From the issue Fast forward—at maximum speed—to 1972
Unveiling Issue 8, our most ambitious yet, devoted to a single year in recent history.
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Unveiling Issue 8, our most ambitious yet, devoted to a single year in recent history.
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Meet rogue scientists, activists and artists Coral Morphologic.
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A series of pictures made in the London postcode—located in the Waltham Forest London Boro district.
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“I didn’t want to ignore the popular slogan ‘Make America Great Again.’”
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It was floor-to-ceiling, hand-constructed cardboard boxes and a cardboard-tiled floor, plus a 2-hour reel of archival documentary footage.
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The Scottish actor talks Trump, lookalikes and good behaviour with curator Alison Kubler.
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Leonard Fink’s exultant photographs of cruising men—including two that never made it to our print issue.
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For Museum’s sixth edition, photographer Derek Henderson and stylist Sarah Starkey visit sleepy Auckland suburbia.
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In Museum’s sixth edition, we commissioned Gladys Perint Palmer to illustrate portraits of a lexicographer, curator, artist and baker.
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As the National Portrait Gallery in London shows ‘Gillian Wearing and Claude Cahun: Behind the mask another mask,’ Museum’s editor talks identity, performance and reality television with Wearing herself.
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Wendy Syfret on the fractured, often sad history of Smell-O-Vision: the technology that never quite was.
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"I believe that explaining the origins and mechanisms that drive fear can help us alleviate it."
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Writer Monica Uszerowicz wrestles—and makes peace—with her nose.
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37 years after its doors appeared closed forever, America’s greatest monthly travel magazine was relaunched by a team of Parisians.
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London-based artists and activists Karen Mirza and Brad Butler talk to Stephanie Rosenthal and Alexie Glass-Kantor about the latest incarnation of the Museum of Non-Participation—their conceptual project that started behind a Pakistani barbershop.
An exclusive look at Museum's fourth edition.
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"I edit in a very conventional way, using a similar editing language to that of movies or TV. Audiences are accustomed to it. They’ve internalised it already, before they’ve seen my work."
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Perspectives on anonymous criticism from the associate editor of ArtReview.
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A special report on NASA’s Astronomy Picture of the Day archive—an image-driven attempt to catalogue the universe.
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From their positions at the helm of Artspace, Sydney and Printed Matter Inc., Alexie Glass-Kantor and Max Schumann meet to confer on the artist book as both industrial object and a site of insubordination.
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