Under the Cover
David Velasco speaks with Arthur Jafa about “Live Evil” at LUMA Arles
Claes Oldenburg (1929–2022)
Rachel Harrison on Claes Oldenburg
Blonde on Blonde
Andrew Dominik’s Marilyn Monroe nightmare
Julia Phillips
Giving form to the attachment and ambivalence of motherhood
Lost Property
The disappearing architecture of Jean Welz
SAVING FACE
Graham Bader on portraiture in the age of artificial intelligence
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PRINT October 1968
The Films of Jean-Luc Godard
Manny Farber
EACH GODARD FILM IS of itself widely varied in persona as well as quality. Printed on the blackboard of one of his Formica-like later films, hardly to be noticed, is a list of African animals: a giraffe, lion, hippo. At the end of this director’s career, there will probably be a hundred films, each one a bizarrely different species, with its own excruciatingly singular skeleton, tendons, plumage. His stubborn, insistent, agile, encyclopedic, glib and arch personality floods the films, but, chameleonlike, it is brown, green or mudlark grey, as in Carabiniers, depending on the film’s content.