Artforum International

An international contemporary art magazine covering sculpture, painting, mixed media, and installation works, as well as architecture, music, and popular culture. Includes artist interviews and reviews of individual artists and/or galleries; reviews of fi

Articles from Vol. 45, No. 5, January

1000 Words: Cindy Sherman Talks about a Play of Selves, 1976
A PLAY IN FOUR ACTS (plus finale) with a cast of sixteen, A Play of Selves was first staged ... well, never. At least not exactly. Cindy Sherman completed the piece in 1976, when she was an undergraduate studying art at Buffalo State College in upstate...
Alain Bublex: Galerie Georges-Philippe & Nathalie Vallois
What is an exhibition? In the eyes of Alain Bublex, it appears to be not only the time and place for a certain visibility given to a work but also a kind of break, a moment of suspension of the work: in other words, a temporary adjustment, the provisional...
Andy Warhol: Gagosian Gallery
Late work is not always great work--a truism that scholarly opinion and auction prices generally bear out. Andy Warhol, who died in 1987 at the age of 58, never really got to his own late period, although we now regard his paintings of the '80s as...
Arcade Project: Michelle Kuo on Space Invader
WE'VE PLAYED this game already. From the cold war to the so-called war on terror, geopolitical tactics are sold to the public as science fictions. Reagan's Star Wars missile-defense program left behind a mythology of evil empire that persists today,...
"Black Paintings": Haus der Kunst
In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture--one...
Brice Marden: Museum of Modern Art, New York
HOW CAN AN ARTIST keep high modernism alive when rumors of its death abound? This is the question Brice Marden repeatedly confronts throughout the Museum of Modern Art's majestic retrospective, organized by Gary Garrels. From the show's first galleries...
Catherine Yass: Galerie Lelong
Two projections, both shot on film and transferred to video, face each other across a darkened room. One shows the view, from the bow of a ship, of a concrete-lined waterway leading to a massive canal lock. In the other, the camera looks back from...
Cerith Wyn Evans: Institute of Contemporary Arts, London
PEOPLE UNACQUAINTED with the London art world are probably unaware of how central a presence Cerith Wyn Evans is here. Admittedly, to a certain extent this quasi-institutional status derives from his flamboyant party persona--he is a stately figure...
City of Glass: Tom Vanderbilt on Doug Aitken at MoMA
THE IMPLICATIONS of the glass-curtain wall for both cinema and architecture were delightfully suggested in Jacques Tati's monumental Playtime (1967), a film shot in wildly expansive, stunningly deep-focused 70 mm--critic Jonathan Rosenbaum argues that...
Declan Clarke: Tate Britain
In a series of short films made over the past few years, Declan Clarke has cast a humorous and critical eye on the ways in which the history of ideas can be discerned in present-day social structures and interpersonal relationships. These works have...
Eileen Quinlan
New York-based artist Eileen Quinlan had her first solo exhibition at Sutton Lane in London this past September, is currently working on a project with Cheyney Thompson and Lucy McKenzie for the Arnolfini in Bristol, UK, opening in July, and will have...
Erik Bulatov: State Tretyakov Gallery, Moscow
SOCIALIST REALISM, as enforced by the Soviet Union in 1934, was more than just an art movement or a shared sensibility. It was the representation of Soviet identity, and a representation addressing a national audience that was extremely receptive....
Figurative Language: Tom Holert on the Art of Silke Otto-Knapp
ANY ENCOUNTER WITH SILKE OTTO-KNAPP'S NEW PAINTINGS inevitably becomes a kinetic affair. The ordinary small movements that occur when one stands in front of a painting--shifting one's weight from one foot to the other, inadvertently changing perspective--reveal...
First Takes
At the beginning of each year, Artforum asks a group of seasoned critics and curators to introduce the work of up-and-comers they feel show special promise. The following pages feature their picks for 2007. [ILLUSTRATION OMITTED] [ILLUSTRATION...
Flat Out: Julia Bryan-Wilson on Sadie Benning
IN THE AFTERMATH of September 11, Sadie Benning took photographs--hundreds of them--on the streets of Milwaukee and Chicago. That obsessive endeavor turned out to be merely the beginning of a long-term project: Deploying a transfer process modeled...
"Fur Die Ewigkeit": Jet
Performance art used to be resistant to history. A reaction to commodification, performances could not be sold; nor could they be stored in a museum archive for future study. Surveys of the medium had to rely on scarce remains, whether salvaged props...
