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. 2, October

1000 Words: Stan Douglas Talks about "Klatsassin", 2006
VANCOUVER-BASED ARTIST STAN DOUGLAS has reinvented some of the most significant works of cinema, from his elegantly looping six-minute, 16-mm work Subject to a Film: Marnie, 1989, which follows closely from Hitchcock's 1964 original, to Suspiria, 2002/2003,...
Adria Julia: Orange County Museum of Art
Adria Julia, a young Spanish artist who has been living in Los Angeles since 2001 (she graduated from CalArts in 2003) has already exhibited widely throughout Europe but remains underrecognized in the US. This should change soon. The work on view at...
Adrian Paci: Galleria Civica Di Modena
Adrian Paci's first solo show in a public venue in Italy, organized by Angela Vettese, was entitled "Raccontare" (Storytelling). Through the voices of women and men from Albania, including the elderly and children, the artist expresses a sense of distance...
Alan Scarritt: Cynthia Broan Gallery
On seeing Alan Scarritt's recent exhibition at Cynthia Broan Gallery, I couldn't help but be reminded of Rosalind Krauss's landmark essay on '70s art, "Notes on the Index, Part I" (1977), even though most of the objects on view were made in the last...
Aleksandra Mir
Last December, Polish-born, Swedish national Aleksandra Mir moved to Palermo, Italy, from New York, where she had lived and worked since 1989, to study Sicilian cooking, printing methods, and stained glass traditions: This month, Artforum asked Mir...
Alfredo Volpi: Museu De ARTE Moderna De Sao Paulo
"Volpi: A musica da cor" ("Volpi: The Music of Color"), a retrospective of the work of Alfredo Volpi (1896-1988), brings together 135 paintings, twenty of which have never before been shown. This vast panorama reveals an artist who emigrated from Italy...
Allison Miller: ACME
As the recent "Societe Anonyme" exhibition at UCLA's Hammer Museum helpfully reminded us, painterly pluralism is nothing new. But for all its diversity, avant-garde modernism was largely predicated on imperatives, on overturning old paradigms for something...
Ann Craven: Klemens Gasser & Tanja Grunert, Inc
A hint of the uncanny shadows the deer that are painter Ann Craven's constant muses, and not only because the has artist been known to derive her subjects from calendar reproductions, film stills, and paintings by the likes of Gustave Courbet, Franz...
A. R. Penck: Leo Koenig, Inc
A. R. Penck was born in Dresden in 1939 and lived there until 1980, when he emigrated to the capitalist side of the Iron Curtain. As a young man, in an environment in which any art outside the socialist realist mold was liable to be dubbed subversive,...
Barry Schwabsky on Keren Cytter
ALTHOUGH KEREN CYTTER'S WORK is shown in galleries and uses video, it would be a mistake to automatically categorize her oeuvre as video art; if anything, her most significant contribution to the medium might come from the way she cuts against its...
Bleda and Rosa: Galeria Fucares
Better than any of Bleda and Rosa's other endeavors, the "Origin" series (2003-) realizes the project underpinning their work as a whole. Interested in neither landscape nor ornament, this project is characterized by an impulse toward historiographical...
Border Crossings
GIBRALTAR, THE OCEANIC STRAIT that forms a narrow passageway between the Atlantic and the Mediterranean, has long been a microcosm of the world's major geopolitical conflicts, as the cultures it both separates and holds in uneasy proximity have vied...
Bozidar Brazda: Haswellediger & Co. Gallery
When producing art for public exhibition, how and to what extent should one reshape the particulars of autobiography into the more widely appreciable generalities of broader human experience? The question was raised by the second solo show at Haswellediger...
Bradley McCallum and Jacqueline Tarry: Conner Contemporary Art
Cut, 2006, a four-and-a-half-minute video that was accompanied in this show by six stills, depicts husband-and-wife performance artists Bradley McCallum and Jacqueline Tarry methodically shearing each other's hair with a straight razor, and is perhaps...
