Table of Contents
- Editor's Letter
Ugo Rondinone “mountains” installed near Las Vegas; Frieze New York art fair; Yale Center for British Art reopens; Palestinian Museum launch; Leslie Hewitt at New York’s SculptureCenter.
Ubiquitous change and deterioration in both materials and spaces fascinate the thirty-four-year-old, New Orleans–born artist Zarouhie Abdalian, who is currently showing a selection of her altered objects in New York.
From Samizdat to Data Farm
A recent exhibition of typewriter-related artworks and artifacts from the Soviet era prompts reflections on the state of technology, politics, art, and literature in Russia today.
Curator Alison Gingeras tells Ross Simonini what’s on her mind.
The Other Us
Sarah Lewis on Kobena Mercer’s Travel & See: Black Diaspora Art Practices since the 1980s; plus related titles in brief.
A show at Oregon’s Portland Art Museum juxtaposes photographer Edward Curtis’s nostalgic, early twentieth-century vignettes of Native American life with wryly contrasting shots by three contemporary Indigenous artists.
Muse: Life Before (and After) (and During) the Digital Revolution
Casting a dubious eye on the new “tyranny of gadgets,” artist John Miller recalls a pre-digital childhood and his lifelong quest to make time blissfully his own again.
Up Close: Houston Loves Eccentrics
Former East Coast curator Bill Arning finds his adopted Houston surprisingly receptive to artistic oddballs and bold exhibitions in its burgeoning museums and galleries.
Learning to Be Free
A one-room school in rural Onatario gave the young Janet Cardiff a sense of dreaminess and self-direction that has served the artist well for fifty years.
Sculpture for a Large Wall, a 1957 architectural decor commission now classed as an artwork in MoMA’s collection, suggests that Ellsworth Kelly’s early design training had much more influence on his subsequent work than he ever admitted.
As the Met’s Costume Institute opens an exhibition about the interplay between handmade and mass-produced fashion, Leonardo da Vinci’s sketch for a sequin-making machine evokes a longer historical view of the topic.
Punk and Hippie
The Paper Radio duo of Benjamin Jones and Christopher Forgues, with their DIY aesthetic and countercultural convictions—sometimes aggressive, sometimes mellow—helped transform alternative comics in the first years of the twenty-first century.
In the Studio: Dara Birnbaum
With a long-awaited installation opening this month in Paris, pioneer video artist Dara Birnbaum discusses radical changes in technology and mass-media strategies, her own collaborative editing process, and her ongoing drive to meld personal and political concerns in her art.
People, Awards, Obituaries.
An African-American woman who turned to painting full-time at age sixty-nine, Alma Thomas faced many professional barriers—and overcame them all with her colorful mosaiclike abstractions.
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.