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During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965--1971), a multimedia magazine in a box -- issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.
- Sales Rank: #525393 in Books
- Published on: 2015-08-21
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.19" w x 7.50" l, .0 pounds
- Binding: Paperback
- 376 pages
Review
…amongst the most thorough discursions into the influence of little magazines upon late-twentieth-century visual culture...it is great to read for its well-researched history and analysis of a period when little magazines were testing the waters of art and publishing.
(Eye)
[An] intently researched valentine to vintage small-press heroics.
(Martin Herbert Art Review)
Allen's ability to read artists' magazines with the same kind of close attention demanded by works of art is admirable, and the detailed appendix of journals founded between 1945 and 1989 is indispensable. No longer will artists' magazines be considered epiphenomena of artistic production. This book is essential reading for anyone who is concerned with art of the second half of the twentieth century.
(Alexander Alberro, author of Conceptual Art and the Politics of Publicity)
Beautifully written and brilliantly designed, Gwen Allen's book demonstrates how magazines from Avalanche and Art-Rite to File and Real Life opened a critical and creative alternative to the commercial gallery system and the mainstream art press. Best of all, Allen makes the magazines -- and the history of conceptual art and collaborative publication -- come alive again. Artists' Magazines is at once an indispensable visual archive, a superb scholarly feat, and a great read.
(Richard Meyer, Associate Professor of Art History and Director of The Contemporary Project, University of Southern California)
Gwen Allen engagingly excavates the fertile ground of artists' magazines and brings key artifacts of historical innovation to light. Allen deftly details how, beginning in the early sixties, a range of artists and writers effectively activated the magazine form as vehicle and the page as medium, generating dynamic communities in the process. Allen's book is itself a page-turner!
(Julie Ault, artist, writer, and cofounder of Group Material)
This study of several artists' magazines from the sixties to the eighties, centered mainly on the downtown New York art scene, usefully augments more familiar ways of regarding the events of that time. Most of these magazines were clearly nurseries for new talents that had no home in existing organs, and therefore took the initiative to make their work public on their own terms. Artists' Magazines is particularly valuable for the inclusion of extracts from interviews with editors and protagonists, who thereby put on record new information with the perspective of hindsight. Underlying the profiling of certain titles is an interwoven narrative that considers the functions and characteristics of the genre and its international significance during that period.
(Clive Phillpot, writer, curator, and former art librarian)
About the Author
Gwen Allen is Assistant Professor of Art History at San Francisco State University.
Most helpful customer reviews
5 of 6 people found the following review helpful.
Excellent, overdue, and important history
By Alexander D. Provan
Allen's book is a great chronicle of the rise and fall of artists' magazines--among them Aspen, 0 to 9, Avalanche, Art-Rite, FILE, and Real Life--that, in the 60s, 70s, and 80s, provided a space for artists to colonize the discourse of the art world, and do so in their own voices. Artists like Robert Smithson, Dan Graham, Mel Bochner, and Vito Acconci created magazine art where criticism had once been, emphasizing the materiality of language, denying its ability to communicate. (Graham's "Schema," a site-specific instructional piece published in a variety of magazines in the 60s and 70s, is a paramount example; it consisted of a template to be completed by the editor, in accordance with the magazine's typography, design, and layout, producing a new work in each iteration.) They published texts that were oftentimes unresolved, propositional, exploratory--concerned with process, not product; conjecture, not conclusion. Allen, an art historian at San Francisco State University, describes their "articles" as "guerilla tactics that attempted to commandeer the commercial publicity of the magazine by manipulating its form, content, mode of address, and audience."
While this suggests a certain measure of calculation, much of what is compelling about these magazines is a product of their messiness, the substitution of passion for professionalism, and the sense--inevitably inflated--of the importance of the present moment. These magazines sought to embody conceptual art's focus on the contingencies of time and space, and the activation rather than supplication of the viewer. For Smithson, the magazine was a site not unlike the Great Salt Lake, the page a material not unlike rock or sand. He described the magazine in his patent geologic vocabulary, as "a circularity that spreads into a map devoid of destinations, but with land masses of print ... and little oceans with right angles." Transforming the magazine into a venue for art was not just an aesthetic strategy, but part of a utopian program. The art historian Benjamin Buchloh, who for a time edited Interfunktionen, voiced the sentiments of many editors and artists: "We were deeply convinced in all earnestness that the elimination of the commodity object from the work of art and the reduction of the work of art to linguistic proposition had a tremendous pedagogical and political potential and an egalitarian democratic implication that would have vast consequences in terms of the collectivization of aesthetic experience."
The world of these magazines can be understood as linked to what historian Anthony Grafton has called an "information regime," the study of which considers "not just the formal content of ideas but the institutions and practices that enabled them to be created and transmitted." By doing so, Allen inevitably holds up a mirror to our own institutions and practices. In the past few decades, the galleries, museums, and magazines against which Avalanche and FILE railed have become expert at incorporating, homogenizing, and commodifying expressions of dissent and difference; ironically, these moves seem to have finally expanded art's public reach (or at least its sphere of consumption). The publication of Artists' Magazines reflects a broader resurgence of interest in the form, due in part to a nostalgia for the deeply felt intellectual communities they represent--and, as Allen recognizes, a concurrent, and paradoxical, fetishization of these magazines as art objects, and as an essential part of the twentieth-century avant-garde canon.
While this process may have drained the artists' magazines of the 60s and 70s of their radical potential, the environment that birthed them is in many ways analogous to our own, and they become newly relevant when considered as precursors to present-day experiments with the latest new media. While we like to think of the Internet as somehow, automatically, birthing such communities, breeding innovation, and spewing forth novel ideas, it tends to only offer the faintest facsimiles. And while we hail the democratic potential of today's information technologies, few artists have figured out how to make compelling work that capitalizes on it. Allen's book clarifies the potential and the limitations of the Internet as a medium for artwork, and the magazines she discusses provide a framework for considering emergent forms of publication. Artists' Magazines affords a view not just of alternative spaces but of alternative futures; they are fecund, unorthodox, genuinely social, and not yet inconceivable.
0 of 0 people found the following review helpful.
This is an essential guide and critical reading of independent ...
By Dr Charlotte Frost
This is an essential guide and critical reading of independent arts publishing from the 1950s onwards. Allen has take the time to meticulously catalogue the different publications and some of their most ephemeral acts. Together with Johanna Drucker's The Century of Artist's Books, this book comprehensively covers the concept of publishing as alternative art space.
0 of 0 people found the following review helpful.
Excellent Book
By Pedro Barbosa
Excellent Book
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