Wildlife and nature

Animal shelters and rescues

Theater and dance

Rivers, parks and trails

Hunger and food

Schools and learning

Housing and homelessness

Community health

Mental health

Mentoring and foster care

Legal help and rights

Jobs and money help

Atlanta

The Triangle

Everywhere

The Collective Workshop

Royal Animal Refuge

Asian Americans Advancing Justice-Atlanta

Georgia Advancing Communities Together

Atlanta Writers Club

Cobb Collaborative

Bosleys Place

Jewish Fertility Foundation

Art Papers, tax-exempt since 1980, runs Art Papers Live and an Auction, and reported $433,236 in revenue for tax year 2023.

Printed Matter's NY Art Book Fair 2026 Art Papers Classroom Program

Art Papers Office Giveaway

Art Papers LA Issue Launch

Final Issue Launch + Reunion Party

Give

The Far-off Elsewhere

Fire Ecology

Sketching on Screen

Chasing Reality

Filmmakers Painting

Tools for Carving Away

Monsters in the closet

Organic Phenomena

Shining, Appy ‘People’—Silvia Park’s Luminous Transpositions

Last Year: 2025

Sarah Higgins

Amy Miller

Jaedon Mason

Ed Hall

Kyra Baker

🎉 Join our Executive + Artistic Director, Sarah Higgins, for the Atlanta launch of 50 YEARS of ART PAPERS! 📚✨ Higgins will make brief remarks reflecting on the process of bringing together this definitive ART PAPERS anthology, before signing a few copies of 50 YEARS of ART PAPERS that will be available for purchase. ✍️📖 📍 Today at 1:00 p.m. 🎨 Freeman Theater at the Atlanta Art Fair We can’t wait to see you there! 🥂 50 YEARS of ART PAPERS is also available in our shop for a limited time.⏳ Make sure to order your copy while you can via the link in the @artpapers bio. 🔗

Yesterday we welcomed book sponsors and local contributors to 📕❤️50 YEARS of ART PAPERS ❤️ 📕for a special book reveal gathering. We were joined by ART PAPERS co-founder Dan Talley, our first executive director Julia Fenton, longtime associate editor and contributor Jerry Cullum (all pictured in the first photo with current executive and artistic director Sarah Higgins) along with many more to share a first look at the long awaited retrospective book. Co-edited by Sarah Higgins and Re’al Christian, and designed by Jacob Lindgren, the book is available for purchase in the ART PAERS online store and at A’Capella Books in Atlanta. Pre-order shipments are being processed and those of you who preordered will soon have your book in hand! Second photo courtesy of @mattadeboye 📸 Huge thanks to @lostintheletters for hosting us, to @suninmybelly for catering, and to all the book sponsors and supporters who made it all possible! @pistachiocake @r_christian__ @lacobjindgren

She is here and she is BEAUTIFUL! Available now in the ART PAPERS shop (link in bio), 50 YEARS of ART PAPERS tells the story of 5 decades of independent, artist-centered, and artist-produced art criticism, offering some of the most significant texts from the magazine’s history - texts that were timely, timeless, or ahead-of-their­ time. By tracing the work of ART PAPERS—the longest-running nonprofit art magazine in the US—this book captures the unique perspective of this geographically marginalized but culturally central publication as it grew into an internationally distributed, globally engaged publication.

🎉 Join ART PAPERS at NYABF for our book launch panel discussion in The Classroom at PS1✏️🎓 On Sunday, September 27, from 3–4 PM, join us at Printed Matter’s 2026 New York Art Book Fair to celebrate the launch of 50 YEARS of ART PAPERS. Co-editors Sarah Higgins (ART PAPERS Executive + Artistic Director) and Re’al Christian (writer and ART PAPERS Contributing Editor) will be in conversation with ART PAPERS co-founder Dan R. Talley, moderated by Emily Watlington (Art in America Deputy Editor). Together, they’ll explore how the story of five decades of artist-centered contemporary art writing and publishing can be told through ART PAPERS. 📍 Printed Matter’s 2026 New York Art Book Fair, MoMA PS1 🗓 Sunday, September 27 ⏰ 3–4 PM 🎟️ Register for the panel today via the link in @artpapers bio *Tickets to NYABF required for attendance* This program will serve as the official public launch of 50 YEARS of ART PAPERS (1976–2026), the definitive anthology that tells the story of 5 decades of independent, and often artist-produced, publishing by tracing the work of the longest-running nonprofit art magazine in the US. Be sure to stop by Booth P3 at NYABF, where 50 YEARS of ART PAPERS will be available for purchase, alongside last-chance archival issues, and where the final issue of ART PAPERS will be available free of charge. We hope to see you there! . . . @pistachiocake @r_christian__ @keys_wallet_phone @danrtalley @printedmatter_artbookfairs

