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. 42, No. 8, April

3rd Berlin Biennial for Contemporary Art: Various Venues
There's an anecdote that sums up the reaction to the third Berlin Biennial: Philip Guston recalls meeting Willem de Kooning at Barnett Newman's first show in New York in 1950. After a long silence, de Kooning finally declared: "Well, now we don't have...
Andrea Modica: Sandy Carson Gallery
In Andrea Modica's black-and-white photographs, what might seem straight-forward at first glance--a girl in her bedroom, a child with a hula hoop, a nude woman on a bench--quickly provoke lingering questions: Who are these people? What are they doing?...
Annika Larsson: Andrehn-Schiptjenko
The climactic "penis hanging" scene in Annika Larsson's video New Gravity, 2003, retraces the dark fringes of her earlier themes: pleasure from pain, erotic ritual, and a taste for sadism's aftermath. Moreover, failed episodes of autoerotic asphyxia...
Ant Farm: Berkeley Art Museum and Pacific Film Archive
The picture that emerges from the Berkeley Art Museum's fascinating retrospective of Ant Farm, the experimental architecture collective founded by Chip Lord and Doug Michels in 1968, is one of relentless flatness. Co-organized by Constance Lewallen,...
Architecture's Expanded Field: Finding Inspiration in Jellyfish and Geopolitics, Architects Today Are Working within Radically New Frames of Reference
architecture, after several decades of self-imposed autonomy, has recently entered a greatly expanded field. Against neorationalism, pure language theory, and postmodern citation fever, architecture--like sculpture some decades earlier--has found new...
"A Short History of Performance-Part II" Whitechapel Art Gallery
The story so far: The first (2002) chapter of this series plunged elbow-deep into the '60s and '70s canon with revivals of works by Carolee Schneemann, Hermann Nitsch, Stuart Brisley, and others, exploring notions of the expressive, excessive, or abject...
Carrie Mae Weems: Newcomb Art Gallery, Tulane University
When Newcomb College at Tulane University commissioned Carrie Mae Weems to create new work commemorating the bicentennial of the Louisiana Purchase, she made several sets of photographs, a video projection, and sets of video stills in which she juxtaposed...
Catherine Opie: Regen Projects
In Catherine Opie's recent show, titled "Surfers," not on view were swells, waves, nor any, uh, surf. Some might applaud her "economy" in deploying one break, one vantage (horizon midframe), one camera position for the fourteen predictably largish...
Chivas Clem: Maccarone, Inc
By referencing the Mallarmean metaphysics of Yves Klein's high-modernist "void" of 1960 in the title of his first solo show, Chivas Clem might be posing the possibility that a poetic revolution still lurks in the pornographic banality of today's globalized,...
Damian Moppett: Catriona Jeffries Gallery
Since the late '70s countless Canadian schoolchildren have drifted off during in-class screenings of National Film Board historical vignettes, those humdrum dramas populated by blacksmiths, traders, and voyageurs in spirit-gum beards. Damian Moppett's...
Eija-Liisa Ahtila: Klemens Gasser & Tanja Grunert
Featured at Documenta 11, Eija-Liisa Ahtila's video installation The House, 2002, made its New York debut alongside four architectural models of houses (all 2004). In their clean lines and elegant mix of materials--including wood, stainless steel,...
Ellen Gallagher: Talks about POMP-BANG, 2003
For the past decade, Ellen Gallagher has charted the contours of worlds both fantastic and unimaginably real, where minstrel-show ephemera contammate otherwise elegant compositions to the visible chagrin of blushing penmanship paper; the dark history...
Gilles Barbier: Galerie Georges-Philippe & Nathalie Vallois
What do artworks think about? What do they dream of while hanging in the museum, seeing us walk past them--at times rushed or indifferent--when all they are trying to do is catch our eye and hold our attention? And what curious, vulgar, or abstruse...
Headbangers Bawl; Amy Taubin on Metallica: Some Kind of Monster
STRANGE TO SAY, at the very moment the rock-critical establishment finally discovered the ephemeral genius of avant-disco pioneer Arthur Russell (the adulation is lost on Russell, who died poor, of AIDS-related illness, in 1992), I found myself joining...
Ilya and Emilia Kabakov: Sculpturecenter/Sean Kelly Gallery
Installation artists may be the last social optimists, for their work depends entirely on the willing participation of viewers they haven't met and will never meet. When installations work, it is as a dialogue between artist and viewer that remakes...
