February 2015 – Artforum

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View of “Chris Ofili: Night and Day,” 2014–15. From left: No Woman, No Cry, 1998; The Holy Virgin Mary, 1996. Photo: Maris Hutchinson/EPW.

By Carroll Dunham

View of “Sculpture After Sculpture,” 2014–15. From left: Katharina Fritsch, Elefant, 1987; Charles Ray, Tractor, 2005; Jeff Koons, Metallic Venus, 2010–12.

“SCULPTURE AFTER SCULPTURE”

Moderna Museet | Stockholm

By Anne M. Wagner

View of “Sturtevant: Double Trouble,” 2014–15. From left: Finite Infinite, 2010; Johns Target with Four Faces (study), 1986; Warhol Cow Paper, 1996. © Estate Sturtevant, Paris.

MoMA - The Museum of Modern Art

By Beau Rutland

Paul Sharits, Frozen Film Frame (detail), ca. 1966–77, 16-mm color film strips, Plexiglas, 39 3/8 × 52 3/4".

André Singer, Night Will Fall, 2014, digital video, color and black-and-white, sound, 79 minutes.

ANDRé SINGER’S NIGHT WILL FALL

By Jonathan Rosenbaum

Cover of Renée Green’s World Tour (Museum of Contemporary Art, Los Angeles, 1993).

THE COLLECTED WRITINGS OF RENéE GREEN

By André Rottmann

John Lucas and Claudia Rankine, Situation #6: Stop and Frisk, 2014, digital video, color, sound, 5 minutes 32 seconds. From the series “Situations,” 2006–.

CLAUDIA RANKINE’S CITIZEN

By Siobhan Phillips

Chen Chieh-jen, Empire’s Borders 1–2, 2008–2009, ink-jet print, 25 5/8 × 39 3/8".

THE TENTH SHANGHAI BIENNALE

February 2015

COSMIN COSTINAS

By Cosmin Costinas

February 2015

REMBRANDT AT THE NATIONAL GALLERY IN LONDON

By Svetlana Alpers

Harun Farocki, Bilder der Welt und Inschrift des Krieges (Images of the World and the Inscription of War), 1988, 16 mm, black-and-white and color, sound, 75 minutes. © Harun Farocki Filmproduktion.

EYE MACHINES: THE ART OF HARUN FAROCKI

By D. N. Rodowick

James Richards, Raking Light, 2014, digital video, black-and-white and color, sound, 7 minutes 5 seconds. Installation view, Cabinet Gallery, London.

CLOSE-UP: DOUBLE NEGATIVE

Kathy Noble on James Richards’s Raking Light, 2014

William Pope.L, Eating the Wall Street Journal (street version), 1991. Performance view, New York, summer 1991.

MATERIAL WITNESS: VISUAL EVIDENCE AND THE CASE OF ERIC GARNER

By David Joselit

Aura Satz, Chromatic Aberration, 2014, HD video, color, sound, 9 minutes.

1000 WORDS: AURA SATZ

By Erika Balsom

View of “Isabelle Cornaro,” 2013, Kunsthalle Bern, Switzerland. Three works from the series “Homonymes I,” 2010/2012.

SUSPENDED ANIMATION: THE ART OF ISABELLE CORNARO

Still from Danji Buck-Moore, Henning Fehr, and Philipp Rühr’s Polyrhythm Technoir Pt. III: The Rattle Snake:
A Film About the Future (work in progress), digital video, color, sound.

OPENINGS: HENNING FEHR AND PHILIPP RÜHR

By Nicolas Linnert

Ray Johnson, Untitled (Campbell’s Soup with Cut-Out Circles), 1973–88, collage on illustration board, 19 × 17".

Richard L. Feigen & Co

By Robert Pincus-Witten

Blum & Poe | New York

By Barry Schwabsky

MARINA ABRAMOVIć

Sean Kelly Gallery

By Jeffrey Kastner

Howard Greenberg Gallery

By Prudence Peiffer

Fredericks & Freiser

By David Frankel

PARTICIPANT INC

By David Frankel

FRANCESCO CLEMENTE

Mary Boone Gallery | Uptown

By Ida Panicelli

NICOLáS GUAGNINI

Bortolami Gallery

By Alex Kitnick

Callicoon Fine Arts

By Colby Chamberlain

By Donald Kuspit

DERRICK ALEXIS COARD

By Michael Wilson

“LEARN TO READ ART: A SURVIVING HISTORY OF PRINTED MATTER”

80WSE Gallery | NYU

By Lauren O’Neill-Butler

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, oil on canvas, 39 × 48".

NICOLE EISENMAN

Institute of Contemporary Art, University of Pennsylvania

By William J. Simmons

Lucie Stahl, Shroom Cloud Hands (Purple), 2014, polyurethane, acrylic, 10 1/2 × 6 × 3 1/2".

By Michelle Grabner

View of “Do Ho Suh,” 2014.

The Contemporary Austin | Jones Center

Chris Finley, barium eye run (Tim Cook), 2014, mixed media, 15 × 16 × 13".

Steven Wolf Fine Arts

By Elizabeth Mangini

View of “Stan VanDerBeek,” 2014. From left: Poemfield No. 5, 1968; Poemfield No. 3, 1967. Both from the series “Poemfield,” 1965–71.

