COURTESY PARKETT
After 33 years of issuing journals that offer deep dives into the practices of leading contemporary artists, Parkett will “bring the publication of the printed art magazine to a close,” according to a letter sent to readers from Bice Curiger, who served as the journal’s editor-in-chief through its entire run, Jacqueline Burckhardt, who cofounded it, and Dieter von Graffenried, its publisher. The letter continued, “One of the major factors behind this decision is the radical change in reading behavior brought about by our digital age.” The final print magazine will arrive this summer, a special edition numbered 100/101.
Since its founding in 1984, Parkett, which has offices in Zurich and New York, has stood alone in the art-publishing landscape. Its editors at first devoted each issue to a single artist, who would help select writers, lay out the magazine, and produce a special insert, and also create a limited edition that assisted in funding the enterprise. As the years passed, the magazine shifted to focusing on two, three, and eventually four artists. In total, more than 200 artists have been featured. The editions produced for the magazine became the subject of museum exhibitions, and Curiger was tapped to organize the 2011 Venice Biennale.
By Parkett’s count, it has published 1,500 texts by a formidable array of writers, from Kathy Acker and Hilton Als to Catherine Wood and Jörg Zutter. Those texts will soon be accessible in some form through the magazine’s website—wonderful news, though it should be said that the print edition of Parkett, published in German and English, was a particularly special thing, not least because artists were involved even in designing the magazine’s spines, which form images when lined up on bookshelves. You can get a sense of that magic online, right here.
Parkett‘s letter follows in full below.
DEAR READER
With the present volume of Parkett 99 and the following special issue 100/101 appearing this summer, the publishers have decided to bring the publication of the printed art magazine to a close. One of the major factors behind this decision is the radical change in reading behavior brought about by our digital age.
Parkett volumes and editions will, of course, remain fully documented online on our website and available via our offices in Zurich and New York. Furthermore, all volumes including 1500 texts are currently being digitized and will become accessible on our website. New, expanded Parkett exhibitions in various museums are in preparation as well, and will further explore the publication’s singular approach as a time capsule of the art of the last three decades.
Parkett enjoys a unique status in the international art world. For the past 33 years the journal has worked hand in hand with the most compelling artists and authors of our time in order to bring them to a wider public. In company with our most important partners and colleagues, we shall be concluding the Parkett adventure with a celebratory commemorative double volume this summer.
It will be an occasion to take a clear-sighted look at the past, the present, and the future. The special issue will retrace the energies, aims, and ideas that inspired and underpinned the founding and publication of Parkett and the special editions created by our collaborating artists of the past 33 years. In interviews, conversations, and essays, Parkett 100/101 will highlight the major changes and events that have shaped our expansive epoch.
We would like to thank you, our readers, for your interest and your loyalty and we are looking forward to the special double issue this summer.
Bice Curiger, Jacqueline Burckhardt and Dieter von Graffenried