interviews April 10, 2018

Elaine Reichek

Everything old is new again, and vice versa. Elaine Reichek is a New York–born and –bred artist who has long engaged with some of the women of ancient Greek myths in her works, often via hand embroidery and digital sewing. Her latest exhibition, “Now If I Had Been Writing This Story,” which takes its title from a poem by Stevie Smith, features ten works from the past eleven years and is on view at the Secession in Vienna from April 13 to June 3, 2018.

FOR THIS SHOW, I wanted to spotlight part of a long ongoing body of work. It consists of two series: “Ariadne’s Thread” and “Minoan Girls.” They’re

books April 06, 2018

Moore Is More

Written over a period of thirty-four years, mostly on the spur of assignments from various magazines, Lorrie Moore’s new book of collected non-fiction, See What Can Be Done: Essays, Criticism, and Commentary (Knopf, 2018), gathers together sixty-six articles that all sparkle with the same inimitable intellect one finds in her best-selling fiction. We recently spoke about the factors motivating her to write about books, politics, and prestige television, and what was gleaned from republishing her ideas. –Lauren O’Neill-Butler

LOB: In your latest book, you tackle such an expansive constellation of

interviews March 14, 2018

Catherine Christer Hennix

Polymath artist Catherine Christer Hennix is known for her groundbreaking compositions, including The Electric Harpsichord, 1976, and Central Palace Music, 1976. A retrospective of Hennix’s visual work at the Stedelijk Museum Amsterdam, curated by the museum’s curator Karen Archey and Blank Forms artistic director Lawrence Kumpf, is also currently on view through May 27, 2018. Here, Hennix discusses the exhibition and a recent performance (on February 16 and 17, 2018) that melded her mathematical interests with traditional practices of sustained pitches in just intonation.

FOR THE PERFORMANCE of

picks March 09, 2018

Kay Rosen

A deranged band of outlaws has taken over the US administration, and this is increasingly the case all over the world. Their collective nihilism is the reigning new world disorder. So how about some fun to counter their skeptical notions of truth, a little humor to keep us afloat while they propagate alternative facts, and some of our word games? For nearly five decades, Kay Rosen’s work has tested the limits of language, and her latest exhibition continues this by gathering recent pieces that walk a fine line between protest paraphernalia and linguistic innovation—the invention and introduction

print March 2018

Mirtha Dermisache

Mirtha Dermisache’s artist’s books and myriad works on paper all sparkle with the suggestion of glyphs and characters that we might be able to discern if we only had the right key to crack their code. Yet, ultimately, none are legible. The under-known Argentinian artist, who passed away in 2012, always referred to her pieces as “writings.” Does it matter if we can’t read them?

Dermisache titled and grouped her works according to their easily recognizable format—Text, Book, Letter, Sentence, and so forth—and all play with the architecture of language through invented lexical and

music February 23, 2018

Glissando Through the Blues

MORE THAN A FEW ASPECTS of Alice Coltrane’s life and music stand out as singular, epic, genius—and, sometimes equally, tragic. Her husband, John, passed away from liver cancer in 1967, and as a widow at just twenty-nine she raised their four children on her own, never remarrying. Throughout, she maintained a brilliant and groundbreaking solo music career. I could go on. She’s the kind of inspiring person we need to keep celebrating, and so we do.

The Coltranes were wedded in 1965 in Juárez, Mexico, and their short time together looks, on the surface of things, as if it were pretty blissful. At

picks January 12, 2018

Patty Chang

For more than twenty years, Patty Chang has consistently put her body on the line. From her early Riot Grrrl–tinged performances and videos to her later filmic investigations, she’s always been in her work, and not just via some dreary collapse of art and everyday life. I mean, in it—exposed but viscerally aware of her vulnerability. This ethics infuses her output with a buoyancy, even while she throws anchors into deep, murky waters. It’s certainly the case in her current retrospective, which weaves together various pieces from her epic eight-year multimedia project, The Wandering Lake,

interviews November 28, 2017

Alejandro Cesarco

Alejandro Cesarco is a Uruguay-born, New York–based artist and the director of the nonprofit Art Resources Transfer. His current solo show, “Song,” at the Renaissance Society in Chicago features a range of old and new works, and at its heart is the video Revision, 2017, which Cesarco discusses below. The exhibition is on view until January 28, 2018. Cesarco also has a show at Galleria Raffaella Cortese in Milan, “The Measures of Memory,” which is on view from November 29, 2017 to February 28, 2018.

