Bidoun

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Bidoun
v.1:no.1(2004:summer) &

v.1:no.7(2006)- present

In Issue 14: Objects, Sophia Al-Maria writes through her newborn cousin’s Allah-shaped ear into the shimmer of sign, symbol and story, the difference that dissolves into image or mirage, distance that folds and enfolds, the mutable mystery of letters and language. The vectors, the reach of the issue (see sample TOC below) make it a worthy spot to begin to get lost, art’s challenge accepted, a labyrinth of the unshelved. Bidoun means ‘without’ in Arabic and Farsi and its push against the meaning of ‘Middle East’ is a breathing thing that flees easy grasp.

Issue 13: Glory

Issue 13: Glory, cover by Babak Radboy

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Safya, Issue 25

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Issue 1: We Are Spatial

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Issue 16: Kids

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“Hand Baggage Control,” Issue 1: We Are Spatial

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Issue 23: Squares

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Issue 1: We Are Spatial

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Issue 26: Soft Power

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Issue 12: Projects

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Issue 14: Objects

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Hicham Benohoud, “La Salle de Classe,” Issue 14: Objects

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Lisa Farjam, “Sweet Sixteen,” Issue 16: Kids

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Roman Ondak, “Sated Table,” Issue 14: Objects

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Negar Azimi, “Brown Girl in the Ring,” Issue 18: Interviews

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Trisha Donnelly, “Untitled,” Issue 14: Objects

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Issue 22: Library

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Issue 22: Library

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Sophia Al-Maria, “Tone Poem,” with photos by Adrian Gaut, Issue 19: Noise

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Issue 1: We Are Spatial

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Issue 25

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Issue 26: Soft Power

Then and Now: Aperture

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Aperture
n. 1 (1952) –  current

The editors’ note of a recent Aperture (n. 217) quotes the magazine’s first issue musing about the relative places of pictures and words. This isn’t the only way #1 and #217 seem to reference each other, despite being almost entirely different publications. It’s remarkable how much the photographic mainstay has developed. Read on for alternating glimpses of issues with 215 iterations between them.

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Then and Now: Artforum

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Artforum
Vol. 1, n. 1 – current

We were wondering what an art magazine’s evolution might say about about art, magazines, and everything else, so we dug in the stacks and held the first and latest Artforum side by side. At a glance, the contributors look different, the contents have grown into genres, the reviews expanded, the gallery ads reached out, the interviews got sexy, the list suggests a response to conformity, the fights to be made have shifted targets, but through it all, like a real friend, that cover font remains the same.

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Back in the Stacks: 1992

Since it feels like summer was decades ago, we took a look at summer decades ago; a sampling of our periodicals. It was hot. Once upon a time.

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Open the The New Yorker, what’s the first thing you see? The New Yorker, June 1992.

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Rappers in recovery. Alan Light, “L.A. Rappers Speak Out.” Rolling Stone, June 25, 1992.

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Still maybe an issue. Mad, June 1992.

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Walter De Maria and El Greco in Stockholm’s Moderna Museet, from “All Fives, Sevens, and Nines,” by Lars Nittve. Artforum, Summer 1992.

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Mad, June 1992.

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Danny Tisdale, Lynching 1930. From “Engendered Species,” by Kobena Mercer. Artforum, Summer 1992

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“On the Road to Kassel,” Artforum, Summer 1992.

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The hits. Rolling Stone, June 25, 1992.

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Novum, June 1992.

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More car ads featuring cops. Vanity Fair, June 1992.

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Before mixology. Rolling Stone, June 25, 1992.

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From an interview with George Condo, by Anney Bonney. Bomb, Summer 1992.

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Vogue, June 1992.

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Be thankful for lasers. Vogue, June 1992.

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Checking up on the crooks. Annie Leibovitz, “Watergate.” Vanity Fair, June 1992.

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Before Bill did it. Julia Reed, “Clinton on the Brink.” Vogue, June 1992.

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“Documenting Documenta.” Interview, June 1992.

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Fashion fish. Vogue, June 1992.

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It doesn’t stop. Interview, June 1992.

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And no one is pretending. Interview, June 1992.

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Religion. Vanity Fair, June 1992.

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From John Ashbery’s “Baked Alaska.” The New Yorker, June 29, 1992.

Factories

Eventually the assembly line finds a way to make what you need, plus what you never thought to think you might want. In the picture collection folder Factories you might find evidence of the way our world was built.

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