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The article discusses the need for small arts organizations to develop a new organizational structure to replace an inefficient traditional structure. It says that it is necessary to undo and change some old concepts and notions in order to solve the problem. According to the author, the problem lies in the fact that these groups have yet developed a structural approach that is appropriate to the small arts organization. He adds that it is very important to understand the true needs of the artists and to develop a framework for synthesis.

The author reflects on the problems of producing a regional art magazine as of 1983. She argues that the major difficulty of regional art publishing lies in the size of the audience, which is less than 10,000 subscribers in Southeast America. She believes that the closure of city's artist-run spaces is a general trend, especially in the regions where government funding has had a major effect. She also relates her belief that "Art Papers" will remain in service to art and artists of the Southeast.

Several letters to the editor are presented in response to articles in previous issues of "The Best of Art Papers" including an article on art criticism which was featured in the September/October 1983 issue, the forum on criticism and Southern Art published in the November/December 1984 issue and the need for artists to know what is going on in the art world which was featured in the January/February 1983 issue.

Excerpts of interchanges depicting the common ground between artists and architects which have helped bring international acclaim to "The Best of Art Papers" magazine as a result of its three-year collaboration with the Architectural Society of Atlanta are presented.

The article discusses the highlights of the excursion of art dealers, architects, artists, designers and "Art Papers" editors to Alabama in January 1984.

An interview with environmental artist Alan Sonfist is presented. When asked about the work he did in 1991 for the Atlantic Center for the Arts, Sonfist says that the concept of his work is based on understanding the layering of history of a particular community. Sonfist believes that the individual artist in the studio is a romantic 19th century myth since the great master artists of the Renaissance worked in a collaborative way.

An interview with American artist Chris Burden is presented. When asked about the concept of his Three Ghost Ships artwork, Burden states that it is inspired by an artwork done by artist Phil Bolger. He talks about the sculptures he made in the 1980s featuring model boats. He also expresses his views on travelling.

An interview with artist Lois Mailou Jones is presented. When asked about the first time she went to Europe, Jones relates her experience of taking a leave from Howard University in 1937. She relates her experience of doing costume designing for designer Grace Ripley. She also expresses her aim of being accepted by other types of audiences aside from African Americans.

The article features artist Howardena Pindell. As an associate curator of prints and illustrated books at the Museum of Modern Art, she published a chronology with commentary of alternative artists' periodicals in 1977. It also cites the documentary film "Free, White and 21" about some memorable and painful facets of the artist's life. Pindell was also claimed to have exposed the destructive impact of the abuse of political power, including the loss of freedoms due to censorship.

The author discusses the increasing need for the publication of mail art. He acknowledges the fact that mail art is often ignored by art institutions like the Museum of Modern Art in New York. He encourages correspondence artists to raise the standards of their artworks for he regards mail art as powerful and mail artists do not have to wait for any kind of acceptance from art establishments to continue doing their work.

The article focuses on the mail art network in the U.S. The purposes and objectives of correspondence art include the evolving mass consciousness and the expansion of communication process. Correspondence artist Robert Cumming is one of the many artists who opposed the quick-copy mail art that was being distributed internationally. It is also noted that organizing mail art exhibitions is easy for there are no fees to be charged at mail art shows.

An interview with artist Zareh Maranian is presented. Maranian explains that his art reflects his thoughts, which sometimes tend to be philosophic in nature and are concerned with such matters as existence, purpose, and the meaning of things. He states that the expressive qualities of the work and the dynamism of the work that speaks in a universal language are important to him. Maranian describes his work titled "Sardarabad," wherein he used fabric and acrylic paint as medium, featuring a statue-type torso with an arm outstretched.

The article discusses the role of artists in late capitalist reproduction. It explains that artists working within the industrial design and consciousness management segments of advanced capitalist industry might be involved in the object-codes of consummativity. On the other hand, artists working from outside of the immediate circuits of need-construction and need-supply might reappraise the totality of hyperecological late capitalism in creating new images of negation, alternatives or sublation.

The article discusses issues related to art criticism and theory. It states that in Michael Fried's essay about art and objecthood, he maintains that art work saves the viewer from possible temporality. According to the article, artists can easily sense changes in the cultural climate and reflect these changes in their art. It notes that the concept of critique may have become the major mode by which theory on the common view enters into the current discourse of art criticism.

