Lauren O’Neill-Butler

  • interviews March 04, 2015

    Iman Issa

    Iman Issa is an artist based in Cairo and New York. Her sculptural series “Heritage Studies,” 2015–, which revisits forms drawn from history, will be featured in the Twelfth Sharjah Biennial from March 5 to June 5, 2015. New iterations of this project will also be on view this year in Issa’s solo presentations at the Pérez Art Museum in Miami (April 2 to October 4) and the Museu d’Art Contemporani de Barcelona (May 18 to June 28).

    THIS SERIES started from the feeling that I was coming across elements from the past that resonated with subjects on which I was working at the time. It emerged

  • Yael Bartana

    At once persuasive and complex, Yael Bartana’s films and videos come off as more than mere intellectual exercises. Seeking to directly effect social change, Bartana enlists the services of actors and nonactors alike, whether for documentaries, as in her recent analysis of Finnish identity, True Finn, 2014, or for works that collapse fact and fiction, as in Inferno, 2013. Her latest New York exhibition featured both these videos, which allude, like her previous output, to the various “demographic threats” ongoing in the world; the thorny question of citizenship, of being a body that matters, has

  • picks February 27, 2015

    On Kawara

    A fact lost on most media: “On Kawara—Silence,” the title of the most comprehensive overview to date of the late Conceptualist’s work, is accompanied by a tiny spiral icon, a miniature Guggenheim ramp. Whether didactic, deadpan, or an allusion to the impressive totality of his work (probably all three), the symbol is an idiosyncratic detail the artist desired. Its closest typographic kin, “@,” doesn’t really suffice, even though it aptly lights up the poetically terse, direct address of much of Kawara’s best work, its pre–social media forthrightness. See the postcards to his friends (the “I Got

  • interviews February 27, 2015

    Hans Haacke

    The 2015 commission for Trafalgar Square’s Fourth Plinth Program, Hans Haacke’s Gift Horse takes as its points of departure an etching by George Stubbs and a statue of William IV on horseback that was initially planned for the plinth in 1841. A meditation on capital and casualty, Haacke’s work will be unveiled in London on March 5, 2015, and will remain on view for eighteen months.

    I WAS ONE OF SIX ARTISTS invited to submit proposals for the Fourth Plinth on the northwest corner of Trafalgar Square. The plinth has been empty for more than 150 years. George IV, whose equestrian statue graces the

  • “Learn to Read Art: A Surviving History of Printed Matter”

    “We had this dream that artists’ books would be in drugstores and airports,” said Lucy R. Lippard a few years ago when I asked her about the early days of Printed Matter, Inc. A founder of the venerable institution in 1976—along with Carl Andre, Edit deAk, Sol LeWitt, Walter Robinson, Pat Steir, Mimi Wheeler, Robin White, and Irena von Zahn—Lippard noted that she hadn’t anticipated back then how these “scribbled little things, misspelled texts, Xeroxes, and so forth” would go on to find their markets. But every format eventually does. If the crowds at the Printed Matter NY Art Book

  • picks January 30, 2015

    Paul Thek

    Paul Thek first visited the Italian isle Ponza in 1968 and later sojourned there, on and off, for a decade. It is said that he spent these salad days boating, swimming, reading, and, as his works from the time avow, painting—namely, the sea, over and over. When in Rome, he deftly transcribed passages from St. Augustine’s Confessions in three of his profuse notebooks (“Do the heaven and the earth then contain Thee, since Thou fillest them?”) alongside some of his own contemplations: black-and-white Polaroids of clouds. Is this how myth builds?

    A quick Ponza image search is jaw dropping for its

  • Gillian Jagger

    In 1997, John Perreault published a glowing review of Gillian Jagger’s work: The artist, the critic gushed, will “eventually be seen as one of the great ones.” Is there loftier praise than that? This recent exhibition—a refreshing, if too small, sampling of the upstate New York–based artist’s sculptures from between 1963 and 2014—signaled the beginning of the reassessment Perrault predicted. It took a while. Jagger and her anthropomorphic output have typically had slippery affinities to past movements. In the mid-1960s the artist famously made plaster casts of manhole covers on the

  • slant December 23, 2014

    The Year in Independent Art Publishing: A Roundtable

    Was 2014 a banner year for small-scale art presses? Printing technology is increasingly accessible, publications seem to accompany every exhibition, and the principal experience of Printed Matter’s New York and Los Angeles Art Book Fairs was congestion. In early December, artforum.com managing editor Lauren O’Neill-Butler sat down with artists Paul Chan, Ian Cheng, and Micaela Durand of Badlands Unlimited; curator Howie Chen of Dispatch; and Primary Information copublisher Miriam Katzeff to discuss just what it is that makes art publishing today so different, so appealing.

    artforum.com: Against

  • Adam Putnam

    Exhibitions by Adam Putnam test the boundaries between architecture and bodies—specifically his own. The New York–based and –born artist explores this theme in a number of ways, most notably through a particularly uneasy brand of performance: Once every week during his last New York show, in 2009, he hung, for five minutes, from an approximately eighteen-foot-long chain. This show, the artist’s first at this gallery, emphasized his sculptures, photographs, and works on paper, presenting exquisitely rendered drawings of Romanesque arches and steeples in charcoal and pigment; sculptures

  • interviews November 28, 2014

    Renée Green

    The artist Renée Green is well known for working with a wide array of media, which often converge in layered installations. Here, Green shares “doubly transmuted” pieces from the introductory essay in her new book Other Planes of There: Selected Writings (2014), which surveys her writings between 1981 and 2010 and was published this month by Duke University Press.

