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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

1992: THE CRAFT ISSUE

Volume 16‚s comprehensive survey of topics in craft arts, from Dale Chihuly to Nigerian adire cloth, was one of the few issues of 1992 not to be guest edited-a practice with which Editor Glenn Harper achieved greater diversity of content. Guest edited issues included current Contributing Editor Maureen Sherlock‚s „Bifocal Borders,š on the notions of cultural as well as geographical border questions, Deborah Willis‚ „Photobiographers,š a survey of African-American photographers, and Cindy Patton‚s „Boundary Crossings,š which returned to Sherlock‚s theme of borders and boundaries but this time bringing in the dividing lines in gender issues and ethnicity. And Chicago‚s Randolph Street Gallery collaborated on „Counter Proposals: Adaptive Approaches to a Built Environment,š including a feature story by their gallery director at the time, Inigo Manglano-Ovalle. The remaining issue of the year (see photo), which contained symposium transcriptions from a lecture series at the Atlanta College of Art titled „Art in Context: Public and Private Values,š was printed on varying colors of cover stock that the magazine‚s printer had offered at a significant discount. The resulting five versions of the cover added an alluring air of intrigue and collector value which contrasted nicely with the publication‚s grass roots origins.

1993: A DEAD ROOSTER ON THE COVER

A feature story in volume 17 on the performance art of Guillermo Gómez-Peña, which prominently featured a deceased chicken, led to a memorable moment of copier art in which Editor Glenn Harper and Designer Elizabeth Lide collectively balanced a dead rooster on the glass plate of a photocopier, producing one of the more startling Art Papers covers (see photo) of the first half of the 1990s. More unexceptionably, a work by the European architecture collective Coop Himmelblau graced the next cover, and a feature on Lonnie Holley marked a continuing concern with Southern folk art. Other issues that year included a symposium on „The Spectacle of Culture in Museumsš that featured Fred Wilson at the height of his „Mining the Museumš fame in conversation with anthropologist Ivan Karp. „The Antemillennium Dollhouseš was a competition sponsored by the magazine that provoked the imaginations of architectural students to the design of dollhouses that addressed major issues of dwelling or housing.

1994: LESBIAN SUBJECTIVITIES

Guest edited by Patricia Cronin, „Rethinking Lesbian Subjectivitiesš brought to the fore a genre of visual art that provoked and continues to provoke much controversy. The rest of volume 18 was calm by comparison, discussing „Artists in Communitiesš (see photo), continuing a focus on African-American artists through interviews with Alison Saar and Renee Stout, and offering such unexpected moments as an interview with glass artist Harvey Littleton. A series of interviews by Anne Barclay Morgan with major art critics also got underway, featuring discussions with Eleanor Heartney, Peter Schjeldahl, and Robert C. Morgan. A special issue on self-taught and outsider artists proved to be one of the most popular of the year, eliciting single-copy orders long after its run on the newsstands was over.

1995: NO ALTERNATIVES

An interview with Japanese book artist Shinro Ohtake (see photo) launched the magazine‚s coverage in volume 19 of the multi-year Cultural Olympiad, for which Atlanta‚s Nexus Press produced five books by international artists from each of the five geographic areas represented by the Olympic rings-the Centennial games preparing to be held in Atlanta the following year. The rise of computer art and the Internet was explored by guest editor Alan Sondheim in an issue on „Future Culture,š a topic the magazine would begin addressing more regularly, while an ongoing interest in art and education was reflected by an issue dealing with art schools. Another historic theme for the publication, the crisis of underfunded and freshly marginalized alternative spaces, was considered in an issue titled „No Alternatives?š that defiantly declared the intention of alternative institutions to stay in business and suggested the possibility of such spaces going online.

1996: THE CULTURAL OLYMPIAD

A full range of mainstream and marginal visual arts and performance accompanied the Centennial Olympic Games in Atlanta, and the magazine offered extensive coverage throughout volume 20 of everything from Siah Armajani‚s tower and cauldron to the Taboo collective‚s sendup of the hoopla surrounding Southern identity. An issue featuring international and Southern artists‚ pages was on the streets for the Games themselves. Issues before and after explored topics from „City Limits,š a return to topics of architectural and social space, to the „Artist‚s Survival Guide,š an issue dealing with practical questions that was so popular with working artists that it became the basis for a column that continues to the present day under the title „Surviving.š „Re-defining the Ninetiesš (see photo) included interviews with Hal Foster and Thomas McEvilley on the elusive topic of how the decade was shaping up just past mid-point. Three of the year‚s six issues were edited by individual staff members Cathy Downey, Jerry Cullum, and Amy Jinkner-Lloyd after the departure of Glenn Harper, who left the magazine to become Editor of the Washington-based publication, Sculpture.

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