Table of Contents
- Editor's Letter
New York’s International Center of Photography reopens; Berlin Biennale; NYC Electroacoustic Music Festival; Stuart Davis survey at the Whitney Museum; “The Women of Abstract Expressionism” at the Denver Art Museum; Goya prints at the Blanton Museum
Daniel R. Small
In photography, film, and sculpture, Los Angeles artist Daniel R. Small explores the murky realm between history and fable, myth and fact.
Fung Wah Biennial
Evoking the nomadism of cultural workers in the new gig economy, New York’s nonprofit Flux Factory recently launched an art biennial on Chinatown buses plying the Northeastern corridor.
Architect Craig Dykers of Snøhetta tells Ross Simonini what’s on his mind.
Dallas artists have created a thriving DIY culture, often mixing visual works and music, and blithely blurring the line between private residences and public space.
Critical Eye: Personal Boundaries
The traveling exhibition “Art AIDS America,” opening this summer at the Bronx Museum, finds renewed relevance in the culture wars of the 1980s and ’90s, especially the dual political-aesthetic strategies of the era’s most socially committed artists.
David Ebony on Michael Peppiatt’s Francis Bacon in Your Blood; plus related titles in brief.
Stranger in a Strange Land
Looking back to 1989, artist Kehinde Wiley recalls the culture shock of departing South Central Los Angeles as a twelve-year-old to participate in a cultural exchange with students in Saint Petersburg, Russia.
Monitoring commodity prices, asset values, and the digital measurement of collective happiness, Mika Tajima creates artworks and installations—sometimes diffuse and cloudy, sometimes violent—that reflect current socioeconomic dynamics.
Art collector and self-taught painter William N. Copley translated his love of Surrealism into bright, cartoonish canvases devoted to everyday objects and scenes of good-natured raunch.
The Met Breuer, housed in the revamped concrete building that Marcel Breuer designed for the Whitney Museum, launched with a survey show whose “unfinished” theme chimes with the rough materiality of the modernist architectural landmark.
Writing and Non-Writing
Singapore-based Heman Chong addresses timeless epistemological questions—what do we know, and how do we know it?—through subtly conceptual, often semi-collaborative, “documentary” works.
Kelly's Late Shift
In the final years of a seven-decade career, Ellsworth Kelly defied the notion of a “late” style, instead drawing imaginatively on his long-standing motifs to create diverse new works in a full range of mediums.
In the Studio: Christian Jankowski
Chief curator of this summer’s Manifesta 11, German artist Christian Jankowski speaks candidly about his artist-meets-nonartist plan for the global event, as well as his own irreverent artworks—videos that parody today’s mass media formats and art world mores.
People, Awards, Obituaries
Geometry of the Beach
Sharply linear, formally severe, yet somehow lyrical, the tool-assisted drawings of Indian modernist Nasreen Mohamedi are featured in the new Met Breur's first monographic survey.
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.