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. 3, November

Amy Sillman: Amy Sillman Is a New York-Based Artist. Her Most Recent Exhibition, "I Am Curious (Yellow)," Appeared at Brent Sikkema, New York, Last Spring
1 VIKINGS It seems paganism, marauding, and discovering America help develop fabulous imaginations. Hans Christian Andersen did some of the earliest performance pieces I know about: Traveling throughout Scandinavia with a large pair of scissors, he...
Barnaby Furnas: Marianne Boesky Gallery
In his second New York solo show in as many years, painter Barnaby Furnas continues to operate in a productive zone between figuration and abstraction, surface and spatiality, narrative and structural modes of imagemaking. The seemingly limitless fodder...
Bernard Frize: Musee D'art Moderne De la Ville De Paris
What is the greatest number of color fields that can be arranged so that each maintains a border with all others? Bernard Frize's Heawood, 1999, a pair of painted sculptures in tire permanent collection of the MAMVP, and Heawood, 2003, the thirteen...
Bojan Sarcevic: Kunstverein Munchen
These days, spatial interventions are no longer anything unusual. They're one of the standard modes of exhibition praxis. Since acts of displacement often play an important role in Bojan Sarcevic's oeuvre, comparisons to Michael Asher may suggest themselves;...
Boundary Issues: The Art World under the Sign of Globalism
You could call it a pathology of self-definition. Either that or a severe case of "boundary issues." For close to ten years now, that ambient phenomenon known as the art world has been hit by what amounts to an identity crisis, more often than not...
Carla Accardi: Magazzino d'Arte Moderna
Carla Accardi began her career as a painter in the late '40s, and her work has shown ceaseless vitality ever since. When the Musee d'Art Moderne de la Ville de Paris simultaneously hosted a retrospective of her work and a group show of young painters...
Carol Rama: Esso Gallery
"Nobody in the world has ever been more pissed off than me," Carol Rama said in an interview six years before she won the Golden Lion for lifetime achievement at the 2003 Venice Biennale. Indeed, fury plays a role in nearly every image and object the...
Caro Niederer: Le Case D'arte
Caro Niederer made good use of the limitations inherent in exhibiting in a single room by creating a microcosm of her work since the mid-'90s, from the series "Brown Paintings," 1997-2003, "Interiors," 1984-2003, "Wall Carpets," 1993, and "Shelves,"...
Christopher Wilmarth: Fogg Art Museum, Harvard University Art Museums
Christopher Wilmarth (1943-87) is best known for his spare and sensuous sheets of etched plate glass and steel, sculpted in a style described by Donald Kuspit in these pages as "expressive Minimalism." This show of fifty-eight drawings, sketchbooks,...
"Coollustre": Collection Lambert
The art critic and curator Eric Troncy's show "Coollustre" ends with a beastly prank. Minimal, conceptual, and made entirely of Plexiglas except for its cushion, a dog bed sits enthroned at the and of the exhibition, the perfect culmination of the...
Dan Flavin: Paula Cooper Gallery
In this exhibition of white fluorescent light works by Dan Flavin, placement wax everything. However singular some of the arrangements appeared, the fluorescent tubes' relationships to one another and to the spaces in which they were installed gave...
Danica Phelps: LFL Gallery
Danica Phelps is not the first artist to make life's private activities fodder for art's public display. From performance to the more recent "relational aesthetics" and particularly throughout the history of feminist art practice, reportage of daily...
Erwin Bohatsch: Charim Galerie
It is not exactly easy to renounce "content" in this age of restive realism, when every image is its own screenplay. Doing without political, social, or economic symbolism, foreclosing any reference to an object, means dependence on only the most primal...
Fabian Marcaccio Talks about Confine Paintant, 2003
Born in Argentina, Fabian Marcaccio has lived and worked in New York City since the late 1980s, although many of his larger exhibitions have been in Europe, including "Multi-Site Paintant" at last year's Documenta 11 and "Paintant Stories," which appeared...
Flash in Japan: Brian Massumi on Rafael Lozano-Hemmer's Amodal Suspension
"A MESSAGE FOR YOU is floating in the sky of Yamaguchi." Beginning on November 1--in conjunction with the opening of the Yamaguchi Center for Arts and Media, Japan--thousands of people around the world will receive this alert by cell phone or e-mail,...
Global Tendencies: Globalism and Large-Scale Exhibition
When Francesco Bonami, director of last summer's Venice Biennale, famously wrote his exhibition catalogue that "The 'Grand Show' of the 21st century must allow multiplicity, diversity and contradiction to exist inside the structure of an exhibition...
