Table of Contents
- Editor's Letter
Robert J. Seidman on Greg Battye's Photography, Narrative, Time: Imaging Our Forensic Imagination; plus related titles in brief.
The New York artist probes everyday "deathfulness" in videos that incorporate found footage and intentionally disrupted imagery.
International curator Ute Meta Bauer tells Chris Chang what's on her mind.
Arts & Letters
For 50 years, the painter Trevor Winkfield has promoted experimental writing by collaborating with literary friends to create designs for numerous publications.
Accounts of the famed Gutai artist, known for wrestling mud and hanging from a rope to paint with his feet, spurred Paul McCarthy toward his signature performance technique.
The sculptor recalls his collaborative projects with studio-mate Farrah Fawcett, as well as the night they hung out together with ZZ Top's Billy Gibbons.
Atlas Bangkok: Who’s/Whose “Thai Contemporary?”
While Thailand's art scene flourishes with up-to-date, concept-driven work, Thai collectors and cultural authorities lag behind their East Asian peers in capitalizing on the new.
Introduction: The Newest Whitney
After nearly 50 years on New York's Upper East Side, the Whitney Museum has moved downtown to the Meatpacking District. Now A.i.A. invites three scholars and an artist to respond to the new building, the collection and the urban context.
The Breuer Effect
In 1966, A.i.A. devoted four articles in its September-October issue to the then-new Whitney Museum designed by Marcel Breuer. Architectural historian Timothy M. Rohan discusses the views of our writers, who characterized the massive building as a bastion of culture amid the sleek ad-world towers of its Madison Avenue neighbors.
The artist offers a quirky response—a suite of nine staged photos heavy on hot dogs and stacked plastic forks—to the selection of Whitney Collection artworks that associate director John I.H. Baur presented in our pages half a century ago.
Cruising the Waterfront
Painter and art historian Jonathan Weinberg remembers the crumbling Hudson River piers of the 1970s and '80s, a zone of gay cruising and maverick art projects, predating today's gentrification and new Whitney.
The Language of Silence
For three decades, Colombian installation artist Doris Salcedo, whose traveling retrospective is now at the Museum of Contemporary Art Chicago, has obliquely but insistently commemorated the victims of political violence.
In the Studio: Joan Jonas and Jason Moran
Video and performance pioneer Joan Jonas, this year's U.S. representative at the Venice Biennale, is joined by her four-time collaborator, jazz phenom Jason Moran, to discuss the growth of their free-associative, call-and-respons process.
High Line Your Museum
An architectural theorist observes that, unlike the Breuer Whitney, the new Renzo Piano building melds fluidly with its commercial environs—an area of semi-industrial chic mediated by the High Line park, formerly an elevated railway.
at Studio Museum in Harlem
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.