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View of “Wolfgang Tillmans,” 2017, Fondation Beyeler, Basel. Photo: Mark Niedermann.

WOLFGANG TILLMANS

Fondation Beyeler

Reena Spaulings, Bonjour! 1–3, 2017, oil on Dibond and mixed media. Installation view. Photo: Britta Schlier.

REENA SPAULINGS

By Beau Rutland

View of “Seth Price: Social Synthetic,” 2017, Stedelijk Museum, Amsterdam. Photo: Gert Jan van Rooij.

Stedelijk Museum Amsterdam

By Gregor Quack

FX Harsono, Voice Without a Voice Sign, 1993–94, silk screen on canvas, wooden stools, stamps. Installation view, National Art Center, Tokyo, 2017.

“SUNSHOWER: CONTEMPORARY ART FROM SOUTHEAST ASIA, 1980S TO NOW”

National Art Center and Mori Art Museum

By Chanon Kenji Praepipatmongkol

Lauren Greenfield, Adam, 13, and go-go dancer at bar mitzvah party at the Whisky a Go Go nightclub in West Hollywood, 1992, ink-jet print, 14 × 20".

LAUREN GREENFIELD’S “GENERATION WEALTH”

October 2017

GLENN O’BRIEN

By Carlo McCormick

View of “Michel Houellebecq: French Bashing,” 2017, Venus, New York.

MICHEL HOUELLEBECQ

By Jeffrey Kastner

Michel Houellebecq, Tourisme #002, 2017, ink-jet print, 39 1/4 × 55 1/2".

MICHEL HOUELLEBECQ

By Mathieu Malouf

Forensic Architecture, The Architecture of Hellfire Romeo: Drone Strike in Miranshah, Pakistan, 2012, digital composite and rendering, dimensions variable.

FORENSIC ARCHITECTURE

Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York, ca. 1943–59, gouache on paper mounted on board, 20 × 24 1/4".

FRANK LLOYD WRIGHT

Jeff Mills, Planets, 2015. Performance view, Barbican Centre, London, June 12, 2017. Jeff Mills. Photo: Mark Allan.

By Bill Brewster

Alan Vega, Stars, 2016, graphite and acrylic on canvas, 36 × 24".

Colin McCahon, Parihaka Triptych, 1972, acrylic on canvas, 5' 9" × 12' 4".

By Anthony Byrt

Page detail from Dominique Goblet’s Pretending Is Lying (New York Review Comics, 2017).

DOMINIQUE GOBLET’S PRETENDING IS LYING

By Nicole Rudick

October 2017

By Sarah Zapata

Adjaye Associates, National Museum of African American History and Culture, 2016, Washington, DC. Photo: Alan Karchmer.

An interview with David Adjaye

October 2017

PERFECT STORMS: ED ATKINS AND THE SCIENCE OF WEATHER SIMULATION

RUSSIA AND THE ART OF REVOLUTION

Iakov Chernikhov, untitled, 1933, graphite, ink, and gouache on paper, 30 × 24". From “Imagine Moscow: Architecture, Propaganda, Revolution.”

SEEING RED: EXHIBITING THE RUSSIAN REVOLUTION

By Matthew S. Witkovsky

Chronocard from the 1968 edition of Platon Kerzhentsev’s Printsipy organizatsii (Principles of Organization) (Moscow: Gosudarstvennoe izdatel’stvo, 1924).

SOCIAL ENGINEERING: SOVIET ORGANIZATIONAL SCIENCE

Iakov Chernikhov, Kompozitsiia 49 (Composition 49), 1933, letterpress on paper, 12 × 8 7/8". From Arkhiteturnye fantazii: 101 kompozitsiia v kraskakh, 101 arkhitekturnaia miniatiura (Architectural Fantasies: 101 Compositions in Color, 101 Architectural Miniatures) (Mezhdunarodnaia kniga, 1933).

LEFT FIELD: REVOLUTIONARY ARCHITECTURE

By Owen Hatherley

Black Land and Liberation Initiative event, East Oakland, CA, June 19, 2017. Photo: Roselyn Berry/Twitter.

MANAGING UP: ASSEMBLY AND THE NEW ACTIVISM

By Michael Hardt

Aliza Nisenbaum, Evelyn age 12, 2012, oil on linen, 16 × 20".

ALIZA NISENBAUM

OPENINGS

By Emily Liebert

Fernand Khnopff, I Lock My Door upon Myself, 1891, oil on canvas, 28 5/8 × 55 1/2".

ROBERT PINCUS-WITTEN ON THE SALON DE LA ROSE+CROIX IN PARIS

Solomon R. Guggenheim Museum | New York

By Robert Pincus-Witten

Galerie Buchholz | New York

By Laura McLean-Ferris

HENRIQUE OLIVEIRA

Van de Weghe Fine Art

By David Frankel

By Colby Chamberlain

Brennan & Griffin

By Rachel Churner

Elizabeth Dee Gallery

HELEN PASHGIAN AND BRIAN WILLS

By Suzanne Hudson

Christin Tierney

By Michael Wilson

Public Art Fund | Doris C. Freedman Plaza

By Alex Kitnick

By Johanna Fateman

MARK MOTHERSBAUGH

Grey Art Gallery

Whitney Museum of American Art

By Annie Godfrey Larmon

Nancy Hoffman Gallery

By Donald Kuspit

HUDINILSON JR., JESSICA MEIN, VIVIAN SUTER

Dana Schutz, Slow Motion Shower, 2015, oil on canvas, 78x72".

