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. 44, No. 2, October

1000 Words: Mike Kelley Talks about "Day Is Done" (2005)
Thirty-two down, 333 to go. Back in 2000, Mike Kelley unveiled Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), the first installment of an ongoing, gargantuan serial work that will eventually comprise 365 video pieces, each...
A Certain Slant of Light: James Quandt on the Films of Hou Hsiao-Hsien
Side lit and glimmering, the billiard balls in the opening sequences of Taiwanese master Hou Hsiao-hsien's new film, Three Times, look more like objets d'art, so aestheticized is the atmosphere in which they exist--a hushed, radiant world of robin's-egg...
Aernout Mik: New Museum of Contemporary Art
Aernout Mik's video installation Refraction, 2005, which tracks the aftermath of a bus accident in the Romanian countryside, comes closer to naturalism than any of the Dutch artist's earlier moving-image odes to disaster, dislocation, and freakish...
Aglaia Konrad: Frehrking Wiesehofer
In "Her City," Aglaia Konrad's first solo exhibition in Germany, the artist--who was born in Salzburg and lives in Brussels--skillfully combined an engagement with the standardized architectures of modernism, urban edge zones, transitory spaces, and...
Banks Violette: Whitney Museum of American Art
In a single, melancholic afternoon, I recently saw Gus Van Sant's latest film Last Days, and the Robert Smithson and Banks Violette exhibitions at the Whitney Museum of American Art. Though unplanned, the itinerary made sense: Each presentation was...
Bill Owens: James Cohan Gallery
Add another name to the growing list of 1970s American photographers recently "rediscovered" by the contemporary art world. You could say that this resurgence began with 303 Gallery's exhibition of Stephen Shore's photographs in 2000. That show, Shore's...
Cathy Wilkes
Cathy Wilkes exhibited her installations of painting and sculpture last year at Galerie Giti Nourbakhsch, Berlin, and the Kunstverein Hamburg, and, more recently, at the Scottish pavilion at the Venice Biennale 2005. Her new film, commissioned for...
Charles Sandison: Yvon Lambert
It has always seemed that more artists should have followed Jenny Holzer's lead, illuminating and animating words in order to address the complex variety of ways in which kinetic texts address us in everyday life. Charles Sandison is one of the few...
"Coming Home!: Self-Taught Artists, the Bible, and the American South"; Museum of Biblical Art
"Coming Home!: Self-Taught Artists, the Bible, and the American South" was a Trojan horse of sorts. Organized by the Art Museum of the University of Memphis, it quietly infiltrated New York via the newly established Museum of Biblical Art. There it...
Darren Almond: Matthew Marks Gallery
Inspired by the life and work of Russian poet Joseph Brodsky, Darren Almond's recent exhibition was a study in strategic contrasts, an orchestrated dialogue between beauty and decay designed to evoke both the lyricism and the melancholy characteristic...
David Armando Guerra: Belleza Y Felicidad
David Armando Guerra is an Artaud-like figure who still believes revolution is not only about the transfer of power but about changing reality. "there are bombs that need to be put somewhere, but at the base of most of the present habits of thought,"...
David Haines and Joyce Hinterding: Artspace
Standing before a dazzling projected image of a placid alpine scene disrupted by an avalanche, I am aware of two mysterious presences above me to the left and the right, spotlit to cast elaborate linear shadows on the floor. Looking up, I see two very...
Dorothy Cross: Irish Museum of Modern Art
Often working in series, Dorothy Cross has amassed a body of work since the late '80s that ranges across a variety of media including sculpture, video, photography, installation, and musical performance. She has gradually shifted focus from a acaustic...
Eva Marisaldi: Galleria S.A.L.E.S
Eva Marisaldi's installations are poetic and enigmatic, mixing drawing, video, and objects to create environments evocative of the idiosyncrasies--both strange and beautiful--of the human condition. This exhibition, "Iperfluo" (Hyperfluous), was based...
Faulty Transmission: Michelle Kuo on Robert Whitman
HARDLY ANYONE was in the tent when we arrived. The white marquee housed only a projection screen, chairs, and a bewildering array of cubed focaccia--resembling a car dealership promotion gone awry. But next door, an energetic crew radiating youthful...
Gary Lee Boas: Karyn Lovegrove Gallery
Gary Lee Boas's photograph In front of Badlands at the corner of Christopher and West Street (all works undated, from the series "New York Sex," 1979-85) shows a rainbow coalition of male types on a sunny day at the intersection of gay and gay: gym...
Glen Baxter: Flowers
In his most recent novel Millennium People (2003), J. G. Ballard imagines a middle-class insurrection in which the most comfortable members of contemporary London society attempt to destroy the very system they were responsible for creating, transforming...
Hurvin Anderson: Thomas Dane
Anyone who has visited Trinidad and Tobago--as British-born, Jamaica-descended Hurvin Anderson did before commencing the series of paintings he's produced over the past couple of years--knows about "liming." This Caribbean colloquialism has two sides:...
Jim Melchert: Gallery Paule Anglim
For over twenty years, veteran Bay Area conceptualist Jim Melchert has been experimenting with ceramic tile--specifically, with what happens when he breaks it into pieces by dropping it onto a hard surface. The wall works that result from these investigations...
