Issue edited by Joseph Masheck. Essays "American Women Architects," by John Lobell; "'Words': When Art Takes a Rest," by Jeff Perrone; "The Icon and Russian Modernism," by Margaret Betz; "Donald Judd: Past Theory," by Kenneth Baker; "Terry Fox Meanders," by Knute Stiles; "Outerbridge from Cubism to Fetishism," by Graham Howe; "Cruciformality," by Joseph Masheck. ... [details]
Issue edited by John Coplans. Essays "Approaching the Decorative," by Jeff Perrone; "Alexis Smith: The Narrative Act," by Nancy Marmer; "Night Light: Brassai and Weegee," by Colin L. Westerbeck, Jr.; "The Size of Non-Size," by Douglas Davis; "Cézanne's 'Bather' and a Found Self-Portrait," by Diane Lesko; "Frank Stella's New Work: A Personal Note," by Budd Hopkins; "Book Review: The Cultural Contradictions of Capitalism," by Tim Yohn. ... [details]
Issue edited by Joseph Masheck. Essays "Robert Irwin'S Recent Work," by Edward Levine; "Peter Hutchinson: From Earth Art to Story Art," by Eric Cameron; "The Man in the Crowd," by Leo Rubinfien; "Technique and Meaning: The Example of Andean Textiles," by Barbara Blum; "Drawing Toward Architectural Drawings," by James Hoekema; "Andy Warhol's 'Folk and Funk,'" by John Brooks; "The New York Film Festival: A Cultural Landmark?" by Regina Cornwell; "Tepid Yesterdays," by Carrie Rickey; "David Hare's 'Cronus' Series," by Deborah Perlberg. ... [details]
Issue edited by John Coplans. Essays "The Apotheosis of the Crummy Space," by Nancy Foote; "The New Architectural Supremacists," by Richard Pommer; "A Conspiracy of Bachelors," by Barbara Flynn; "Mac Adams: The 'Mysteries,'" by Eric Cameron; "Site Inspection," by Lawrence Alloway; "MOMA Hails the Cab," by Phil Patton; "Books: Topics in American Art Since 1945," by Jeff Perrone. ... [details]
Issue edited by John Coplans. Essays "'Inside the White Cube: Notes on the Gallery Space, Part I," by Brian O'Doherty; "'Women of Photography': History and Taste," by Jeff Perrone; "An Art of the Object," by Oleg Grabar; "Islamic Art: The Met's Generous Embrace," by Amy Goldin; "Oldenburg's Mouse," by Phil Patton; "Infrastructures: The Films of Alain Robbe-Grillet," by Colin L. ... [details]
Issue edited by John Coplans. Essays "'Such Good Intentions': Architecture for the Arts at Purchase," by Suzanne Stephens; "Problems from Early Kupka," by Bruce Boice; "European Painting in LA: A Grab Bag of Well-worn Issues," by Peter Plagens; "Alex Katz's Development," by Lawrence Alloway; "Super Realism: A Critical Anthology, Book Review," by Phil Patton; "Milestones, Film Review," by Steven Simmons. ... [details]
Australian periodical featuring artists' projects and interviews with artists and poets. Artists include: Daniel Shapiro, Krzysztof Wodiczko, Howard Raggatt, Peter Halley, Arakawa + Gins, Donald Baechler, Larry Clark, Lucio Pozzi, Charles North, Bruce Andrews, Laura Mullen, Joel Lewis, Aaron Fogel, Diane Stevenson, Stephen Paul Miller, Paul Violi, Michael Friedman, David Shapiro, Charles Bernstein, Jeffrey Harrison, Joyce Ca, John Hedjuk, Chris Kraus, Kerrie Poliness, Diena Georgetti, Sandra Bridie, Stephen Bram, David Morrison, Sue Lorraine, Karl Millard, Catherine Truman, Marcus Davidson and Susan Cohn. [details]
Audio CD reissue of Just Another Asshole #5,which was originally issues as a 12" vinyl LP. Features 83 artists, performing 77 pieces or extracts each of 45 seconds. Edited by Barbara Ess and Glenn Branca. ... [details]
Biography of the Velvet Undeground. Text by Victor Bockris and Gerard Malanga. Includes interviews between Bockris and Malanga and various members of the band, as well as members of Andy Warhol's entourage such as Ingrid Superstar, throughout. ... [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]