ART PAPERS 25th Anniversary Timeline

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

Palo Alto Dreaminâ
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/äOutsiderä 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 ãWhat Makes Life More Interesting Than Artä?
Thoughts on Art in the Wake of Tragedy
by Cay Sophie Rabinowitz

Places with Some Far Off Distant Future
Evaluating Spoletoâs Reach, 25 Years Later
by Nicholas Drake

ãThere Goes The Virtual Neighborhoodä
A Conversation on Technology, Performance Art and Digital Racism
by Guillermo Gómez-Peña and Lisa Wolford

Turning 25
An Editor Contemplates All That Is ART PAPERS

by Michael Pittari

Nearly a year ago, as I began writing my ãFrom the Editorä column for the JANUARY/FEBRUARY 2002 issue, I wondered how to introduce Art Papersâ 25th Anniversary volume, finding it difficult to convey the tremendously rich experience of editing the publication during such a historic moment. Again I find myself in a similar state, wondering how to encompass through my words the essence of all that the publication is and has been. Throughout this volume we have printed guest editorials from our former Editors, some of whom have reflected on their time at the magazine and how its mission reacted to artworld currents. I have read their comments with interest, and have spoken with many of them at length about their experiences. In looking back upon the publicationâs history, I am drawn to thinking about how the world has changed in 25 years, how the aspirations for the magazine now are in some ways so different than they originally were. Art Papers was born out of a very tangible need for connection among artists on a local level. To say that this same sense of community exists today would be like saying that Atlanta is the same city it was in 1976. Just as Atlanta has grown, so has Art Papers, each year reaching more readers from more places and establishing itself as a distinguished and recognized publication. Thus as greater numbers of readers and communities look to the magazine-whether simply out of interest, or to fulfill their needs as a forum for representation and dialogue-the expectations for the publication are higher. It has been my personal goal to fulfill this need for an even larger connection among the communities of the nation and the world.

Clearly, Art Papers is not the same publication it was in 1977, 1981, 1986, 1991, or 1996-the previous occasions of our anniversary celebrations. In fact, as we researched in preparation for this special commemorative edition, we went back through every issue from our history and made note of the changes that have occurred: the expansion of coverage from local to regional to national to international, the many new topics that have been investigated and revisited, the shifts in focus from one editor to the next. Despite this, the publication has remained within a template established by the original mission. Physically, there have been changes in the format and layout of the magazine, and of course there have been differences in the attitudes and approaches of our seven Editors. But all of them, myself included, cherish the publication that is Art Papers and value its sense of authenticity in the face of an increasingly mediated world. While other art magazines have come and gone, Art Papers has stayed the course by sheer will and the creative determination to put out a magazine of consistent quality. Ultimately, that is the unifying glue throughout the publicationâs history: a commitment to pushing the boundaries of intellectual thought, and for providing a forum for the exchange of diverse and independent perspectives on the role of art in relation to cultural, social, and philosophical issues. Its existence today is a testament to that mission.

Why does Art Papers matter so much? For one, because it achieves a unique editorial focus by including geographically diverse coverage of the U.S. and the world, by analyzing the work of important national and international artists alongside emerging artists on the local and regional level, and by utilizing the writing of both recognized and aspiring critics as well as that of artists working in all mediums. In the last five years, as well as throughout our history, we have striven to enhance contemporary thought by articulating connections between artmaking and general cultural practices, by finding new viewpoints on the discussion and evaluation of art and cultural issues, and by searching out under-recognized topics within the predominant discourse of the contemporary artworld. Similarly, the magazine promotes unique viewpoints and voices among its writers by espousing cultural diversity, by fostering the development of individual writing styles, and by necessitating a deeper support for the continued understanding of art and related issues. All of this, I am extremely proud to say, is what has made Art Papers unique in the past, what makes Art Papers unique today, and what will make Art Papers unique in the future. As I conclude my editorship with this issue, I look ahead confidently to seeing the magazine continue its long and esteemed history of growth and discovery. On that note, Iâd like to thank my colleagues from the last five years, our Board of Directors and Editorial Advisory Board, our Contributing Editors and former Editors, and the many writers who have contributed to these pages.

Now, a few concluding remarks about this 25th Anniversary issue. Though our normal review section is included, we have given our regular columns a hiatus for one issue while considerably expanding our feature section. There we have gathered contributions from past and present writers on topics we felt were most relevant to contemporary art as seen through Art Papersâ editorial lens. In so doing we have attempted to address key topics on the past, present and future of artmaking and critical discourse. Running throughout the feature section at the foot of many pages, a special Art Papers Timeline contains the whole history, volume by volume, with our favorite covers reproduced and a few brief remarks about editorial content alongside the occasional anecdote. We have tried to include as many facts and names as possible while keeping a narrative thread intact. But as there have been countless contributors and artists covered over the last quarter century, many people arenât mentioned-and to them we extend a special word of thanks.

And to you, our readers, we also wish to extend our appreciation for your support, encouragement and feedback. Finally, Iâd like to welcome my successor, Charles Reeve, and wish him the best in editing Art Papers as it begins its course towards the next 25 years.