01. A Letter from the Editor

We’re forming the (unintentional) habit of launching editions of ARTWRIT on the heels of large art fairs, when the vitality and wellness of art is tested and the demand for it is closely scrutinized. With Armory Week, as with the Miami fairs last December, the verdict has come as a relief to those who have any stake in art. Whether they are the ones producing it, dealing it, exhibiting it, or collecting it, the relevance of art in society has not been diminished (as many had feared it would be) by less than favorable market prospects. The economics of art aside, attendance at this year’s Armory show and related fairs was record-breaking, proving that the public has not disengaged. These successes set the tone for our work and energize what we do.

Each piece published here begins as a conversation between the writers and myself. As the editor, I ask them what they have seen that has caught their eye, and what they have not seen that might interest them. It is an open-ended and seemingly chaotic process, but the result — blame it on intuition or the zeitgeist — is cohesive. I work with each writer individually, and try very hard not to force any issue, yet common themes emerge.

The second edition of ARTWRIT is particularly concerned with practice and process. Britt Julious’s review of “Picturing the Studio,” as well the interviews with artists Juana Olga Barrios and Gustavo Bonevardi, aim to understand exactly what life and work as an artist really entails. An artist herself, Barton Sloane’s review of “Gelitin” explains the terms by which a sculpture is made collaboratively in real time and in front of an audience. There is a shared desire to better understand these processes that often elude us.

Daniel Kopel