Brian Ulrich: Robert Koch Gallery
The ubiquitous Big Box is an irresistible, though problematic, subject for contemporary artists. In documenting these bloated retail havens (eleven such images made up this recent exhibition at Robert Koch Gallery), Chicago-based photographer Brian...
Christopher Stewart: Gimpel Fils
It's estimated that there are some twenty-five thousand private military personnel currently in Iraq, collectively comprising easily the second-largest fighting force in the country (the largest being of course the US Army). Employed by firms with...
Chu Enoki: Kirin Plaza Osaka
Documenting his public performances and site-specific sculpture since 1970, through photography, video, and drawings, this first retrospective of the sixty-two-year-old avant-garde artist Chu Enoki conveyed the intensity of an independent artistic...
Constructed Reality: Linda Norden, Richard Jackson, Paul McCarthy, and Daniel Birnbaum on Jason Rhoades
Well before his untimely death on August 1, 2006, at the age of forty-one, Jason Rhoades had made an indelible mark on the art of his generation. Artforum asked four of Rhoades's colleagues and friends to reflect on the man and his work. LINDA NORDEN...
Diego Bianchi: Galeria Alberto Sendros
It was not easy to get there. To reach the top you had to climb a steep, precarious-looking wooden ramp, with just a fraying rope suspended from the ceiling to hold on to. Having reached the top, you found a choreographed spectacle of chaos and mayhem,...
Eva Hesse: The Jewish Museum/the Drawing Center
Eva Hesse has (quite rightfully) long been established as one of the most significant artists of her generation, and aside from calling attention to, say, less canonical works or emphasizing previously unplumbed historical correspondences, most recent...
"Freeing the Line": Marian Goodman Gallery
The freeing of the line to which the title of this elegant show refers is "the departure of the line from the paper surface and its venture into space." The word paper signals that Catherine de Zegher, former director of New York's Drawing Center,...
Gulnara Kasmalieva and Muratbek Djumaliev: Plus Ultra
"Into the Future," the title of Gulnara Kasmalieva and Muratbek Djumaliev's recent exhibition at Plus Ultra (their first solo show in New York) has a specific connotation in the Central Asian state of Kyrgyzstan, where the artists live and work. As...
Henrik Hakansson: Isabella Stewart Gardner Museum
Swedish artist Henrik Hakansson, who gained attention in the 1990s for organizing a techno rave for the benefit of twenty-odd frogs (Frog For e.s.t. [eternal sonic trance], 1995) and amplifying the sound of chirping crickets to concertlike volume levels...
"Hommage a Martin Barre": Galerie Nathalie Obadia
"Idees de la peinture: Hommage a Martin Barre" (Ideas of Painting: An Homage to Martin Barre), curated by Jean-Pierre Criqui, allows us to revisit a painter whose work is displayed all too infrequently relative to its importance. From one series to...
"Il Modo Italiano: Italian Design and Avant-Garde in the 20th Century": The Montreal Museum of Fine Arts
SINCE WORLD WAR II no country has been more thoroughly identified with the lure of design than Italy. Curatorial attempts to consider the historical relationship between Italian design and art, however, have often proved disappointing. For example,...
Jamie Shovlin: Freight + Volume
After I inserted the seventy-two-track sampler CD that was issued to accompany the recent exhibition "Lustfaust: A Folk Anthology 1976-1981" at Freight + Volume into my computer, the program that identifies music choices from a master database informed...
Jennifer Bornstein: Greengrassi
On first viewing, Jennifer Bornstein's careful, sober intaglio prints look like slightly bland cartoons. Bornstein is a bit of an anti-artist: Her choice of the apparently backward technique of copperplate etching--a kind of "slow art"--is an intentional...
