Table of Contents
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.
Issues & Commentary: Ethnic Fraud and Art
To be Cherokee, at the very minimum, requires Cherokee ancestors. Jimmie Durham has none.
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.
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.
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.
Curator Jamillah James tells Ross Simonini what’s on her mind.
Critical Eye: Venice: Off Beat
In “Viva Arte Viva,” Christine Macel has endeavored to build an atmosphere of earnest exchange.
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.
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.
In the early 1990s, Donald Judd introduced Russian-born Ilya and Emilia Kabakov to the charms and dangers of the West Texas borderland.
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.
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.
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.
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.
Bruce High Quality Foundation University brought a DIY, group-talk approach to technical training and critical judgment.
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.
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.
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.
at Elizabeth Dee
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.