Table of Contents
- Editor's Letter
The first Garage Triennial; Armory Show and attendant NYC art fairs; Center for Women’s History inaugurated at the New-York Historical Society; Nina Katchadourian’s retrospective in Austin; Tate St. Ives reopens; Art Basel Hong Kong.
Twenty-something Glasgow–based multimedia artist Jamie Crewe casts a transfeminist eye on art, literature, and history.
Atlas Miami: Place Markers
While Ugo Rondinone's flourescent multicolored stone stack reinforces Miami's bright-skyscraper ethos, works by Beverly Buchanan, Onajide Shabaka, and César Trasobares more thoughtfully represent the city's diverse social history.
The Corona Rising
Taking their place in the new National Museum of African American History and Culture among historical artifacts and key emblems of black music and theater, some eighty works of visual art manifest ties to a troubled history.
Snowballs and Flags
New York artist Derrick Adams recalls the galvanizing effect that David Hammons’s works and actions had on him while he was a student at Pratt Institute in the mid-’90s.
A photo of neighborhood children with one of his Hydrocal sculptures prompts Aldo Tambellini to reminisce about the East Village of the early 1960s and the Umbra poets who were then his collaborators and friends.
Jacob Stewart-Halevy on Kate Eichhorn’s Adjusted Margin: Xerography, Art, and Activism in the Late Twentieth Century; plus related titles in brief.
Treating dance as a species of witchcraft, LA choreographer Nina McNeely brings New Age symbols, culturally diverse music, and staccato movement to her live performances and big-name music videos.
Sited on Staten Island, Governors Island, and the Brooklyn waterfront, three enormous new parks—reflecting the distinct versions of three top international landscape design firms—provide New York with a host of additional "green" amenities.
More Of Less
Working with molecular structures, LA-based artist-entrepreneur Sean Raspet makes artworks in the form of food substitutes and artificial flavorings, thereby challenging conventional cuisine and its socioeconomic system.
The disorienting Op art paintings and installations of Julio Le Parc—born in Argentina but residing in France since 1958—bespeak his long-standing impatience with rigid aesthetic and political norms.
In the Studio: Augustas Serapinas
In his "studio," a contemplative space deep in a drainpipe by the Vilnia River, young Lithuanian artist Augustas Serapinas describes his itinerant, ad hoc practice.
Color is a Boundary
Bruises, skin tones, and the colors of the sky are among the surprising motifs of Byron Kim’s socially charged monochromes.
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.