Table of Contents
- Editor's Letter
Adam Pendleton at the Contemporary Arts Center New Orleans; Tribeca Film Festival; New York’s Association of International Photography Art Dealers fair; EVA International biennial in Limerick, Ireland; Sarah Crowner at MASS MoCA; Ideas City Detroit.
First Look: Erin Markey
Ignoring boundaries between drama, comedy and performance art, Brooklyn-based Erin Markey writes and acts in works of outrageous theatricality—including a recent musical about a Michigan girl in love with her family’s pontoon boat.
Robert Atkins on Man Ray: Writings on Art; plus related titles in brief.
Designers Mike Eckhaus and Zoe Latta tell Ross Simonini what’s on their minds.
The Albanian-born, Paris-based video artist, currently the subject of an exhibition at the New Museum, New York, reflects on the importance of syncopation—musical, visual and sociopolitical—in his life and work.
The figurative painter recalls a 1978 trip to an L.A. shoeshine stand with three fellow Otis Art Institute students, all determined to address black identity in their work.
The Indiscreet Charm of Fischli and Weiss
“How to Work Better” at the Guggenheim Museum, New York, surveys three decades of collaboration by Swiss artists Peter Fischli and David Weiss, whose sculptures, photos and videos deftly combine absurdity and high seriousness, cleverness and existential angst.
The Sight of Her
Charlotte Moorman, long known as the “Topless Cellist” of 1960s-’70s performance art, is finally receiving critical and curatorial recognition for her accomplishments as a musician, performer, cultural organizer and avant-garde celebrity.
At the Limits of Comprehension
Treating letters as both semantic elements and pictorial forms, poet Robert Grenier suggests a parallel between deciphering language and deciphering the sensory experiences that precede verbal formulation.
One to One
At New York’s Whitney Museum, a full-scale 1970 photographic projection by Michael Heizer brings home the immersiveness, the being-there (even if only vicariously), that is essential to the Land art aesthetic.
In the Studio: C. Spencer Yeh
Describing himself as “uncoordinated and tone-deaf,” Yeh relates how—as an instrumentalist, vocalist, producer, music packager and videomaker—he has created a high-energy sound-and-image art meant for audiences open to radical experimentation.
at Mildred Lane Kemper Art Museum
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.