Lynne Cooke

  • Lynne Cooke


    1 Mark Wallinger State Britain brilliantly exploited the fact that the galleries of Tate Britain are bisected by the legal boundary beyond which protesters are barred from approaching the British Houses of Parliament. Re-creating in painstaking facsimile a highly charged anti–Iraq War display, Wallinger’s project echoed its prototype’s challenge to Britain’s role in a murderous enterprise, but also went further, questioning the tenability of the publicness of public (that is, state-funded) institutions. In Zone, his contribution to Skulptur Projekte Münster 07, Wallinger again tellingly

  • Fabricator at Carlson & Co. at work on Ellsworth Kelly’s Untitled, 2005. Photo: John H. Baker.


    To chart the expanding parameters of fabrication today, Artforum invited curator Lynne Cooke, artists Angela Bulloch and Charles Ray, and art dealer Jeffrey Deitch to enter into a conversation with three leaders in the field of art production—Peter Carlson, Mike Smith, and Ed Suman—who between them have helped realize some of the most technologically ambitious artworks of our time. Michelle Kuo, whose brief history of fabrication and postwar art appears in this issue, moderated the discussion.

    MICHELLE KUO Fabrication is currently everywhere and the range of its manifestations is dizzying: from calling a local company to order metalwork, a 3-D printout, or an audio mix; to employing a design and fabrication firm that connects artists to different services and skills; to becoming part of a dispersed network of production that also includes dealers, curators, and collectors. “The piece may be fabricated,” as Lawrence Weiner famously proposed in 1968, and artists seem to be taking up this suggestion now more than ever. But to what ends? I wonder how we might begin to define fabrication

  • Lynne Cooke

    GIVEN HOW OFTEN emerging artists today take their cues from the ’60s generation, it was reassuring that there were several major exhibitions this year of work by artists who came to prominence in that period. Among the most memorable shows I saw were the well-researched, comprehensive Lee Lozano retrospective at the Kunsthalle Basel; Jean-Luc Godard’s enthralling intervention at the Centre Pompidou in Paris; the gemlike Eva Hesse exhibition at the Jewish Museum in New York; and two standout contributions by Yvonne Rainer—namely her Dance Theater Workshop performance of AG INDEXICAL, with

  • the best books of the year

    Twelve scholars, critics, and artists choose the year's outstanding titles.


    A book like Alastair Wright’s Matisse and the Subject of Modernism (Princeton University Press) is enough to rekindle my faith in the future of art history as a discipline. (Here I could also mention two other such rare pearls from 2005: Maria Gough’s The Artist as Producer: Russian Constructivism in Revolution [University of California Press] and Christina Kiaer’s Imagine No Possessions: The Socialist Objects of Russian Constructivism [MIT Press]). The first amazing trait of Wright’s book is that it manages

  • Remote Possibilities: A Roundtable Discussion on Land Art’s Changing Terrain

    TIM GRIFFIN A number of artists have recently executed high-profile projects in remote places—“remote,” at least, from traditional art-world centers. In fact, we can count three individuals participating today among them: Pierre and his recent voyage to Antarctica, Rirkrit and the Land in Thailand, and Andrea with her High Desert Test Sites near Joshua Tree. Realizing, of course, that there are significant differences among these projects—and I hope we’ll shed good light on a few of these—working in a “remote” location seems to be a broader trend (think also of projects by Carsten Höller, Tacita

  • Ann Hamilton

    Phora, Ann Hamilton’s current installation at La Maison Rouge in Paris, occupies all three of the foundation’s galleries plus the connecting corridor and basement. By inhabiting the space acoustically as well as plastically, Hamilton integrates this heterogeneous amalgam of rooms without masking the building’s structure, orchestrating the visitor’s trajectory into a sequence of interrelated experiences via the movement and motif of sound.

    In recent years Hamilton’s longstanding interest in ways that bodily and linguistic experience form and shape our understanding of the world has moved away from

  • Agnes Martin, The Sea, 2003, acrylic and graphite on canvas, 60 x 60".

    Lynne Cooke on Agnes Martin

    “SCARY” WAS THE WORD that Agnes Martin used to describe the small group of “black” paintings that we were surveying at PaceWildenstein gallery in New York one afternoon last May. These five anomalous canvases constituted about half the works in her exhibition “Homage to Life,” which would become, with her death on December 20, 2004, the last show she made. Dominated by viscous black acrylic; one or two simple geometric forms; and an impastoed, at times gestural, facture, these canvases from 2002–2003 seemed a radical departure from her practice over the previous four decades. Deemed too foreboding

  • Lynne Cooke


    1 Francis Alÿs (Kunstmuseum Wolfsburg/ Martin-Gropius-Bau, Berlin) In a pair of slyly understated solo shows of works old and new, Alÿs parses preoccupations as poetic as they are political. In these disarmingly simple installations that depend on a self-reflexive, quasi-curatorial mode now completely integral to his practice, he draws deeply on his immediate milieu for his ostensible subjects. Yet he never gets mired in the merely local, nor does he succumb to the fecklessness of the self-styled nomadic artist.

    2 Pierre Huyghe’s Harvard Project (Sert Gallery, Carpenter Center for the