STAN VANDERBEEK

By James Nisbet

DWYER KILCOLLIN

By Suzanne Hudson

Kevin Schmidt, A Sign in the Northwest Passage, 2010, digital C-print, 64 1/8 × 49". From La Biennale de Montréal.

LA BIENNALE DE MONTRéAL

By Murtaza Vali

View of “Shinro Ohtake,” 2014. From left: Radio Head Surfer, 1994–95; WEB, 1990–91; Retina (Left Eye), 1989–91; Retina (Right Eye), 1989–91; Retina (Wire Horizon, Tangier), 1990–93.

CéCILE B. EVANS

By Stephanie Bailey

Imran Qureshi, And they still seek traces of blood, 2013–14, lithoprints on paper. Installation view.

By Zehra Jumabhoy

Victoria Morton, Feed Me, 2014, oil on canvas, 118 × 98 1/2".

VICTORIA MORTON

The Modern Institute | Osborne Street

By Jurriaan Benschop

Niki de Saint Phalle, Nana boule (maillot blanc avec polka dots) (Ball Nana [White Suit with Polka Dots]), ca. 1966–68, painted polyester, 41 × 29 × 34". Galerie Mitterand.

NIKI DE SAINT PHALLE

Galerie Mitterrand/Grand Palais

By Lillian Davies

GALERIE JOSEPH TANG

By Mara Hoberman

Joachim Bandau, Der Späher (The Spy), 1974, glass-fiber-reinforced polyester, lacquer, anodized aluminum, iron wheels, 87 3/4 × 21 3/4 × 33 1/2".

Galerie Thomas Fischer

By Astrid Mania

“PICTURES, BEFORE AND AFTER – AN EXHIBITION FOR DOUGLAS CRIMP”

Galerie Buchholz | Berlin

Annika Kahrs, Ich habe noch zwei gute Bilder gemacht (I Have Taken Two More Good Photos), 2014, C-print, 9 1/2 × 13 1/2". From the series “Star-Filled Skies,” 2014–.

Produzentengalerie

By Jens Asthoff

Florine Stettheimer, Asbury Park South, 1920, oil on canvas, 50 × 60".

FLORINE STETTHEIMER

Lenbachhaus Munich

By Daniela Stöppel

Cosima von Bonin, DER ITALIENER (THE ITALIAN), 2014, Styrofoam, fiberglass, laminate, galvanized steel, lacquer. Installation view.

COSIMA VON BONIN

mumok – Museum moderner Kunst Stiftung Ludwig Wien

View of “Elmgreen & Dragset,” 2014. Foreground: Death of a Collector, 2009. Background: The One & the Many, 2011.

ELMGREEN & DRAGSET

SMK | National Gallery of Denmark

By Lars Bang Larsen

Davide Mosconi, Giro del mondo, Amsterdam (A Trip Around the World, Amsterdam), 1974, Polaroid on postcard, 5 1/8 × 9". From the series “Giro del mondo,” 1974.

Galleria Milano

By Marco Meneguzzo

View of “Patrizio Di Massimo,” 2014.

PATRIZIO DI MASSIMO

By Pier Paolo Pancotto

Alessandra Spranzi, Obsoleto #40 (Obsolete #40), 2013–14, Polaroid, book page, 10 3/4 × 7 7/8". From the series “Obsoleto,” 2013–.

ALESSANDRA SPRANZI

By Marco Tagliafierro

View of “Asier Mendizabal,” 2014.

ASIER MENDIZABAL

By Miguel Amado

Zbyněk Baladrán, Diderot’s Dream (detail), 2014, two HD video projections, color, sound; 11 minutes 5 seconds, 2 minutes 24 seconds. Installation view.

ZBYNěK BALADRáN

By Markéta Stará Condeixa

View of “Maria Bartuszová,” 2014.

MARIA BARTUSZOVá

Museum of Modern Art in Warsaw | Museum on Pańska 3

By Noemi Smolik

View of “Russian Performance: A Cartography of its History,” 2014.

“RUSSIAN PERFORMANCE: A CARTOGRAPHY OF ITS HISTORY”

Garage Museum of Contemporary Art

By Hendrik Folkerts

Shambhavi Kaul, Scene 32, 2009, 16-mm film and HD video, color and black-and-white, sound, 5 minutes.

Jhaveri Contemporary

By Ryan Holmberg

By Nicolas Linnert

View of “Ernesto Mallard and Pedro Reyes.” From left: Ernesto Mallard, Natura-círculo, 1970; Pedro Reyes, Capula Klein, 2006.

ERNESTO MALLARD AND PEDRO REYES

By Travis Diehl

Fernanda Chieco, O cachorro, o correio, o casal, o dorminhoco (The Dog, the Post Office, the Couple, the Sleeper), 2014, watercolor on paper, 67 5/8 × 97 7/8".

FERNANDA CHIECO

By Camila Belchior

Cover: William Pope.L, Foraging (Asphyxia Version) (detail), 1993–95/2008, digital C-print, 19 1/8 × 18 1/2". From the series “Black Domestic Project,” 1993–95. — Cover: William Pope.L, Foraging (Asphyxia Version) (detail), 1993–95/2008, digital C-print, 19 1/8 × 18 1/2". From the series “Black Domestic Project,” 1993–95.

FEBRUARY 2015

VOL. 53, NO. 6

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