Futoshi Miyagi: Daniel Reich Gallery
"Dear stranger," begins a typical introductory e-mail by Okinawa-born, New York-based artist Futoshi Miyagi. "First of all excuse me for sending this weird message." If the opening address is both tender and awkward (can a stranger be "dear"?), so...
Gianni Colosimo: Galleria Pack
Gianni Colosimo's exhibition "WALLPAPER (il vortice del desiderio e privo d'orizzonte)" (WALLPAPER [the vortex of desire has no horizon]) effected a powerful interrogation of the gallery space through the application and obsessive repetition of a single...
Gogol in Seoul Gary Indiana on the Films of Bong Joon-Ho
Before he began working on The Host, thirty-eight-year-old Korean director Bong Joon-ho had made only two feature-length films: The first was, at the time of its release, a critical and box-office failure; the second, despite its grim true-to-life...
Helen Mirra: Peter Freeman, Inc
According to the press release for "Break Camp" (Helen Mirra's second solo exhibition at Peter Freeman, Inc.), the artist's practice "involves no power tools." It's a prosaic statement that nonetheless hints at two important aspects of Mirra's reticent...
Ian Rosen: MAK Center
In the penultimate lecture of his course on "The Neutral," Roland Barthes considers "anxiety," which he is quick to differentiate from "fright." ("There is something about anxiety," Barthes writes, pace Freud in Beyond the Pleasure Principle, "that...
Ivan Morley: Patrick Painter
While Ivan Morley has often included hand-lettered "anecdotes"--textual cocktails of oddball California lore and fantasies dreamed up by the artist--as nebulous primers and legends to his disparate work, no such guides were present in his recent show,...
Jacob Hashimoto: Studio LA Citta
Jacob Hashimoto, a thirty-three-year-old American artist of Japanese origin, displayed just one side of his apparently heterogeneous imagination here. He exhibited a series of wall pieces that look extremely light, and so they are: Built using kite...
Jae Ko: Marsha Mateyka Gallery
Jae Ko's most recent sculptures are more aggressive in their physicality and more complex in their surface treatment than her earlier work. Ko uses large, tightly bound spools of adding-machine paper that she wraps, folds, and contorts like taffy....
Jeff Perrone: Silo
Jeff Perrone's recent works, while not actually paintings, have been in painting format: striped abstractions on canvas, evoking formalist traditions but made eccentrically, in a mix of colored sands and sewn-on found buttons. Earlier on, though, Perrone...
Jennifer Steinkamp: Lehmann Maupin Gallery
In language so pithy as to be axiomatic, Ed Ruscha suggested in a 1979 drawing that HOLLYWOOD IS A VERB. Something similar is communicated by Los Angeles-based artist Jennifer Steinkamp, a onetime commercial animator (of ads for candy and cockroach...
"Jenseis Des Kinos": Hamburger Bahnhof-Museum Fur Gegenwart
"Jenseis des Kinos: Die Kunst der Projektionen. Filme, Videos, und Installationen von 1963 bis 2005" (Beyond Cinema: The Art of Projection. Films, Videos, and Installations from 1963 to 2005) proves once again that less is more. Moving from Barbara...
John Bock: Anton Kern Gallery
Gradually, the simplest things become exponentially more difficult for the protagonist of John Bock's film installation Zezziminnegesang (Sissy Songs of Courtly Love) (all works 2006). After opening, with a chisel and mallet, a tin of ravioli, he must...
Jose Pedro Croft: Museu De Arte Moderna
Blending the geometric and the organic, the sculpture and drawings in this engaging exhibition, which originated at the Museu de Arte Moderna Aloisio Magalhaes in Recife and is currently at the Estacao Pinacoteca in Sao Paulo, offer a dialogue with...
Juan Davila: Museum of Contemporary Art
Across a corner of Rat Man, 1980, Juan Davila spells out his early painting's comic-strip intention in cursive script: A DISCOURSE ABOUT A DISCOURSE / ART IS MADE FOR THE RECOGNITION OF DESIRE. When he painted Rat Man, it seemed that Davila's discourse...
Kay Rosen: Yvon Lambert New York
In a career going back to the late 1970s, Kay Rosen has made a medium out of language the way, say, Rachel Lachowicz has made a medium out of lipstick: Words are for her a found material with embedded meanings she can mine and play on, not just changing...
