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Ragnar Kjartansson, The End - Venice, 2009, performance installation.
Commissioned by the Center for Icelandic Art.
Courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjavik.
Photo: Rafael Pinho.

Dear Readers

Venice is a place to see contemporary art from all over the globe in one of the most beautiful cities in the world. There seems to be art in the city all of the time now, not just during the Biennale. There is the Pinault collection, the Emilio Vedova Foundation, as well as other many other permanent museums around the city. In this issue we have included many images hoping you, too, will feel a bit like you have been on this journey. For those who have Schadenfreude—yes, it was hot, but mostly it was humid. Yes, it was crowded, but I did not feel this year that the vaporetto might sink, as I have in some previous years. And I’m sorry, but yes, there were some good moments of art and even one or two great ones. I certainly do not mind wading through it all, even the high water, if the place is Venice.


The Art Section was fortunate to attract the sponsorship of Oliva Nera, our favorite restaurant/osteria in Venice (and that of many in the know). And I appreciate and want to thank my Venice-based writers who helped me while I was in Venice. I also want to welcome two new correspondents to this issue: Floriana Piqué, a curator and critic who is based in London, and artist/photographer Steve McKenzie, who travels the globe and calls Atlanta his home. And last, but not least, The Art Section’s editor, Philip Auslander, gives us a further discussion of analyzing art through documentation.


All my best,



Deanna Sirlin is an artist and Editor-in-Chief of The Art Section.

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