March 2013 – Artforum

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Henri Matisse, Young Sailor I, 1906, oil on canvas, 39 1/4 x 32".

“MATISSE: IN SEARCH OF TRUE PAINTING”

The Metropolitan Museum of Art

View of “Blues for Smoke,” 2012–13. From left: Jean-Michel Basquiat, Undiscovered Genius of the Mississippi Delta, 1983; Kori Newkirk, Yall (detail), 2012; Kira Lynn Harris, But not the kind that’s Blue (detail), 2012; Richard Pryor, Richard Pryor Live in Concert, 1979; Beauford Delaney, Portrait of a Young Musician, n.d. Photo: Brian Forrest.

“BLUES FOR SMOKE”

MOCA Geffen Contemporary

By Helen Molesworth

View of “Richard Artschwager!,” 2012–13. Background: Table (Somewhat), 2007. Foreground: Exclamation Point (Chartreuse), 2008. Photo: Bill Orcutt.

RICHARD ARTSCHWAGER

Whitney Museum of American Art

By Alex Kitnick

View of “Waltercio Caldas: The Nearest Air and Other Matters,” 2012. Floor, both works: Escultura para todos os materiais não transparentes (Sculpture for All Nontransparent Materials), 1985. Suspended: O ar mais próximo (The Nearest Air), 1991. Wall: Tubos de ferro pintados (Painted Tubes) (detail), 1978. Photo: Fabio Del Re.

WALTERCIO CALDAS

Galeria Camargo Vilaça

By Kaira M. Cabañas

Rhythm chart for Elliott Carter’s Double Concerto for Harpsichord, Piano, and Two Orchestras, 1959–61.

By Ursula Oppens

Elliott Carter, Royal Festival Hall, London, February 17, 1991. Photo: Lynda Stone/Getty Images.

By Paul Griffiths

Raoul De Keyser’s studio, Deinze, Belgium, 2009. Photo: Christophe Vander Eecken.

RAOUL DE KEYSER

By Rebecca Morris

Raoul De Keyser, No Title (8 Verticals/6), 2010, oil on canvas mounted on wood, 11 x 8".

RAOUL DE KEYSER

Viewers with Thomas Bayrle’s Prega per noi (Pray for Us), 2012, Documenta Halle, Kassel, August 17, 2012. From Documenta 13. Photo: Hans Kettwig.

CONTEMPORARY CURATING

By Julian Stallabrass

Cristian Mungiu, Beyond the Hills, 2012, 35 mm, color, sound, 150 minutes. Voichita (Cosmina Stratan) and Alina (Cristina Flutur).

CRISTIAN MUNGIU’S BEYOND THE HILLS

Rodney Ascher, Room 237, 2012, digital video, color and black-and-white, sound, 102 minutes. Clip from Stanley Kubrick’s The Shining, 1980.

RODNEY ASCHER’S ROOM 237

View of “Artist’s Choice: Trisha Donnelly,” 2012–13, Museum of Modern Art, New York. Foreground: Alessandro Becchi, Anfibio Convertible Couch, 1971. Background, from left: Joe Goode, Shoes, Shoes, Shoes, 1966; Michael Lax, Modulion 10 Ionizer, 1980. Wall, top left: František Kupka, The First Step, ca. 1910, oil on canvas, 32 3/4 x 51". Photo: Thomas Griesel.

TRISHA DONNELLY AT MOMA

By Sarah K. Rich

View of “Tea with Nefertiti: The Making of the Artwork by the Artist, the Museum and the Public,” 2012, Mathaf: Arab Museum of Modern Art, Doha, Qatar. Foreground: Vik Muniz, Tupperware Sarcophagus Object (Relicario), 2010. Background, from left: Lee Miller, Portrait of Space near Siwa, Egypt, 1937; Lee Miller, The Shadow of the Great Pyramid, Egypt, ca. 1938. Photo: Haupt & Binder.

“TEA WITH NEFERTITI”

By Nasser Rabbat

Benthem Crouwel Architects, Stedelijk Museum Expansion-Renovation Project, 2007–12, Amsterdam. Photo: Jannes Linders, 2012.

THE STEDELIJK MUSEUM

Richard Hamilton, Le Chef-d’oeuvre inconnu—a painting in three parts, 2011, ink jet on canvas, each 44 x 69 1/4". Unfinished.

RICHARD HAMILTON’S LE CHEF-D’OEUVRE INCONNU

By John-Paul Stonard

CEO and cofounder of Google Sergey Brin wearing a Google Glass during a product demonstration for Google I/O 2012, Moscone Center, San Francisco, June 27, 2012. Photo: Stephen Lam/Reuters.

