Roy McMakin

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  print December 2011

  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 2011.

  ERICKA BECKMAN

  Mary Reid Kelley, Sadie the Saddest Sadist (Armory Show, New York) Tucked away in the back of the Susanne Vielmetter Los Angeles Projects booth at the 2011 Armory Show was a monitor showing a costumed figure with exaggerated face paint, pacing in front of a hand-drawn black-and-white background. The piece was Mary Reid Kelley’s Sadie the Saddest Sadist, 2009, and the mixed metaphors, narrative snippets, and repurposed

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  print May 2001

  KING OF THE HILLS: THE ARCHITECTURE OF R. M. SCHINDLER

  As LA MoCA’s traveling survey “The Architecture of R. M. Schindler” opens the eyes of museum-goers to the Vienna-born expatriate’s precedent-setting domestic designs, Artforum calls on architects and artists Michael Maltzan, Sam Durant, Roy McMakin, Michael Rotondi, and Wolf Prix to share their views on the California modernist’s legacy. Adding a firsthand reminiscence is Julius Shulman, whose vintage photographs appear here alongside contemporary shots by Grant Mudford. Schindler specialist Judith Sheine opens our roundup with an overview of the architect’s career and reputation, while Sotheby’s

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  print May 2001

  Roy McMakin

  MY FIRST ENCOUNTER WITH A SCHINDLER structure was as a student in La Jolla, California, in the late ’70s. Exploring the coastal red estate of my new community, I stopped my red VW Bug and got out to stare at something completely bewildering. The structure in front of me appeared at once ancient and of the future. What was this thing (house? building? stage set? outdated transfer station?) doing in a jumble of white clapboard beach cottages and ’60s lanai apartments? It seemed to be simultaneously rising from and dissolving back into the sandy beach cliffs down the block.

  Within days I bought my