Dear readers, On the cover of Artforum’s October issue is an exuberant tessellation by Joyce Kozloff, one of the pioneers of Pattern and Decoration and a touchstone of Lynne Cooke’s formidable article on “the last of the strategically organized art movements of the twentieth century.” Cooke carefully takes stock of four celebrated museum exhibitions that have thrust P&D back into the spotlight after years of critical neglect.
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THIS MONTH IN PRINT
Cover: Joyce Kozloff, If I Were an Astronomer: Boston (detail), 2015, mixed media on canvas, 37 × 55".
Dear readers,

On the cover of Artforum’s October issue is an exuberant tessellation by Joyce Kozloff, one of the pioneers of Pattern and Decoration and a touchstone of Lynne Cooke’s formidable article on “the last of the strategically organized art movements of the twentieth century.” Cooke carefully takes stock of four celebrated museum exhibitions that have thrust P&D back into the spotlight after years of critical neglect. “The interrelated concepts of decoration, ornament, and pattern are anything but universal, monolithic, and fixed,” she argues, scrupulously attending to the gaps and schisms in received narratives. It’s the kind of essay that feels at home in the magazine, and one of a number of revelatory articles this month.

—David Velasco
ON THE COVER
Tina Girouard, Lie No, 1973. Performance view, 112 Greene Street, New York, September 1973. Tina Girouard. © Tina Girouard/Artists Rights Society (ARS), New York.
Pattern Recognition: Lynne Cooke on the Pattern and Decoration movement “The interrelated concepts of decoration, ornament, and pattern are anything but universal, monolithic, and fixed.”
Regen Projects
FEATURES
Robert Longo, Untitled (Insurrection at the U.S. Capitol; January 6th, 2021; Based on a photograph by Mark Peterson), 2021, charcoal on mounted paper, 7'8" × 11'2".
More Real Than Real: Tim Griffin on the art of Robert Longo “Longo’s most recent pieces capture what is made visible when the myths can no longer obscure what lies beneath the surface.”
Ed Atkins, The Worm, 2021, digital video projection, color, sound, 12 minutes 40 seconds.
Your Loss: Hal Foster on Ed Atkins’s The Worm, 2021 “Rather than reiterate how the human is given over to technology, Atkins seeks, perhaps impossibly, to bend technology back toward the human.”
Todd Haynes, The Velvet Underground, 2021, 4K video, color and black-and-white, sound, 121 minutes. From left: John Cale, Gerard Malanga, Nico, Andy Warhol.
You’ll Be My Mirror: Amy Taubin speaks with Todd Haynes about The Velvet Underground “The Velvet Underground burned so quickly that it felt appropriate that the film should have a kind of meteoric trajectory.” —Todd Haynes
COLUMNS
Christian Boltanski, Grand Palais des Champs-Élysées, Paris, 2010. Photo: Didier Plowy.
Daniel Birnbaum on Christian Boltanski “Boltanski described himself as a sentimental Minimalist. He had nothing against being called emotional.”
Kaari Upson, San Bernardino, CA, 2016. Photo: Michael Benevento.
Audrey Wollen on Kaari Upson “All her ideas were alive and held her aliveness within them. They still do.”
Neelon Crawford, Mobius, 1971, 16 mm, color, sound, 18 minutes.
J. Hoberman on Neelon Crawford “MoMA’s curators have not only rediscovered Crawford but, of necessity and perhaps for the better, reinvented him.”
REVIEWS
View of “Huguette Caland: Tête-à-Tête,” 2021. From left: Bodrum, 2008; City, 2010. Photo: Daniel Terna.
Colby Chamberlain on Huguette Caland, plus more from New York, Chicago, San Francisco, Los Angeles, Mexico City, Reykjavík, London, Nottingham, Paris, Madrid, Prato, Chios, Fribourg, Vienna, Berlin, Cologne, Braunschweig, Amsterdam, Lodz, Abu Dhabi, Cape Town, Hong Kong, and Seoul
Tina Kim Gallery
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