Kayrock and Wolfy: Jessica Murray Projects
If one didn't get too confounded by the math in its title, "One Sixpack Short of a Hippie Death Cult," an exhibition of prints and posters by the Williamsburg, Brooklyn-based duo Kayrock and Wolfy, was that rare summer show that's both concise and...
Liu Zheng: Yossi Milo Gallery
When Swiss emigre Robert Frank set out to document America for his laconic if pathos-laden photographic series "The Americans" in 1955, he encountered a society in the grip of postwar consumption, vitiated by racial inequalities and rampant class division....
Liz Larner: Regen Projects
In her first exhibition on home turf since a 2001 retrospective at LA MOCA, and her first solo show at Regen Projects since 1997/98, Liz Larner positioned herself as a dedicated, if sly, student of her own sculptural genealogy and a vital force in...
Lost in Translation: Christoph Cox on Sound in the Discourse of Synaesthesia
IN the late 1940s, radio engineer-turned-composer Pierre Schaeffer celebrated a defining property of audio recording and radio transmission: the ability to separate sounds from their visible sources. This affirmation cut against the grain of modern...
Lucia Nogueira: The Drawing Room at Tannery Arts
Lucia Nogueira's quietly confident drawings occupy the twilight in which reality loosens its hold on the everyday. Many appear to be straightforward experiments in color incorporating elements of Nogueira's sculptures: gray test tubes, a funnel framed...
Luisa Rabbia: Giorgio Persano
Time was the subject but also a metaphorical medium in Luisa Rabbia's multimedia exhibition "Anywhere Out of the World." In the entrance to the gallery one was greeted with the sound of A Raining Day (all works 2005): the continuous pounding of a heavy...
"Make It Now": SculptureCenter
SculptureCenter's "Make It Now: New Sculpture in New York" arrived hot on the heels of two other exhibitions that purported to clue us in about the country's two big art scenes: P.S. I Contemporary Art Center's bloated "Greater New York 2005" and the...
Man without Qualities
From empty galleries and appropriated objects to paintings on canvas and artist's books, MICHAEL KREBBER's multifarious artistic output confounds easy understanding--let alone description. This elusiveness may in part explain why the Cologne-based...
Martin Munkacsi: Deichtorhallen Hamburg
Martin Munkacsi left Berlin in 1934. A photojournalist from Hungary, he had worked there for six years, rising to become one of the principal photographers for the Berliner Illustrirte Zeitung, until the worsening political situation compelled him...
Matthew Monahan
Los Angeles-based artist Matthew Monahan has said that figurative drawing is the "core" of his practice--in graduate school in the mid-'90s, while his fellow students delved into video and installation, Monahan recalls, he wrestled with the question...
Max Beckmann and Otto Dix: Neue Galerie
War is hell. That truism underscores the first-ever pairing of the entirety of two of the most powerful visual records of World War I: "Der Krieg" (War), 1924, a series of fifty etchings by Otto Dix; and "Die Holle" (Hell), 1919, eleven lithographs...
Mediating Circumstances: Steven Henry Madoff on the Festival d'Avignon
IT WAS ONLY DURING the brief rendition of a 1977 performance piece by Marina Abramovic, in which five couples sat and slapped each other's faces faster and harder over several minutes, that I began to understand the state of contemporary theater. ...
Michael Brophy: Hallie Ford Museum of Art, Willamette University
Largely unknown outside the Pacific Northwest--barring recent appearances in the touring West Coast survey "Baha to Vancouver: The West Coast and Contemporary Art" and on the cover of Sleater-Kinney's album The Woods (2005)--Portland painter Michael...
Michael Elmgreen and Ingar Dragset: Klosterfelde (Linienstrasse)
Most people would never notice Michael Elmgreen and Ingar Dragset's Linienstrasse 160 (neue Mitte), 2005. Except, of course, the neighbors. The title of the work is also its address, the original site of Klosterfelde gallery in Berlin's Mitte district....
Michael Schmelling: Bucket Rider Gallery
In 2003, photographer Michael Schmelling began to accompany crews from the private hygiene task force Disaster Masters as they blitzed the homes of obsessive-compulsive hoarders in New York City and Yonkers with the aim of sorting through and reorganizing...
Michael S. Riedel
Berlin-based artist Michael S. Riedel has been confusing audiences for years now, drawing them into a world of echoes, afterimages, and replicas in which nothing is simple or straightforward. Using strategies of doubling and inversion, reversal and...
Mike Bouchet: Maccarone, Inc
The press release for Mike Bouchet's The New York Dirty Room (all works 2005) mimics the information sheet for Walter De Maria's The New York Earth Room, 1977, that the Dia Foundation, which maintains it, makes available. It's a brief tract that intones,...
Miroslav Tichy: Kunsthaus Zurich
"Photography is an immediate reaction, drawing is a meditation." Thus the oftquoted words of Henri Cartier-Bresson, emblazoned on a wall at the Kunsthaus Zurich to open an exhibition on Cartier-Bresson and Alberto Giacometti that, as it happened, was...
