It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art—the problem of this, the problem of that. Given the established links between the banking system and the art market, Art-Rite promotes collaboration with financial institutions and operators as well as the investment in art as an asset class. The role gave him familiarity with typesetting, layout and getting a publication to press, as well as unsupervised use of equipment and borrowed type. Read more about this era of the New York art scene in a transcribed conversation between Walter Robinson, Pat Steir, Robin Winters, and Carlo McCormick (2019). DeAk has had various health- and life-related problems and by her own account has been “out of the picture for years.

I think deAk’s use of the word relates in part to Artforum, funnily enough, and to its role in the world in which the Art-Rite editors were growing up. dated summer 1974, Dorothea Rockburne had the staff (deAk, Robinson, and Cohn, that is) fold the bottom right-hand corner of every cover upward on a diagonal to divide a large, delicately outlined, but otherwise blank square into a pair of triangles. Edit DeAk, Walter “Mike” Robinson, and Joshua Cohn first met in 1972 as senior year students at Columbia University during an art criticism seminar taught by critic Brian O’Doherty. In a statement deAk and Robinson wrote for Studio International in 1976, the editors admitted to “some nasty comments about a few ‘major’ artists,” but those artists “were famous and successful and because they were safe we couldn’t hurt them and since we spent the rest of our life defending babies we had to attack someplace. These artists’ issues were surely one model for Artforum’s artist’s project series the following decade; in February 1980, in fact, MacConnel redid his Art-Rite project in two spreads of Artforum, using a few of the same drawings, this time partly in color.Hoffberg, Douglas Huebler, Allan Kaprow, Richard Kostelanetz, Sharon Kulik, Robert Leverant, Sol LeWitt, Lucy Lippard, Christof Kohlhofer, Jane Logemann, Paul McMahon, Robert Morgan, Maurizio Nannucci, Rochard Nonas, Adrian Piper, Lucio Pozzi, Marcia Resnick, The Roseprint Detective Club, Carolee Schneemann, John Shaw, Bob Smith, Pat Steir, Ellen Sragow, Ted Stamm, Peter Stansbury, Richard Tuttle, Fred Truck, Lawrence Weiner, Robin Winters, Rachel Youdelman, John Howell, David Salle, Al More, Rosalle Goldberg, Lawrence Alloway, Peggy Gale, A. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us. Here younger generations have found their voice, using technology to transform the conversation to center their concerns. They did record the breakdown of the magazine’s income: twenty percent from ads, ten percent from sales, and fifty percent from grants. Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978.

The magazine was famous for its covers, made by such artists as Alan Suicide, Carl Andre, Dorothea Rockburne, William Wegman, Christo, Vito Acconci, Pat Steir, Joseph Beuys, Judy Rifka, Robert Ryman, Rosemary Mayer, and Ed Ruscha. To a rather shy and quiet Irish/English person (my main contribution to Artforum at the time, I’m quite sure, was a trivial willingness to work ninety-hour weeks), she was intimidatingly glamorous; but besides being sparkling in both her perceptions and her style, she was always warm and always utterly a pleasure.

Perfectly positioned between the underground and the establishment, the magazine featured artists who became defining voices of the era, including Laurie Anderson, Chris Burden, Genesis P-Orridge, Patti Smith, and Gordon Matta-Clark. Obblighi informativi per le erogazioni pubbliche: gli aiuti di Stato e gli aiuti de minimis ricevuti dalla nostra impresa sono contenuti nel Registro Nazionale degli Aiuti di Stato di cui all'art.

Contributors included Lucy Lippard, Gordon Matta-Clark, Barbara Radice, Laurie Anderson, John Baldessari, Julian Schnabel, Daniel Buren, Jack Smith, Sol LeWitt, and many, many others. Through its auctions, Art-Rite Auction House hopes to offer a curated variety of works of art, able to add value to the most prestigious and historical collections. Through hundreds of interviews, reviews, statements and projects for the page--as well as artist-focused and thematic issues on video, painting, performance and artists' books-- Art-Rite's sharp editorial vision and commitment to holding up the work of artists stands as a meaningful and lasting contribution to the art history of New York and beyond. Walter Robinson and Edit DeAk, artists and founding members of the New York nonprofit Printed Matter, Inc. When this idea didn’t take off with the magazine, Edit, Walter and Joshua decided they would produce a publication of their own.

Yet despite the magazine's commitment to disposability, Art-Rite somehow managed to craft each issue with artist-produced covers: Dorothea Rockburne's hand-folded design intersected the cover across the diagonal for issue 6, while issue 8, designed by Pat Steir, included potatoprinted decoration in bright primary colours that were originally hand-stamped by the editors. EDIT DEAK AND WALTER ROBINSON may shudder to hear it, but talking to them recently about Art-Rite I accidentally thought of that old movie in which Judy Garland and Mickey Rooney, teenaged and rural, stage a Broadway-type musical in a barn: “Hey kids, let’s put on a show! Thank you to the Estate of Edit DeAk, Daniel Csutkai, Walter Robinson, Les Levine, Judy Rifka and online Gallery 98. Even now, talking to her about Art-Rite and reading through old statements and interviews of hers on the magazine, I’m struck by her generosity and by an endearing modesty that runs through her general flamboyance.