Art in AmericaOvjeren akaunt

@ArtinAmerica

The World's Premier Art Magazine since 1913. Follow us on Instagram

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Vrijeme pridruživanja: veljača 2009.

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  1. Emmet Gowin’s fascination with the Nevada Test Site began when he was photographing the Mount St. Helens eruption from an airplane and noticed the Hanford Nuclear Reservation. A decade of negotiations with the Department of Energy followed.

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    This review of three recent museum exhibitions about migration and border politics is really well done.

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  4. Jackson Arn reviews Emmet Gowin’s photographs of the Nevada test site, which capture a beauty that cannot be domesticated by art, at

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  6. Using PowerPoint, artists ask how performative presentations shape our thinking. on work by • David Byrne () • Simon Denny () • • Michael Riedel • Tan Lin () • and more.

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  7. “If I’m lucky, what I think is in a photograph and what someone else finds there are completely different," says Judy Linn. "That’s not a bad thing, it’s just the nature of the medium.”

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    "Her sculptures prompt reflection on dyads such as the conscious and unconscious body, parasite and host, parent and fetus. They also remind us of language’s role in shaping these dynamics" Wendy Vogel () on Ragen Moss for

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  9. Art world ethicists offer advice on how to deal with egotistical artists and careers beyond commercial art galleries, as part of their ongoing series "Hard Truths"

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    Thorough review-Three Museum Exhibitions about Migration Focus on Trauma but Obscure its Causes. By Greg Afinogenov via via

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    Hot off the presses: Our February “Hard Truths” column is out today in Art in America. We tackle real friends v. art acquaintances nuance. And why some art world people will always have a hard time swallowing a veggie burger.

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  12. In the end, the exhibition “Don’t Think” is less about the individual works than about the heartfelt compulsion of the true artist and the endearing strangeness of life at its most mundane.

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  13. Judy Linn is a real photographer, not—to use that dubious epithet—an “artist who uses photography.” She engages the world with an uncomplicated camera, shoots what she sees, and prints her images straight.

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  14. A 1994 collaboration between Joe and Rick Potts is exhibited in unrestored condition, the work’s red velvet matting practically gray with dust. This deference to the passage of time is the show’s most elegiac touch.

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  15. Travis Diehl () reviews Tom, Joe, and Rick Potts, whose plumbing store–turned–gallery highlights their eclectic art, on view at Potts through February 16.

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  16. Capturing New York’s freewheeling bohemia as well as the everyday eeriness of cities and the suburbs, Judy Linn has chronicled a half-century of American life with her camera. Steel Stillman interviews her in our February issue

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    Happy to see this interview with Judy Linn, a masterful photographer who receives far too little recognition.

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    Great piece by on the political stakes of art, and the missed opportunities when it is presented without historical context. What is art for? Not for flattening or assuring.

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  20. For John Akomfrah, whalers, slavers, and those who abandon migrants to die at sea are all part of a Western colonial legacy. The struggle against nature may be a basic element of human existence, but mass migrant death at sea is a man-made phenomenon.

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