Table of Contents
- Editor's Letter
Frieze New York art fair; Block Universe performance art festival in London; Karl Ove Knausgård curates a show at the Munch Museet, Oslo; Florine Stettheimer at the Jewish Museum in New York; and more.
Working responsively with materials like sand, plaster, refuse, and cotton, Saudi Arabia's Zahra Al-Ghamdi creates semi-abstract installations that address issues of habitation and belonging in the Middle East.
With government support dwindling, Oslo's artist-run spaces have begun to experiment with unorthodox new funding models, combining alternative programming with commercial entrepreneurship.
Artist Jorge Pardo tells Ross Simonini what's on his mind.
Senga Nengudi recalls a 1977 gallery show in Los Angeles where she first exhibited her "R.S.V.P." sculpture series, whose sand-filled pantyhose evoke the elasticity of the human body.
Robert Atkins on Douglas Crimp's Before Pictures; plus related titles in brief.
Elements from the Actual World
Jimmie Durham's wryly humorous sculptures, paintings, and drawings can be seen as the composite self-portrait of a man with a contentious relationship to all ethnic and national identifiers.
With a subtle command of common materials and an unflagging formal inventiveness, Marisa Merz has established herself over the last six and a half decades as a key postwar Italian artist.
A Beckoning Angst
Living a luxurious life while depicting physical and spiritual destitution, France's Bernard Buffet was both wildly popular and, in some quarters, critically reviled. A recent exhibition in Paris presented him as a painter of surprising complexity.
In the Studio: Ryan Gander
British artist Ryan Gander is an ideas man. They are his métier and material, not just because he is a conceptual artist but also because he has an insatiable, childlike curiosity about everything.
People, Awards, Obituaries.
A California Romantic
With subjects ranging from towering surf to Batman to Charles Manson to the Vietnam War, Raymond Pettibon's image-and-text drawings evoke the Romantic Sublime––in both its brightest and darkest aspects.
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.