September/October 2007

Features

Junk Mail Mon Amour
Selections from my collection of art ephemera
by Jean-Noël Herlin

A Brief Introduction to Temporary Services
For a decade, this Chicago-based group has been helping us to reimagine the spaces of possibility and escape directly in front of us
by Nato Thompson   

Handmade Tales
The sustainability of small, local, do-it-yourself Latin American publishing collectives in the age of global capital
by Sarah Valdez   

Columns

Double Pass
Kicking it around with the Cologne-based artists Gert and Uwe Tobias
by Amanda Coulson   

Things Past
Or, rather, what I did on my European (pre-)summer (non-)vacation
by Peter Frank

The Ultimate Present
Ori Gersht's exploding still lifes evoke an anxious world
by Jean Dykstra   

Surface Meaning
For his recent installation, Olaf Nicolai used commercial printing techniques to almost dizzying effect
by Megan Ratner

Doubting Frances
How much can we really know about Frances Stark?
by Maxine Kopsa   

Vol. 12 No. 1Order>

News and Commentary

John Szarkowski (1925-2007)
by Lyle Rexer

Save the Critics!
by Larry Qualls   

Between the Sheets
by Larry Qualls

Blinky Palermo: The James Dean of German Art
by Deborah Ripley

The Next Supernova? Japanese Photography Since 1945
by Amanda Doenitz

Reviews

Identity Theft: Eleanor Antin, Lynn Hershman, Suzy Lake, 1972-1978 at the Santa Monica Museum of Art
by Gil Blank   

Ost Property at Danielle Arnaud Contemporary Art, London
by Sarah Andress

Colour Before Color at Hasted Hunt Gallery, New York
by Lyle Rexer

Geoffrey Farmer at The Drawing Room, London
by Sarah Andress

Foto: Modernity in Central Europe, 1918-1945 at the National Gallery, Washington, D.C.
by Dorothea Dietrich

Conceptual Photography at Zwirner & Wirth, New York
by Sarah Valdez

Robert Heinecken: Image as Object at Roth, New York
by Stephen Maine

Books

Words to Be Looked At
Reviewed by Elizabeth Finch

Current Issue

JULY/AUGUST 2008


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