"Grotesque!" Schirn Kunsthalle, Frankfurt
The average person might not immediately associate the Germanic sensibility with a propensity to laugh, but that was precisely Charles Baudelaire's argument in the 1850s when he singled out Germany as a nation where "all is weighty, profound and excessive"...
Hans-Peter Feldmann: Museum Ludwig, Cologne
In the 1970s, when the American magazine Avalanche requested an interview with Hans-Peter Feldmann, he responded to each of their queries not with words but rather with a single image. For example, he answered the question of whether it was exciting...
Heat of the Moment: The Art and Culture of Burning Man
Mirroring the rise of indie culture's techno-raves and the quasi-spiritualistic languages of the '90s digital revolution, Burning Man has evolved from a grassroots gathering on a San Francisco beach to an organized, annual congregation of some thirty...
Helmut Federle: Peter Blum
Two hundred of Helmut Federle's works on paper--working drawings and autonomous improvisations, the earliest from 1969--made for a stunning record of the artist's development from a painter of landscapes, however abstract, to a painter of abstractions...
I Am the Social: Blake Stimson on the Line of Edward Krasinski
The seduction of Conceptual art--its promise of beauty or truth,its appeal to human meaning and consequence, its lure of aesthetic delight--has never really been a function of the concept. The form of this or that banal idea, like the shape of this...
Ian Kiaer: Tanya Bonakdar Gallery
Art that springs from an immersion in historical research tends to reward the viewer ha inverse proportion to the depth and reliability of the findings themselves. It is as if, in championing some highly specialized or unjustly neglected cultural figure,...
Jeff Perrone: Cheim & Read
Stripe paintings are something like guineas and crowns, coins once of genuine value now interesting mainly to specialists and students of the literature. To mint them today is to risk bankruptcy. Given the historical impact of stripe works like Stella's...
Kahn Man: Rhonda Lieberman on Nathaniel Kahn's My Architect
We do not "own" the facts of our lives at all. This ownership passes out of our hands at birth, at the moment we are first observed. --Janet Malcolm LOUIS I. KAHN'S NOT-HUGE OEUVRE includes a disproportionate number of masterpieces: the Salk...
Kim MacConnel: Santa Monica Museum of Art
The centerpiece of a Pattern and Decoration-fest filling six Bergamot Station venues, this exhibition showcases thirty years of work by San Diego-area artist Kim MacConnel, one of the best-known West Coast P&D devotees. Curated by Michael Duncan,...
Lyle Ashton Harris: CRG Gallery
Over the course of his career, Lyle Ashton Harris has moved among installation, video, and photography, often combining the three. His most recent show found him focusing on a single medium, however, and his favorite subject: himself. The twelve large-format...
Magnus Von Plessen: Mai 36 Galerie
The name Magnus von Plessen often comes up in discussions of new painting from Berlin--but how many people have actually seen his paintings? They've yet to he exhibited in Berlin itself. In 2001 they were shown at the Neues Kunstmuseum Luzern; then,...
Man of His Words: Pepe Karmel on Kirk Varnedoe
ARRIVING WITH KIRK VARNEDOE at a museum was like showing up with a rock star about to play Madison Square Garden. Bypassing the public entrance, we would enter by an inconspicuous door next to the loading dock. Kirk would announce his name, I would...
Mario Dellavedova: Galleria Mazzoli
It may seem paradoxical, but many professional artists now want to be amateurs, dilettantes. There are numerous reasons for this, many of which can apply simultaneously to the same artist. For example, a certain kind of reverse snobbery may be involved,...
Mike Marshall: Union Projects
Before Mike Marshall photographed the scene depicted in Concrete Pavement (all works 2003), it's quite possible that nobody had ever seen it. Hardly a coup, you might thing since there's not much to see--an almost abstract expanse of pitted silver...
Miranda July: Tom Landowski Gallery
Miranda July, who came up through the Pacific Northwest punk-rock scene in the '90s, is best known for performance and video; "Go Yon Good Thing" is her first gallery exhibit of non-video art. The works in this show are photographs marked with office-supply...
Monica Bonvicini: Modern Art Oxford
On one of the six sketches that comprise drawings for Anxiety Attack, 2003, from which the title of this show was taken, Monica Bonvicini has written: I GET FURIOUS AT STAIRWAYS, FURIOUS AT DOORS, AT WALLS, FURIOUS AT EVERYDAY LIFE WHICH INTERFERES...
