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Barbara Kruger, Untitled (That’s the way we do it) (detail), 2011, digital print on vinyl, 14' x 64' 9".

By Barbara Kruger

Michael Snow, Sink (detail), 1970, C-print, eighty 35-mm color slides in timed carousel projector, dimensions variable.

By Michael Snow

Dan Graham, Schema (March 1966), 1966–, magazine page, dimensions variable.

Alison Knowles (in collaboration with CalArts students Norman Kaplan and Richard Banks), Poem Drop, 1971. Performance view, CalArts campus, Burbank, CA, 1971. Foreground: Knowles in front of House of Dust, 1968.

By Alison Knowles

Morton Subotnick performing with a Buchla synthesizer, Transmediale Festival, Hebbel Theater, Berlin, February 3, 2011. Photo: Sascha Pohflepp.

MORTON SUBOTNICK

By Morton Subotnick

Wade Guyton, Untitled (THE BEST BMW 3 SERIES), 2012, ink jet on book page, 9 3/8 x 6 5/8".

Spread from Paul Chan’s Wht is a n occupation?, 2011, unique paper book, e-book, PDF.

Yang Fudong, Yejiang/The Nightman Cometh, 2011, 35-mm film transferred to HD video, black-and-white, 19 minutes 21 seconds.

Joan Jonas, Reanimation (In a Meadow), 2011–12, HD video, color, 19 minutes 11 seconds.

Lara Favaretto, Momentary Monument IV (Kassel), 2012, four hundred tons of scrap metal, concrete, found objects. Installation view, Documenta 13, Kassel.

By Lara Favaretto

Ed Ruscha, That Was Then This Is Now #1, 1989, acrylic on canvas, 32 x 46".

Tacita Dean, Edwin Parker, 2011, 16 mm, color, 26 minutes.

Portrait of Lynda Benglis used in advertisment for “Metallized Knots” at Paula Cooper Gallery, New York, published in Artforum 12, no. 8 (April 1974).

By Lynda Benglis

Thomas Demand, Kontrollraum (Control Room), 2011, Diasec mounted C-print, 78 3/4 x 118 1/8".

By Thomas Demand

Merlin Carpenter, TATE CAFE, 2012, installation detail, Reena Spaulings Fine Art, New York.

MERLIN CARPENTER

By Merlin Carpenter

View of Thomas Hirschhorn’s “TOO TOO – MUCH MUCH,” 2010, Museum Dhondt-Dhaenens, Deurle, Belgium. Photo: Henk Schoenmakers.

THOMAS HIRSCHHORN

By Thomas Hirschhorn

Environment designed by Robert Irwin for the First National Symposium on Habitability, Venice, CA, 1969. Photos: Malcolm Lubliner.

By Robert Irwin

Photograph of Ahmet Öğüt’s This area is under 23 hour video and audio surveillance, 2009, posted on failblog.org, 2012.

By Ahmet Öğüt

Cindy Sherman, Untitled, 2004, C-print, 59 3/4 x 89 5/8".

By Cindy Sherman

September 2012

Tony Conrad, diagram for Film Feedback, 1974.

Oliver Laric, Maria Justitia, 2010, rendered image of 3-D model, dimensions variable.

By Oliver Laric

Dave McKenzie, We Shall Overcome, 2004, video, color, 5 minutes 46 seconds.

By Dave McKenzie

Mark Dion, Xylotheque (detail), 2011–12, wood, glass, electric lighting, porcelain cabinet knobs, wood inlay, plant parts, paper, papier-mache, clay, wax, paint, wire, vellum, leather, plastic, ink, dimensions variable. Photo: Anders Sune Berg.

Kara Walker, National Archives Microfilm Publication M999 Roll 34: Bureau of Refugees, Freedmen and Abandoned Lands: Six Miles from Springfield on the Franklin Road, 2009, digital video, color, 13 minutes 22 seconds.

Alex Bag and Patterson Beckwith’s Cash from Chaos/Unicorns & Rainbows, 1994–97, eight-channel video projection, 458 minutes.

September 2012

STEPHEN WILLATS TALKS WITH CORY ARCANGEL

By Stephen Willats, Cory Arcangel

Albert Oehlen, Scheidewege (Crossroads), 1992–95, silk screen, oil, and acrylic on canvas, 78 3/4 x 78 3/4".

By Albert Oehlen

Jake and Dinos Chapman, If Hitler Had Been a Hippy How Happy Would We Be, 2008, two of thirteen reclaimed Adolf Hitler watercolors on paper, dimensions variable.