An interview with artist Andres Serrano is presented. When asked about his artwork and its relation to his views of Catholicism, he states that his work focuses on Catholicism or Christianity but not on the Church. He mentions his passion for art photography and talks about his artwork titled "Heaven and Hell." He also relates how he managed to stay out of political discourse on someone who made work that was so charged.

An interview with artist Wes Cochran is presented. When asked about his art influences, he refers to his uncle who had an art collection and who became an international art broker. He narrates that he did not have an art background until his uncle became his mentor. He also talks about his efforts to create a collection of artwork by African American artists.

An interview with artist and political organizer Juan Sanchez is presented. He explains the role that political art plays in reflecting society and a cultural entity. He cites that the 1980s reaffirmed the notion that art is politics, society, and culture. Sanchez describes himself as a formalist when creating art that seeks to bring out the beauty of humanity and opposes man's inhumanity against man.

The article describes how mail artists take their actions to the limit and manipulate the postal bureaucracy to explore the boundaries of art and of living within society. It cites the sporadic activities of Duchamp and the Futurists and details how the medium forces artists such Ray Johnson, Robert Watts, Ben Vautier and Pauline Smith to examine society in a unique manner. It also discusses self-historification by Guglielmo Achille Cavellini and neoism as espoused by David Zack and Istvan Kantor.

An interview with Greek artist Athena Tacha about her career and her art is presented. She talks about teaching sculpture at Oberlin College in Ohio and notes that she trains her students to do sculpture in relation to the natural environment. She mentions that the massacre memorials she created are inspired by natural events and human catastrophes. She also explains the similarities and differences between artists and architects.

The article presents a discussion between several artists who participated in the "Installation" art exhibition at the Nexus Gallery of the Healey Building in Atlanta, Georgia from September 11 to October 27, 1989. Ahmad-Raee talks about how he started doing sculptures. David Wilson describes the theatricality of his installations and the use of titles for his installation pieces. Marie Cochran discusses her fascination in art even if she grew up in a place she considers removed from the art world.

An interview with U.S. artist Donald Lipski is presented. He reveals that he does not have any training background in sculpting but he was always drawn to it. He compares plunk art to buying furniture and figuring out where it is going to function well in the house. He also talks about his television watching habit and interest in scuba diving. When asked about art criticism, he shares that he usually does not give much attention to art critics.

An interview with artist Patrick Dougherty is presented. Dougherty narrates his misgivings about his works in building projects as examples of art and about considering himself as an artist, all the while thinking that being an artist requires talent and that it bears social responsibility. Only when he studied sculpture and art history at the University of North Carolina did he realize that one has the right to create whatever one wants when it comes to the arts. He offers his opinion on whether the South is a viable region for artists.

An interview with James Turrell, the owner of Roden Crater, an extinct volcano near Flagstaff, Arizona, is presented. When asked about his Florida State University (FSU) installation, he describes the uniqueness of the sources of three light pieces, and the models and drawings of the crater. Although Turrell took up perceptual psychology, and majored in math, his interest was in the quality of existence with light, and human heliotropic nature, especially in dreams and imagination. Turrell also describes his relationship with the Dia Foundation.

An interview with artist Richard Craven, also known as Richard C., is presented. When asked about his perception of North Carolina in relation to his work, he claims that the state is stimulating for him and that all places are the special. He mentions the tendency of individuals to carry the age of specialization on ad infinitum. According to the artist, he also considers himself as a visual comedian by manipulating objects.

The article examines the problems facing the Mattress Factory Group in Atlanta, Georgia. One of the issues facing the group is questions about the value of the annual Great Mattress Factory Show to artists due in part to its carnival atmosphere. It points out that the ad hoc nature of the decision making process is contrary to the reputation and visibility of the group and the event. Also noted are the drawbacks of transforming the group into a stable organization.

An interview with Meredith Monk, a musician, vocal artist, dancer, choreographer and filmmaker, is presented. When asked whether her music has visual quality, she confirmed it is, saying she wants to provide a musical and visual experience to her audience. She believes that avant garde music has both elements in the distant past and can also be futuristic. She also discussed her work in Germany, what she considers her American audience and her current work on an opera.

An interview with Group Material (GM) member Doug Ashford is presented. Ashford explains that GM is interested in entertaining the idea of galleries, the idea of artists and taste and doing so indicates symbolic self-censorship. He opined that while the gallery system has imperfections, it is impossible to operate outside its structures. He also agreed that collaboration among artists is important in fulfilling their objectives.

The article discusses the highlights of a symposium organized by the 20th Century Art Society and the Ad Hoc Collections Committee of the High Museum of Art titled "To Have and Have Not: Who's Supporting the Arts Today." The symposium dealt with issues confronting the arts community of Atlanta, Georgia such as limited government support, how artists can be viable in areas where patronage is limited and whether museums can be an advocate in the community. Panelists in the symposium were chosen for their professional experiences and track records.

The article discusses contemporary art in Africa which is reportedly veering away from traditional African art and is more westernized. Contemporary African art is said to reflect socio-cultural changes that have taken place in the continent. Focus is given on two categories that affect developments in African art, which include the expatriate factor and the internalization process. The article mentions contemporary African artists including Ibrahim Salahi of Sudan, Ben Enwonwu of Nigeria and Skunder Boghossian from Nigeria.

An interview with German neo-expressionist artist Salomé is presented. When asked about the beginnings of the neo-expressionist movement in Berlin, Germany, Salomé recounts how he got to know K. H. Hodicke, who was involved with "Grossgorschen" group of painters. He says that even before the manifesto "Pandemonium" was written, continuity in expressionistic style was already present in the works of artists such as Fred Teiler, who painted like Jackson Pollock. He adds that neo-expressionism is seen in "The Cement Painters" figurative work.

The article compares the 1987 Atlanta Biennale exhibition at the Whitney Museum of American Art and at the Nexus Contemporary Art Center in Atlanta, Georgia. It notes that while trying to limit participants the Whitney exhibit maintained the true spirit of the survey show while the Nexus show created a limited exhibited despite efforts to provide diversity. It also discusses the differences and similarities in the curators' vision for the show and their selection of artists.

An interview with visual artist Vito Acconci is presented. When asked about how he developed the space at the Atlanta Art Workers Coalition Gallery when he did his installation piece entitled "Instant Decor," Acconci says that what stood out in his memory as he was planning the piece were the diagrams of a bold black line in the middle of the space. He simply focuses on that line and developed his installation from that point.

The article examines the works of Lebanese artist Nabil Kanso which include "The Split of Life," "Warring Wings" and "Naked Ghosts." It states that Kanso explores the themes of power, death and sexuality, from the point of view of his mixed background. It claims that attempting to understand these subjects in isolation where his art work is concerned, is useless, as they are all inter-related. It also explores the concept of orientalism, explained as both a western concept, as well as an imposed cultural construct by western minds.

The article focuses on art and telecommunication. It discusses the development of the slow-scan television (SSTV) system and the contributions made by artists in developing the system. The primary concern of the artists was the system's set-up and demonstration. The article also details the use of a video teleconferencing system and the images prepared and transmitted by the artists.

The article discusses the work of artist, photographer and sculptor William Christenberry. It notes that in graduate school, Christenberry was trying to combine what he was learning about art with the feelings he wanted to express about his hometown Haly County in Alabama. Interviews from various publications about Christenberry are highlighted. The author mentions having interviewed Christenberry and attended one of his lectures, wherein Christenberry shared stories of things and places he has photographed over the years.

The article provides an outlook for Nexus Press, a small artists' presses in Atlanta, Georgia. The company was founded in 1977 when Nexus became more ambitious with its gallery shows. Nexus was able to purchase a Hamada Star 700 DX press through the help of several grants including one from the National Endowment for the Arts. Artists' books became the ideal learning tool when director Michael Goodman began teaching color-offset printing workshops at the Press.

An essay is presented on the art works included in the "Out of the South" exhibition in Heath Gallery in Atlanta, Georgia from October 5-9, 1982. It relates that the exhibition contains an integrating concept that can be connected through the different works of the featured artists. It adds that it can be summarized as contemporary American abstraction. The author believes that one of the featured artists Kenneth Noland, is attempting to establish a Mondrian concept in his works.