By Alexander Provan

Doug Ashford, Many Readers of One Event, 2012, eighteen tempera paintings on wood and eleven ink-jet prints on wooden shelf, hut. Installation view, Karlsaue Park, Kassel. From Documenta 13. Photo: Nils Klinger.

March 2013

ABRAHAM CRUZVILLEGAS

By Abraham Cruzvillegas

View of “No Longer Art: Salvage Art Institute,” 2012–13, Arthur Ross Architecture Gallery, Columbia University, New York. Photo: James Ewing.

THINGS NOT NECESSARILY MEANT TO BE VIEWED AS ART

Jeffrey Weiss on the Crisis of the Object

By Jeffrey Weiss

Laura Owens, Untitled (detail), 2013, oil, acrylic, and Flashe paint on canvas, 11' 51⁄2" x 10'.

Sarah Lehrer-Graiwer talks with Laura Owens

By Sarah Lehrer-Graiwer

Helen Marten, Peanuts, 2012, mixed media. Installation view, Chisenhale Gallery, London. Photo: Andy Keate. Opposite page: Helen Marten, Peanuts (details), 2012, mixed media. Installation views, Kunsthalle Zürich. Photos: Annik Wetter.

CLOSE-UP: ALL THAT IS SOLID

Brian Dillon on Helen Marten’s Peanuts, 2012

By Brian Dillon

Lewis Klahr, The Pettifogger, 2011, digital video, color, sound, 65 minutes.

THE ILLUSTRATED MAN

Tony Pipolo talks with filmmaker Lewis Klahr

Photograph of the mining town of Omarska, Bosnia and Herzegovina, entered into court records in the International Criminal Tribunal for the former Yugoslavia, July 26, 1996. From Forensic Architecture (Centre for Research Architecture/Working Group Four Faces of Omarska/Monument Group), “The Omarska Memorial in Exile” project.

BURDEN OF PROOF: CONTEMPORARY ART AND RESPONSIBILITY

David Ostrowski, F (Auch die schönste Frau ist an den Füßen zu Ende, Allison’s feet) (F [Even the Most Beautiful Woman Ends at Her Feet, Allison’s Feet]), 2012, acrylic, lacquer, cotton, and paper on canvas, wood, 87 x 671⁄4".

OPENINGS: DAVID OSTROWSKI

By Suzanne Hudson

View of “The Tanks: Art in Action—Sung Hwan Kim Commission,” 2012, The Tanks, Tate Modern, London. Background: Pages of Ki-Da Rilke becoming light towers 1–4, 2012. Foreground: Dog Video, 2006. Photo: Sam Irons.

OPENINGS: SUNG HWAN KIM

By Travis Jeppesen

Luc Tuymans, Jacket, 2011, oil on canvas, 73 7/8 x 54 3/4".

David Zwirner | 519 West 19th Street

By Barry Schwabsky

By David Frankel

Jack Shainman Gallery

By David Frankel

Greene Naftali Gallery/Whitney Museum of American Art

By Beau Rutland

Lehmann Maupin | New York, W 22 Street

Gavin Brown's enterprise | 620 Greenwich Street

By Lauren O’Neill-Butler

Harris Lieberman

By Michael Wilson

Derek Eller Gallery

By Brian Sholis

Higher Pictures Generation

By Colby Chamberlain

ESTEBAN VICENTE

Miles McEnery Gallery | 525 West 22nd Street

By Donald Kuspit

“ALL THE BEST PEOPLE”

By Caroline Busta

THOMAS LANIGAN-SCHMIDT

Asia Society | New York

Scott Hocking, The Egg and the MCTS #4718, 2012, ink-jet print, 33 x 49 1/2". From the series “The Egg and the MCTS,” 2007–.

Susanne Hilberry Gallery

By Matthew Biro

Joseph Cornell, Hotel de la Mer (Hotel Goldene Sonne), 1950–51, wood, glass, pigment, paper, 17 7/8 x 12 x 4 5/8". From “In Search of Time.”

“IN SEARCH OF TIME”

Eli and Edythe Broad Art Museum

By Ara H. Merjian

Vincent van Gogh, The Blute-fin Mill, 1886, oil on canvas, 21 3/4 x 15".

“BECOMING VAN GOGH”

Denver Art Museum

By Michael Lobel

Jay DeFeo working on The Rose, 1958–66,
in her Fillmore Street studio, 1960. Photo: Burt Glinn.

San Francisco Museum of Modern Art (SFMOMA)

Norman Zammitt, Diagonal 1, 1979, acrylic on canvas board, 9 x 12".