🔥 🌱 Fire Ecology Fire Ecology is the final issue of ART PAPERS’ 50-year run. This special issue is the synthesis and culmination of a three-year project, initiated in response to fatal budget shortfalls, to extend the life of the organization while allowing for a dignified conclusion. Inspired by Indigenous practices of ecological stewardship through intentional burning, the project took up the metaphor of fire ecology: the practice of maintaining ecosystem health by using fire to clear old growth, fertilize the soil, and make space for new growth. Fire Ecology will be available free of charge at NYABF 📍 Booth P3 📅 September 24–27 📌 Printer Matter’s New York Art Book Fair MoMA PS1, Queens 📦 Not in New York? You can order a copy for the cost of shipping via the link in the @artpapers bio. Please note: copies are limited, and Fire Ecology will only be available to order through Winter 2026. . . . Photo: Walker Bankson @walkerbankson

🎨📚✨ ART PAPERS at Printed Matter’s 2026 New York Art Book Fair ART PAPERS is pleased to announce our participation in Printed Matter’s 2026 New York Art Book Fair, taking place September 24–27 at MoMA PS1 in Queens. 📍 Booth P3 Our booth will feature our newly launched retrospective book, 50 YEARS of ART PAPERS, which tells the story of five decades of independent, artist-centered, and artist-produced criticism through a selection of timely, timeless, and ahead-of-their-time texts from the magazine’s history. Also available—free to take—will be Fire Ecology, the final issue of ART PAPERS. This special issue synthesizes a three-year project leading toward the organization’s conclusion in December 2026. We’ll also have selections from ART PAPERS’ back catalog, offering a final opportunity to acquire rare and historically significant issues from our 50-year history, alongside limited-edition and artist-designed T-shirts, tote bags, and other merchandise. If you’re attending NYABF—or will be in New York City the last weekend of September—stop by Booth P3 and see us. We’d love to share this history with you. . . . @printedmatter_artbookfairs #NYABF2026

🕯️🍂 In “Death and the Afterlife,” Art Papers Development Director Amy Miller offers a window into the process of our controlled closure. This essay presents the structural considerations involved in properly concluding the work of a legacy organization, such as Art Papers. Miller presents our overarching dissolution schedule and describes how Art Papers can be found in the future. Insights gained from settling our organizational affairs are collected here to be useful, not just for others considering making a similar change, but for any organization interested in thinking about its legacy. This text is only available in print, so to read it, order your copy of Fire Ecology today via the link in the @artpapers bio. The issue is offered free of charge, but the edition is limited. . . .

🏛️🌄 This Tempestt Hazel quote comes from "The Project of Ending," which combines two interviews conducted by Jordan Eddy @obsuratorial. Eddy spoke with @sixtyinchesfromcenter co-founder and executive director Tempestt Hazel and @artpapers executive director Sarah Higgins about their ways of conceptualizing institutional endings. These interviews are presented alongside an Artist Project by artist James Perkins from his “Post-Totem Structure” series. In his introduction to the text Eddy writes. “Their words appear side by side, not to suggest a binary between ‘legacy’ and ‘experimental,’ but as an interface you can read down or across. Although I spoke with them separately, their answers kept finding each other, in grief and in optimism." Order the Fire Ecology issue now via the link in the @artpapers bio to read the full text. The issue is offered free of charge, but the edition is limited. . . .

🧰 🛠️ 🌱 Heather Bird Harris' "Tools for Carving Away—Mel Chin’s Revival Field and the Role of the Artist in Public Practice" was originally commissioned as an online exclusive, but we decided that the deep synchronicity between Harris' text and the Fire Ecology project were too rich to be ignored. In this new context, amid other texts that also consider and propose ways of adapting to changing circumstances, we think the text amplifies the issue's resonance, and vice versa. @heatherbirdharris @mel.chin It's a real joy to read this text in print. To have this experience for yourself, order your (free!) copy of Fire Ecology today.

