Art In America

Cover:

Marta Minujín: Mattress, 1964/1985, acrylic on fabric and foam rubber (reconstructed), 59 by 34¼ by 21¼ inches. Collection Jorge and Marion Helft. Courtesy Hammer Museum, Los Angeles.

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Table of Contents

  1. Issues & Commentary: The Artist Formerly Known as Cherokee

    Just as Rachel Dolezal's position at the NAACP did not give her a pass to misidentify herself as African American, neither should Jimmie Durham's work on behalf of Native people be confused with confirmation of his tribal affiliation.

  2. Issues & Commentary: Ethnic Fraud and Art

    To be Cherokee, at the very minimum, requires Cherokee ancestors. Jimmie Durham has none. 

  3. Issues & Commentary: Jonathan Griffin Responds

    The fact that I—like so many others—was oblivious to the extraordinary claims of “ethnic fraud” in Durham’s narrative raises troubling questions about who gets to write art history, about the effectiveness of our archives, and about whose voices are amplified and whose are ignored.

  4. The Brief

    Istanbul Biennial; Rachel Whiteread at Tate Britain, London; “Speech/Acts,” a group exhibition examining black poetry and culture, at the Institute of Contemporary Art, Philadelphia; Chicago Architectural Biennial; Lyon Biennial; and more.

  5. First Look

    Julia Weist

    New York artist Julia Weist applies her library science training to projects ranging from a “lost word” internet search to artistic interventions in Cuba’s weekly trade in preprogrammed hard drives.

  6. Sightlines

    Jamillah James

    Curator Jamillah James tells Ross Simonini what’s on her mind.

  7. Critical Eye: Venice: Off Beat

    In “Viva Arte Viva,” Christine Macel has endeavored to build an atmosphere of earnest exchange. 

  8. Critical Eye: Kassel: Dislocated Loot

    Looted art is everywhere in the Kassel portion of Documenta 14, posited as something like the uncanny double of today’s globe-trotting artworks.

  9. Critical Eye: Athens: Chorus of Complaint

    Documenta 14 produced a friction, an anger that didn’t ease up even after the Athens part officially closed.

  10. Backstory

    Desert Oasis

    In the early 1990s, Donald Judd introduced Russian-born Ilya and Emilia Kabakov to the charms and dangers of the West Texas borderland.

  11. Books

    Art into Fiction

    Michèle C. Cone on Anka Muhlstein’s The Pen and the Brush: How Passion for Art Shaped Nineteenth-Century French Novels; plus related titles in brief.

  12. Molecular Sculpture

    Following a path blazed by Duchamp, a host of current artists are using scents, atmospheric conditions, and microorganisms to create a new, multisensory rapport between viewers and artworks.

  13. Drastic Times

    Based on seven years of research, the Pacific Standard Time exhibition "Radical Women: Latin American Art, 1960-1985" forges a new significance for previously excluded artists.

  14. Dithyrambs and Centaurs

    Replete with loose, painterly amalgams of abstraction and figuration, contemporary social critique and historical reference, two recent museum surveys confirmed that Markus Lüpertz remains among the most provocative of Germany's postwar bad-boy artists.

  15. MFA Quality

    Bruce High Quality Foundation University brought a DIY, group-talk approach to technical training and critical judgment. 

  16. The Repatriation of F$

    Reared on the Continent before returning to her US homeland, Jewish socialite Florine Stettheimer used her flamboyant painting and set-design skills to explore the complexity of American identity in the interwar period.

  17. The Lightning Field

    Interview with Jessica Morgan

    Discussing a soon-to-be-released selection of photographs of Walter De Maria’s Lightning Field, Dia Art Foundation director Jessica Morgan reflects on the seeming paradox of a highly orchestrated viewing experience in a natural setting.

  18. Artworld

    People, Awards, Obituaries.

In the Studio: Leslie Hewitt

Leslie Hewitt talks with a former student about seventeenth-century Dutch still-life painting, recollections of her family in the Civil Rights era, archival research, and her often collaborative working method.

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