CLOSE UP: AMERICA YEAR ZERO
Ara Osterweil on Kenneth Anger’s Fireworks (1947)
Under the Cover
Michelle Kuo and Stuart Comer on “Signals: How Video Transformed the World”
No Agency
Hiji Nam on Frieze week in New York
HER OWN RISK
Michael Ned Holte on Barbara T. Smith’s “The Way to Be”
OPENINGS: FRIDA ORUPABO
Portia Malatjie on Frida Orupabo
REQUIRED VIEWING
Yve-Alain Bois on Manuel Borja-Villel’s tenure at the Reina Sofía
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PRINT April 2016
Yve-Alain Bois
Yve-Alain Bois
To fully honor the legacy of Ellsworth Kelly, whose centennial falls on Wednesday, is not only to remember his singular and deceptively clear-cut contributions to art, but to remain open to life’s vibrant, infinite particularities. After all, Kelly saw his elating colors and shapes as residing “forever in the present,” as Yve-Alain Bois reminds us in a tribute to the late artist published in Artforum’s January 2016 issue. Bois, a leading scholar of Kelly’s work as well as his dear friend, nominates him as “the last happy modernist,” his art a “rock of optimism no matter how grim the world becomes