Still from Send/Receive
In recent years, the significance of artists' magazines has been cemented by the proliferation of exhibitions, panels, and monographic studies devoted to independent publishing endeavors. Not merely side projects or promotional vehicles, such magazines constituted, as art historian Gwen Allen argues in her 2011 book Artists Magazines: An Alternative Space for Art, a form of exhibition space in itself, a central site of postwar artistic experimentation.
The magazine was, in a sense, the ideal form for the “dematerialized” art practices taking hold in the 1960s and ‘70s, which were often rooted in language and typically exhibitable solely in the form of secondary documentation—textual descriptions, instructions, or scores; diagrams and maps; and photographs. At the moment when artists were vehemently challenging the authority of the institutions that mediated between their work and its audience, as well as the attendant commercial system that conferred value based on the saleability of the object, the form of the magazine offered a way to circumvent existing structures—to disseminate projects and ideas directly to an audience, and one that was, at least theoretically, broader than that of the museum or gallery, and more geographically dispersed.
Among the storied magazines of the ‘70s, Avalanche, founded by artist and curator Willoughby Sharp and filmmaker Liza Bear in 1968 (the first issue appeared in Fall 1970), is perhaps the most iconic in terms of capturing the ethos and character of the period’s artistic climate. The privileged editorial form of Avalanche was not the critical essay or review, but the artist interview and it often turned pages over to artists— including Gordon Matta-Clark, Hanne Darboven, and Richard Long —to design their own spreads. Likewise, its “Rumblings” section functioned as a form of pre-internet global art-world message board where artists could submit announcements of upcoming exhibitions, projects, and publications.
Ephemeral and inexpensive, Avalanche was, as Bear described, “a cross between a magazine, an artist book, and an exhibition space in print. Basically, it was devoted to avant-garde art, from the perspective of the artist.” Avalanche, and periodicals like it, were attempts to rethink the art magazine in terms of both form and content, conceived in response to mainstream publications like Artforum, which were dominated by the critic’s voice and implicitly bore the influence of curators and dealers. However, Avalanche was also a network, a decentralized mode of distributing art that aimed to shift the site of reception beyond institutional boundaries...