By Jake Chapman

Sheets 2 and 3 of Mel Bochner’s The Singer Notes, 1968.

BERNARD TSCHUMI

By Bernard Tschumi

View of Experiments in Art and Technology’s Children and Communication, 1971, American Foundation on Automation and Employment, Automation House, New York. Photo: Shunk-Kender © Roy Lichtenstein Foundation.

By Robert Whitman

Ryan Trecartin, Roamie View: History Enhancement (Re’Search Wait’S), 2009–10, HD video, color, 28 minutes 23 seconds.

By Ryan Trecartin

Dayanita Singh, File Room, 2011, archival pigment print. From the thirty-six-part suite File Room.

By Dayanita Singh

Peter Fend and Tom Otterness, Arctic Basin Floor skate park, 2012, digital rendering from a proposal to be presented at The Economist’s 2013 summit on the Arctic region, “Sustainable Transformation: The Way Ahead.”

Stan Douglas, Abbott & Cordova, 7 August 1971, 2008, digital C-print, 114 1/2 x 70". From the series “Crowds and Riots,” 2008.

By Stan Douglas

Hitoshi Nomura, Tardiology, 1968–69, one of eight digital C-prints, each 31 1/2 x 47 1/4".

By Hitoshi Nomura

Richard Serra’s Promenade, 2008, being installed in the Grand Palais, Paris. Photo: Lorenz Kienzle.

By Richard Serra

Keith Sonnier (coproduced with Liza Béar), Send/Receive Satellite Network, 1977, NASA truck. Installation view, Battery Park City, New York. Photo: Gwen Thomas.

By Keith Sonnier

Hans Breder, Mass in A-Minor for Suitcases, 2000. Performance view, Sankt Petri Kirche, Dortmund, Germany.

Installing Kulapat Yantrasast/WHY Architecture’s Window Screens, 2008, Bucksbaum Gallery, Art Institute of Chicago, 2012.

By Liz Deschenes

Glenn Ligon, untitled, 2012, newspaper collage, 12 x 10 1/2".

Ai Weiwei, Ai Weiwei in the elevator when taken in custody by the police, Sichuan, China, August 2009, C-print, 4 3/8 x 5 7/8".

Detail of Wikipedia’s “Bodega Head” article with a photograph from David Horvitz’s Public Access, 2010–11.

By David Horvitz

Shana Moulton, Decorations of the Mind II, 2011, two video projections, wood structure, mixed media. Installation view, Galerie Gregor Staiger, Zurich.

By Shana Moulton

Stephen Antonakos, Walk-On Neon (detail), 1968, glass, metal, neon, 10 x 9 x 12'.

STEPHEN ANTONAKOS

By Stephen Antonakos

View of Takashi Murakami’s “Ego,” 2012, Al Riwaq, Doha, Qatar. Photo: Gion.

TAKASHI MURAKAMI

By Takashi Murakami

Harun Farocki, Serious Games 1, Watson Is Down, 2010, two-channel video, color, 8 minutes.

By Harun Farocki

Letter from Philip Leider to Matthew Baigell, October 30, 1967.

INTRODUCTION BY MICHELLE KUO

By Michelle Kuo

Michael Heizer, Double Negative, 1969. Virgin River Mesa, NV. From Philip Leider’s “How I Spent My Summer Vacation,” Artforum 9, no. 1 (September 1970).

Click here for Philip Leider, “How I Spent My Summer Vacation,” September 1970

THOMAS CROW ON PHILIP LEIDER’S “HOW I SPENT MY SUMMER VACATION”

Page from Artforum 4, no. 4 (December 1965). Dan Flavin, “‘. . . in daylight or cool white.’ an autobiographical sketch.” Shown: Dan Flavin, the diagonal of May 25, 1963.

DAN FLAVIN’S “‘. . . IN DAYLIGHT OR COOL WHITE.’”

By Jeffrey Weiss

Page from Artforum 7, no. 1 (September 1968). Jack Burnham, “Systems Esthetics.” Pictured: Dan Flavin, Pink and Gold, 1967.

Click here for Jack Burnham, “Systems Esthetics,” September 1968

CAROLINE A. JONES ON JACK BURNHAM’S “SYSTEMS ESTHETICS”

By Caroline A. Jones

Barbara Kruger, New York, 1990.

Click here for Barbara Kruger, “Remote Control,” March 1986

RHONDA LIEBERMAN ON BARBARA KRUGER’S “REMOTE CONTROL”

By Rhonda Lieberman

Page from Artforum 11, no. 1 (September 1972). Lawrence Alloway, “Network: The Art World Described as a System.” Shown: Detail of jigsaw puzzle of Jackson Pollock’s Convergence, 1952.