In Her Own Time
Almost thirty years after Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles earned its twenty-five-year-old director a central place in the history of feminist cinema, the Centre Georges Pompidou is mounting a major survey of Chantal Akerman's work....
Joan Jonas: Queens Museum of Art, New York
In her widely influential 1974 Speculum of the Other Woman, the French feminist philosopher Luce Irigaray condensed a number of badly behaved and highly contested ideologies into one neologism: la mysterique. The term exposed mysticism, hysteria, mystery,...
Joel Sternfeld: Luhring Augusting
In the '70s and '80s, when Joel Sternfeld traversed the US on a series of cross-country trips, he toted not a Leica or a Rolleiflex but an old-fashioned 8 X 10 view camera. Sternfeld was following in the footsteps of a generation of American photographers...
Joe Zucker's Fiber Optics
THE history of the New York art world in the 1970s is assumed to be clear but is actually not well understood. So many subsequent developments had roots, precursors, or strange John the Baptist-like harbingers that seemed to dissolve and fade but in...
John Miller
A little girl feeds ducks in a pond as her father watches from a park bench. German tourists stroll through a sun-drenched square on the island of Mallorca. An older woman lost in thought on the subway. A snow-covered playground. An empty train yard....
Judy Fiskin: Angles Gallery
Once characterized as a Los Angeles variant on a German photographic tradition that now stretches from August Sander to Andreas Gursky, the work Judy Fiskin made between the '70s and the mid-'90s is a body of sleekly reductive typologies of different...
Jun Nguyen-Hatsushiba: Macro
What is a memorial? Usually a monument or imposing statue commemorating events or heroes that belong to a nation's history, it often stands isolated and distant from the very public whose memories it is supposed to crystallize. Jun Nguyen-Hatsushiba's...
Laying It on Thick: Meghan Dailey on the Art of Dana Schutz
As a painter who is advancing on the sheer force of ecstatic imagination, ideation, and subjective color, Dana Schutz just might be our finest contemporary symbolist. In the simplest terms, Schutz gives form to things that do not exist outside of art,...
Letizia Cariello: Centro per L'arte Contemporanea Luigi Pecci
Letizia Cariello's installation Hallenbad Project, 2000-2003, inaugurated the Centro Pecci's project room, a newly opened showcase for emerging artists and part of an overall renovation of the museum. Cariello transformed the space into a swimming...
Liz Craft: Marianne Boesky Gallery
A macho female magickal childe whose parents, siblings, babysitters, and alter egos smoke too much pot; a coolly uncool troller in the junkyards, souvenir shops, dens, and bedrooms of an ur-'70s California of the mind; a savvy navigator of the lineage...
Luke Gottelier: Kate Macgarry
Luke Gottelier used to make photographs--orchestrations of items found in his studio which, shot close-up and flooded with lens flare, instigated scalecollapsing double visions: A modest cluster of erasers would read, for instance, as a dramatically...
Manny Farber: Museum of Contemporary Art San Diego
Manny Farber's paintings are often written about in the context of his seminal film criticism, as if the significance and iconoclasm of his output in one medium is necessarily related to his equally inimitable production in another. But familiarity...
Marc Brandenburg: Galerie Crone, Andreas Osarek
Since the mid-'90s, Marc Brandenburg has worked toward an iconography that, originating in a repertoire of personal motifs, has grown to encompass politics and public space. His small-scale drawings start from snapshots or occasionally postcard or...
Mark Schlesinger: Westfalischer Kunstverein
The straightforward-sounding title of this show, "Paintings 1993-2003 New York--Texas," turns out to represent a rather surprising journey. Mark Schlesinger was born in New York in 1949, making him part of an age-cohort of painters that includes Ross...
Markus Schinwald: Galerie Georg Kargl
A gray-black horizon. Twilight reveals horses grazing. Dark silhouettes of riders on a gently arched bridge, among stirring leaves. Monolithic shards of stone, Lonesome cowboys. A woman. And a guy who might be a philosopher, or at least an accountant....
Marlene McCarty: Brent Sikkema
If it's possible for an artist to synthesize muse and doppelganger, Marlene McCarty seems to have found her girl. Some ten years ago, McCarty--who originally garnered interest for her in-your-face text paintings (like Bend Over I'll Drive, 1990)--received...
Mathew Cerletty
On the menu page of Mathew Cerletty's website, a black-and-white photograph of the artist taken two years ago sits against the screen's background wallpaper of yellow, aqua, and white vertical stripes. Cerletty stares out at the viewer wearing a black...
