Jonathan Horowitz


    I FIRST HEARD OF MICHAEL CLARK in the late 1980s, when I bought the Fall’s sound track to his performance I Am Curious, Orange. Through the rock press, I learned of his work with Wire and Leigh Bowery, and through those associations and a handful of still images, I developed a vague conception of something punk, English, and gay. Michael Clark became an imaginary pop idol for an isolated, sexually repressed Anglophile.

    The first time I actually saw Clark perform was when his company came to Lincoln Center in New York this past June. Over the intervening twenty years, I had developed a “fine” art


    FOLLOWING THE RELEASE OF THE INDELIBLE Abu Ghraib photographs this past spring, Richard Serra produced Stop Bush, a print that he has distributed widely both in art venues and in mainstream publications, as well as on the Internet. Serra insists that the piece is not an artwork but rather a “way to just get the message out,” a tack that inspired Artforum to invite other artists to take up the cause. Our brief was simple and open-ended: We asked fourteen artists to make an original contribution to these pages on the occasion of the American presidential election. A few, like Tom Sachs (whose