Kalup Linzy: Romo Gallery
So, anyway, rich and hunky Harry proposes to Taiwan ... you know, Taiwan, the gay African-American lip-synch performance artist? And poor Taiwan doesn't know what to do. He loves Harry, but he's not sure he can commit. He's not sure what his family...
Lee Mullican: Grey Art Gallery, New York University
Lee Mullican, who died in 1998, is one of the most important American abstract painters nobody knows--at least nobody on the East Coast (except perhaps some of those familiar with his son, Matt). Born in the "Indian territory" of central Oklahoma in...
Matthias Hoch: Studio d'Arte Contemporanea Pino Casagrande
The spaces and functional structures of daily life in postindustrial society--facades of buildings, street intersections, the suburban periphery--are Matthias Hoch's chosen themes, and from the time he began working, in 1988, the title of each of his...
Michelle Grabner: Rocket
Michelle Grabner's paintings are so soft and sweet, I just want to pet them. Another kind of review might have ended rather than begun there--with a sarcastically annihilating judgment. Serious artworks are not supposed to be soft or sweet, and...
Near and Far: Robert Storr on Dak'Art 2006
JUST OPPOSITE DAKAR, off the coast of Senegal, lies the island of Goree. A rocky mass with a small harbor at one end and high cliffs at the other, it has no natural springs and precious little vegetation. The sun shines hot. Despite these inhospitable...
"Neobarroco"/Joao Pedro Vale; Galeria Leme/Layr: Wuestenhagen Contemporary
Exhibited as part of the group show "Neobarroco" in Sao Paulo along with works by Camila Sposati and Friederike Feldmann, the most recent large-scale sculpture by the Portuguese artist Joao Pedro Vale, Foi bonita a festa, pa (The Party Was Beautiful,...
Out of Beirut
From the perspective of an art magazine published in New York, the conflict that erupted this summer between Lebanon and Israel is at once near and far--a geopolitical situation of enormous gravity, wrenchingly and unremittingly conveyed in the global...
Painters' Paintings: Brice Marden and Chris Ofili in Conversation
Brice Marden came of age amid the artistic ferment of 1960s New York, a context in which many eyed with suspicion the age-old practice of applying paint to a two-dimensional rectangular surface. Yet for more than four decades, he has remained unflinchingly...
Pash Buzari: Coma Centre for Opinions in Music and Art
Pash Buzari's exhibition "Plan of the Planet" begins with an observation: "The future is passe." Utopian visions, especially in politics, are also obsolete, although Buzari only alludes to their extinction with a proposal in the press release: "What...
Periferic 7/focusing Iasi: Biennial for Contemporary Art; Various Venues
Periphery and center are related terms subject to constant change. As common as this observation may be in the face of shifting political and cultural cartographies around the world, it is still relevant to the hierarchy of what captures our attention...
Philippe Decrauzat: Swiss Institute-Contemporary Art
Having first encountered Swiss artist Philippe Decrauzat through his Komakino, 2006--a Joy Division-inspired "wall decal" installed in "War on 45 / My Mirrors Are Painted Black (For You)," Banks Violette's recent curatorial endeavor at Bortolami Dayan--I...
Received Wisdom: Damon Krukowski on Giacinto Scelsi
IN THE RIGHT light, any composed music might for a moment look like Conceptual art--the composer's idea, separate from each particular incarnation of it, reigns supreme in the platonic world of written scores. Italian composer Giacinto Scelsi (1905-1988)...
Richard Rezac: Rhona Hoffman Gallery
Giorgio Vasari's tale about how Paolo Uccello would sit at his desk late into the night, drawing obsessively, refusing his wife's entreaties to come to bed, muttering, "What a sweet mistress is this perspective," vividly describes the fascination that...
Richard Serra: Gagosian Gallery
There was a period, beginning with the removal of Tilted Arc, 1981, from Manhattan's Federal Plaza in 1989, during which critics routinely castigated Richard Serra's sculptures for being megalomaniacal. Weighing many tons and dominating human bodies...
