Table of Contents
- Editor's Letter
Nam June Paik at the San Francisco Museum of Modern Art; public art symposium at the School of Visual Arts; European art fairs and biennials; Paul Gauguin at the Art Institute of Chicago; Jacob’s Pillow Dance Festival; Magazzino Italian Art opens.
Issues & Commentary
Incorporating thirteen characters (all played by Cate Blanchett) and excerpts from more than fifty artist proclamations, filmmaker Julian Rosefeldt’s Manifesto spurs an assessment of the hectoring rhetorical form.
In Chicago-based artist David Leggett’s cartoonish paintings, the joke is often on racist America.
Film: Worry the Image
For director Arthur Jafa, the essence of black cinema––and black being––lies in a nonlinear, quasi-musical processing of cultural memory and time.
Curator Kasper König tells Ross Simonini what’s on his mind.
From the Margins
While Miami officially presents itself as a city of luxury high-rises and creative commerce, the grimmer realities faced by its black and Hispanic populations are addressed in the work of artists such as William Cordova and Charo Oquet.
Ghosts of Apartheid
Orchestrating the elaborate beading of an apartheid-era Casspir armored personnel carrier, South African–born Ralph Ziman subverts the menace of this hulking implement of oppression and war.
From Disciple to Master
Lilly Wei on Rachel Corbett’s You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin; plus related titles in brief.
Louise Lawler's current exhibition at the Museum of Modern Art in New York focuses on her long-standing practice of photographically re-presenting the work of other artists, often in domestic settings or unexpected combinations––an approach many younger conceptually oriented artists have found generative.
Georges Seurat’s Circus Sideshow, the centerpiece of a Neo-Impressionist exhibition at the Metropolitan Museum of Art, features many of the movement’s key elements: vernacular subjects, atmospheric effects, humor, and socioeconomic commentary
Five Americans––Christopher Colville, Klea McKenna, Matthew Brandt, Farrah Karapetian, and Chris McCaw––are among a sizable contingent of artists who produce striking aesthetic effects with photographic methods that are deliberately slow, antiquated, and physical.
Beyond the Revolution
In the aftermath of Castro's sweeping late 1950s coup, Cuban artists have generated work reflecting multiple changes in collective and personal sensibility––from idealistic fervor to disillusionment, from social activism to formalist secession, from nationalism to globalism.
In the Studio: Nancy Shaver
Nancy Shaver discusses her early “seeing trips” with Walker Evans, her own deadpan photographs of children’s clothing, and her decades-long devotion to abstract wall sculptures, found objects, patterned fabrics, and installations.
People, Awards, Obituaries
Chance, decentralization, and collaboration were the watchwords for choreographer Merce Cunningham, who transformed twentieth-century dance.
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.