ERIC BANKS ON LAWRENCE ALLOWAY’S “NETWORK: THE ART WORLD DESCRIBED AS A SYSTEM”

HAL FOSTER ON CRITICISM THEN AND NOW

Page from Artforum 26, no. 8 (April 1988). Vilém Flusser, “Curies’ Children.” Shown: Garry Winogrand, Los Angeles Airport, n.d.

JOHN RAJCHMAN ON VILéM FLUSSER’S “CURIES’ CHILDREN”

By John Rajchman

Page from Artforum 22, no. 8 (April 1984). Jean-François Lyotard, “The Sublime and the Avant-Garde.” Shown: Caspar David Friedrich, Abend (Evening), 1824.

DANIEL BIRNBAUM ON JEAN-FRANçOIS LYOTARD’S “THE SUBLIME AND THE AVANT-GARDE”

By Daniel Birnbaum

Page from Artforum 22, no. 2 (October 1983). Jean Baudrillard, “What Are You Doing After the Orgy?”

DAVID RIMANELLI ON JEAN BAUDRILLARD’S “WHAT ARE YOU DOING AFTER THE ORGY?”

By David Rimanelli

Two pages from Artforum 24, no. 7 (March 1986). Greil Marcus, “The Cowboy Philosopher.”

DAVID FRANKEL ON GREIL MARCUS’S “THE COWBOY PHILOSOPHER”

By David Frankel

Page from Artforum 12, no. 5 (January 1974). Annette Michelson, “Yvonne Rainer, Part One: The Dancer and the Dance.” Shown: Production still by Babette Mangolte of Yvonne Rainer’s Lives of Performers, 1972.

DAVID VELASCO ON ANNETTE MICHELSON’S “THE DANCER AND THE DANCE” AND “LIVES OF PERFORMERS”

By David Velasco

Spread from Artforum 10, no. 2 (October 1971). Max Kozloff, “The Multimillion Dollar Art Boondoggle.”

MAX KOZLOFF ON HIS “THE MULTIMILLION DOLLAR ART BOONDOGGLE”

ROBERT PINCUS-WITTEN ON PHOTOGRAPHY AND CRITICISM

By Robert Pincus-Witten

IDA PANICELLI ON EDITING

By Ida Panicelli

Ridley Scott, Blade Runner, 1982, 35 mm, color, 117 minutes. Rachael (Sean Young).

TIM GRIFFIN ON ART AND ARTIFICAL LIFE

Cover of Artforum 42, no. 1 (September 2003).

Click here for Alison Gingeras, “Paris-a-Go-Go,” November 18, 2004

JACK BANKOWSKY ON SCENE & HERD

By Jack Bankowsky

Cover of Artforum 20, no. 6 (February 1982).

INGRID SISCHY TALKS WITH MICHELLE KUO

By Ingrid Sischy, Michelle Kuo

Cover of Artforum 1, no. 1 (June 1962). Shown: Jean Tinguely, L’Araignée (also known as Marokko and Krapotkin), 1961.

MEDIA SPECIFICITIES

By Pamela M. Lee

Steven Spielberg, Jurassic Park, 1993, 35 mm, color, 127 minutes.

CLOSE-UP: OUR PREHISTORIC FUTURE

David Bordwell on Steven Spielberg’s Jurassic Park

By David Bordwell

Steve McQueen, Shame, 2011, 35 mm, color, 101 minutes. Brandon (Michael Fassbender).

NEXT-LEVEL SPLEEN

Tacita Dean, FILM, 2011, 35-mm film, projector, screen, seating, 11 minutes. Installation view, Tate Modern, London.

CLOSE-UP: FRAME BY FRAME

Rosalind E. Krauss on Tacita Dean’s Film

By Rosalind E. Krauss

Pages from Wolfgang Tillmans’s FESPA Digital/Fruit Logistica (Walther König, 2012)

STEP INTO LIQUID: THE ASCENDANCY OF INK-JET PRINTING

Michelle Kuo talks with Wolfgang Tillmans

By Michelle Kuo

Gerbils living in the computer-manipulated environment of the Architecture Machine Group’s Seek, 1969–70, Jewish Museum, New York, 1970. Photo: Shunk-Kender © Roy Lichtenstein Foundation.

CLOSE-UP: DATA ALMANAC

Anne M. Wagner on “Software”

By Anne M. Wagner

Carol Bove, La traversée difficile (The Difficult Crossing), 2008, mixed media. Installation view, Kimmerich, Düsseldorf. Photo: Ivo Farber.

DIGITAL DIVIDE: CONTEMPORARY ART AND NEW MEDIA

By Claire Bishop

Page from Michael Schmidt’s 89/90 (Snoeck, 2010).

CLOSE-UP: GRAY SCALE

Michael Fried on Michael Schmidt’s 89/90

By Michael Fried

Rabih Mroué, Double Shooting, 2012, film stills, waterproof paper, wood. Installation view, Tempelhofer Feld, Berlin. From “The World Is Not Fair.” Photo: Valentin Fasta.

ON ALL CHANNELS: MEDIA, TECHNOLOGY, AND THE CULTURE INDUSTRY

By Diedrich Diederichsen

Cover of Artforum 43, no. 8 (April 2005).

CLOSE-UP: FILE SHARING

Scott Rothkopf on Kelley Walker’s Untitled

By Scott Rothkopf

Marshall McLuhan at the Ryerson Institute of Technology, Toronto, ca. 1967. Photo: Bernard Gotfryd/Getty Images.

TWENTIETH-CENTURY VOX: MARSHALL MCLUHAN AND THE MECHANICAL BRIDE

By Greil Marcus

David Cronenberg, Cosmopolis, 2012, digital video, color, 108 minutes. Eric Packer (Robert Pattinson).

CLOSE-UP: ZOOM AND BUST

Amy Taubin on David Cronenberg’s Cosmopolis

Friedrich Nietzsche’s typewriter, an 1878 Malling- Hansen writing ball. Photo: Dieter Eberwein.

MACHINE LEARNING: FRIEDRICH KITTLER (1943–2011)

Geoffrey Winthrop-Young and Eva Horn

By Geoffrey Winthrop-Young, Eva Horn

Filmstrips from Stan Brakhage’s Mothlight, 1963, 16 mm, color, silent, 3 minutes 13 seconds.

CLOSE-UP: DIRECT CINEMA

J. Hoberman on Stan Brakhage’s Mothlight

Page from Nicolas Schöffer’s La Ville cybernétique, (Tchou, 1969). Design for Centre de Loisirs Sexuels (Center of Sexual Recreation).

CITIES OF TOMORROW: TECHNOLOGY, ECOLOGY, AND ARCHITECTURE

By Anthony Vidler

Petra Cortright, HELLTREE_, 2012, e-book.

CLOSE-UP: DATA MINE

Bruce Sterling on Petra Cortright’s HELLTREE_

By Bruce Sterling

Abel Gance, Napoléon, 1927. Production still. Marat (Antonin Artaud).

MODERNISM WITHOUT ORGANS: ANTONIN ARTAUD

By Branden W. Joseph

Louise Lawler, Why Pictures Now, 1981, gelatin silver print, 3 x 6".

CLOSE-UP: INDIRECT ANSWERS

Douglas Crimp on Louise Lawler’s Why Pictures Now

By Douglas Crimp

Gregory Battcock at the release party for Andy Warhol’s The Philosophy of Andy Warhol (From A to B & Back Again), New York, September 10, 1975. Photo: Fred W. McDarrah/Getty Images.

TRANSFORMER: GREGORY BATTCOCK

By David Joselit

Philippe Parreno, Speaking to the Penguins, 2007, color silver print, 59 1/8 x 89 3/8".

CLOSE-UP: NORTHERN LIGHT

Molly Nesbit on Philippe Parreno’s Speaking to the Penguins

By Molly Nesbit

Still from Leslie Thornton’s Peggy and Fred in Hell: The Prologue, 1984, 16 mm, black-and-white, 21 minutes.

CLOSE-UP: HELL IS FOR CHILDREN

Ed Halter on Leslie Thornton’s Peggy and Fred in Hell

Rosemarie Trockel, Untitled, 1988, canvas on wool, 11 3/4 x 11 3/4".

CLOSE-UP: REWORKED

Lynne Cooke on Rosemarie Trockel’s Untitled

Jean Tinguely, Homage to New York, 1960, mixed media. Performance view, Abby Aldrich Rockefeller Sculpture Garden, Museum of Modern Art, New York, March 17, 1960. Photo: David Gahr.

GHOST STORY: KINETIC ART AND NEW MEDIA

By Eric C. H. de Bruyn

Cover: Lawrence Weiner, Language + The Materials Referred To, 2012, project for Artforum. — Cover: Lawrence Weiner, Language + The Materials Referred To, 2012, project for Artforum.

SEPTEMBER 2012

VOL. 51, NO. 1

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