Tauba Auerbach

  • Tauba Auerbach

    WHEN I WAS IN PRIMARY SCHOOL, each student in my class had to write on a yellow legal pad for a little while every day. I recall one of my entries announcing that I had decided to make a change in my handwriting: My lowercase a would from then on have a flat top. Implementing this change in the entry, I expected the entire page to take on a different look from the rest of my journal. But somehow, though I had reconfigured a symbol that appears more than 8 percent of the time in English, the whole thing still looked like something I would have written. I was disappointed.

    Style is finer grained

  • Carsten Nicolai’s Grid Index

    Carsten Nicolai, Grid Index (Berlin: Gestalten, 2009), 312 pages.

    A BOOK IS AN X-AXIS. The format is almost always linear; the content, bound in a prescribed order, marches single file. Grid Index, Carsten Nicolai’s exhaustive compendium of grids and tilings, is no exception. Progressing along its lone axis, the book is a sequence of 294 different dissections of the Cartesian plane. It’s a difficult kind of dimensional collapse, arranging the planar into the linear, though imperfect at moments, Nicolai is at home working within self-imposed constraints. The artist’s affinity for grids, the Wim


    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.


    “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