Mothers' Day: Amy Taubin on Chantal Akerman
"I MUST PHOTOCOPY THIS because soon there won't be a trace," says Chantal Akerman to her mother, Nelly, in the double video projection that is part of the daughter's piece To Walk Next to One's Shoelaces in an Empty Fridge. (First shown at the Centre...
"Mots D'ordre Mots De Passe": Espace Paul Ricard
Curators Cyril Jarton and Laurent Jeanpierre's "Mots d'ordre mots de passe" (Order Words Passwords) gathered artists from across generations and media "to isolate and compare two strategies--order words and passwords--that operate in art as well as...
Nicola Lopez: Irvine Contemporary Art
The engagingly chaotic drawings exhibited recently by Nicola Lopez pose a disturbing question: What happens if technology supplants nature and develops the ability to evolve? Lopez is one of the scores of New York-based artists currently getting a...
Only Connect: The Art of B. Wurtz
AT SOME POINT, THINGS BECAME UNSECURED, hooks unable to reach the eyes--or no eyes at all but only hooks, jabbing blindly into anything. Hurt jabbing. So much current art presents the viewer with a surplus of "personality," but personality faked....
"Open Systems": Tate Modern
"Open Systems: Rethinking Art c. 1970" was the latest installment in a string of exhibitions dealing with the '60s and '70s, many focused on Conceptual art: "L'Art conceptuel, une perspective" (Musee d'Art Moderne de la Ville de Paris, 1989); "1965-1975:...
Paul Sarkisian: Site Santa Fe
The new, shaped paintings that crowded veteran New Mexico-based artist Paul Sarkisian's ten-year retrospective not only smack vaguely of anime, they look like the kind of thing that Bridget Riley might produce were she to embark on a second career...
Portrait of an Image: A Portfolio by Roni Horn
The underlying indeterminacy of the physical world, and perhaps all the more so our experience of it, reserves a rebuke for any kind of graphic fixity. It is a rebuke that Roni Horn has embraced, interrogated, and accommodated in an especially diverse...
"Post No Bills": White Columns
Since Matthew Higgs joined White Columns as director and chief curator at the end of last year, the venerable not-for-profit's Higgsification has proceeded apace. Wasting little time (or space), he hit the ground running in February 2005 with six concurrent...
Remastered Narrative: Aaron Betsky on Herzog & De Meuron's De Young Museum
FOR ALL THE ATTENTION being paid to the boom in museum construction and the intense competition among blockbuster exhibitions, the emergence of a new way of organizing the permanent collections at the heart of major institutions has received little...
Richard Tuttle: San Francisco Museum of Modern Art
There are several artists of the 1960s generation whose portraits have become the icons of an era: Think of Robert Smithson standing alone at the end of his jetty, or Eva Hesse clowning in her studio, or a masked and booted Richard Serra wielding that...
Sarah Lucas: Kunstverein Hamburg
Take a table. Fry two eggs and place them side-by-side at one end. At the other, take a kebab and put it in the middle. Seen as a sculpture, these elements pointedly assert their sheer materiality. Even so, to not see them as breasts and a vagina is...
Sebastian Ludwig: Patrick Painter, Inc
On the evidence of this, his first solo exhibition outside Germany, Sebastian Ludwig might be a descendant of Piero della Francesca, Albrecht Durer, M. C. Escher, Anselm Kiefer, or all of the above. At Patrick Painter, Inc., Ludwig exhibited landscape...
Simon Starling: Museum Fur Gegenwartskunst
The Museum fur Gegenwartskunst in Basel is sited directly on the Rhine. Upriver, Simon Starling took apart a wooden shed used by boatmen and reassembled all its pieces again as a Weidling, a kind of skiff traditional to the locality. After its maiden...
Tent Community: Jack Bankowsky on Art Fair Art
Art fairs may not be new, but these days they are certainly more: more frequent, more crowded, more lucrative. With Miami and London joining Basel and New York as obligatory circuit stops, with artists decrying the constant pressure from dealers for...
The Big "A": Robert Storr on Al Held
AL HELD THOUGHT BIG and painted accordingly. Never more so than in the last years of his life, which ended this past summer, at the age of seventy-six. Among the scrappiest and most ambitious members of the second-generation Abstract Expressionists,...
Tours De Force: Andrew Solomon on Ballets Russes
THE THREE BALLET companies that emerged following Diaghilev's death in 1929 and the subsequent dissolution of his legendary Ballet Russe were the greatest dance troupes in the world in their day, and all contemporary ballet owes them a debt. From the...
Vanessa Beecroft: Galleria Massimo Minini
This exhibition featured, but was not limited to, documentation of Vanessa Beecroft's most recent performance in Italy, VB53, which took place in Florence in 2004. On that occasion the artist used the Tepidarium, an extraordinarily beautiful greenhouse...
William Eggleston: Cheim & Read
"Avoid prettiness--the word looks much like pettiness, and there is but little difference between them." With these words, Peter Henry Emerson raged against fluffy concoctions of sublimity and romance in his 1889 treatise Naturalistic Photography for...
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