    AS A PRELUDE TO OTHER PLANES OF THERE, I offer these recently written and doubly transmuted excerpts from the book as one way of telling a story, titled, for example, as “Other Planes, Different Phases, My Geometry, Times, Movements:

  • Hito Steyerl

    With large-scale solo exhibitions slated for the spring and fall of 2015—at Artists Space in New York and the Museo Nacional Centro de Arte Reina Sofía in Madrid, respectively—along with the recent conclusion of shows at the Van Abbemuseum in Eindhoven, the Netherlands, and the Institute of Contemporary Arts in London, Hito Steyerl has had a lot on her plate. It makes sense, then, that on this occasion, the Berlin-based filmmaker, theorist, and critic would choose to present work from her archives, taking a moment amid midcareer pressures to be a little redundant. “How Not to Be Seen:

  • Polly Apfelbaum

    Over the past twenty years, Polly Apfelbaum has employed wool, cotton, and various other kinds of textiles in her works, but there’s one fabric in particular she returns to again and again: synthetic velvet. This material, with its iridescent sheen and simulated old-world opulence, wends through the majority of her floor-based output, her so-called fallen paintings—from The Dwarves Without Snow White, 1992, for which she presented dye-blotted sections of synthetic velvet on cardboard boxes; to Bones,2000, where she rolled vast, hand-stained bolts of the cloth; to Funkytown, 2005/2009, in

  • diary September 30, 2014

    Porto Entry

    TWO WEEKENDS AGO IN PORTO, I didn’t count how many times I heard the Serralves praised, in various ways, as a “place for artists,” but it became an unofficial slogan in my mind. As you might already know, the prominent institution, which is celebrating the twenty-fifth anniversary of its foundation and the fifteenth anniversary of its museum of contemporary art, sprawls across a massive estate including a sleek, modern museum designed by the Portuguese architect Ávaro Siza, a pink Art Deco villa built in the 1930s, and a nearly forty-five acre park, all impeccably maintained.

    “Part of the legacy

  • interviews September 01, 2014

    Jo Baer

    For the 31st São Paulo Bienal, Jo Baer is presenting “In the Land of the Giants,” 2009–13, a series that debuted at the Stedelijk Museum last year. Born in Seattle in 1929, Baer became associated with Minimalism in New York in the 1960s. In 1975—“due to Nixon”—she moved to the greener pastures of the Irish countryside, where she encountered the primary subjects of these works: ancient burial sites and Neolithic stones. Mapping and compressing various timelines and genealogies, Baer’s multifaceted, encoded canvases will be on view in the biennial from September 2 to December 7, 2014.

    THESE PAINTINGS

  • Jay DeFeo

    This exhibition—which focused on Jay DeFeo’s production following her three-year hiatus from artmaking after her completion of The Rose, 1958–66, her famous, one-ton painting of a burst of white light—gathered forty-nine pieces from the last fifteen years of the artist’s life, several of which were absent from her recent traveling US retrospective. DeFeo, whose early work was animated by jazz and Beat subcultures and by the varied frequencies coursing through the San Francisco Renaissance, was also well known for her round-the-clock, sedulous-yet-playful ingenuity. She worked quickly

  • interviews July 10, 2014

    David Diao

    Paintings by the New York–based artist David Diao were recently featured in the 2014 Whitney Biennial and were the subject of a colloquium this past March at the Université de Strasbourg. His latest survey exhibition, “David Diao: Front to Back,” curated by Richard Klein, is on view at the Aldrich Contemporary Art Museum. The show, which coincides with the fiftieth anniversary of the institution, runs from July 13 to September 21, 2014.

    WHEN RICHARD FIRST PROPOSED THIS EXHIBITION, I thought we would focus on paintings I made in 2005 about the Glass House and architecture in New Canaan, Connecticut.

  • René Daniëls

    Foolish, it seems, to not begin with the bow ties when considering this rare US exhibition of René Daniëls’s paintings, drawings, and watercolors, as that motif is the most complicated (and celebrated) of his “architectures.” Rendered as a cartoony graphic—two receding rectangles joining at a small square, suggesting a perspectival view of a room—the form has nearly become a brand for the artist. Daniëls, who is based in Eindhoven, the Netherlands, began painting this icon in 1984 and stopped in 1987, when his career was interrupted by a brain aneurysm that led to a long hiatus from

  • picks May 20, 2014

    Sarah Charlesworth

    Polished pictures of a floating world, Sarah Charlesworth’s series “Objects of Desire,” 1983–88, once aptly injected beauty where it didn’t belong—deconstruction, postmodernism, Conceptualism—and inspired her peers and later generations to do the same. The images have aged very well. Today, these key works by the late artist come together as potent omens for our decontexualized image glut and herald her own long-standing interests—gender, politics, myth, and magic. Cut out from various books and magazines, the fragments are isolated on viscous, searing Cibachrome backgrounds and range from David

  • interviews May 12, 2014

    Lucy R. Lippard

    Lucy R. Lippard’s latest book, Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West, pinpoints vexing environmental issues, such as gravel pits and fracking, and contextualizes them within a spectrum of larger problems, while also considering histories of the West, photography, adobe buildings, ruins, Land art, and more. Here she speaks about the origins and inspirations of her book—which was published recently by the New Press—and she reflects on the leftover questions that arose from the project.

    THIS BOOK began when the Tate Modern asked me to speak at a

  • interviews May 07, 2014

    Ben Kinmont

    Since 1988, Ben Kinmont’s work has often unfolded through real-time exchanges—over meals, in conversations, and through gestures. In 1996 he began his publishing project, Antinomian Press, which focuses on ephemera and archival material; he also has an ongoing antiquarian bookselling business, founded in 1998, that specializes in books and manuscripts about domestic economy and food. Here, Kinmont discusses the origins and evolution of Sshhh, which is currently on view in the 2014 Whitney Biennial. On Saturday, May 10, Kinmont will distribute part of this work to participants in the museum. He