THE FIRST THING YOU SEE when you walk into the exhibition at the Renaissance Society is a

picks November 24, 2017

“Charles White—Leonardo da Vinci.”

What if all exhibitions were like this one—shrewd, focused, and rounded out by Vedic natal charts? For the “Artist’s Choice” genus here, David Hammons has paired Black Pope (Sandwich Board Man), 1973, a monumental work from the museum’s collection made with oil wash on board by his great Los Angeles–based teacher Charles White, with a powerful, complete sketch by Leonardo da Vinci: a small brush-and-ink study on paper, The drapery of a kneeling figure, ca. 1491–94, on loan from Her Majesty Queen Elizabeth II. Though they were made some 450 years apart, the coupling inspires chills, like a poignant

diary October 12, 2017

Volcano Lovers

THESE DAYS, most flights from New York to Iceland’s main airport are red-eyes that land just before dawn. The benefit, until the darkness lingers longer, is that you’re forced to reckon with the rocky landscape through an astonishing sunrise. Last weekend I watched that crimson blaze lift over mountains and slowly illuminate the treeless, moss-covered terrain as my bus puttered along a winding and empty highway to Reykjavik’s eighth edition of Sequences, a ten-day biennial spread out across the city. It was shocking.

Not so shocking: The show’s “honorary artist” was Joan Jonas, whose recent work

interviews August 29, 2017

Alexandra Schwartz

Alexandra Schwartz is a New York–based independent curator and the author of Ed Ruscha’s Los Angeles (MIT Press, 2010). Her latest exhibition, “As in Nature: Helen Frankenthaler Paintings,” is on view at the Clark Art Institute in Williamstown, Massachusetts, through October 9, 2017. A related exhibition, “No Rules: Helen Frankenthaler Woodcuts,” curated by Jay A. Clark, is also on view at the institution through September 24, 2017.

SINCE I STARTED WORKING on this exhibition, almost every time I mention it to a female painter, she responds with delight. Speaking enthusiastically about her admiration

interviews August 22, 2017

Tyree Guyton

What is a monument? The Detroit-based artist Tyree Guyton has long asked this question, beginning with his ongoing site-specific installation The Heidelberg Project, 1986–, which has entailed transforming his childhood neighborhood into a living museum. Now, for Philadelphia’s citywide public art and history project Monument Lab, Guyton is creating The Times, 2017, a massive mural of caricature-styled timepieces on a former factory in the city’s Kensington neighborhood. The work will be on view at the Impact Services building on A Street and East Indiana Avenue from September 16 through November

picks July 28, 2017

“So I traveled a great deal. I met George, Ebbe, Joy, Philip, Jack, Robert, Dora, Harold, Jerome, Ed, Mike, Tom, Bill, Harvey, Sheila, Irene, John, Michael, Mertis, Gai-fu, Jay, Jim, Anne, Kirby, Allen, Peter, Charles, Drummond, Cassandra, Pamela, Marilyn, Lewis, Ted, Clayton, Cid, Barbara, Ron, Richard, Tony, Paul, Anne, Russell, Larry, Link, Anthea, Martin, Jane, Don, Fatso, Clark, Anja, Les, Sue, and Brian.”

One of the pleasures of this exhibition is seeing artists deviate from their typical mediums: Witness the suite of trance-inducing drawings by the filmmaker Jordan Belson, poet Joanne Kyger’s heady video that riffs on Descartes, and a series of low-res street photographs by the poet Tisa Walden. A romantic sense of freedom blossoms here, which could be linked to the fact that all of the featured artists hail from Northern California (and were alive during the Summer of Love fifty years ago). Also on view are brightly hued taxonomic paintings of nudibranchs on pitch-black backgrounds by Isabella

interviews June 05, 2017

Georgia Sagri

Georgia Sagri is an artist based in Athens and in New York. Here, she discusses Dynamis, 2017, her piece for Documenta 14, which entangles twenty-eight sculptures of organs, ten breathing scores, and six days of “demonstration / performance simultaneously and in continuum” with a chorus—featuring Nora Barbier, Sophia Djitli, Ioannis Karounis, Clara Marie Müller, Angela Stiegler, and Fernanda Valdivieso, Marianna Feher, Emma Howes, Lo-Yi Lee, Jaqueline Lisboa Silva, Hannah Peinemann, Deva Schule, and Catherine Woywod—and will take place from June 7 through June 12, 2017, in Athens and Kassel.

