Issue No. 67: The New Flesh
Art Lies Issue No. 67 captures the Texas-based journal in an exciting moment of expansion. Enamored by the engagement of both pulp and pixels, Art Lies is refreshing itself as a more dynamic periodical, reaching beyond the printed publication to manifest a potential virtual, digital, Web, Net, online and screen-based media complement.Starting with the current issue—”The New Flesh“—Art Lies will present original features posted exclusively to Artlies.org. These online articles, as well as curatorial and artist projects, will extend Issue No. 67 both materially and temporally, widening the discussion across media platforms and over a multi-month timeline. Appropriately, we’ve focused No. 67′s print and Web pages on this very topic: How are artists, curators, dealers and writers navigating the divide between virtual and traditional media?
In-print contributions to Issue No. 67 include: Andrew Berardini on East of Borneo, Cliff Evans and Kenneth Tin-Kin Hung in conversation, Beryl Graham and Sarah Cook on the behaviors of “the art formerly known as new media,” a short story by Joel Holmberg and Guthrie Lonergan, a R-U-In?S project space by Kari Altmann and an interview of arts writers and editors Paddy Johnson, Kelly Klaasmeyer, Tom Moody and Lauren O’Neill-Butler. Also, Kristin Lucas backs up her studio, Simon Grennan and Christopher Sperandio revisit the Mad magazine fold-in, Susan Silton delivers a special postcard insert and Debo Eilers grabs the cover.
As Issue No. 67 fully spans Art Lies’ printed journal and website, look for more features on Artlies.org in the coming weeks from: Charles Broskoski, Caitlin Jones, Angelo Plessas and Stephanie Bailey, Lucia Sanroman, Raphael Rubinstein, Jenny Schlief of Red White Yellow, Paul Slocum and more.
No. 67′s in-print reviews include: Chelsea Weathers on “drag terrorist” Christeene and Matthew Bourbon on a single work by Vernon Fisher, as well as exhibitions from Texas and beyond: Richard Misrach at The Museum of Fine Arts, Houston by John Devine, Constructive Spirit: Abstract Art in South and North America, 1920s-50s at the Amon Carter Museum by Frances Colpitt, Aaron Curry at David Kordansky Gallery by Keith Plocek, Okay Mountain at Freight & Volume by Marie-Adele Moniot, Usable Pasts at The Studio Museum in Harlem by John Ewing, Hilary Wilder at The Suburban by Regan Golden-McNerney and They Knew What they Wanted at Altman Siegel Gallery by Mike Osborne.
Check Artlies.org each Friday for Art Lies’ weekly online reviews.
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Art Lies is available in the United States at independent bookstores, museums and select Barnes & Noble locations, and internationally via the Web at www.artlies.org.
Founded and rooted in Texas, Art Lies provides an international forum for the critical examination of artistic practice, theory and discourse on and about the contemporary arts. Art Lies achieves its mission through the publication of a quarterly journal, our Guest Editorial Program, website, membership events and public programming, including the Art Lies Annual Distinguished Critic Lecture Series.
*Image above:
Debo Eilers, Screengrab 2008, (detail), 2008.
C-print; 24 1/2 x 36 1/4 inches.
Courtesy the artist and On Stellar Rays, New York
