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ART PAPERS 25th Anniversary Timeline

Getting From Here to There
A Quarter Century of Art and Ideas

by Jerry Cullum

Palo Alto Dreamin‚
Towards a New Digital Expression(ism)

by Tom Moody

From Video to the Web
New Media Yesterday and Tomorrow
by John Johnston

The Future Of Art
Technology and Imagination in the 21st Century

by Richard Kostelanetz

From Victim to Power
Women Across Cultures and Time
An Interview with Nancy Spero

by Anne Barclay Morgan

Dust Storms In The Parallel Art Universe
Reflections on 25 years in the Self-taught/šOutsiderš Art Field

by Tom Patterson

Art at a World Hub
Photographs from the Atlanta Airport

Mornings with Magritte
How an International Art Critic Arrived in Western Virginia

by Suzi Gablik

Habitual Dilemma, With Options
Criticism and Implicit and Explicit Purpose

by Jeremy Gilbert-Rolfe

Is Art Still „What Makes Life More Interesting Than Artš?
Thoughts on Art in the Wake of Tragedy

by Cay Sophie Rabinowitz

Places with Some Far Off Distant Future
Evaluating Spoleto‚s Reach, 25 Years Later

by Nicholas Drake

„There Goes The Virtual Neighborhoodš
A Conversation on Technology, Performance Art and Digital Racism

by Guillermo Gómez-Peña and Lisa Wolford


During her recent tenure, Editor Xenia Zed had dreamed of an „all femaleš issue, written exclusively by women, that would subtly appear without much fanfare. Though the issue was never realized, new Editor Glenn Harper decided to produce an issue on feminism but without limiting the content to female writers. The result was spirited and politically-oriented, a trend which would continue throughout Harper‚s editorship, containing an interview with Barbara Kruger and an infamous Public Service Announcement by the Guerrilla Girls. Essays in volume 11 were loosely linked around themes-including the second Artist‚s Pages issue (see photo), subtitled, „What Next?,š an issue with a focus on „Art and Nature,š which contained the magazine‚s first contribution from current Chicago Contributing Editor Maureen Sherlock, and an issue which purported to survey „the non-profit beastš-while containing the short-lived „QVš section of non-related feature material, the most notable being an interview with theorist Fredric Jameson. This year also saw the final collaborative issue with the Architectural Society of Atlanta, and the arrival of Mildred Thompson as a writer and interviewer.


Although it was the theme of an issue which focused on art, taxes, politics and criticism, the magazine itself placed inside a „coverš printed on a large manila envelope, „Playing Hardball with the Big Boysš also symbolized the publication‚s growth during volume 12 via hard-stock covers and increased production values throughout-this in addition to ART PAPERS‚ credible reputation as a growing national publication. That year brought some inventive theme issues, including the third Artist‚s Pages Issue (see photo), subtitled „Campaign Promisesš in honor of the presidential election of that year, and issues on performance and art and funding. Glenn Harper‚s editorship was now firmly in place, and a clear sense of consistent political involvement was emerging while the publication continued with some of the themes it had established earlier-such as Southern folk art, seen in a lengthy obituary for Minnie Evans, and African-American artists, which manifested as an entire issue on „Contemporary Black Artists.š Other articles of interest included interviews with Keith Haring and Group Material. Also of note was a special issue sponsored by the Southern Arts Federation, which contained an insert on the National Endowment for the Arts‚ Documentary Photography Fellowships along with several essays on photography in the regular part of the magazine.


Volume 13 kicked off with John Johnston‚s interview with Jean Baudrillard in an issue which also contained Fluxus artist Dick Higgins‚ essay, „Five Myths of Postmodernism.š Other issues that year focused on film and video, sculpture, a special look at regionalism in addition to the annual artist‚s pages issue. Controversial photographer Sally Mann was among those interviewed, as well as artists ranging from Native American sculptor Bob Haozous to conceptual artist Richard C., and artist Pat Courtney designed the cover of the March/April issue (see photo). Interviews with sculptors and installation artists such as Donald Lipski, Shirazeh Houshiary, and Athena Tacha, as well as a conversation with folk artist James „Sonš Thomas and essays on the mobile home in America and Harris Dimitropoulos‚ monument in Paris for the bicentenary of the French revolution rounded out the year.


Guest Edited by frequent contributor Alan Sondheim, the „Noise Cultureš issue delved into the world of zines and club culture, even containing a special zine insert. The issue also contained an interview with Atlanta‚s own Ru Paul, who was then on the cusp of celebrity status. Of particular note was an article on art in Berlin at the time the Berlin Wall came down. Other issues in volume 14 included a second collaboration with Nexus Press on artist‚s books, with a cover designed by Ruth Laxson, and an issue on black artists containing articles by theorist Bell Hooks and artist Adrian Piper. The magazine‚s first issue on art and education also appeared, a theme that would continue to be revisited in later years. Ending the volume was an issue on art criticism (see photo) with articles by Jeremy Gilbert-Rolfe and Eleanor Heartney.


After a decade and a half of publishing, Art Papers under Glenn Harper‚s editorship had arrived as a national art journal of prominence, routinely featuring well known artists alongside emerging ones and a similar range of writers. Volume 15 contained some of the magazine‚s most interesting contents, including interviews with artists Keith Sonnier, Philip Glass, Chris Burden, Christian Boltanski and Ann Hamilton, curators Collins and Milazzo, and folk artist George Andrews. Articles included censorship and public art, a timely topic in relation to the NEA culture wars, and special issues on Mail Art and the Alternative Arts Press. The latter issue, in particular, proved that the publication was among a handful of enduring non-profit journals of note along with Art Issues and New Art Examiner. Other publications featured in that issue, such as the Minnesota-based Art Paper, contributed daunting accounts of why they went out of business-almost as a warning to the remaining members, and readers of, the alternative arts press. The year concluded with a special 15th Anniversary issue (see photo). Funded by the Warhol Foundation, the issue featured contributions from former editors and writers, as well as reprints of some of the most provocative and still relevant articles from the magazine‚s past.


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