Ken Price: Matthew Marks Gallery
In 1960, at the tender age of twenty-five, Ken Price had his first solo show at Los Angeles's storied Ferus Gallery. In both 1979 and 1981, he appeared in the Whitney Biennial, and he remains a staple of museum shows tracking LA's contribution to twentieth-century...
Knut Henrik Henriksen: Standard
Knut Henrik Henriksen's show took as its inspiration a meeting between Le Corbusier and Albert Einstein that transpired in 1942. The architect availed himself of the opportunity to explain his work on the Modulor system, an attempt to locate the golden...
Laurel Nakadate: Danziger Projects
Everyone's acting in Laurel Nakadate's recent show, "A Message to Pretty"--the newest in the artist's combustible adventures in desire and disappointment--but that's not to say they don't mean it. Made into a more elaborate installation--the exhibition...
Leading Lady: Lisa Phillips on Marcia Tucker
PEOPLE TOOK NOTICE of Marcia Tucker, and in the mid-1970s I was one of them. She was an inspiration--a brilliant curator and strong woman who had something to do and to say. At the Whitney Museum of American Art in New York, Marcia had become famous...
Leslie Baum: Bodybuilder & Sportsman Gallery
Arguments in favor of zoos--that they preserve and provide opportunities for researching "at risk" species, compensate for diminishing natural habitats, and educate new generations about the diversity of life--always come up against what many consider...
Lisa Yuskavage: David Zwirner Gallery/Zwirner & Wirth
If Jan Vermeer shopped at Kmart, or if Pierre Bonnard were interested in what it might feel like to be pregnant, then their paintings might resemble Lisa Yuskavage's new work. As it is, no one makes pictures like hers. Showing in New York for the first...
Louise Bourgeois: Worcester Art Museum
To celebrate the recent acquisition and United States debut of ninety-five-years-young Louise Bourgeois's fabric sculpture The Woven Child, 2002, an archetypal image of a mother and child, the Worcester Art Museum organized a lyrical exhibition of...
Marcelo Pombo: Ruth Benzacar Galeria De Arte
Viewing Marcelo Pombo's dazzling enamel paintings--obsessively rendered to the point of madness, with hallucinating dots on dots reproducing themselves like an uncontrollable epidemic over large areas of whirling paint--is, to say the least, a mesmerizing...
Marcin Maciejowski: Galerie Meyer Kainer
Having been invited by Thomas Trummer, curator of the Osterreichische Galerie Belvedere, to be an artist in residence at the Atelier Augarten for the summer of 2006, the Polish painter Marcin Maciejowski could hardly help responding to the Belvedere's...
Mark Grotjahn: Whitney Museum of American Art
Rendered in colored pencil, Mark Grotjahn's large drawings approximate human scale--meeting the viewer eye-to-eye, as it were--and feature skewed versions of the perspectival triangle. As in traditional perspective, the shapes' orthogonals meet at...
Mary Miss: Senior & Shopmaker Gallery
Rosalind Krauss begins her canonical 1978 essay, "Sculpture in the Expanded Field," by considering an artwork made by Mary Miss earlier that year. Almost invisible from a distance, the piece is nonetheless enormous, its elements spanning four acres...
Merchant of Venice: Alexander Nagel on "Jacopo Tintoretto (1519-1594)" at the Museo del Prado, Madrid
TINTORETTO was born in Venice in 1519, making him a member of the first generation to take for granted something that can be called an art world. People had started dropping the names of artists--like Raphael, or Michelangelo, or Durer--who were famous...
Michele O'Marah, Tim Jackson, and David Jones: Sister Gallery
In their video Faustus's Children, 2006, Michele O'Marah and collaborators Tim Jackson and David Jones draw from a variety of sources, including Alfred Hitchcock's Rope, 1948, Whit Stillman's Metropolitan, 1990, and John Guare's play Six Degrees of...
Morris Louis: High Museum of Art
Morris Louis had a strange career. Born in 1912, he painted in Manhattan between 1936 and 1940; then, working always in isolation, in Baltimore and Washington, DC. But it wasn't until 1953, inspired in part by the constructive criticism of Clement...
Mortal Coils: Daniel Birnbaum on Carsten Holler
CARSTEN HOLLER'S five silvery slides in Tate Modern's massive Turbine Hall in London are elegant sculptures that spiral down like giant serpents from the gallery floors, curling and twisting their metallic bodies before reaching the ground with open...
