Ida Applebroog

  • Ida Applebroog, Independence Plaza, 1980, ink and Rhoplex on vellum. Installation view, Printed Matter, New York.

    Ida Applebroog

    EQUATING COMICS with “high art” is not as odd as it may sound. Both deal with the abstract transformation of information into another form without a fixed set of rules. And there has always, in fact, been a connection between the two—think of George Grosz, Andy Warhol, Laurie Anderson, and, best of all, Marcel Duchamp. Of course, Duchamp’s iconic Fountain, 1917, was signed “R. Mutt”—a name derived from the popular comic strip Mutt and Jeff. The urinal, an unexpectedly beautiful art object, provoked the question: If it’s funny, can it be art?

    For me, making this kind of art is crucial.

  • Still from the animated invitation to Flame’s 2013 show at Real Fine Arts, New York.

    The Best Exhibitions of 2013

    To take stock of the past year, Artforum asked an international group of artists to select the single image, exhibition, or event that most memorably captured their eye in 2013.

    SERGEJ JENSEN

    Two thousand thirteen was a good year for art. Whoever says the opposite is an ignoramus. I like the artist Flame.

    PHILIP-LORCA DICORCIA

    Alighiero Boetti (Museum of Modern Art, New York) I don’t see all that many shows, but I’d bet on MoMA’s recent “Alighiero Boetti: Game Plan” as one of the recent best. Boetti’s work and name are equally memorable, and to think that he was operating like this well before