Sharon Lockhart

  • Silke Otto-Knapp, Mendocino, CA, January 2021. Photo: Sharon Lockhart.

    SILKE OTTO-KNAPP (1970–2022)

    OUR DEAR FRIEND Silke Otto-Knapp left us on the full moon of October 9. Silke was unprepared to go, and we were unprepared for her to leave. In the studio she had recently built in her garden were preparatory sketches, models, one finished work, one incomplete work, and several primed canvases she had been working on. The title “Versammlung,” roughly meaning a gathering or assembly, was fitting for the group of paintings that made it to Galerie Buchholz in New York for the opening of her show there on October 28. They depicted groups of figures (women) gathered in sets on folding screens. But

  • Sharon Lockhart, Five Dances and Nine Wall Carpets by Noa Eshkol, 2011, color film in 35 mm transferred to HD video, five-channel installation, continuous loop. Noga Goral, Mor Bashan, Ruti Sela, Or Gal-Or.


    FOR NEARLY TWO DECADES, Sharon Lockhart’s films (and, more recently, HD videos) have maintained a consistent approach to their varied subjects, whether laborers or children playing—so consistent, in fact, as to constitute a kind of signature. Employing a fixed frame and tending toward long takes in a highly structured (if not precisely structuralist) sequence of shots, Lockhart’s lens could be described as empirical in its apparently cool remove. In Goshogaoka, 1998, the camera, in a series of long takes, records a squad of adolescent Japanese girls practicing basketball drills in a gymnasium,

  • Composite of actual and proposed sites for installations of Jennifer Bolande’s Plywood Curtains, Los Angeles, 2010. Photo: The artist.


    SINCE THE EARLY 1980S, Jennifer Bolande has been making smart, witty, and fresh work that is as inspiring to younger artists as it is difficult to force into the convenient categories the marketplace prefers. Her idiosyncratic sculptures and photographs (photographic sculptures and sculptural photographs) often make use of overlooked aspects of everyday life. They employ an associative strategy that at first seems effortless, but that on closer examination spirals outward from object to medium to other artworks to the culture at large. In attempting to articulate this chain of associations, I

  • Shelly Silver, in complete world, 2008, still from a color video, 53 minutes.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2008.


    James Coleman, Background, 1991–94 (Irish Museum of Modern Art, Dublin) Existential photo-novel? Soap opera? Mail-order-catalogue photo shoot? Coleman’s installations, pairing slide projection with synchronized audio, don’t lend themselves to easy categorization. In Background, shown at the Irish Museum of Modern Art this year, the male narrator’s voice adds to the general dislocation, straining earnestly to convey some sort

  • The art that inspired them in 2000

    Those of us who live and breathe contemporary art will hold to the idea that art does change, if not the world, then the way we live in it. But our “world” can be more insular than we care to admit. So to open our look back at 2000, we asked twenty-one “outsiders” we admire—from novelist J.G. Ballard to musician John Zorn—to tell us about the art that inspired them this year.

    Dave Eggers (novelist)
    About a year ago, I saw Marcel Dzama’s stuff in zingmagazine and fell madly in love. Then his show at David Zwirner just killed me. A hundred or so drawings (bears with handguns, whale-men