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William S. Smith

Editor, Art in America

William S. Smith is the editor of Art in America. Since joining the publication in 2013, he has contributed articles on topics ranging from abstract painting to graphic design to digital technology in museums. Will is also a founding editor of the online magazine Triple Canopy, where he published essays and books, curated digital artwork, and organized public programs in partnership with the Museum of Modern Art, the New Museum, and the Museum of Contemporary Art Denver, among other institutions. He has written essays for museum exhibition catalogues produced by the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and the New Museum, all in New York. In addition to holding curatorial positions at New York University’s Grey Art Gallery, Art in General in New York, and the Fabric Workshop and Museum in Philadelphia, he has lectured at the Museum of Modern Art in New York and taught art history courses at New York University, Pratt Institute, and Colorado College in Colorado Springs. Will holds degrees in art history from New York University’s Institute of Fine Arts and Brown University. He lives in Brooklyn and is currently working on a book about gardens. His middle initial “S” stands for St. James. He is on Twitter @willsssmith.

New Worlds

Scrutinizing rural hermits, outcasts and commune dwellers in various countries, British filmmaker Ben Rivers seeks a link between individuality and the land.

Biennials: Mixed Messages

Incorporating works from many participants in their own online community, the New York–based collective DIS has mounted a Berlin Biennale that simultaneously exploits and critiques trendy digital stra…

Ambient Aesthetics

Monitoring commodity prices, asset values, and the digital measurement of collective happiness, â?¨Mika Tajima creates artworks and installations—sometimes diffuse and cloudy, sometimes violent…

One to One

At New York’s Whitney Museum, a full-scale 1970 photographic projection by Michael Heizer brings home the immersiveness, the being-there (even if only vicariously), that is essential to the Land art a…

Jackson Pollock

“Blind Spots,” the subtitle of this exhibition, is an allusion to the idea that Jackson Pollock’s late works, especially his so-called black paintings—monochrome drips on unprimed canvases—have been w…

Sharjah Biennial

Feeling out of place, I found myself marching through the streets of Sharjah with hundreds of others—artists, curators, critics and students—who had come for the opening weekend of the ambitious bienn…