interviews June 02, 2017

Amy O’Neill

Amy O’Neill is a New York–based artist known for her works that sift through the ruins of Americana. Her latest exhibition, “Convex Cornea,” which she discusses here, features a new video installation, drawings, and the wall-based “Bean-Bag Flats” series. The show is on view at Kristina Kite Gallery in Los Angeles from June 3 through July 15, 2017.

MY FATHER ONCE TOLD ME A STORY about a rumor that spread throughout his high school in western Pennsylvania. To commemorate the assassinated president, school officials had asked for the face of John F. Kennedy to be grafted onto the head of their

interviews April 25, 2017

Edgar Heap of Birds

For over forty years, Hock E Aye Vi Edgar Heap of Birds has produced works that antagonize indigenous oppression and foreground his Cheyenne heritage. In recent monoprints, Heap of Birds merges political songs and anthems with his own writings—RED SKIN BOUNTY TIS OF THEE, reads one print in Genocide and Democracy, 2016, a piece he discusses below. That work is featured in “Reconstitution” at LAXART in Los Angeles, an exhibition that looks at the enduring legacy of identity politics and is curated by Catherine Taft and Hamza Walker. The show is on view through May 27, 2017.

I’VE BEEN MAKING

slant March 21, 2017

New World Disorder: Claudia Rankine

The New York–based Racial Imaginary Institute examines the idea that race is a construct for all of us. Spearheaded by the poet, essayist, playwright, and 2016 MacArthur fellow Claudia Rankine, the institute plans to host exhibitions, performances, lectures, and talks. It is an antidote but not a rejoinder to the new administration in Washington, DC, because, as Rankine notes below, “Trump is not the beginning of this; he’s just a blatant manifestation of it. It was in the air for a long time.”

Here, she discusses her plans with artforum.com managing editor Lauren O’Neill-Butler.

LAUREN O’NEILL-BUTLER:

picks February 24, 2017

“Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965”

A few of the artist co-ops and alternative spaces featured in this show have recently gained some art-historical due—via, for instance, the Blanton Museum’s exhibition on the Park Place Gallery and the Birmingham Museum’s survey of the Spiral Group—though more research and scholarship is still much needed. “Inventing Downtown” is a welcome antidote as the first exhibition to examine a synergy among works and ephemera from fourteen artist-run galleries below Fourteenth Street (with the exception of the City Gallery in Chelsea and Richard Bellamy’s Green Gallery in midtown). It’s a treasure trove

print February 2017

Carolee Schneemann

What does an enduring commitment to feminist antiwar resistance look like? For more than five decades, Carolee Schneemann has underwritten her art with a desire to understand and observe. From Viet-Flakes, 1965, and Snows, 1967, which protested the Vietnam War, to the “Lebanon Series,” 1983–91, on the destruction of Beirut, and Terminal Velocity, 2001–2005, wherein she took on 9/11, she has long borne witness to cruelty and empathy, though discussions of her oeuvre sideline this theme in favor of other, related issues of gender and sexuality. Hot on the heels of her retrospective at the Museum

picks November 18, 2016

“Insecurities: Tracing Displacement and Shelter”

This necessary exhibition presents architectural and design responses to an increasingly precarious but basic human right—shelter—in our era of mass crisis, emergency, urgency, and hopelessness. The show begins with the immense issue of housing the sixty-five million displaced people and refugees across the globe, and it ends with more ethical questions than it can ever answer. Yet one thing is clear: Nothing on view can ever be a lasting solution to the anxieties faced by the stateless families and individuals who are having doors slammed in their faces at every turn.

The risk of aestheticizing