Michael O'Malley: Cherrydelosreyes
In Michael O'Malley's recent untitled sculptures, slim birch cubbies resembling book slipcovers act as hubs of an airy network of wooden ducts and tubes; each self-contained system is suspended above the gallery floor. The blond-wood ductworks produce...
Mike Kelley: Galleria Emi Fontana
While Mike Kelley is best known for his content-heavy installations and lowbrow aesthetic, for this exhibition he seemingly returned to his roots as an abstract painter. On view were mostly two-dimensional, nonfigurative works from three series: "Memory...
Olaf Breuning: Metro Pictures
"He's a culture hopper, he's a different kinda guy ..." So sings a campfire strummer from a theme-park Wild West town about the chameleonic protagonist of Swiss artist Olaf Breuning's appallingly entertaining new video Home, 2004. A thirty-two-minute,...
"Outlook": Various Venues
How does one go about organizing the first big international art exhibition in Athens, a city that still does not possess a full-fledged contemporary art museum? How does one confront the fact that modern Greek society is still in many ways quite traditional...
Patrick Faulhaber: Danese
The postcard-size oils on wood blocks that make up Patrick Faulhaber's "Texas Paintings" seem to know their limits as images, but they still intrude into space, demanding attention. What I like about these works is their arrogant modesty: Physical...
Performance Anxiety: RoseLee Goldberg on Historicizing "Live Art"
IMAGINE STARTING OUT as a painter and having no recourse to twentieth-century paintings: no Matisse, no Pollock, no Guston. Now, imagine starting out as an artist who thinks of sound, space, movement, and the body as raw material and who lacks access...
Peter Moore: Sonnabend
The photographer Peter Moore was the visual historian of a thickly busy period in New York art that began in the early '60s, when he grew fascinated by the blossoming of what his archive calls "Fluxus, happenings, performance art, experimental music,...
Peter Regli: Kunsthalle Winterthur
"On June 1, 2003, a glass shelf (10 X 15 feet) filled with crystal glass objects was crashed down a set of stairs. In collaboration with the Ensemble fur Neue Musik Zurich, the recorded soundscape was transcribed into a composition. On July 11, 2003,...
Radio Wave: Anthony Huberman on Resonance FM
"A RADIO STATION that is an archive of the new, the undiscovered, the forgotten, the impossible. That is an invisible gallery, a virtual arts centre whose location is at once local, global, and timeless." This adventurous mission belongs to Resonance...
Robert Beck: Crg Gallery
"In a world of confusion and complications, contemporary men need to know it all." So says the publisher's blurb for the book invoked by Robert Beck in the subtitle of "Glove Skinning" (Bruised) ("The Modern Man's Guide to Life" by Denise Boyles, Alan...
Solar Systems: Michael Auping on Jess
FOR DECADES, Jess seldom left the run-down Victorian house in San Francisco's Inner Mission District that he shared for thirty years with the late poet Robert Duncan. He didn't like to be with a lot of people and once told me that it horrified him...
Sol'Sax: Kenny Schachter Contemporary
What scares white America? Ghosts? Decrepit mansions? Or a hulking figure in a hoodie and gold chains peeling back a section of fence? In a show dedicated to the quintessential inner-city motif of chain link, Brooklyn-based artist Sol'Sax presented...
Stuart Croft: Rhodes + Mann Gallery
An Irishman, an Australian, and an American walk into a bar. That's the setup--not for a joke, but for Stuart Croft's singlescreen DVD projection Hit, 2003, a noirish "celluloid" narrative twisted into the shape of a Mobius strip. The bar, doused in...
Trevor Winkfield: Tibor De Nagy Gallery
If there's something impersonal about the blocky but borderline-hallucinatory realm of a Trevor Winkfield painting, this quality can also be seen as a kind of childlike insouciance, finally piercing in its intimacy. Austere and playful, wicked and...
Ward Shelley: Pierogi
For his recent project here, Ward Shelley took the mouse as metaphor, built a gallery inside the gallery, and took up residence in the gap between the two. But while most rodents do their best to remain out of sight, Shelley had rigged a complex of...
William Pope.L: Artists Space/the Project/mason Gross Art Galleries at Rutgers University
Over the course of two decades of confrontational performance work, William Pope.L has used his body to probe race, desire, endurance, and deprivation. Once you see one of his projects, you're not likely to forget it--although it's possible you might...