Table of Contents
Curator Pablo Léon de la Barra's exhibition of Latin American art at the Guggenheim; Clark Art Institute reopening; Hans Ulrich Obrist and Klaus Biesenbach co-curate a performance exhibition for Art Basel; Hammer Museum presents its second L.A. biennial;
Van Abbemuseum director Charles Esche tells Chris Chang what's on his mind.
Animated novelty items, self-conscious cartoon characters and synthesized speech all contribute to this young, theory-savvy artist's wry videos.
A sense of the potential "vastness" of experience—spurred by everything from an old girlie ashtray to Velázquez's paintings—motivates the artist to convey his own gee-whiz wonder to viewers.
Maria Lani's Mystery
In 1928, scores of Paris-based modernists made portraits of the enigmatic actress Maria Lani, who was later accused of absconding with the art. But what are the facts behind this rumor-soaked episode?
The Global Office
Rem Koolhaas, the chief curator of the 2014 Venice Architecture Biennale (Jun. 7-Nov. 23) and one of the most influential architects working today, argues that contemporary architecture "is not in particularly good health."
A 1981 triple-portrait photo by Jimmy DeSana stirs poet John Giorno to recall the challenges of making a double record album that year with William S. Burroughs and Laurie Anderson.
Detroit's financial crisis has prompted local arts organizations, their sense of community now heightened, to explore new modes of fundraising and mutual support.
Critics and Dreamers
In the world according to Dave Hickey, everyone is either a Pirate (a plundering, boundary-defying individualist) or a Farmer (a fence-building nurturer).
The Body that Jill Built
Beginning as a dance columnist in the 1960s, Jill Johnston invented a hybrid brand of criticism—and a wildly energetic body of writing—melding analysis, sensory awareness, raw emotions, linguistic play and autobiography.
The Sigmar Polke retrospective currently at New York's MoMA offers an invigorating assessment of a complicated and elusive career.
“But Kultur’s Nar-Poo in the Trenches”
In the satirical newspaper the Wipers Times, British soldiers on the Belgian front confronted the horrors of the First World War with sardonic wit.
In North Korea, art systematically "corrects" reality—much as the leadership guides the thinking of artists through selection, education, employment, collaborative production and retirement care.
Combining socialist manifestos by two famous radicals—Auguste Blanqui and Rosa Luxemburg—with schematic "organization of revolt" drawings, Geyer and McElheny revisit their own 2011 Tate Modern performance, an updated call for transformative political
In the Studio: Heimo Zobernig
The prolific Austrian artist discusses his non-stop exhibition schedule and his wide-ranging oeuvre, which encompasses grid paintings, fabric pieces, videos, mannequin installations and graphic design.
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.