ICA - Institute of Contemporary Art, Boston

Mohamed Bourouissa, The City, 2016, gelatin silver print, spray paint, and lacquer on car metal plate and car body parts, 691/4x983⁄8x113/4".

MOHAMED BOUROUISSA

The Barnes Foundation

By Murtaza Vali

Charles McGee, Rhapsody in Black and White, 2008, ink jet on Dibond, 60 x 118 x 4".

Library Street Collective

By Matthew Biro

View of “From Counterculture to Cyberculture,” 2017. Clockwise from top right: Bruce Conner, Christ Casting Out the Legion of Devils, 2003; Lucy Dodd, Lady Long Gone, 2016; Dawn Kasper, UH yes, UH no, 2017; Jared Madere, To be titled (Matter Harmonic Topiary), 2017.

“FROM COUNTERCULTURE TO CYBERCULTURE”

Monika Sosnowska, Stairs, 2016, steel, paint, 3' 11 1/4" x 5' 87⁄8" x 34' 93/8".

MONIKA SOSNOWSKA

Hauser & Wirth | Downtown Los Angeles

WILLIAM E. JONES

David Kordansky Gallery

By Andy Campbell

“FLEETING IMPRESSIONS AND ABUNDANCE OF DETAIL”

By Leland de la Durantaye

Guy Mees, Van het blauw van de zee (From the Blue of the Sea), 1980–90, pastel and pencil on paper, 52 3/8 x 60 1/4".

David Zwirner | London

By Elisa Schaar

By Barry Schwabsky

Hales Gallery | London

By Sylwia Serafinowicz

“QUEER BRITISH ART 1861–1967”

By Sylwia Serafinowicz

View of “Marion Verboom,” 2017. Photo: Nicolas Brasseur.

Galerie Jérôme Poggi

By Mara Hoberman

By Riccardo Venturi

Caleb Considine, Pigs blood for a painting I didn’t make, 2017, oil on canvas, 13 x 19".

CALEB CONSIDINE

Galerie Buchholz | Cologne

By Jens Asthoff

CHRISTIAN FREUDENBERGER

By Noemi Smolik

Marvin Gaye Chetwynd, Salamander, 2017, latex, paper, cardboard, papier-mâché, foam padding, plastic, Dutch metal, metal stand, 64 1/4 x 60 5/8 x 61". Photo: Gregor Staiger.

MARVIN GAYE CHETWYND

Josip Vaništa, Deposition (detail), 1986, digital print on archival paper, multipart, each 18 7/8 x 13".

Vaduz, Liechtenstein

Kunstmuseum Liechtenstein

Paola Di Bello, Ora e qui, Milano, #5.2 (Now and Here, Milan, #5.2), 2016, C-print, approx. 24 × 30". From the series “Ora e qui, Milano,” 2016.

Galleria Bianconi

By Giorgio Verzotti

Luigi Ontani, David d’après Michelangelo, 1970, seven color photographs, overall 6' 1" x 25' 3".

Accademia Nazionale di San Luca

By Ida Panicelli

Selim Turan, Mobile (Acrobats), 1975–80, Japanese paper, wire, string, cloth, aluminum foil, acrylic paint, lead, beeswax, thumbtack, silver paper, papiermâché, approx. 26 × 7 1/4 × 7 1/4".

Sakıp Sabancı Museum, Sabancı University

By Mine Haydaroglu

Waddah Faris, Max Ernst taking belly dance lessons, The Fontana Cabaret, Beirut, 1969, gelatin silver print, 13 3/4 x 16 1/2".

Saleh Barakat Gallery

By Kaelen Wilson-Goldie

Amba Sayal-Bennett, Aera, 2017, drawing, projection, and mixed media, 10' 4" x 10' 7/8" x 4' 10 5/8".

AMBA SAYAL-BENNETT

By Murtaza Vali

Andy Warhol, Marilyn Monroe’s Lips, 1962, synthetic polymer, silk-screen ink, and pencil on canvas, 6' 10 3/4" x 13' 7".

By Phyllis Tuchman

Galeria Alterna

Valdirlei Dias Nunes, Untitled, 2017, acrylic on canvas, 19 5/8 x 11 7/8".

VALDIRLEI DIAS NUNES

Galeria Casa Triângulo

By Camila Belchior

Zhou Tiehai, Will/We Must, 1996, 35 mm, black-and-white, silent, 9 minutes 17 seconds.

Yuz Museum Shanghai 余徳耀美术馆

By Arthur Solway

A+ Contemporary

Philip Brophy, Evaporated Music 2: At the Mouth of Metal, 2006–2008, video, color, sound, 18 minutes.

Neon Parc | Bourke Street

By Helen Hughes

Cover: Georgy Rublev, Portrait of Joseph Stalin, ca. 1930, oil on canvas, 63 3/4 × 63 3/4". From “Revolution: Russian Art 1917–1932.” — Cover: Georgy Rublev, Portrait of Joseph Stalin, ca. 1930, oil on canvas, 63 3/4 × 63 3/4". From “Revolution: Russian Art 1917–1932.”

OCTOBER 2017

VOL. 56, NO. 2

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