Category Archives: Art (Periodicals)
FiberArts features contemporary artists who work with fabric, weaving, sewing, dyes, textiles, embroidery, crochet, knitting, needlework and soft sculpture in order to produce works that boast both fine craftsmanship and fine art. Although expression and decoration with textiles is ancient, it was only fairly recently accepted in the fine arts world. The fibers revolution of the 1960’s led to a huge number of artists, both men and women, exploring and experimenting in a medium which was once labeled “women’s work” or pushed aside from the arts scene as mere craft.
In the library you will find 122 Issues of FiberArts from 1979 to the Summer 2011 issue, which was sadly the last.
High Performance was published by Art in the Public Interest from 1978 to 1997:
Originally a magazine covering performance art, over time it gradually shifted its editorial focus from art that was formally adventurous to art that was socially and culturally adventurous. Back issues of the magazine can still be seen at better libraries around the world. The High Performance archive is in the collection of the J. Paul Getty Trust in Los Angeles (Art in the Public Interest website, accessed 12/18/2013).
In the SVA library, by definition, one of the better, you’ll find all but a few issues of High Performance, 64 in total, from the 2nd issue (1978) to the 76th and final issue (1997).
Accessible in print at the SVA Library and electronically for SVA students via Art Source (MySVA username and password required), Jenni Sorkin’s article in Art Journal, “Envisioning High Performance“ chronicles High Performance’s history and lasting influence, and provides this description of the magazine’s format for the first five years of its existence:
With the commencement of High Performance, publisher, founder, and editor Linda Frye Burnham invented a standard format for the documentation and dissemination of live and ephemeral artworks, creating single- or double-paged spreads that paired a photograph with an artist-supplied text chronicling the live event. Operating on an open submission policy from its founding in 1978 until 1982, Burnham published any artist who could provide black-and-white photographic documentation, dates, and a description of the performance (Sorkin).
It was important in terms of documentation, ensuring that these performance art pieces, which often only occurred once, could have a life beyond the memories of a small audience that happened to witness them. It also helped define and lend credence to a genre of art that was not receiving serious critical attention, not least of all because the lack of documentation. High Performance helped define performance art both by what it published and also with what it didn’t. By “rejecting outright the inclusion of dance, theater, and music, HP delineated clear boundaries by determining what was not performance art” (Sorkin). Among many other, artists featured include Carolee Schneeman, Pat Oleszko, The Waitresses, Paul McCarthy, Kim Jones, Linda Montano, and Barbara T. Smith.
Please enjoy the following sample from the pages of:
Sorkin, Jenni. “Envisioning High Performance.” Art Journal 62.2 (2003): 36-51. Art Source. Web. 5 Dec. 2013.
From the UCLA African Arts homepage:
“African Arts presents original research and critical discourse on traditional, contemporary, and popular African arts and expressive cultures. Since 1967, the journal has reflected the dynamism and diversity of several fields of humanistic study, publishing richly illustrated articles in full color, incorporating the most current theory, practice, and intercultural dialogue.”
Utilizing raw materials like straw and palm fronds, the artists represented here display an uninhibited mastery of caricature. They distort the literal human image with a sense of humor and playfulness into an iconic and sometimes frightening archetype.
Our current holdings of African Arts begin in 1976. Here are some selections from the earlier issues:
The Visual Arts Library is missing Afterall no. 2. Could anybody out there fill such a void? Otherwise, we have every issue published starting with no. 1 in 1999, and ending, as of this post, with no. 32 (Spring 2013) which arrived in today’s mail.
That is some exceedingly dreamy cotton and polyester.
From the inside cover:
These large editorial meetings create the context (as mentioned in the subtitle: “A Journal of Art, Context and Enquiry”) and help define the lanes of enquiry that end up shaping the content of each issue. The writing is highly informed and critically potent while still maintaining a relatively high level of accessibly.
It is text heavy, but also includes nice reproductions of the work it references:
May your work and curiosities bring you into further contact with this publication.
This bimonthly magazine—founded in 1941—was originally known as Craft Horizons but later changed to American Craft in 1979. It is dedicated to the advancement of the “age-old human impulse” to create things by hand. With an emphasis on nature and primitive art, Craft Horizons drew harsh contrast to the mass-produced products of its time.
The magazine celebrates the use of unconventional materials, emerging and veteran artists, and helped define Craft as a concept, documenting the way it has evolved and sustained into the present day. Issues typically include insight on upcoming exhibitions, book reviews, events, and craft-related films as well as organizations and schools engaged in advancing the craft medium. It also gives novice writers and artists a place to showcase their work, as the magazine takes freelance writings and photography submissions for consideration towards each issue. Readers are also occasionally able to purchase affordable and innovative handmade goods featured in the magazine.
Funded by the nonprofit organization, The America Craft Council, American Craft is currently in its 72nd volume of publication and has over 14,000 issues (including the 38-year publication of Craft Horizons), making it one of the largest collections of art, craft, and design books in the country.
The Visual Arts Library is fortunate to own 46 of these volumes–dating back to 1962-and our current subscription ensures that our collection will grow with the publication.