Gillian Jakab is assistant editor of the Gagosian Quarterly and, since 2016, has served as the dance editor of the Brooklyn Rail.
The Bigger Picture
Artist Persecution and Protection
Gillian Jakab explores some of the history of the persecution of artists and looks at individuals and organizations that have taken up their cause. Through interviews with groups serving artists at risk today, she illuminates pressing questions of refuge in the age of digital media, autocratic nationalism, and pandemic.
The Art History of Presidential Campaign Posters
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
Bebe Miller and Cynthia Oliver
The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.
The Bigger Picture
Artists at Risk
Artists at Risk (AR) is a nonprofit organization that facilitates the secure passage of persecuted artists and welcomes them in safe-haven residencies around the world. But what happens when the world’s borders close due to a pandemic? In mid-May, Gillian Jakab spoke with founders Marita Muukkonen and Ivor Stodolsky in Berlin and artist Benjamin Abras in Tunis about the history of the organization, the residency experience, and the AR COVID-19 Emergency Fund.
The fact that you move so beautifully
On the occasion of the sixtieth anniversary of Frank O’Hara’s celebrated poem “Having a Coke with You,” Gillian Jakab takes a look at the “poet among painters” and the poem’s “You.”
Gillian Jakab considers the legacy of Sergei Diaghilev and the Ballets Russes in light of contemporary collaborations between visual artists and choreographers.
Time by Dance by Paik
Gillian Jakab considers the role of choreography in Nam June Paik’s 1989 video installation Fin de Siècle II.