Art In America

More than Minimalism: The Algorithmic Turn at the Kitchen

"From Minimalism into Algorithm," an ambitious program at the Kitchen unfolding over the 2015-16 season, considers the roles of seriality, speculation and networked communication in art from the 1960s to the present. A slate of performances and...

Never Forget

Israeli filmmaker Omer Fast, having consistently questioned the notion of documentary "truth" for over a decade, now presents the feature Remainder, based on artist Tom McCarthy's novel about a man who obsessively restages violent crimes.  

Jérôme Bel and Performa 15’s Light Touch

Jérôme Bel's Ballet (New York) is a cute little piece. For his Performa 15 commission, the French conceptual choreographer cast 13 dancers and asked them to interpret a handful of genres.

Atlas Moscow: Good Neighbors

The government's rejuvenation of neighborhood exhibition spaces and the opening of the new, privately financed Garage Museum of Contemporary Art signal an updating of Russian cultural policy.

Issues & Commentary: Productive Space

Last summer, a series of in-house exhibitions in the tiny lactation room at New York's Museum of Modern Art gave comfort to working mothers, while highlighting the many challenges they face.

Populist and Professional Tastes Collide at ArtPrize

For two and a half weeks each fall, the quaint Midwestern city of Grand Rapids, Mich. hosts what organizers vaunt as the world's largest art competition. The works range from craft-based to conceptual, from murals honoring fallen soldiers to video...

Experimental Mindset: An Interview with Andrew Blauvelt

There's change in the air at the Cranbrook Art Museum, where Andrew Blauvelt, a 1988 MFA graduate of Cranbrook Academy of Art's design department, begins his new job as director this month. A practicing graphic designer for more than 20 years,...

Transformation and Becomings: An Interview with A.K. Burns

A.K. Burns, an artist known for collaborative working methods, queer-feminist activism and intuitive processes, premieres A Smeary Spot at Participant Inc. (Sept. 13-Oct 18). The non-narrative video installation, which she calls a poetic manifesto,...

Facts, Figures, Afterthoughts

The Museum of Modern Art's Pablo Picasso retrospective of 1980 attracted over a million visitors, putting an unprecedented strain on the museum's finances, physical plant and staff. In A.i.A.'s December 1980 issue, dedicated to Picasso, Roberta...

Franklin Sirmans Takes the Helm at Pérez Art Museum

The Pérez Art Museum Miami (PAMM) has appointed Franklin Sirmans its new director, effective October 15. Sirmans, age 46, has been department head and curator of contemporary art at the Los Angeles County Museum of Art since 2010.

SITE Santa Fe Celebrates 20 Years

SITE Santa Fe was founded in 1995 to present the first international art biennial in the United States, and soon after, developed a year-round schedule of programming. The art space's 20th anniversary program, "SITE: 20 Years/20 Shows," reflects its...

From the Archives: Art After Stonewall

In remembrance of the Stonewall Riots that took place on June 26, 1969, catalyzing the modern LGBTQ movement, Holland Cotter spoke to 12 queer artists for our June 1994 issue.

From the Archives: Renzo Piano’s Menil Collection

A.i.A.'s May issue focuses on the Whitney Museum of American Art as it inaugurates its new building, designed by Renzo Piano, in New York's Meatpacking District. We've delved into our archives to revisit an article by architectural historian Reyner...

Théâtre de la Mode

A New York artist finds himself mysteriously drawn to a remote museum in the Columbia River Gorge, home to a collection of haute couture dolls from WWII-era Paris.

From the Archives: Kehinde Wiley’s 2005 Brooklyn Museum Debut

Over the past 15 years, painter Kehinde Wiley has become internationally known for his works combining realistic renderings of contemporary African-Americans and motifs from European portraiture. For A.i.A.’s April 2005 issue, art historian,...

Unveiling the Unhouse

An essay by architecture historian Reyner Banham for Art in America’s April 1965 issue overturned mainstream narratives of modernism and predicted the shape of things to come.  

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