🏙️🤝 This quote, from the second of Fire Ecology’s “distillations,”comes from Burnaway (@burnaway) Editor Courtney McClellan, speaking at the Art Papers Art Writing & Publishing Symposium. 📝🎨With a focus on art writing in the US, we brought together writers, editors, and publishers from across the country to participate in discussions to collectively concretize the field’s direction. ⚗️“Distillations” from this and the other symposium panels can be read in the Fire Ecology issue. Get your copy today via the link in the @artpapers bio. The issue is offered free of charge, but the edition is limited.

🧠 🔥🌱 This quote is from an essay, written by Sarah Higgins, that reveals the impetus and ethos for the Fire Ecology project. The project, eponymous with the essay and the final issue, was created out of a desire to highlight that it is unsustainable for things to “continue as normal” for nonprofit arts publications. Higgins maps the changing conditions that pushed Art Papers to fundamentally rethink and restructure how we approach art writing. 🔄 The essay describes how gradually closing Art Papers allowed the organization to facilitate this rethinking. No longer trapped in the precarious cycle of securing next year’s funding from dwindling sources, the organization has been able to take a step back, and bring its community together to reconsider how this important work is done. 📖 Adapted for publication from a talk given by Higgins at the Art Papers Symposium, read the full essay in the Fire Ecology issue, available now via the link in the @artpapers bio.

🗣️ Fire Ecology includes Be Oakley’s “Failure as Futuremaking,” the last in a long line of Artists’ Pages and Projects in Art Papers over the years. “Failure as Futuremaking” functions as an essay and a demonstration of Oakley’s practice, which includes the making of “Protest Fonts,” typefaces created based on the distinct handmade signage from various protests. 💭 “Failure as Futuremaking” confronts the inadequacy of our conceptions of “success” and “failure,” arguing that we have to recognize the necessity, but also the beauty, in failure to expand possibilities and move toward liberation. 🔤 Oakley’s typeface, inspired by signs from the 2022–2023 RISD Teamsters and New School Adjunct strikes, is used throughout the Fire Ecology issue to title each text, infusing Oakley’s meditations into the core of what the issue articulates. The issue is offered free of charge, but the edition is limited. 📦 Get your copy today via the link in the @artpapers bio.

🏛️ In the final issue of Art Papers, Fawz Kabra and Isak Berbić write about their project Brief Histories “as a moving set of entanglements, rather than as an organization or a stable structure.” They were invited to give the closing “Houseguest Talk” at Atlanta Art Ecosystems. Adapted for publication, their talk frames Brief Histories as a case study for creating institutional models that are more fit-to-purpose and based upon a more generative value set. 🧾 This quote is from Brief Histories’ text, which can be read in full in the final issue, Fire Ecology🌱🔥 📗The issue is offered free of charge, but the edition is limited. 🔗 Order your copy now via the link in the @artpapers bio.

Score a piece of ART PAPERS history at our OFFICE SALE— 📦💝THIS SATURDAY, MAY 16, 11 AM – 4 PM. Join our staff in bidding farewell to the office that Art Papers has occupied since the 1990s, and go home with a (gently loved) piece of that history. Items will be priced to sell, or make us an offer! WE HAVE Filing Cabinets Tabletops/desks Office Supplies & Equipment Catering & Event Supplies Office Chairs Glassware & more! PLUS Art Magazines (not just ART PAPERS) Art Books Art Papers Merch (T-shirts, Totebags, and, of course magazines!)

💻📐We’re thrilled to announce Jacob Lindgren (@lacobjindgren) as the designer for 50 YEARS of ART PAPERS. ✏️ 🖌️ Lindgren is a Chicago-based graphic designer, web developer, and writer. He has worked on litany of different publications including Peak Picture Pixel Pile co-authored with James Langdon, Mimeograph Chronicles 謄写版クロニクル by Bruno Ruiz Nava and A Non-Coincidental Mirror by Carmen Amengual, all of which are pictured above. Lindgren is also a partner at the design studio Platform (@platplatformform) and a co-founder of Inga (@ingabooks), a bookshop focused on self-published and independently distributed artists’ books. His work “with and against the ways knowledge production, politics, and visual language are mediated by storytelling technologies” makes him uniquely attuned to the work of Art Papers, and we are so excited to work with him to share some of the timeless, timely, and ahead-of-their-time texts from our 50-year run. 📚 We’re also extending this second round of pre-order for one more week! If you want to be among the first to receive their copy, make sure to pre-order today via the link in the @artpapers bio . . . Have you ordered your copy yet!?

