Charles Ray

  • Hudson, drawn by Charles Ray, 2014.


    HUDSON, who legally used only Hudson as his full name, died of natural causes at home in New York on February 10, 2014. In the weeks following his death, several prominent obituaries commemorated his unique persona and artistic vision as a gallerist. Hudson was a performance artist in the late 1970s and early ’80s and received his MFA from the University of Cincinnati in 1977. He founded his gallery in 1984. The gallery was named Feature and was originally located in Chicago. In 1988, Hudson moved Feature to New York. Over the years, the gallery had several locations in Manhattan, and in 1994

  • Anthony Caro, Midday, 1960, painted steel. Installation view, Metropolitan Museum of Art, New York, 2011.

    Anthony Caro

    SHORTLY AFTER ANTHONY CARO DIED LAST FALL, I proposed a moratorium on the phrase “I really like his early work.” In the context of Caro, this sentiment is generated from our taste rather than from a deeper understanding of his sculptures. The figuration from the ’50s is not included in my moratorium, and to many this period of his oeuvre serves more as a footnote to his beginnings. Understanding the intent behind these potent bronze figures allows us to step forward with the artist, grasping the potentiality and originality of works like Twenty Four Hours, 1960, Midday, 1960, and Early One

  • Chris Burden, The Big Wheel, 1979, cast-iron flywheel, wood, steel, motorcycle, 9' 4“ x 14' 7” x 11' 11".

    “Chris Burden: Extreme Measures”

    Chris Burden’s breakthrough performance pieces, such as Shoot and Prelude to 220, or 110, both 1971, still unsettle our complacent acceptance of the status quo—a jolt that can make us overlook the delicate balance of elements at play in his work. The New Museum’s building-wide retrospective will offer a great opportunity to contemplate an impressive cross section of this influential artist’s oeuvre. Burden turns a sharp visual eye on the broader social context of the artwork to simultaneously dissect and upend the figure-ground

  • Eleanor Antin, 100 BOOTS Move On, 1972, black-and-white photograph, 8 x 10". From the series “100 BOOTS,” 1971–73.



    David and I arrived in Solana Beach, a coastal town north of San Diego, after driving cross-country from New York in an old beat-up Caddy with our one-year-old son, Blaise. Robert Kennedy was dying of gunshot wounds in an LA hospital after winning the California primary, and it was twenty-four hours after Valerie Solanas shot Andy Warhol back in New York. A hot sunny day in June 1968, and there were huge juicy oranges in the back garden. A year later Manson and company went on their rampage in the Hollywood Hills, and the Hells Angels went on theirs at Altamont a couple of months

  • Henri Cartier-Bresson, World’s Fair, Brussels, Belgium, 1958, black-and-white photograph, 12 x 8 1/8". © Henri Cartier-Bresson/Magnum Photos.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2010.


    Jean-Pascal Flavien, No Drama House (Galerie Giti Nourbakhsch, Berlin) Constructed in the gallery’s garden, Flavien’s house starts with a series of unsolvable problems—no center, too many corridors, too narrow—and then allows other things to happily get in the way. There’s a basement, but it’s aboveground outside. There’s a front door, but it’s on the second floor. Is there a garage? Who forgot the kitchen? There’s

  • Fabricator at Carlson & Co. at work on Ellsworth Kelly’s Untitled, 2005. Photo: John H. Baker.


    To chart the expanding parameters of fabrication today, Artforum invited curator Lynne Cooke, artists Angela Bulloch and Charles Ray, and art dealer Jeffrey Deitch to enter into a conversation with three leaders in the field of art production—Peter Carlson, Mike Smith, and Ed Suman—who between them have helped realize some of the most technologically ambitious artworks of our time. Michelle Kuo, whose brief history of fabrication and postwar art appears in this issue, moderated the discussion.

    MICHELLE KUO Fabrication is currently everywhere and the range of its manifestations is dizzying: from calling a local company to order metalwork, a 3-D printout, or an audio mix; to employing a design and fabrication firm that connects artists to different services and skills; to becoming part of a dispersed network of production that also includes dealers, curators, and collectors. “The piece may be fabricated,” as Lawrence Weiner famously proposed in 1968, and artists seem to be taking up this suggestion now more than ever. But to what ends? I wonder how we might begin to define fabrication

  • Stuart Regen

    Stuart Regen died of non-Hodgkin’s lymphoma August 18 in Los Angeles. He was thirty-nine. Everyone who knew Stuart was amazed and inspired by the projects he initiated and completed in the face of his illness.

    He was first diagnosed with lymphoma in 1989, a week before he and his wife Shaun Caley opened their art gallery in West Hollywood. As Regen Projects was becoming the most vital and interesting space in LA, Stuart continued to develop interests and begin projects that had no regard for the timetables associated with his illness.

    It is important to note the devotion and love shared by Stuart’s