Nigel Cooke: Andrea Rosen Gallery
Nigel Cooke holds a doctorate in Fine Art from Goldsmiths, London, where he wrote a thesis on the death of painting in the twentieth century. To begin by mentioning this fact might seem to be stacking the deck if a concern with the medium's various...
On the Road
LISTED BELOW ARE PREVIOUSLY PREVIEWED EXHIBITIONS ON TOUR BETWEEN JANUARY 1 AND APRIL 30. VENUE DATES NEXT STOP NEW YORK Tropicalia: A Bronx Museum through Jan. Revolution in of the...
Osgemeos: Galeria Fortes Vilaca
Graffiti may still originate as a raw urban expression from poor neighborhoods, but it often ends up in a gallery. Otavio and Gustavo Pandolfo, known as osgemeos ("the twins" in Portuguese), produced a poignant metaphor for that transition in "The...
Pavel Buchler: Kunsthalle
For an avant-garde movement intended (in Victor Burgin's words) to "resist ... assimilation to a history of styles," Conceptualism has arguably done a grand job of entrenching the scope and importance of authorial style. The dematerialization of the...
"Picasso and American Art": Whitney Museum of American Art, New York
"PICASSO AND AMERICAN ART" is an opportunity (not to be) missed. There is no better story in modern art than the struggle of American artists to go through or around Picasso. Jackson Pollock said he wanted to get rid of Picasso and (another time, just...
Pierre Klossowski/Hans Bellmer: Whitechapel Art Gallery
While presented as separate exhibitions, these timely surveys of two of the most interesting artists in the orbit of Surrealism (though Pierre Klossowski, unlike Hans Bellmer, was never an official member of the group) complemented each other perfectly....
Song Kun: Universal Studios
A founding member of the N12 group--twelve ambitious young graduates of Beijing's prestigious Central Academy of Fine Arts who have been organizing their own annual exhibitions--Song Kun was educated after the Cultural Revolution and raised in an era...
Stefan Kurten: Hosfelt Gallery
Bryan Ferry's subdued 1973 paean to suburban ennui, "In Every Dream Home a Heartache," applies very neatly to the well-appointed but visibly aging midcentury dwellings that are the subjects of Stefan Kurten's richly patterned paintings. The fifteen...
Stephen Willats: Victoria Miro Gallery
Since the '60s, London-based conceptual artist Stephen Willats has focused on concerns that are now ubiquitous in contemporary art: communication, social engagement, active spectatorship, and self-organization. Willats considered his work social research...
"Strange New World: Art and Design from Tijuana"; Museum of Contemporary Art San Diego
In late spring 2006, as bitter immigration debates were raging and vigilantes patrolled the border desert, a curious billboard appeared along a San Diego freeway near the United States--Mexico line. The back view of a man dressed in combat fatigues...
The Body Politic
With its unflinching portrayals of villainous politicians, maimed veterans, sex-trade casualities, and rapacious tycoons, the Metropolitan Museum of Art's "Glitter and Doom: German Portraits from the 1920s" presents a riveting picture of a troubled...
The Border Film Project: Scottsdale Museum of Contemporary Art
Exhibited recently in the form of an installation at the Scottsdale Museum of Contemporary Art, Rudy Adler, Victoria Criado, and Brett Huneycutt's Border Film Project, 2005-2006, is a flexible, transportable civics infomercial, presenting two polarized...
This Charming Man: Bruce Hainley on William E. Jones
WILLIAM E. JONES'S METIER is homosexuality; his vernaculars, gay pornography and experimental documentary film; his landscapes, Southern California (where he lives and works) and suburban Ohio (where he was raised); his mode, dandyism. In eleven remarkable...
Three Times a Year Artforum Looks Ahead to the Coming Season. the Following Survey Previews Fifty Shows Opening around the World between January and April
Wack! Art and the Feminist Revolution MUSEUM OF CONTEMPORARY ART, LOS ANGELES March 4-July 16 Curated by Connie Butler Global Feminisms BROOKLYN MUSEUM, NEW YORK March 23-July 1 Curated by Linda Nochlin and Maura Reilly On both...
Vanessa Beecroft: Galleria Lia Rumma
Since 1983, the war in Sudan has resulted in hundreds of thousands of deaths, created three million refugees and evacuees, and led to a 9 percent infant mortality rate and to an average life expectancy of fifty-eight years. It is within this brutal...