Art-Rite No. 5: Rheumatism Issue
Edit deAk, Joshua Cohn, Walter Robinson [Eds.]
1974
Art-Rite No. 5: Rheumatism Issue
Art-Rite No. 5: Rheumatism Issue
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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. 5: Rheumatism Issue
Edit deAk, Joshua Cohn, Walter Robinson
1974
New York: Art-Rite Publishing Co.
24 pages
27.1 × 20.5 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 Rheumatism Issue (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from Art-Rite’s loft headquarters at 149 Wooster Street.

New York: Art-Rite Publishing Co.
24 pages
27.1 × 20.5 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 Rheumatism Issue (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from Art-Rite’s loft headquarters at 149 Wooster Street.

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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 Rheumatism Issue (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from Art-Rite’s loft headquarters at 149 Wooster Street.

New York: Art-Rite Publishing Co.
24 pages
27.1 × 20.5 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 Rheumatism Issue (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from Art-Rite’s loft headquarters at 149 Wooster Street.

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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 Rheumatism Issue (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from Art-Rite’s loft headquarters at 149 Wooster Street.

MORE BOOKS