Table of Contents
SESC_Videobrasil in São Paulo; Remai Modern launches in Saskatoon; two new YSL museums open; "Mechanisms" begins its tour at the CCA Wattis Institute, San Francisco; Carolee Schneemann and Cathy Wilkes in MoMA PS1, New York; Karachi Biennale debuts.
In sculptural installations mixing old and new materials, jarring scale discrepancies, and enigmatic visual references, Brooklyn-based Andrew Ross slyly parodies our "post-fact" condition.
Film director Alejandro Jodorowsky tells Ross Simonini what's on his mind.
For the People
The annual Summer Exhibition at the Royal Academy of Arts, billed as a "democratic" open-call extravaganza, is in fact a highly stage-managed affair, rife with insider selections.
End of an Era
Thomas Struth recalls his student days at the Kunstakademie Düsseldorf in the mid-1970s, when he decided to switch from painting to photography.
Inside the Concrete Bubble
David Ebony on Alexander Alberro's Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art; plus related titles in brief.
Art Warriors and Wooden Indians
Forty-five years ago, A.i.A. produced a then-exceptional theme issue on art by and—to a much greater extent—about Native Americans. Here, that critical imbalance is redressed through multiple Indigenous perspectives on culture, art, environmental issues, and the human community.
Under Indigenous Eyes
This year Documenta 14 and the Venice Biennale have included an unprecedented number of contemporary Indigenous artworks, often galvanizing in their aesthetic presence and historically illuminating in their content.
What Lies Beneath
Alaska-based Native artist Sonya Kelliher-Combs's formally sophisticated sculptures and installations incorporate earthy regional materials—a moose jaw, seal intestines, reindeer hide, a caribou antler—evoking Arctic lifeways now in jeopardy.
The Strength of Water
In works involving interviews with other Indigenous women artists and a ritualized response to a seascape painted by her late mother, Maria Hupfield asserts the value of autonomous female voices and interconnections.
In the early 1990s, in a riposte to the five-hundredth anniversary of Christopher Columbus's epochal landing, Native American artists and curators offered their own take on First Contact and its often disastrous consequences.
Demian DinéYazhi´ resists the strictures of settler conditioning by expressing a radical queer sensibility in videos and installations that target educational policies, the extraction industries, and gender stereotypes.
Mixing prose, poetry, and images, the multicultural collective Postcommodity envisions the United States transformed for the better when people of color, in all their ethnic diversity, become the country's demographic majority in 2043.
Drones and Snakes
Opponents of the Dakota Access Pipeline utilized Indigenus mythology and current technology to counter yet another US government violation of their land and culture—a conflict addressed regularly in protest video works by Native artists.
In the Studio: Hock E Aye Vi Edgar Heap of Birds
Veteran artist Hock E Aye Vi Edgar Heap of Birds relates his efforts to commemorate Indigenous history while also critiquing non-Native arrogance in acerbic visual and textual works.
People, Awards, Obituaries.
at Menil Collection
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.