📚 Updated cover reveal! Now that the final issue of ART PAPERS magazine is out in the world, we want to offer a status update on the biggest of our remaining projects, our retrospective book: 50 YEARS of ART PAPERS, edited by Sarah Higgins @pistachiocake and Re’al Christian @r_christian__ and designed by Jacob Lindgren @lacobjindgren 📦 We’ve had to adjust the delivery timeline of the book (thank you for your patience!), but we expect to receive the shipment from our printer in Belgium and begin filling orders in August. 🛍️ In light of this, we’re reopening pre-order through this coming Sunday, May 10. If you missed the initial window, this is another chance to secure your copy at the discounted pre-order price! 🔗 Get your copy today via the link in the @artpapers bio! . . .

🌱❤️‍🔥Hey LA-area folks! You’re invited celebrate with us at the LA Issue Launch this Friday, May 9, 7–10 PM at Edendale Restaurant & Bar in Silver Lake, CA. Join our Executive + Artistic Director Sarah Higgins, plus past contributors, artists, and friends to celebrate the West Coast launch of the final issue of ART PAPERS, and the conclusion of our 50-year run. This casual, drop-in evening is a chance to reconnect with the LA-area Art Papers network and to meet some folks whose names you recognize from the masthead. We’ll have copies of the final, Fire Ecology, issue of the magazine, free to take home. And if you can’t make the party, you can get your copy in our shop. The final issue remains free (link in bio) you will only be responsible for the cost of shipping. ❤️‍🔥🌱

”Oftentimes, what isn’t questioned in the conversation on Pan-Africanism is what’s lost in this panoptic vision of Black experience. How do we maintain the specificity of the local within global solidarity struggles? How do you build a global resistance movement through such a nebulous construct, through a poetic conception that, at its best, instills a shared sense of history but, at its worst, fails to acknowledge the economical, ecological disparities with which we take up liberation struggles on a local scale?” - Re’al Christian In “The Far-off Elsewhere: Exhibiting Pan-Africanism,” Art Papers contributing editor @r_christian__ examines several recent and historical US exhibitions that center Pan-Africanism, and similar conceptions of a wider Black Diaspora, as their subject. Christian methodically assesses how each exhibition demonstrates the strengths and pitfalls of Pan-Africanism as an ethos in service of liberation. Read the full feature at ARTPAPERS.org. . . . Project a Black Planet: The Art and Culture of Panafrica, installation view, Dec 2024–Mar 2025, Reproduction of Haley Woodruff’s The Art of the Negro, 1950-1951, [courtesy of The Art Institute of Chicago] Jeff Wall, After Ralph Ellison, Invisible Man, the Preface (2002). [photo: Ryszard Kasiewicz; courtesy of documenta, Kassell Germany © documenta Archive] Imagining Black Diasporas: 21st-Century Art and Poetics,installation view, Dec 2024 – Aug 2025 [courtesy of Los Angeles County Museum of Art]

🔥 📄Continuing in ART PAPERS’ tradition of publishing documentation and synthesis from conferences and convenings, Jaedon Clarke Mason “distills” Atlanta Art Ecosystems. One of the pillar programs of Fire Ecology, the two-day program focused on the local, specifically on sharing insights and new modes being developed by Atlanta arts organizations. 🎤 Taken from the “Adaptive Forms” Panel, this quote is from The Bakery’s (@thebakeryatlanta) Amanda P. Norris, discussing how the evolution of The Bakery over time has led their team to rethink “growth for growth’s sake.” ⚗️This “distillation,” along with the other panels from Atlanta Art Ecosystems, are available to read in full in Fire Ecology. 🛒 Get your copy today via the link in the @artpapers bio. The issue is offered free of charge, but the edition is limited. 🗓️ Make sure to also mark your calendars for the Art Papers Office Sale coming up on May 16 at 11 AM.

