Richard Jackson

  • Still from the animated invitation to Flame’s 2013 show at Real Fine Arts, New York.

    The Best Exhibitions of 2013

    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 2013.


    Two thousand thirteen was a good year for art. Whoever says the opposite is an ignoramus. I like the artist Flame.


    Alighiero Boetti (Museum of Modern Art, New York) I don’t see all that many shows, but I’d bet on MoMA’s recent “Alighiero Boetti: Game Plan” as one of the recent best. Boetti’s work and name are equally memorable, and to think that he was operating like this well before “

  • Ei Arakawa and Karl Holmqvist, pOEtry pArk (with a painting by Silke Otto-Knapp), 2010. Performance view, Regent’s Park, London, October 15, 2010. Léa Tirabasso, Ei Arakawa, and Jenny Moule. Photo: Polly Braden.



    Gutai is often considered the starting point for postwar art in Japan, typically described as a response to American Abstract Expressionism (via Pollock, who first exhibited in Japan in 1951) and as a parallel to French art informel (via Michel Tapié). However, I want to point out two earlier collectives of midcentury Japanese art (pre-Conceptual On Kawara aside): Jikken Kōbō (Experimental Workshop)—an avant-garde art, music, and theater collective that was influenced by the Bauhaus and European Surrealism—and Zero-kai (Zero Society), whose member Kazuo Shiraga had already

  • Jason Rhoades

    Well before his untimely death on August 1, 2006, at the age of forty-one, Jason Rhoades had made an indelible mark on the art of his generation. Artforum asked four of Rhoades’s colleagues and friends to reflect on the man and his work.


    The thing with Perfect World is you can fall off of it and it can kill you. You can walk on this surface, but it has these holes, these cracks and these soft spots, these traps, where it’s just papered over. It is kind of a reality of (my) working. I wanted to build this thing which somehow mimics real life.
    —Jason Rhoades, in a 1999 interview with