Table of Contents
- Editor's Letter
Frieze London; Yves Saint Laurent at the Seattle Art Museum; Beverly Buchanan at the Brooklyn Museum; Tino Sehgal at the Palais de Tokyo, Paris; “Paint the Revolution: Mexican Modernism, 1910–1950," and more.
LA-based poet and artist Jibade-Khalil Huffman—whose installation Stanza, enlivened by video and colored-light projections, is currently on view at the Studio Museum in Harlem—explores the subtle links between imagery, language, and personal identity.
Film: Pornography of Power
In her last film project, the late artist Ellen Cantor mixed documentary and soap opera genres to expose the perversity of US support for the Chilean dictator Augusto Pinochet.
Singer and artist Anohni tells Ross Simonini what’s on her mind.
Up Close: Narrative Painting
The representational paintings and drawings of New Orleans artist Willie Birch echo traditional African fractal patterns, reinforcing his solidarity with local “bottom up” social organizations.
Alison Rossiter, known for her work with expired photographic papers, has been enamored of the darkroom experience since her first technical class in 1970.
Residents and Residencies
With a population that is 95 percent foreign, Dubai tightly restricts permanent resident status, keeping its many expat artists in a state of limbo amid a richly bourgeoning art scene.
One member of the artist duo OSGEMEOS recalls the immense impact that hip-hop culture had on him and his twin brother Gustavo during their teenage years in late 1980s São Paulo.
Photography and Paradox
Colin Westerbeck on Arthur Lublow’s Diane Arbus: Portrait of a Photographer; plus related titles in brief.
The Digitized Museum
Introducing A.i.A.’s special issue on museums and digital technology, its organizers reflect on how new electronic devices, new institutional policies and programs, and a new emphasis on access, interactivity, and feedback are altering long-established ideas about what an art museum is and what it should do.
The Public as Producer
At the Cooper Hewitt, a multipurpose handheld device called the Pen enables visitors to share in “design thinking” through instantaneous searches of the collection and experiments in high-tech drafting.
The New Museum has adopted the start-up incubator model for its New Inc residency program. Has it also taken on the goals and thinking of today's venture capitalists?
The Digital Non-Visitor
Eight museum officials, critics, and theorists discuss strategies for maximizing the benefits of digital technology for visitors and institutions alike.
The Fun Palace at Fifty
The Fun Palace, a highly adaptable, multipurpose cultural space proposed for British workers in the 1960s, prefigured many of the audience-friendly design choices embraced by museums and art centers today.
Viewer Positioning System
The Brooklyn Museum’s ASK app lets users consult a dedicated Audience Engagement Team, while automatically supplying visitor movement and interest data to the museum through Bluetooth sensors.
Commenting on cultural memory in the digital age, Athens-based artist Angelo Plessas presents ten screenshots showing fictive monuments in Google Street View settings around the world.
Casts and copies once played a key role in education of artists and their public. Will the ever-proliferating, ever-improving images and 3D reproductions made possible by new technology soon become fully legal and critically legitimate?
People, Awards, Obituaries
A number of museums—the MCA Chicago, the CCA Wattis Institute, the Aspen Art Museum, and others—have opted for flexible, frequently changing website designs that reflect the vital nature of the art they present.
These volumes of Art in America’s history have not yet been digitized.
Founded in 1913 by art critic, historian and collector Frederic Fairchild Sherman under founding editor Wilhelm R. Valentiner, A.i.A., in its early issues, focused on old masters in American collections. For much of the ‘20s, the magazine was named Art in America and Elsewhere, reflecting its increasing geographic reach.
Its editors have been Jean Lipman (1941-71), Brian O’Doherty (1971-74), Elizabeth C. Baker (1974-2008), Marcia E. Vetrocq (2008-2011), and Lindsay Pollock (2011-present). Among the noted artists and critics who have written for its pages are Bernard Berenson, Benjamin H.D. Buchloh, Hal Foster, Adolph Gottlieb, Rosalind Krauss, Donald Kuspit, Thomas McEvilley, Robert Morris, Barbara Rose, Irving Sandler, Leo Steinberg, Craig Owens and Robert Storr.
The magazine was purchased in 1984 by Peter M. Brant, who owns it today.