Lawrence Weiner

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  print December 2014

  The Best Exhibitions of 2014

  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 2014.

  OSCAR MURILLO

  KIM GORDON

  LORETTA FAHRENHOLZ
  Broad City is the first TV show to fully exploit the comic potential of the gentrification of our minds.
  

  WOLFGANG TILLMANS

  LAURE PROUVOST
  This is an image from a book on Ferdinand Cheval’s Palais Idéal (1912). My family was recently seeking architectural inspiration for a museum that will be built when our lost granddad comes out of his conceptual tunnel. It has now been more than
  

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  passages September 08, 2014

  On Kawara (1933–2014)

  DEAR ON KAWARA

  THERE IS AN ANECDOTE THAT WHEN DUKE ELLINGTON WAS ASKED FOR A DEFINITION OF A MUSICIAN (ARTIST) HE REPLIED:

  A PERSON WHO PRACTICES EVERY DAY

  WARMEST THOUGHTS
  LAWRENCE WEINER
  

  Lawrence Weiner is an artist based in New York.

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  print Summer 2008

  A TRIBUTE TO ALAIN ROBBE-GRILLET (1922–2008)

  WITH THE PASSING of French novelist Alain Robbe-Grillet this winter, the world of postmodern literature lost one of its first (and last) great innovators—one whose influence extended irrevocably into the realms of theory, film, and art (and particularly its Conceptualist and Minimalist strands). Yet if the author was lauded at the very outset of his career by preeminent critics such as Roland Barthes, his near-programmatic commitment to both experimentation and provocation was such that his final legacy in life remains, perhaps, as enigmatic as the kaleidoscopic narratives he constructed

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  print Summer 2008

  LAWRENCE WEINER

  THE ROBBE-GRILLET EXPRESS:
  A TICKET TO RIDE
  

  TO SEE ON A PAGE
  TO SEE ON A SCREEN
  A SIMULTANEOUS REALITY LACKING THE NEED FOR
  HIERARCHY OR HISTORY TO CHART A COURSE
  A MATERIAL REALITY (AS SUCH) CONSITUTING A
  COHERET CONCEPTION OF TIME WITHIN A PLACE
  

  A NON METAPHORICAL REALITY
  WITH THE OBVIATION OF EMPATHY
  WITH ALL POSSIBILITIES
  WITH ALL ASPIRATIONS
  WITH ALL DESTINATIONS
  

  STANDING ON 42ND STREET AT MIDNIGHT
  A COPY OF CAHIERS DU CINEMA & A FRENCH-ENGLISH
  DICTIONARY IN HAND
  TIME & SPACE AS IT IS BECAME A REALITY
  WITH THE ERASERS & THE VOYEUR AS A GUIDE
  
  
  
  

  
  
  
  

  
  
  
  
  

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  print September 2004

  ELECTORAL COLLAGE: A PORTFOLIO

  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

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  print May 1982

  Section 2,

  I AM NOT CONTENT.

  MY COLLEAGUES AND I, DESPITE GOOD WILL, GOOD GRACE, AND A NEED TO KNOW, REVOLVED AROUND THE CONTEXT OF ART. THE QUESTIONS TO BE FOUND REVOLVE AROUND THE CONTENT OF ART.

  THE ECUMENICISM NECESSARY FOR A MATERIALIST ARTIST TO CONCEIVE OF THE NEEDS AND ASPIRATIONS OF EXPRESSIONISM NEW AND/OR OLD ELUDES ME.

  THE PRESENT PREOCCUPATION WITH THE MARKET'S DETERMINATION OF ESTHETICS IS A MOOT CONCERN. THE MARKET CAN ONLY DETERMINE THE AMBIANCE.

  ART IS AND MUST BE AN EMPIRICAL REALITY CONCERNED WITH THE RELATIONSHIPS OF HUMAN BEINGS TO OBJECTS AND OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS.