Art Monthly

Art Monthly serves those involved in contemporary visual arts. Art Monthly includes in-depth features on exhibitions, books, films, and performance reviews, art notes, and art law.

Articles from No. 334, March

Ad Men: Anna Dezeuze on the Appropriation of Art by Advertising
[ILLUSTRATION OMITTED] A FLURRY OF INTERNET DISCUSSIONS HAS SURROUNDED TOSHIBA'S NEW SPACE CHAIR ADVERTISEMENT FOR WIDE-SCREEN TELEVISIONS, focusing in particular on its striking resemblance to British artist Simon Faithfull's Escape Vehicle no.6,...
Afro Modern: Journeys through the Black Atlantic
Afro Modern: Journeys Through The Black Atlantic Tate Liverpool 29 January to 25 April Tate Liverpool's thematic survey exhibition enters into a kind of dialogue with the varied display presently constituting the public face of the city's International...
Aotearoa
I was fortunate enough to visit New Zealand twice in 2009--once for the opening of the third biennial Auckland Art Fair in May, a compact but, in spite of its relative youth, well-staged event, and again during the much quieter Christmas-and-early-summer...
Art & Language
Art & Language Lisson Gallery London 27 January to 27 February The unnamed writer of the press release for this display of recent works by Art & Language emphasises that they are 'among the very last works [by A&L] that [Charles]...
Bernard Frize: Red, Yellow and Blue
Bernard Frize: Red, Yellow and Blue Simon Lee London 10 February to 24 March Who's afraid of Barnett Newman? Plenty are, it seems; his series of four paintings from the late 1960s, 'Who's Afraid of Red, Yellow and Blue', have been attacked--physically--on...
Designart: A Symptom of Noughties Excess or a Model of Dynamic Interdisciplinary Practice Asks Alex Coles
[ILLUSTRATION OMITTED] As far as I can tell, the term 'designart' was coined by the artist and critic Joe Scanlan in 2001 in his article 'Please, Eat the Daisies', published in the January/February issue of the now defunct Los Angeles-based art...
Dexter Dalwood
Dexter Dalwood Tate St Ives 23 January to 3 May In a recent talk at Tate Modern with Harun Farocki, critic Georges Didi-Huberman asked, in relation to Nazi propaganda, how the construction of images can contribute to the destruction of human...
Edwina Ashton
EDWINA ASHTON'S WORLD is populated by oversized insects, well-spoken rodents, a stiff-backed elephant and creatures too misshapen to be readily identified. She draws or paints them on pieces of paper or directly on walls, often annotating the images...
Film & Video
The Russian Club Gallery London 4 February to 6 March It has become rather a cliche to talk about the tactility and indexicality of film as a desirable quality. The density of emulsion may well be more seductive than the paucity of pixels, but...
Gabriel Orozco
Gabriel Orozco MoMA New York 13 December to 1 March Starting with the idea that retrospectives offer a glimpse into an artist's universe, Gabriel Orozco has mapped out a mid-career planetary system that will be revolving, contracting and expanding...
In Advance of a Broken Arm
There are two kinds of institutional censorship of art. Put in simple terms these are: the direct form whereby works of art are removed from display because they are deemed to have caused offence to the public, and the indirect form whereby works of...
Kutlug Ataman:Journey to the Moon
Kutlug Ataman:Journey to the Moon Rachel Garfield Kutlug Ataman is known for video work that uses interviews to explore desire, subjectivity and the effects of cultural politics. His work typically offers multivalent expressions of experience...
KwieKulik: Form Is a Fact of Society
KwieKulik: Form is a Fact of Society Galeria Awangarda BWA Wroclaw 16 December to 7 February [ILLUSTRATION OMITTED] A curious loveletter sets the stage for this timely retrospective. While in Milan on a rare scholarship for outstanding...
Lucky Kunst
Gregor Muir, Lucky Kunst: The Rise and Fall of Young British Art, Aurum Press, 2009, 250PP, pb 14-99 [pounds sterling], 978 1 8451339 0 0. What exactly Gregor Muir hoped to achieve by writing this thoroughly pernicious chronicle of the rise and...
On Refusing to Pretend to Do Politics in a Museum
On refusing to pretend to do politics in a museum John Jordan What is it about the word 'disobedience' that the institutional art world doesn't understand? Last autumn the Nikolaj Contemporary Art Centre in Copenhagen dropped the Laboratory of...
Richard Grayson
Richard Grayson De La Warr Pavilion Bexhill-on-Sea 16 January to 14 March [ILLUSTRATION OMITTED] After fleeing his native Germany to escape Nazism in the 1930s, the cultural philosopher Ernst Cassirer began to believe that irrational convictions,...
Sustainability
The 40m [pounds sterling] Sustain initiative, a programme of grant awards announced by Arts Council England in the summer of 2009 as part of its 'Action on Recession' plan (Artnotes AM327), has now concluded. Since the first awards last July to the...
The Power of Repetition: Sturtevant
[ILLUSTRATION OMITTED] COLINE MILLIARD: FROM YOUR VERY FIRST SOLO SHOW AT THE BIANCHINI GALLERY IN 1965 to Vertical Monad and Cold Fear at the Anthony Reynolds Gallery in 2008 and 2006 respectively, your exhibitions have always been conceived as...
Uriel Orlow: Remnants of the Future
Uriel Orlow: Remnants of the Future Laure Genillard London 16 January to 10 April Swiss artist Uriel Orlow's multi-work installation Remnants of the Future, all works 2010, ruminates on time travel, architecture and Armenia since the 1915 Ottoman-Turkish...
Warhol
On 15 January 2010 another federal lawsuit was filed in New York City against the Andy Warhol Art Authentication Board. The first lawsuit was filed in 2007 by a London-based collector, Joe Simon; the recent claimant is a New Jersey-based collector,...