🌱🔥 Check out the Editor’s Letter for Fire Ecology, the final issue of ART PAPERS. In her letter, Sarah Higgins calls the issue a “bonus,” and describes how, by being the outcome of our culminating project, it occupies a different role than past issues. 📸 Higgins’ text is accompanied by photographs from Rinko Kawauchi’s Ametsuchi series. Describing this work, Higgins writes that these photos “depict yakihata—a traditional Japanese practice and philosophy of farming with the use of beneficial fire. Kawauchi’s poetic depictions evoke the fleeting nature of human existence within time frames far longer than a lifespan, far greater than memory ....” —read the rest of the letter now on ARTPAPERS.org. 📗The full issue is only available in print, which you can order now via the link in @artpapers bio. The issue is offered free of charge, but the edition is limited. 🗓️ Make sure to also mark your calendars for the Art Papers Office Sale coming up on Saturday, May 16, at 11 AM

50 years. One final issue. A celebration we’ll never forget. Thank You, Thank you, Thank you to our community. It was wonderful to gather with so many of the brilliant people who helped shape everything Art Papers was, and is. Past staff, writers, interns, board members, volunteers, subscribers, and even some new faces. To everyone who came out, and to anyone who ever gave a piece of themselves to this work, it was a pleasure to share the celebration of its culmination with you. Also! If you haven’t already, order your copy today via the link in the @artpapers bio. The issue is free, you just need to cover shipping. . . . Photo credits: Kevell Byrd @vellproductions and Canyon Sorrells

🔥🌱Fire Ecology, the last issue of Art Papers, is now available to order. 📦 For just the cost of shipping, you can get this special issue, which culminates the three-year Fire Ecology project, and marks the end of the magazine’s 50-year run. 🎉 To celebrate the release, we’re also offering 50% off the entire back catalog with code “50YEARS”. 🔗 Check the link in bio to browse the archive and grab your copy of Fire Ecology while supplies last. On the cover: Rinko Kawauchi, Untitled, from the Ametsuchi series, 2012, [courtesy of the artist and Rose Gallery, Los Angeles] Party photo credits: Kevell Byrd @vellproductions

🎈 Join us this Sunday, 1–4 PM, at Whitespace Gallery to celebrate the launch of the final issue of ART PAPERS and our 50-year run. 🔥🌱 The Fire Ecology issue is the culmination of a three-year project to extend the life of the organization for a period that would allow for a dignified end. We’ve put so much into this issue, we can’t wait to share it with you. 🤝 This event also serves as a reunion for the Art Papers family. If you’ve been part of the Art Papers team—whether an auction volunteer or a staff member, a writer or a board member—we invite you to be our special guests and claim your badges of honor. We’ll have 70’s nostalgia by DJ Terrence Wimbley @nppymsk, cocktails by Cathead Distillery @catheaddistillery, special guests the Seed & Feed Marching Abominable @seedandfeed, plus after party fun at Wrecking Bar Brewpub @wreckingbarbrewpup, and of course, first-look access to the Fire Ecology issue! ✨ We are forever indebted to our community, which has supported us in a litany of different ways from our founding up to our closing at the end of this year. Let us celebrate you. 🔗 Free & open to the public — RSVP via the link in @artpapers bio. 🎉 Art Papers’ Final Issue Launch + Reunion 📆 April 12th ⏰ 1-4pm 📍 Whitespace Gallery @whitespace814

Proofs are in for Fire Ecology, the final issue of ART PAPERS magazine. We are incredibly proud of this issue, which could have very easily never happened. It has been a long, emotional, and amazing journey to produce it, and we can’t wait to share it with all of you. We will be on press next week, celebrating the launch on Sunday, April 12, and then the issue will be available (at only the cost of shipping) through our online shop beginning Monday, April 13. Enormous gratitude to the many contributors and program participants who have journeyed with us: @ayyeeekay @alliebashuk @isakberbic @aadennington @obscuratorial @hisdopematerials @alextheurbanist @southerntrini08 @jhelfrecht @cannupahanska @dariasimoneharper @tempestthazel @lobsterfestt @gulchmag @cinquehicks @pistachiocake @_james_hoff @scottingrammaccom @heatherbirdharris @ljacksonharris @jameson_johnson @brief_histories @rinkokawauchi @maorikarmael @mirandakyle13 @jaedon_mason @courtneylmcclellan @siddharthamitter @genderfail @jamesperkinsstudio @amandapn0_0 @birney_lawrence @chantellerytter @roshanithakore @keys_wallet_phone @thecarvingstudio @prestochango @benjamincritton @pistachiocake

