Joy Garnett
American painter / From Wikipedia, the free encyclopedia
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Joy Amina Garnett (born 1960) is an artist and writer from New York, United States. Trained as a painter, her artwork explores contemporary practices around cultural preservation, alternative histories and archives. Her interdisciplinary work combines creative writing, research and visual media. In her early paintings (1997-2009), Garnett engaged issues around contemporary consumption of media and the distinctions between documentary, technical, and artistic image making.[1] Her mature work draws on archival images, alternative histories and the legacy of her maternal grandfather, the Egyptian Romantic poet, bee scientist and polymath Ahmed Zaki Abu Shadi.[2][3][4][5] Garnett is married to conceptual photographer and video artist Bill Jones.
Garnett was awarded a writing fellowship at Yaddo in Spring 2024 to work on her family memoir The Bee Kingdom. She was a 2019-20 Shift Artist in Residence at the Elizabeth Foundation for the Arts.[6] In 2011, she received a joint commission from the Chipstone Foundation and the Milwaukee Art Museum to produce work for the traveling exhibition “The Tool At Hand” (2011-2013).[7][8] In 2007, she was an artist in residence at iCommons, Dubrovnik, Croatia,[9] and in 2005, she was an artist in residence at the Atlantic Center for the Arts.[10]
In 2004, Garnett received an Anonymous Was A Woman Award.[11][12] She has also received grants from the Lower Manhattan Cultural Council (LMCC).[13]
In 2019, Garnett became the Art Director of the literary magazine Evergreen Review, founded in 1957 by Barney Rosset and re-launched in 2017 by John Oakes.[14] From 2005 to 2016, she was the Arts Editor at Cultural Politics,[15] a scholarly journal published by Duke University Press that features in each issue an essay written by a visual artist about their work. From 2013-16, she penned "Copy That!", a column on fair use issues in visual art, for Art21 Magazine.[16] She was the founder of NEWSgrist,[17] an electronic newsletter and art blog (ca. 2000-2017). From 1999 til 2001, she wrote the column "Into Africa" for artnet magazine.[18]
Controversy surrounding Garnett's 2003 painting "Molotov" drew international scrutiny to issues of authorship, appropriation and fair use in visual art. She lectured[19][20][21][22][23][24] and wrote[16][25][26][27] widely on these topics.