Art-Rite No. 2: Summer
Edit deAk, Joshua Cohn, Walter Robinson [Eds.]
1973
Art-Rite No. 2: Summer
Art-Rite No. 2: Summer
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Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on ...
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Art-Rite No. 2: Summer
Edit deAk, Joshua Cohn, Walter Robinson
1973
New York: Art-Rite Publishing Co.
16 pages
27.3 × 20.4 cm

Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for Artforum:


 


“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (Artforum, January 2003)


 


Each thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.


 


The second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.

New York: Art-Rite Publishing Co.
16 pages
27.3 × 20.4 cm

Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for Artforum:

 

“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (Artforum, January 2003)

 

Each thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.

 

The second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.

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Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for Artforum:

 

“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (Artforum, January 2003)

 

Each thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.

 

The second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.

New York: Art-Rite Publishing Co.
16 pages
27.3 × 20.4 cm

Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for Artforum:

 

“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (Artforum, January 2003)

 

Each thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.

 

The second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.

MORE BOOKS

Over the course of its five-year run (1973 to 1978), the New York-based magazine Art-Rite published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for Artforum:

 

“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (Artforum, January 2003)

 

Each thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.

 

The second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.

MORE BOOKS