Alexis Rockman —

The USA’s leading contemporary art magazine offers a bumper issue. Allegedly so good that it can’t happen every year, the Whitney Biennial features large.

For the cynical out there who assume that sycophancy would be the order of the day, their cynicism pales into insignificance compared with that of Peter Plagens in his take on this year’s outing of America’s summary statement on emerging art. Charmingly vicious – largely because he doesn’t need to lie to anyone familiar with museal politics- he skilfully takes apart the po-faced curatorial position and certain works without once resorting to being unnecessarily personal. A delight for anyone who has ever been unimpressed by any august institution’s prestigious showcase exhibition.

Other great material in the issue includes the article by Stephanie Cash on Kenyan-born Wangechi Mutu and her enigmatic and alarming works and Debora Kuan’s feature on Canadian wunderkind Brian Jungen. Jungen, who appropriates materials used to make hip apparel such as sneakers to produce sculpture with an anthropological whiff and a political undertow, is the first living artist to be surveyed at the National Museum of the American Indian in Washington D.C., the starting point for Kuan’s article.


    Alexis Rockman –
    December 2010 96 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Matthew Ronay: In A Dark Wood Caravaggiomania (Re)Discovering Burri Fact As Fiction: Simon Fujiwara Eye Level Gwanguj Report In The Studio: Alexis Rockman Artworld
    Creative Director –
    Katharine C.Wodell
    Editor In Chief –
    Marcia E.Vetrocq
    Art In America - Alexis Rockman  Art In America - Alexis Rockman  Art In America - Alexis Rockman  Art In America - Alexis Rockman  Art In America - Alexis Rockman  Alexis Rockman  Art In America - Alexis Rockman

Our Take —

Art in America started in 1913 when there seemed to be a glaring gap in the American cultural scene for a contemporary art magazine that, unlike many contemporaneous art lovers, would no longer look back to the ‘old country’ for guidance on visual culture.

Ironically, the name might now be somewhat misleading. For, if its early years were an exercise in stating the validity of homegrown American contemporary art, then it has evolved a lot over the years. Its initial raison d’etre was entirely accomplished a long time ago and, these days, it is a magazine that focuses on the international art scene as much as on homegrown product.

With highly knowledgeable and respected contributors, Art in America is a magazine that is trusted by those who are serious about art. Whilst the content is certainly meaty, as a number of key observers have noted of late, it is also an increasingly readable magazine; informative without being too pretentious. This, together with its specific American perspective –in one sense it is the only serious-but-accessible USA art title offering the right balance between text and image with a notable circulation-  puts it in a special league of art magazines beloved of the upper echelons of the international art world.

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