An interview with visual artist Vito Acconci is presented. When asked about how he ended up doing a piece for the Art Workers Coalition in Atlanta, Georgia, Acconci shares his experience of agreeing to the Coalition's president Dan Talley. He mentions how he was able to work with the limitations of the Coalition space, and explains the mechanics of his piece, "Instant Decor." He also stresses that he wanted to influence the viewer.

The article focuses on French artist Henri Matisse's "Odalisques" paintings. According to the author, Matisse began working on his Odalisque series in the 1920s by making use of oriental props that he had acquired from his souvenir shopping in Morocco. Matisse painted over thirty odalisques reclining or sitting within exquisitely patterned interiors. The author says that the Odalisques enabled Matisse to distill the basic meanings of Moroccan themes into harmonious patterns of equivalences.

The article discusses multiculturalism in the U.S. and the opportunities it presents to artists. The author believes that the current cultural climate in the U.S. provides the best opportunities for people in the arts sector to showcase their efforts and influence the government to provide more support for the arts. The author adds that artists are specially equipped to examine social issues and influence the cultural policy of the community.

An interview with artist George Andrews is presented. When asked about the reason why he describes himself as a born painter, Andrews relates his fondness for painting since childhood. He believes that a person cannot be a professional artist without education. He also talks about his passion for using two elements in his paintings.

An interview with artist and art historian Doctor Samella Lewis is presented. When asked about her purpose for establishing the "International Review of African-American Art" magazine, Lewis replies that she wanted to provide visibility for African-American artists and their work. She cites that the magazine was designed to be informative and interesting to professional artists in terms of research value. Lewis relates that she enjoyed doing art research in places like Suriname and Brazil.

The article presents questions and answers concerning the critique and presentation of folk/outsider arts, including who presents the work, why is the spiritual content of the work almost never questioned, and what is the relationship between the artist and the visitor.

An interview with U.S. artist Peter Halley is presented. When asked about how he end up working in New Orleans, Louisiana, he states that he was fascinated by the place and he realized that its culture is different from the culture of the Northeast people. Halley also mentions that he started to work at a restaurant and painted houses when he first moved to the place but he learned about the conceptual and abstract ideas of artists in New Orleans which inspired him to enhance his artistic skills.

The article discusses the increasing use of computer technology by visual designers and fine artists. Computer artists are using more sophisticated software technology as well as hardware in their homes and studios and the technology has become inexpensive yet more powerful. A discussion of various software and computer systems which can present and reflect the visual intent of the artists who use them is also provided.

The article features artist John Baeder and his works. As of March 1988, Baeder is living in Nashville, Tennessee, but regularly presents his works at the O.K. Harris Gallery in New York City. Zimmerman-Saturn Gallery owner Alice Zimmerman has claimed that he was the one who persuaded Baeder and his wife Jane Braddock to relocate to Nashville. The books written by Baeder are also cited, including "Diners" and "Gas, Food, and Lodging."

The article features artist Roger Brown and his works. It claims that Brown's painting and sculpture are arts that resemble life in the society of the spectacle. It also cites the possible influences of Brown, including Georgia O'Keeffe, Grant Wood, Edward Hopper and Thomas Hart Benton. Several of Brown's works include "Special Purpose" in 1969, "Central City" in 1970 and "Pastoral Camouflage" in 1974.

The article discusses the role of an artist as a critic, presented in a panel discussion during the Southeastern College Art Conference (SECAC) in 1987. The presenters include Xenia Zed, Lawrence Jasud and Ronald Jones. Zed cited that importance for visual artists to be able to put his artwork at a higher level. Jones presented examples of artists and authors who are also critics, like Oscar Wilde, Barnet Newman and Samuel Beckett.

An interview with the New South Group which is comprised of artists Scott Belville, Maurice Clifford, James Herbert and Amy Landesberg is presented. According to Landesberg, it was her who suggested that they do a show in New York. Belville says they met in Athens, Georgia and have seen each other's work prior to this project. Herbert states his disappointment over Atlanta, Georgia's lack of respect for its own indigenous stuff.

An interview with U.S. painter Jacob Lawrence is presented. When asked about his formal training as a painter, he mentions going to the American Artists School and the Harlem Artists Center. Lawrence believes that everything is based on the temperament of artists, but skill is also very important for the success of painters. He also comments on the impact of geography on his overall style as an artist.