Peter Lunenfeld

  • “Art and Technology”

    THE TREACHERY OF IMAGES, 1929, is among the most iconic pictures produced in the twentieth century, but most people don’t know that this metatextual painting by René Magritte, depicting a pipe above the phrase CECI N’EST PAS UNE PIPE, is in the permanent collection of the Los Angeles County Museum of Art. It’s an ideal holding for the region’s largest and most comprehensive institution: The wit presages John Baldessari, the typography Ed Ruscha; the Foucauldian slippage between the real and the imaginary—well, that’s how SoCal rolls. The painting is also one of the last works you see before

  • Cameron in Los Angeles

    MARJORIE ELIZABETH CAMERON PARSONS KIMMEL—or Cameron, the name she preferred—was that rarest of figures, a seminal invisible. Artist, poet, witch, beacon of the counterculture, she knew everyone and materialized everywhere, though now her own name has all but vanished. Cameron showed with sculptor Edward Kienholz at Walter Hopps’s Syndell Studio in Los Angeles. She played the Scarlet Woman in Kenneth Anger’s 1954 film Inauguration of the Pleasure Dome. She knew L. Ron Hubbard before he founded Scientology. She had a small part in a movie with Dennis Hopper, who said that she scared


    “EAVESDROPPING ON ONLINE DISCUSSIONS ABOUT digital and Net art, I always have a panic-attack feeling that the air has been sucked out of the room. Let's face it, a lot of this stuff is deeply sucky.” Strong words from self-styled tech maven Mark Dery, but the provocation mirrors a common enough skepticism when it comes to the marriage of art and digital technologies. As Saul Anton, Artforum's new website editor and the moderator of this roundtable, pointedly observes, such reserve is “inversely proportional to the exuberant embrace of all things digital in our culture at large.”

    Still, the ongoing

  • Focus: “Hall of Mirrors: Art and Film Since 1945”

    “Hall of Mirrors: Art and Film Since 1945” must have seemed like a great idea when curator Kerry Brougher began working on the show almost a decade ago. Here was a way to infuse the hushed spaces of the museum with the vitality of popular culture, to draw in the art-shy masses and give them something they couldn’t get at home. The scope of the exhibition is intentionally broad, covering artists from Joseph Cornell to Cindy Sherman, and taking into account both the cinema’s dominant Hollywood mode and its avant-garde tangents. Indeed, the show’s catalogue, edited by Russell Ferguson, does manage