Carter & Citizen

By Jennifer King

NIKOLAS GAMBAROFF

By Suzanne Hudson

STEPHANIE TAYLOR

By Travis Diehl

Gallery at REDCAT

Florian Hecker, 3 Channel Chronics (detail), 2010/2012, one of three 7 7/8 x 11 3/4" C-prints from an installation additionally comprising a 17-minute 24-second three-channel electro-acoustic sound loop.

Sadie Coles HQ | Davies Street

View of “Richard Hughes,” 2012.

By Steven Cairns

Marcel van Eeden, Untitled #9, The Hotel, 2012, pencil on paper, 7 x 11". From the series “The Hotel,” 2012–.

MARCEL VAN EEDEN

Galerie In Situ/Fabienne LeClerc

By Riccardo Venturi

AMéLIE BERTRAND

By Mara Hoberman

Jan Kotik, Untitled (Guide for Realization), 1976, string, nails, chalk, acrylic, wooden plate, 35 1/2 x 25 1/2".

Jiri Svestka | Prague

By Astrid Mania

Józef Robakowski, Come to Me, 1989, video, color, sound, 5 minutes 19 seconds.

JóZEF ROBAKOWSKI

Henry Flynt, Stroke Numeral, 1987, gold and acrylic on aluminum, metal frame, 19 x 41 1/2".

Kunstverein für die Rheinlande und Westfalen

MANFRED PERNICE

Konrad Fischer Galerie | Düsseldorf

By Stephanie Bailey

Samuel Beckett, Not I, 1977, video, black-and-white, sound, 15 minutes 6 seconds. From “Acts of Voicing.”

“ACTS OF VOICING”

Württembergischer Kunstverein Stuttgart

By Noemi Smolik

View of “Anne Chu,” 2013. From top: Putti (no. 8 of 13), 2012; Putti (no. 9 of 13), 2012.

Krefeld, Germany

Kunstmuseen Krefeld/Museum Haus Lange

By Hans Rudolf Reust

Giovanni Kronenberg, Dato che invecchiare solleva il giudizio dall’impazienza della gioventù (Granted That Aging Brought Forth Good Judgment from the Impatience of Youth) (detail), 2011, whale vertebra, .925 silver, 27 1/2 x 24 3/4 x 13 3/4".

GIOVANNI KRONENBERG

Studio Guenzani

By Alessandra Pioselli

Jules de Balincourt, Waiting Tree, 2012, oil and acrylic on panel, 78 x 87".

JULES DE BALINCOURT

Collezione Maramotti

By Pier Paolo Pancotto

Paolo Gonzato, L’Isola delle Rose (The Island of Roses), 2012, wood, paint, dimensions variable.

APALAZZO GALLERY

By Filippo Romeo

Frank Ammerlaan, untitled, 2012, various chemicals on canvas, 31 1/2 x 25 1/2".

FRANK AMMERLAAN

Upstream Gallery

By Hans den Hartog Jager

Victor Lind, Contemporary Memory—I’ll Bring You Home I, 1998/2012, C-print, 39 3/8 x 59".

Kunstnernes Hus

By Johanne Nordby Wernø

Tula Plumi, Untitled, 2012, spray paint on metal sheet, painted flowerpot stand, 31 1/2 x 9 7/8 x 10 5/8". From the series “Lines and Circles,” 2011–.

CAN Christina Androulidaki Gallery

By Cathryn Drake

Aida Makoto, Art and Philosophy #2 “French, German, English,” 2011, three-channel HD video, color, sound, 15 minutes 26 seconds (French), 15 minutes 23 seconds (German), 13 minutes 50 seconds (English).

Mori Art Museum

By Shinyoung Chung

Miguel Rio Branco, untitled, 2012, video projection (color, sound, 3 minutes 52 seconds), vibrating machines, metal plates. Installation view.

MIGUEL RIO BRANCO

By Alexandre Melo

View of “Cinthia Marcelle,” 2013. From left: Temporário, 2013; Temporário, 2013; Temporário, 2011; Temporário, 2013.

CINTHIA MARCELLE

Centro Cultural Banco Do Brasil

By Adriano Pedrosa

David Crook, Measuring the Land (in Ten Mile Inn in Jinjiluyu Liberated Area, China), 1948, ink-jet print, 20 x 20". From “Rural North China, 1947–1948.”

“RURAL NORTH CHINA, 1947–1948”

Taikang Space 泰康空间

By Angie Baecker

Cover: Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84". — Cover: Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84".

MARCH 2013

VOL. 51, NO. 7

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