
布鲁德诺
华沙
23.06.18 – 01.07.18

Peter Gowland's Girls
MAKK ( Museum für Angewandte Kunst Köln )
Cologne
彼得·高兰的女孩们
科隆应用艺术博物馆
科隆
09.06.18 – 14.10.18

Peter Hujar:
Speed of Life
BAMPFA, University of California
Berkeley, CA
彼特·胡笳尔：生命时速
艺术博物馆和太平洋电影资料馆
伯克利，加州
30.06.18 – 18.11.18

Pieter Hugo: Between
the Devil and the
Deep Blue Sea
Museu Coleção Berardo
Lisbon
彼特·雨果：在魔鬼和蔚蓝深海
之间贝拉多博物馆
里斯本
05.07.18 – 07.10.18

Rhythm, Repetition,
and Vocab
Detroit Institute of Arts
Detroit, MI
节奏，重复和词汇
底特律艺术学院
底特律，密歇根州
20.07.18 – 04.11.18

Roses
Coachford B&B
County Cork, Ireland
玫瑰
科奇福德民宿
科克郡，爱尔兰
1959 –

Royal Academy: 250th
Summer Exhibition
Royal Academy of Arts
London
皇家美院：第250 届夏季展
英国皇家美术学院
伦敦
12.06.18 – 19.08.18

Sislej Xhafa: love you
without knowing
National Gallery of Kosovo
Pristina, Kosovo
西斯利·扎法：不知不觉爱上你
科索沃国立美术馆
普里什蒂纳，科索沃
05.07.18 – 25.08.18

Stan Douglas
Victoria Miro Mayfair
London
斯坦·道格拉斯
维多利亚·米罗梅菲尔画廊
伦敦
26.10.17 – 20.12.17

Superflex: One Two
Three Swing!
Tate Modern
London
一二三，荡秋千！
泰特现代美术馆
伦敦
03.10.17 – 02.04.18

Tag: Proposals on
Queer Play and the
Ways Forward
ICA, University of Philadelphia
Philadelphia, PA
标签：Queer Play 之路的指引
费城大学当代艺术学院
费城，宾夕法尼亚州
02.02.18 – 12.08.18

teamLab: Massless
Amos Rex
Helsinki
teamLab: 无质量
Amos Rex 博物馆
赫尔辛基
30.08.18 – 06.01.19

The London Open 2018
Whitechapel Gallery
London
2018 伦敦放题展
白教堂美术馆
伦敦
08.06.18 – 26.08.18

The Projective Drawing
Austrian Cultural Forum
New York
投射式绘画
奥地利文化论坛
纽约
06.02.18 – 13.05.18

The Train: RFK's
Last Journey
San Francisco Museum
of Modern Art
San Francisco
葬礼游行：肯尼迪的最后一次旅
行
旧金山现代艺术博物馆
旧金山
17.03.18 – 23.09.18

Ugo Rondinone:
Vocabulary of Solitude
Arken Museum of Modern Art
Ishøj, Denmark
乌戈·罗迪纳：孤独的词汇
阿肯现代艺术博物馆
伊斯霍伊，丹麦
16.12.17 – 30.12.18

Ursula Burke: The Precariat
RHA Gallagher Gallery
Dublin
乌苏拉·伯克：先知
皇家海柏尼恩学院加拉赫画廊
都柏林
06.08.18 – 21.10.18

Vasan Sitthiket:
I AM YOU
Bangkok Art and Culture Centre
Bangkok
瓦桑·西特基特：我就是你
曼谷艺术文化中心
曼谷
23.03.18 – 27.05.18

Women's Political
Emancipation: From
the Women's Vote to
the First Women
Ministers
Frauenmuseum Bonn
Bonn
妇女解放：从妇女的投票到第一
任女部长
威斯巴登妇女博物馆
波恩
03.10.18 – 30.06.18

Wolfgang Tillmans: Fragile
The GoDown Arts Centre and Circle Art Gallery
Nairobi
沃尔夫冈·蒂尔曼斯：脆弱
内罗比，肯尼亚
12.04.18 – 11.05.18

Territory, the Humanities
and the Digital Divide
in Photography

Being: New Photography 2018
Museum of Modern Art, New York
18.03.18 – 19.08.18

Joint Second Prize
Entry in Chinese

Translated by Bridget Noetzel

After the New Photography exhibition series was suspended in 2014, Quentin Bajac, the new Chief Curator of the Photography Department at New York’s Museum of Modern Art, made qualitative changes to the series, which had been running for thirty years. He headed the curation of Ocean of Images: New Photography 2015, which directly referenced the new issues that photography faces in the era of internet and digital technologies. Even so, this qualitative change seems not to have continued; despite the major technological innovations in art, the twenty-fifth edition of New Photography, which takes ‘Being’ as its theme, attempts to return to the humanities. ‘At a time when questions about the rights, responsibilities, and dangers inherent in being represented – and in representing others – are being debated around the world, the works in Being call attention to assumptions about how individuals are depicted and perceived.’¹ In essence, exhibition curator Lucy Gallun has once again engaged with stereotypical Greenbergian characteristics of the media.

