The February 1992 edition of Art/Life Magazine is concerned with materiality and concept. Artists from Germany and all of the US use collage, layering, and sculptural elements to deal with a variety of visual problems. Notable pages include R. G. Askew’s envelope with hidden contents and an accompanying film slide, M. Yee’s graphics on unemployment, and G. Bell’s letter to the “beautiful Bunster.”
Originating as a conceptual exchange among artists, Art/Life Magazine, was one of the longest continually published artists’ periodicals of the 20th century, presenting a diverse array of art during its 25-year history. Art/Life founder Joe Cardella had asked artists to submit and mail original artworks from all over the world to be compiled into limited edition magazines. As a way to increase accessibility to contemporary art practice, Art/Life documented the lives of the artists, their thoughts, emotions, and creative processes through the transition from industrial to digital art practice. The magazine’s legacy can be seen at MoMa, the Guggenheim, Getty, and LACMA, portraying a global consciousness and collaboration between distanced networks of contemporary artists.