End Times Photography —

In amongst its feast of treats in the January issue, Max Kozloff’s feature on current trends in photography to treat the industrial past as archaeological relics and to envisage the industrialised cities of today as tomorrow’s ruins is immediately noticeable. Taking his cue from the work of photographers like Andrew Moore, Cédric Delsaux and Peter Bialobrzeski, he traces the connection between their work and nineteenth explorer adventurers or even romantic warnings of the Ozymandias ilk.

Susan Snodgrass’ interview with Madeleine Grynsztejn, Pritzker director of the Museum of Contemporary Art (MCA), Chicago, is an informative and candid insight into the working process of both the curator and the institution. For those who wonder just how and why top museums make the choices they do and what motivates their decisions, it’s very useful reading indeed.

And in amongst the rich tapestry of book and exhibition reviews and international overviews that comprise Art In America’s usual fare, Saul Ostrow’s visit to the studio of artist Brent Green demands attention. Giving us a voyeuristic view into the weird and wonderful world of Green’s folkloric installations and mixed media animated films, one can’t help wanting to see even more.

    End Times Photography –
    January 2011 148 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Margin Trading: Frances Stark Calm Between Storms Letters From A Painter: Brice Marden Know Your Enemy Homepage Insight Eye Level Books Museums Photography In The Studio: Brent Green Reviews Artworld
    Creative Director –
    Katharine C.Wodell
    Editor In Chief –
    Lindsay Pollock
    Art In America - End Times Photography  Art In America - End Times Photography  Art In America - End Times Photography  Art In America - End Times Photography  Art In America - End Times Photography  End Times Photography  Art In America - End Times Photography

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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