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往期内容

2020s

  • 2025–2025 第64卷
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  • 1999–2000 第38卷
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  • 1963–1964 第2卷
  • 1962–1963 第1卷

每期价格

  • Cover: Tom Friedman, Untitled, 2000, construction paper, 12  114 x 120“. Installation view. Photo: Oren Slor. Inset: Edward Ruscha, Is, 1998, acrylic on canvas, 76 x 72”.
    2000年夏季
    第38卷第10期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover, clockwise from top left: James Welling, 2-29 11-96 (detail), 1996, vegetable dye on rag paper, 34 x 27“. From the series ”Light Sources,“ 1992-98. Wayne Thiebaud, Strawberry Cone (detail), 1969, oil on paper, 11 x 14”. Christopher Williams, Model: 1964 Renault Dauphine-Four, R-1095. Body Type & Seating; 4-dr sedan 4 to 5 persons, Engine type: 14/52 Weight: 1397 lbs. Price: $1495.00 USD (original) (Nr. 1) (detail), 2000, black-and-white photograph, 11 x 14“. Catherine Chalmers, 199496,* untitled digital color photograph, 40 x 60”. From “Unnatural Science.”
    2000年5月
    第38卷第9期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: Sophie Calle, B, C, W (detail), 1998, four color photographs and four texts, each ca. 26⅜ x 26⅜" framed. Photo: Jean-Baptiste Modino. Inset: Walter Benjamin, 1938. © Gisèle Freund/Agence Nina Beskow.
    2000年4月
    第38卷第8期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: Ed van der Elsken, from “Paris, France,” 195054, black-and-white photograph. Included in Love on the Left Bank (Amsterdam: Besige Bij, 1956). Inset: Mary Harron, American Psycho (detail), 2000, production still from a color film in 35 mm, 98 minutes. Patrick Baterman (Christian Bale).
    2000年3月
    第38卷第7期
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  • Cover: Knut Åsdam, _Untitled: Pissing (detail), 1995, still from a color video. Inset: Lucio Fontana, Spatial Concept/The End of God (detail), 1963, oil, tears, holes, and graffiti on canvas, ca. 70 1/16 x 48 7/16".
    2000年2月
    第38卷第6期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: Stan Douglas,  Win, Place or Show (detail), 1998, still from a two-channel video projection with a four-channel sound track; 2,423 variations, averaging 6 minutes each. Inset: Francesco Clemente, She and She (detail), 1982, pastel on paper, 24 x 18".
    2000年1月
    第38卷第5期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover, top row, left to right: Bruce Nauman, Anthro/Socio (Rinde Facing Camera) [detail], 1991, six videodisc players, six color monitors, three video projectors, and six video discs, dimensions variable. Installation view. Daniel Martinz, Museum Tags: Second Movement (Overture) or Overture con Claque— Overture with Hired Audience Members (detail), 1993, metal visitor tags, 1¼  x 1“ each. From the 1993 Whitney Biennial. Robert Gober, Untitled (detail), 199597, mixed media, dimensions variable. Matthew Barney, Cremaster 4 (detail), 1994, production still from a color video transferred to 35mm, 42 minutes 40 seconds. Photo: Peter Strietmann. Second row, left to right: Gabriel Orozco, Pinched Ball (Pelota ponchada) [detail], 1993, Cibachrome print, 9 x 13¼ ”. Andreas Gursky, Chicago Mercantile Exchange (detail), 1997, color photograph, 70⅞ x 94½“. Jeff Wall, A Sudden Gust of Wind (After Hokusai) [detail], 1993, Cibachrome transparency, aluminum display case, and fluorescent light, 90¼ x 12' 4½ ”. Cindy Sherman, Untitled (detail), 1994, Cibachrome print, 44 x 30“. Vanessa Beecrof, US Navy SEALs, 1999. Performance view, Museum of Contemporary Art, San Diego. Photo: Todd Eberle. Tableau vivant by Jack Smith (detail), ca. 1957/1997, uncropped color photograph printed from a 2¼ x 2¼” negative taken with a reflex camera. Francis Francine. The Plaster Foundation, New York. Third row, left to right: Elizabeth Peyton, Blur Kurt (detail), 1995, oil on Masonite, 14 x 11“. Charles Ray, Puzzle Bottle (detail), 1995, painted wood in glass bottle, 13' x 4” diameter. Cady Noland, Untitled, 1989, scaffolding, beer, car parts, and basket. Installation view. Photo: Michael Olijnyck. Monique Prieto, AM Safety Zone (detail), 1999, acrylic on canvas, 72 x 96“. Jeff Koons, Puppy (detail), 1992, live flowers, earth, wood, and shell, 39 x 16 x 21'. David Reed, #332 (detail), 199394, oil and alkyd on linen, 26 x 110”. Bottom row, left to right: Mike Kelley, Dialogue #2 (Transparent White Glass/Transparent Black Glass) [detail], 1991, blanket, stuffed animals, and cassette player, 74 x 49 x 11“. Seydou Keïta, untiled, ca. 1954, black-and-white photograph. Pipilotti Rist, Let me sip your ocean (detail), 1995–96, video installation. Sigmar Polke, Gärtner (Gardener) [detail], 1992, acrylic on synthetic fabric, 114¼ x 114¼”. Todd Haynes, Velvet Goldmine, 1998, production still from a color film in 35mm, 127 minutes. Brian Slade (Jonathan Rhys Meyers). Photo: Peter Mountain. Robert Mapplethorpe, Self-Portrait (detail), 1978, black-and-white photograph. The Estate of Robert Mapplethorpe, New York.
    1999年12月
    第38卷第4期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: Mark Dion, Tate Thames Dig, 1999. Photo: Andrew Cross. Inset: Ron Mueck, Mask, 1997, polyester resin and mixed media, 62¼ x 60¼ x 48⅞". Photo: Laura Hoffmann.
    1999年11月
    第38卷第3期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: David Wojnarowicz and Mike Bidlo, Pier 34, 1983. Photo: Andreas Sterzing. Inset: Jeff Koons, One Ball Total Equilibrium Tank (Spalding Dr. J 241 Series) (detail), 1985, glass, steel, plastic, distilled water, reagent-grade sodium chloride, and basket ball, 64¾ x 30¾ x 13¼".
    1999年10月
    第38卷第2期
    TABLE OF CONTENTS (ENGLISH) 订阅
  • Cover: Thomas Hirschhorn, Flugplatz Welt/World Airport, 1999, mixed media, dimensions variable. Installation view, Venice Biennale. Photo: Fabio Polo. Inset: Pierre-Louis Pierson/Aquilin Schad, La Marquise Mathilde (detail), 1861–67, photographic print painted with gouache, ca. 27½ x 20⅞".
    1999年9月
    第38卷第1期
    TABLE OF CONTENTS (ENGLISH) 订阅
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