William S. Smith
Editor’s Letter
by William S. Smith
There was a distinct feeling that art market actors had run headlong off a cliff but had not yet mustered the courage to look down. .. Read more
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There are many Andy Warhols, some at odds with each other... Read more
By identifying the unique aspects of a given city, the Atlas column shares something with biennials and other recurring exhibitions... Read more
The art world has a carbon problem. Long-haul air travel—the lifeblood of biennials and art fairs—contributes to climate change like few other activities... Read more
Though we publish this magazine every month for readers of the present, it’s also true that we are producing a document for posterity... Read more
Though much maligned, the white cube offers something singular: an environment for presenting and contemplating new forms and ideas... Read more
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Stan Douglas’s massively scaled images bear the weight that history paintings once did. .. Read more
Some artists don’t wait for institutions to interpret and label their work... Read more
The social gains of the postwar period were not bestowed by especially generous plutocrats. People fought for the city they wanted. .. Read more
It would seem that no object could be more at home in the center of the art world, more secure in its identity as art, than a painting. Yet stories in this issue by Kirsty Bell and Stephen Westfall highlight painters whose work remains productively out of step. .. Read more
At the core of her project is a concern with how ideas are transmitted from the past to the present, from the dead to the living... Read more
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"Build bridges, not walls." That was the mantra heard often at opening week events for Pacific Standard Time: LA/LA. .. Read more
Veteran artist Hock E Aye Vi Edgar Heap of Birds relates his efforts to commemorate Indigenous history while also critiquing non-Native arrogance in acerbic visual and textual works... Read more
Concentrating on highly tended spaces, New York–based Daniel Heidkamp infuses landscape painting with irony and formal stylization... Read more
Brashness and self-deprecation combine in the architecturally strategic, multi-medium installations of this former dancer, a youthful émigré from Georgia... Read more
