Table of Contents
- Editor's Letter
Time-Based Art Festival at the Portland Institute for Contemporary Art in Oregon; Printed Matter’s NY Art Book Fair at MoMA PS1; avant-garde Japanese fashion at the Denver Art Museum; Analia Saban at Houston’s Blaffer Art Museum; and more.
Antonia Wright by Sean J. Patrick CarneyMiami-based Antonia Wright often puts herself in physical and emotional jeopardy in video performances shot with the lush compositional eye of a nineteenth-century painter.
Biennials: Mixed Messages
Incorporating works from many participants in their own online community, the New York–based collective DIS has mounted a Berlin Biennale that simultaneously exploits and critiques trendy digital strategies for marketing culture.
Bienal de São Paulo curator Jochen Volz tells Ross Simonini what’s on his mind.
Causes and Effects
As artistic director, Chilean architect Alejandro Aravena has made this year’s Venice Architecture Biennale a celebration of modest materials and inventive, socially conscientious design.
The Course of Empire
A traveling show from Taipei’s National Palace Museum reflects, as did each of its predecessors since the 1950s, both the splendors of China’s past and the ambiguous, self-assertive status of Taiwan today.
Up Close: The Once and Future Detroit
As downtown neighborhoods begin to gentrify, Detroit's artistic community continues the feisty, freewheeling mode of cultural entrepreneurship that saw it through the city's darkest days.
An émigré to New York, Russian-born painter Sanya Kantarovsky argues for the fluid openness to pictorial change that he perceives in the half-obscured surface traces left by such masters as Leonardo, Matisse, and Picasso.
Canine Freak Show
Lynda Benglis recalls the collaborative conception and seat-of-the-pants production of her 1976 video The Amazing Bow Wow, about a husband who grows jealous of a talking dog.
Screening the Middle East
Anna Wallace-Thompson on Laura U. Marks’s Hanan al-Cinema: Affections for the Moving Image; plus related titles in brief.
Varieties of Reclamation
Rosalyn Drexler has managed, over the past sixty years, to produce innovative paintings and sculptures that deftly combine pop images with cool formalist devices.
The supernatural is utterly natural in the films of Apichatpong Weerasethakul, who brings experimental techniques to bear on the intermingling of myth and daily life in provincial Thailand.
The Big Picture
It's not easy to convey humor through the modernist grid, but Rochelle Feinstein finds the format—along with painted texts, stock photographs, and videos—surprisingly congenial for satirizing the art world and her personal life.
In the Studio: Donald Moffett
A veteran of the AIDS-activist group Gran Fury, Donald Moffett relates how, since the early 1990s, he has produced paintings made with cake-decorating tools, monochromes serving as screens for socially engaged video projections, assemblage-style sculptures he calls "contraptions," and other funky works of the sort slated for a New York gallery show opening this month.
People, Awards, Obituaries
The Jazz Painter
by Lewis Kachur
A traveling retrospective, currently at the Whitney Museum in New York, emphasizes Stuart Davis’s later paintings, especially his development of shifting, jazzlike variations over the course of decades.
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.