Issue Feb 2012 —

In May 2009, critic and poet Raphael Rubinstein published an article in these pages coining the term “provisional painting” to describe a predilection for the “casual, dashed-off, tentative,unfinished or self-cancelling.” He set about describing “provisionality” in the work of Raoul De Keyser, Albert Oehlen,Christopher Wool, Mary Heilmann, Michael Krebber and Richard Aldrich. Rubinstein’s article caused a stir among critics, artists and scholars. It was widely discussed on art blogs and in art schools, and it came to life in a show titled “Provisional Painting” that Rubinstein curated last spring at Stuart Shave Modern Art, a gallery in London.

    Issue Feb 2012 –
    February 2012 134 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Art World Exhibtions Secret Lives Of Objects Stein's Way Sightlines Back Story Muse Books Atlas First Look Critial Eye
    Editor In Chief –
    Lindsay Pollock
    Design Director –
    Katharine C. Wodell
    Art In America - Issue Feb 2012  Art In America - Issue Feb 2012  Art In America - Issue Feb 2012  Art In America - Issue Feb 2012  Art In America - Issue Feb 2012  Issue Feb 2012  Art In America - Issue Feb 2012

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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