Object Lessons: Nicolas Bourriaud on Pierre Restany
"PIERRE RESTANY? A MYTH." That was Andy Warhol's laudatory reply when asked his opinion of the inventor of Nouveau Realisme, who died in Paris in May. Restany was much more than a curator or a critic as we understand the terms today: He was at once...
Openings: Claude Closky
In 1997 Paris-based artist Claude Closky created a Web project for the Dia Foundation, Do you want love or lust? (www.diacenter.org/closky). Go there (it's still online), choose love or lust, and you will follow an anfractuous and unending path of...
Paul Kos: Berkeley Art Museum
Conceptual art seems to have acquired a reputation for humorless pedantics right from the start. Paul Kos's retrospective, which will travel to several venues around the country (including the Grey Art Gallery at New York University), goes a long way...
Pawel Althamer: Neugerriemschneider
It was just like old times in Berlin: scarred walls adorned with rusty nails, loose electrical wires, and saggy wallpaper; a broken skylight where the rain had come in; an old sink hopelessly plugged with dirt; a car seat crowning a pile of earth;...
Return to Form: Christoph Cox on Neo-Modernist Sound Art
"WHATEVER HAPPENED to postmodernism?" asked the critic Hal Foster in 1993, reflecting on the apparent exhaustion of the postmodernist project in art and theory. Rather than declare the end of postmodernism, however, Foster went on to sketch a complex...
Rineke Dijkstra: Marian Goodman Gallery
In the photographs that make up her second New York solo gallery exhibition, Rineke Dijkstra keeps her eye trained on innocence as it gives way to experience. She brings us into proximity with two youthful subjects whom she has photographed periodically:...
Robert Whitman: Dia:Chelsea, New York
Flash back to the early '60s, when Lower Manhattan was a brand-new breeding ground for experimental art's myriad crossovers with performance, theater, dance, sound, film, and new technology and Robert Whitman was all over the map of what would come...
Roman Signer: Hauser & Wirth
In his sensitive study Zeit Skulptur (Time Sculpture, 2002), philosopher Paul Good argues that Roman Signer's event-sculptures should be understood not as relics of past events but as manifestations of differing orders of temporality. Time represented...
Running on Empty: Daniel Birnbaum on the Art of Dominique Gonzalez-Foerster
"How to enchant with practically nothing, a few popular songs, a series of anti-landscapes, some micro-events, lots of emptiness ... This low-intensity cinema penetrates our perceptions right to the core of our sensibility," declares writer Nicole...
Saskia Olde Wolbers: Tate Britain
Placebo, 2002, a DVD projection by the London-based Dutch artist Saskia Olde Wolbers, is loosely based on the notorious case of Jean-Claude Romand, a Frenchman who masqueraded as a physician and World Health Organization researcher for many years before...
Senga Nengudi: Thomas Erben Gallery
In the '70s and '80s Senga Neugudi was at the forefront of the African-American avant-garde in Los Angeles and New York. Along with artists like David Hammons mad Suzanne Jackson, she exhibited at Linda Goode Bryant's Just Above Midtown, or JAM, Gallery,...
"Strangers": International Center of Photography
In the face of an identity crisis brought on by constitutive shifts in the art/photography relation, the International Center of Photography has lately made one bold move after another: relocating from its original home in a chilly Upper East Side...
Teresa Margolles: Galerie Peter Kilchmann
Entering the gallery, one found the climate of the building on Limmatstrasse drastically different from what one would expect: Through a pair of humidifiers, water used to wash the bodies of corpses in Mexico's metropolis was being atomized into superfine...
"The American Effect": Whitney Museum of American Art
Taking a brief holiday from the Whitney's declared mission to survey and promote American-made art, curator Lawrence Rinder offered up a gallery last summer to recent international artworks that explore the image of the post-cold war United States--a...
Tom Allen: Richard Telles Fine Art
At first glance, Tom Allen's paintings are almost too familiar--countless Romantic revivals and the continual return of representation have prepared us for these pseudo-Germanic pictures. Even as the artist hones his technique from one show to the...
Two for the Show: Daniel B. Schneider on the Museum of Modern Art's New Curators
IN MID-SEPTEMBER, six months after appointing John Elderfield chief curator of painting and sculpture [see Artforum, May 2003], the Museum of Modern Art coolly named two new curators, Ann Temkin and Joachim Pissarro, to his department. The hires, which...

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.