RICHARD HAWKINS

  • “Making A Presence: F. Holland Day in Artistic Photography”

    Self-portraiture has always been a realm of play between representing oneself and imagining what one might like to be.

    Self-portraiture has always been a realm of play between representing oneself and imagining what one might like to be. Nineteenth-century photographer F. Holland Day is one of the more curious examples of the artist- as-his-own-affected-subject. A wealthy publisher and bibliophile, Day photographed himself and others––often male nudes––in stark scenes evoking Christian, classical, and mythological characters. The Addison’s exhibition will unveil nearly forty works made by Day between the mid-nineteenth and early twentieth centuries, including his well-known self-portrait

  • Richard Hawkins

    1 Larry Johnson (Marc Jancou Contemporary, New York) On the heels of his pencil-prodded jackass (leave it to Johnson to take the precedent of Max Fleischer’s “Out of the Inkwell” and turn it into the Subject’s eroticized interpolation between the Real and the Imaginary), the artist’s turn to predigital “cold type” and pasteup marks the start of an even more evocative and provocative investigation of mediation and touch. From the wax and glue in the pasteups, I immediately jumped to bodily fluids and found in Johnson’s latest work a tertiary addition to the studium/punctum matrix: sputum. And

  • THEIR FAVORITE EXHIBITIONS OF THE YEAR

    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2009.

    RICHARD ALDRICH

    “Pierre Bonnard: The Late Interiors” (Metropolitan Museum of Art, New York) You kind of get the feeling that Bonnard was a real artist. He was concerned not with the past (art history), present (his contemporaries), or future (his legacy), but with expressing himself in terms of his own perceptions, interactions, and experiences of the world. Whether of a room, a still life, or a loved one, each painting becomes