Since Walker Evans, the ‘lyric documentary’ has become a classic of American photography, through the support of an interpretative community, a group of informed observers sharing similar critical values and methods. The idea that this is a form of classicism is clearly at the core of this exhibition. Matthew Connors made several trips to North Korea to photograph individuals living in a society with a strong collective consciousness. These fourteen carefully arranged images question the friction between the concept of a nation shaped by the media and its individual citizens. Through a two-channel video and six photographs from her Deep Springs series, Sam Contis probes Deep Springs College, a liberal arts college located deep in the desert, which had until very recently been an all-male preserve. Portraits of young men and details of their bodies are juxtaposed with the natural landscape around the college and archival photographs, in an attempt to present the influence that this environment has had on the temperaments of these men. Joanna Piotrowska’s five works from two different series attempt to capture intimate and estranged relationships within the family. All the people and objects in the images are carefully arranged to present a subjective impression of tropical humidity, stickiness and exhaustion as a metaphor for the gentleness and antagonism that underpin the sense of intimacy.

These photographers, intentionally or unintentionally, emphasise the idiosyncrasies of the photographic medium. While not negating the documentary aspect, they incorporate the lyrical element in order to give their work more complex dimensions. For example, they infuse intense subjective emotion into the viewing of subjects such as North Korea, Deep Springs College and the family, and stress the editing and sequencing of the images to construct a distinctive artistic expression. The works of Connors, Contis and Piotrowska are presented in the same exhibition space, a powerful claim on this territory made by the dominant interpretative community of the American photography world. Sadly, the excessive elaboration of the idiosyncrasies of the photographic medium take the exhibition further from the spirit of the humanities in our times.

Photographic technology divides history in two; then digital technology divides the history of photography in two. How are people considered people? One of the elements most deeply influencing the current definition and understanding of people is digital technology. However, there is only one work in the exhibition that directly addresses this subject. Yazan Khalili’s Hiding Our Faces Like a Dancing Wind is a 7½-minute video, presented in a window on a computer screen. The window in the centre of the screen calls to mind the facial recognition function employed by smartphones to take portraits; at the same time a series of still photographs of masks from distant antiquity, photographed using this same recognition function, is gradually revealed. In an adjacent text box, someone types a text relating the masks, ancestors, photography and facial recognition to each other.

In colonial history, photography was once a tool that Westerners, coming from a place of technological strength, would use to objectify ‘Others’ they considered technologically weaker. Hương Ngô and Hồng-Ân Trương’s work The opposite of looking is not invisibility. The opposite of yellow is not gold ( 2016 ) constructs a microcosm of the individual immigrants’ experiences within American mainstream ideology. Philippines-born Stephanie Syjuco’s black and white series, Cargo Cults, revives nineteenth-century ethnographic portrait photography. Obviously, the development of digital technologies has not removed these injustices, because what is more eye-catching than the work of Khalili is his identity as a Palestinian born in Syria. These two war-torn places have given the contemporary art world endless fodder for discussion: the technologically strong group is still searching for novelty among the technologically weak. As Danah Boyd and Kate Crawford have observed, today’s Big Data has created a new ‘digital divide’ between those with Big Data and those without.² In the logic of information capital, there exists an opposition between the exploiters and the exploited.

In the first half of the twentieth century, technology brought the light of modernisation. After the Second World War, technology was often criticised as a tool in the arms race. The early twenty-first century witnessed another shift, and technological optimism rose again. Art, history, literature and other humanities disciplines embarked upon large-scale digitisation projects, which gave birth to the Digital Humanities. Today, any important work of art can be found online in a digital version, whether picture, video or even multimedia. But when we begin viewing, researching and consuming digital files, can the data monopolised by a very small number of technologically strong institutions be equivalent to the works themselves and the human value they embody? Daniel Allington, Sarah Brouillette and David Golumbia sharply criticise the Digital Humanities as ‘neoliberal tools’.³ They believe that the worthless digitisation projects of the Digital Humanities ignore the essential values and research methods of the humanities. We have already internalised the notion that technological impotence can be faulted at every turn in a ‘one-dimensional society’ as articulated by Herbert Marcuse.

If the previous edition of the exhibition fell into the trap of technological solipsism, then choosing for this one the title Being, which firmly defends the lyric documentary, avoids issues that still require deep research. Undoubtedly, conservative curatorial strategies such as these intensify the binary opposition between technology and the humanities: you trust the one you always trusted and distrust the one you always distrusted. The rhetoric of helpless introspection and pallid breakthroughs dominates the creation and interpretation of photography, highlighting the fact that reflections on technology are necessary if photography is to be restored to the human spirit. Photography has always been deeply entwined with the humanities, society and the natural sciences: the focus on people is essential for photography and, indeed, any technological development.

1. Museum of Modern Art press release, ‘MoMA’s Celebrated New Photography Series Returns on March 18, Exploring Ideas of Personhood and Representation in Contemporary Photography’ <http: //press.moma.org/wp-content/files_mf/expandedrelease_newphoto2018_final78.pdf>.

2. Danah Boyd and Kate Crawford, ‘Critical Questions for Big Data: Provocations for a Cultural, Technological, and Scholarly Phenomenon’, Information, Communication & Society, vol. 15, no. 5 ( 2012 ), pp. 662 – 79.

3. Daniel Allington, Sarah Brouillette and David Golumbia, ‘Neoliberal Tools
( and Archives ): A Political History of Digital Humanities’, Los Angeles Review of Books, 1 May 2016 <https://lareviewofbooks.org/article/neoliberal-tools-archives-political-history-digital-humanities/>.