Focus Europe —

The current issue has a European focus, proving once again that the longstanding name chosen in a previous era can be a little misleading in the current context. As usual, Art in America is packed with insightful articles, informative previews and a selection of reviews of some of the most exciting shows of contemporary art taking place internationally over the summer.

Of immediate note in this issue is Gregory Volk’s thorough article on the ultimate valedictorian of the Leipzig School, Neo Rauch, coinciding with the largest retrospective of his work to date, aptly taking place in his native Germany.

David Ebony’s article on Piero Gilardi, the pioneer of Italian Arte Povera offers a timely and fascinating update on one of the key proponents of this influential movement. Gilardi left the art world in the early 1970’s, disillusioned and in conflict with the curatorial heavyweights of the day. Ebony’s article walks us through his reemergence as an artist and his new ‘living art’ park project in Turin.

Meanwhile in Asia, Gregory Galligan’s report provides an informative insight into Bangkok’s emergent contemporary art scene and, no doubt, something to whet the appetite of collectors always on the lookout for interesting new scenes.

    Focus Europe –
    July 2009 204 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Continental Divide Michael Huey: Out of the past Neo Rauch: Time Straddler Portfolio: Bora Vitorac and Dragoljub Pavlov Piero Gilardi: Organic Technology Arrangement in Dust and Failure: Melvin Moti Bangkok Report Photography In the studio: R.H.Quaytman Reviews
    Editor –
    Marcia E.Vetrocq
    Manager Editor –
    David Ebony
    Design Director –
    Katharine C.Wodell
    Art In America - Focus Europe  Art In America - Focus Europe  Art In America - Focus Europe  Art In America - Focus Europe  Art In America - Focus Europe  Focus Europe  Art In America - Focus Europe

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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