Robert Watts: Leslie Tonkonow Artworks + Projects
Of all the artists associated with the loose Fluxus movement, Robert Watts was perhaps the most "object oriented," the one who took the most visible pleasure in using his considerable skills at traditional craft (wood carving, finish carpentry, chroming)....
Signature Styles: Jordan Kantor on Jackson Pollock's Late Work
SOMETIMES THE SMALLEST things create the most arresting aesthetic experiences--an observation resoundingly reconfirmed for me at "No Limits, Just Edges," the Jackson Pollock works-on-paper exhibition recently on view at the Solomon R. Guggenheim Museum...
"Snap Judgments": International Center of Photography, New York
AFRICA AND PHOTOGRAPHY have a tangled history. Can the medium that has depicted Africa for the West since the moment of the camera's invention, during the colonialism of the nineteenth century, escape this troubled past? The thesis of "Snap Judgments:...
"Soutine and Modern Art": Cheim & Read
"The New Landscape / The New Still Life: Soutine and Modern Art" was a strange exhibition, an unexpected testimonial to the influence of Jewish painter Chaim Soutine, one of the so-called peintres maudits. But who was testifying? And in what exactly...
Steve Hurd: Rosamund Felsen Gallery
In his first solo exhibition in seven years and his debut at Rosamund Felsen Gallery, Steve Hurd showed eighteen paintings spanning three years of work. Most familiar were those based on advertising circulars for art supply and frame stores, which...
"Strange Powers": Creative Time
In spite of its current predisposition to secularism, art has always been something of a faith-based enterprise. Its cultural and commercial value relies on the willingness of viewers to believe in things that can't always be immediately perceived...
Sufficient Grounds: Johanna Burton on the Art of Blake Rayne
IN 1966 JOAN DIDION wrote an essay for the New York Times Magazine profiling Joan Baez, who at twenty-five years old was nearly as famous for her activism as for her folksinging (which is to say very). Baez had opened her own school--the Institute...
"The Societe Anonyme: Modernism for America"; UCLA Hammer Museum, Los Angeles
WHAT SHAPE might the narrative of modernism in the visual arts have assumed in the absence of New York's Museum of Modern Art? Would we envision the history and evolution of modern art differently if we had not been guided for decades by the famous...
Tomas Saraceno: Tanya Bonakdar Gallery
Gardens that fly, aircraft powered by the sun, cities that change and meld like drifting clouds, gravity as a "physical psycho-social relationship." These are some of the ideas with which Tomas Saraceno, a peripatetic Argentine artist currently based...
"Undercover Surrealism": Hayward Gallery, London
FOR AN INVETERATE FAN of Georges Bataille's groundbreaking journal Documents, visiting "Undercover Surrealism" was a bit like opening a pop-up album in which black-and-white images suddenly transform not only into three dimensions but also into color....
Under Your Skin: Gary Indiana on Kiyoshi Kurosawa
I DISCOVERED Kiyoshi Kurosawa's film Cure (1997) while working on Pariah, a film about Ulrike Meinhof that deals with the "spell" cast by leaders over followers and with the conditions that promote violent solutions to social problems. Meinhof, a widely...
Willem Oorebeek: S.M.A.K
Only the most attentive readers of the Belgian art journal De Witte Raaf might have noticed something odd about its November-December 2002 issue. By manipulating the printing process of four pages, including the cover, Brussels-based artist Willem...
Yael Bartana: Kunstverein
A group of young Israelis have devised a strange game: Two players act out the role of the police or other representatives of state authority, while the others use their bodies to form a tight knot; the "police" then try to extract individuals from...
Zones of Contact: 2006 Biennale of Sydney; Various Venues
At the start of his catalogue essay for the 2006 Biennale of Sydney, director Charles Merewether states that his exhibition "aspires to be about the 'now' of the contemporary, bearing the disjuncture and discontinuities as much as correspondences and...