🔥🌱🔥 We’re excited to reveal the cover of Fire Ecology—the final issue of ART PAPERS—and to announce that it is now available for pre-order through March 16! The issue is offered free of charge, but the edition is limited. Simply click the link in @artpapers bio to begin the check-out process and reserve a copy. Make sure to add your mailing address—a free shipping discount will automatically apply. 🔥Only 600 issues are available for pre-order, so act fast! **limit 2 per customer** 🌱Secure your copy today!🌱 This special issue of ART PAPERS is the synthesis and culmination of a three-year project to extend the life of the organization for a period that would allow for a dignified end. The plan, inspired by Indigenous practices of ecological stewardship through intentional burning, took up the metaphor of Fire Ecology, the practice of maintaining ecosystem health by using fire to burn old growth, thereby fertilizing the soil and allowing new growth to thrive. The best part of this process has been connecting with people who are already doing this work. We’re excited to share their insights and knowledge. . . . On the cover: Rinko Kawauchi, Untitled, from the Ametsuchi series, 2012, [courtesy of the artist and Rose Gallery, Los Angeles] @ayyeeekay @alliebashuk @isakberbic @aadennington @obscuratorial @hisdopematerials @alextheurbanist @southerntrini08 @jhelfrecht @cannupahanska @dariasimoneharper @tempestthazel @lobsterfestt @gulchmag @cinquehicks @pistachiocake @_james_hoff @scottingrammaccom @heatherbirdharris @ljacksonharris @jameson_johnson @brief_histories @rinkokawauchi @maorikarmael @mirandakyle13 @jaedon_mason @courtneylmcclellan @siddharthamitter @genderfail @jamesperkinsstudio @amandapn0_0 @birney_lawrence @chantellerytter @roshanithakore @keys_wallet_phone @thecarvingstudio @prestochango @benjamincritton

SAVE THE DATE to celebrate the launch of the final, Fire Ecology, issue of ART PAPERS magazine and to honor the many people who have contributed to Art Papers’ 50-year legacy. All are welcome to join and celebrate our final issue among some of the brilliant people who contributed to Art Papers’ history. Past staff, writers, interns, board members, and volunteers will be our guests of honor. Members of the Feed & Seed Marching Abominable will lead a Second Line from Whitespace to the Art Papers office in the Little Five Points Community Art Center at 4 PM. Mark your calendars-more details are coming soon! @whitespace814

✍️🎥 In Sketching on Screen, Christian Keathly discusses how both the French New Wave and the Italian Neo-Realism film movements take a “sketched” approach, capturing the little moments that mean more because they aren’t staged. Keathly argues for the importance of filmmaking that occupies a different register from the blockbuster, films whose lack of polish allow you to better appreciate the grain. 🔗 Read now via the link in @artpapers bio This text is a part of Focus on Art and Film, an archival spotlight on Sept. / Oct. 1998, which explores the rich exchange between art and film 📖🎞️ Browse the other texts from the issue, along with other archival texts and web-exclusives on ARTPAPERS.org . . . Top: Film still from Summer / The Green Ray (1986). Image source IMBD Bottom: Georges Seurat, Oil Sketch for “A Sunday on La Grande Jatte — 1884”, 1884. Image courtesy of the Art Institute of Chicago

📸🧠“Rather than the cold, analytical gaze of a desensitized, unfeeling world sifting through history’s dustbin for some new outrage, this revisionism of taboo, layman photography expresses the opposite. It is the same drive seen in the emotional nakedness these other artists strive consciously for a desire for bodies, nakedness, blood, tissue, sentiment, pain and a physical reality which points to the delicate connective tissue of universal, timeless human experiences as opposed to the present stiflingly of-the-moment condition.”—Felicia Feaster In this sharp, ambitious essay, Feaster liturgically charts how various lens-based artists have sought to capture reality. Comparing documentarians such as Joe Berlinger and Errol Morris with artists such as Nan Goldin and Jim Goldberg, Feaster looks at how, by rejecting objectivity, many lens-based artists arrive at truth 🔍✨ 🌐 Click the link in the @artpapers bio to read more. This text was originally published in ART PAPERS September/October 1998, Focus on Art and Film🍿🎬✨ . . . (1) Film still from Harmony Korine’s Gummo*, 1997;(2) Installation view, Nan Goldin, Nan and Brian in Bed, New York City, 1981, Photograph by Martin Seck, June 11, 2016 – April 16, 2017. IN2354.30. Image courtesy of The Museum of Modern Art, New York, https://www.moma.org.

