Table of Contents
- Editor's Letter
Elevation 1049 biennial in Gstaad; David Hockney traveling retrospective; Mexico City art fairs; Black History Month events at Harlem’s Schomburg Center; Manif d’Art biennial in Quebec City; Moody Center for the Arts opens in Houston.
In her impassioned multimedia projects, California artist Sofía Córdova envisions a global ecological apocalypse and its grim aftermath.
Critical Eye: Mimi Gross in Her World
In a vast trove of drawings, New York artist Mimi Gross has reflected over the past forty years on her immersion—as a painter, set-and-costume designer, photographer, and filmmaker—in bohemian milieus both here and abroad.
Artist, author, and publisher Roger White tells Ross Simonini what’s on his mind.
Recent events in Stavanger, Norway, attest to the demise of Scandinavia’s once-generous cultural support system and the growing importance of alternative artistic and curatorial entrepreneurship.
Room to Think
Throughout his life, certain places—his childhood home in Philadelphia, the Fisher Library at the University of Pennsylvania—have, for subtle reasons, induced Julian Hoeber to link the magic of art to introspection.
Works in Progress
Architect Richard Rogers recalls the shock, and the joyful challenge, he and Renzo Piano experienced when they won the coveted Centre Pompidou commission as newcomers in their thirties.
All About Eva
Robert J. Seidman on Eva Hesse’s Diaries, edited by Barry Rosen with Tamara Bloomberg; plus related titles in brief.
While Europe and the US continue to regard contemporary Chinese art with skepticism, curators and collectors in China now foster a dynamic mix of Eastern and Western works, as the current Shanghai Biennale and its often glitzy attendant events testify.
In Egypt during World War II, a large group of artists embraced the international Surrealist movement, creating locally inflected artworks and manifestos fully abreast of Western aesthetics and theory.
In the Studio: Meredith Monk
Vocalist and performance artist Meredith Monk, an icon of New York's experimental downtown scene, discusses the beliefs and techniques that have kept her a galvanizing figure for five decades.
Saved by Abstraction?
Viewing abstract painting as a transcendent endeavor, critic Barbara Rose has advocated its perpetual relevance—both in her writing and in key curatorial efforts over the decades, most recently a survey of Belgian and American artists in Brussels.
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.