In “Filmmakers Painting,” from ART PAPERS September/October 1998, film scholar Sally Shafto emphasizes the importance of understanding how Jean-Luc Godard’s approach draws influence from painting 🎨📖 She writes, “Godard is becoming a model for serious artists, and his work correspondingly demands the attention of art historians. 30 years after releasing his first feature and articulating a novel production method (“I work like a painter”), Godard was ready to address modes of distribution. In a 1990 interview, Wim Wenders asked him if he minded the falling off of his audience. Godard responded that he was holding out for a time when each of his images will be prized as highly as a painter’s canvas, where his film frames will be sold as individual pictures on the auction block” 🔗 Click the link in the @artpapers bio to read more. This text is part of our Archival Spotlight, Focus on Art and Film, originally published in September/October 1998. In the coming days, we will feature additional texts from the issue 📚✨on ARTPAPERS.org . . . (1) Jean-Luc Godard © SIPA PRESS

“How can an idea still grow in harsh conditions?” 🌾❓ In this new feature essay, Heather Bird Harris returns to consider Mel Chin’s 1991 artwork, “Revival Field.” Harris explores how Chin’s endeavor is part data collection initiative, part science experiment, part performance artwork—and how the work weaves together the best parts of each approach, as necessary. Harris maps out how, as a strategy of response, this 30-year-old work maintains continued relevance. 🔗 Read now via the link in the @artpapers bio 📖 . . . (1) Mel Chin, Revival Field, Harvest at Pig’s Eye Landfill, MN, 1993; (2) Mel Chin, Revival Field, 1991. Image credit: David Schneider; (3) Mel Chin, Revival Field, 1991. Process image. [courtesy of the artist]; (4) Mel Chin, Revival Field Blueprint, 1990; (5) Mel Chin, Ecology of Gala, 1997, graphite pen and ink on drawing paper, 15 x 18 inches

🧍🧍‍♀️Courtney McClellan on how being experimental and accessible pair well together McClellan, artistic director and editor of @burnaway, was a part of the “What Audiences?‘ roundtable alongside writer, editor, and podcaster Daria Simone Harper, and Emily Watlington, Senior Editor of Art in America. In their discussion McClellan, Harper, and Watlington use the question of audiences to dig into why art writing and publishing are important. They talk about what this work is in service of, and frame notions of accessibility as an ongoing active process of building trust. 🎥This is yet another highlight from a full video that can be viewed on our website via the link in @artpapers bio. Explore other talks and panels from the symposium that are all now available!🔥🌱 . . .

📖📚Maori Karmael Holmes speaks on the preciousness of the publication as a physical object Maori Karmael Holmes founder of @seen_journal and Blackstar sat down with Jameson Johnson, founder of @bostonartreview , and freelance writer Siddhartha Mitter to discuss what forms of writing, publishing, and programming they champion. They shared their views on the new, yet seeming eternal question of digital vs print and discussed which forms currently feel emergent in their relevance. 🎥 The full video of this, and other talks from the symposium are available on our website and via the link in @artpapers bio🔥🌱 . . .

🩻 🐺”In a nation polarized over social and moral questions, international institutions, immigrant rights, gay marriage and celebrity divorce, taxes on inheritance, sex education for U. S. minors and African adults, and where popular opinion is often evenly divided, fear remains the most effective bond...”—David Velasco In “Monsters in the Closet,” originally published in our July / August 2004 issue, David Velasco looks at recurring symbols in David Altmejd’s practice. Velasco dials-in on the figure of the werewolf, and scrutinizes how Altmejd evokes a mass cultural conception of werewolves that overlaps with a mainstream understanding of Gay men. Ultimately, Velasco highlights how Altmejd’s visceral, creepy sculptures manage to exist as predominantly hopeful, despite the unease they inspire.—Read now on ARTPAPERS.org David Altmejd is speaking in Atlanta on (the ❄️🌨️ rescheduled date of) Monday, Feb. 2 at Georgia State University as part of the Welch Visiting Artist and Scholar Lecture Center. Kopleff Recital Hall, 5:30–6:45 PM @gsu_artdesign @gsuarts This event is free and open to the public. 📘Links to this text and more are accessible via the link in the @artpapers bio📗 . . . Installation detail: David Altmejd, “The Lovers,“ 2004 [Image courtesy of the artist and Andrea Rosen Gallery]

On the one year anniversary of his passing, we wanted to celebrate the legacy of David Lynch by releasing an archival interview with the iconic filmmaker from our Sept. / Oct. 1998 issue. Bret Wood pens a text that specifically charts the evolution of Lynch’s fine art practice, before sitting down with Lynch himself to discuss his artistic process.—Read now on ARTPAPERS.org Explore other archival texts and interviews via the link to our homepage in the @artpapers bio📙 🎞️ Stay tuned as in the weeks ahead, we’ll continue exploring the rich exchange between art and film. . . . Image credit: “David Lynch” by jvoves. Taken Jan. 27, 2007 in Chicago, Illinois. Licensed under CC BY 2.0

🎨🏗️Tempestt Hazel speaks on bringing creativity to institutional design in this clip from the “What Models?” panel held at the 2025 Art Papers Arts Writing & Publishing Symposium last September. As co-founder of Sixty Inches From Center @sixtyinchesfromcenter, an organization and publishing platform with an experimental, non-hierarchical structure, Hazel sat down with Lindsay Preston Zappas, founder of Contemporary Art Review Los Angeles carla and James Hoff, executive director of Primary Information @primaryinformation to discuss the tradeoffs and opportunities that exist between the different models for publishing institutions. 🎥The full video of this, and other talks from the symposium, are available on our website and via the link in @artpapers bio🔥🌱 . . . #artpapers #artwriting #symposium #artpublishing @tempestthazel @prestochango @_james_hoff

Edward Austin Hall reviews Silvia Park’s Luminous and examines how Park presents transformative violence in a novel that remains tender. Hall writes: “Luminous seems—maybe in another of Park’s prosodic japes—agnostic about what our arriving-faster-than-ever future holds...As I write these words, hope feels, to me, like yet another dwindling resource in the world. Nonetheless, hope remains free to anyone who can hold onto it. If I suppress my own feelings about the future, I can hope to read a novel that outdoes Luminous at bringing to dramatic life the myriad vagaries of technology in our lives, but I confess that doing so feels akin to praying for a miracle.” —Available to read now on ARTPAPERS.org. . . .

As we begin our final year, we wanted to look back at all that we came together to accomplish in 2025 and celebrate a momentous year of convening and publishing. Now, as we turn the page to 2026, it’s time to celebrate our 50th Anniversary and finish strong, continuing the work of securing the legacy of this storied institution. Check out the End-of-Year letter for a recap of 2025 and a look ahead at what’s coming in 2026. If you’re not yet a subscriber, the best way to get updates on our upcoming projects and the final farewell party is to sign up for our newsletter. It will be the first place that new developments are announced. Sign-up now via the link in the @artpapers bio . . . Images: 1. Art Writing & Publishing Symposium attendees communing in the bookshop between sessions 2. Maori Karmael Holmes, Jameson Johnson, and Siddhartha Mitter addressing the question, “What Forms?” at the Symposium 3. 2025 Collections of art criticism on ARTPAPERS.org

For the final installment in our Horror After Horror issue, guest co-editor Re’al Christian (@r_christian__) pens a Glossary entry defining “Revolt.” To revolt, “to be repulsed by. To repel, deter, disgust,” as Christian writes, illuminates distinctive yet inextricably entwined definitions, reflecting our appetite for rebellion—romanticized by some, intrinsically feared by others, a necessity for many. The various historical depictions of rebellion across media carry similar contradictions—ones, as Christian explains, that are necessarily knotted up within “Revolt.” Click the link in the @artpapers bio to read this final text from Horror After Horror 🔗 While visiting ARTPAPERS.org, check out some of the other texts from the issue, which unpacks representations of the horrors haunting our past, present, and future. . . . Images: 1. TJ Shin (@t_j_shin), Anthropology of a Phytomorphist, 2021–2022, video, 14:05, [photo: courtesy of the artist] 2. Gillo Pontecorvo, The Battle of Algiers, 1966, screenshot[courtesy of Tubi] 3. Sylvia Wynter, “Black Metamorphosis: New Natives in a New World,” unpublished.

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