TABLE OF CONTENTS

September 2023

list view

Ed Ruscha, Cigarettes (detail), 1956, tempera on board, 15 × 10". © Ed Ruscha.

September 2023, Vol. 62, No. 1

columns features reviews

COLUMNS

Ilya Kabakov with his 1983–84 The Man Who Flew into Space from His Apartment, New York, August 1988. Photo: Marty Lederhandler/AP.

passages

Boris Groys on Ilya Kabakov

View of “Louise Nevelson: Moon Garden Plus One,” 1958, Grand Central Moderns, New York. © Estate of Louise Nevelson/Artists Rights Society (ARS), New York.

books

Catherine Quan Damman on Julia Bryan-Wilson’s Louise Nevelson’s Sculpture

Ben Morea, Red Eclipse, 1965, house paint on canvas, 56 × 56".

books

J. Hoberman on Nadja Millner-Larsen’s Up Against the Real

Ferdinand Hodler, study for Blossoming, 1911–17, graphite, oil, paper, collage, 29 7⁄8 × 39 1⁄2". © Musée Jenisch Vevey.

VAULT

Denise Koller on Ferdinand Hodler

Blythe Bohnen, 48 Brushstrokes, 1971, acrylic on canvas, 72 × 96". From the series “Brushstroke,” 1968–72.

on site

Suzanne Hudson on Blythe Bohnen

Jason Dodge, Cut a Door in the Wolf (detail), 2021, mixed media. Installation view, Museum of Contemporary Art of Rome. Photo: Piercarlo Quecchia, DSL Studio.

top ten

CAConrad shares their top ten

Clockwise, from top left: Diane Lima. Photo: Uiler Costa-Santos. Grada Kilomba. Photo: Ute Langkafel. Manuel Borja-Villel. Photo: Joaquín Cortés/ Roman Lores. Helio Menezes. Photo: Georgia Niara.

ELEVEN QUESTIONS FOR . . .

THE CURATORS OF THE 35th BIENAL DE SÃO PAULO: “CHOREOGRAPHIES OF THE IMPOSSIBLE”

columns features reviews

Cover of The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Bay Press, 1983).

THE ANTI-AESTHETIC AT FORTY

Hal Foster on The Anti-Aesthetic

Spread from Ed Ruscha’s Twentysix Gasoline Stations (Cunningham Press, 1963). © Ed Ruscha.

STATION TO STATION

David Platzker on the art of Ed Ruscha

Sung Neung Kyung, Location, 1976, nine gelatin silver prints, each 18 5⁄8 × 10 1⁄2".

CAUSING A SCENE

Joan Kee on the early art of Sung Neung Kyung

Chryssa, The Gates to Times Square, 1964–66, cast aluminum, stainless steel, neon, Plexiglas, paper, 120 × 120 × 120". © Estate of Chryssa, National Museum of Contemporary Art Athens.

ELECTRIC AFFINITIES

Molly Warnock on the art of Chryssa

Charles Simonds, Dwellings, 1981, clay, sand, sticks, stones, wood, plaster, cloth, chicken wire. Installation view, Whitney Museum of American Art, New York. Photo: Sheldan C. Collins. © Charles Simonds/Artists Rights Society (ARS), New York.

LOST WORLDS

Jules Pelta Feldman on the art of Charles Simonds

Jes Fan, Systems III, 2018, silicone, glass, epoxy, melanin, estradiol, wood, 19 × 48 × 28". From the series “Systems,” 2018.

OPENINGS: JES FAN

Cassie Packard on the art of Jes Fan

columns features reviews

View of “Ellsworth Kelly at 100,” 2023–24. From left: La Combe II, 1951; Painting for a White Wall, 1952; Cut Up Drawing Rearranged by Chance, 1950. Photo: Ron Amstutz. © Ellsworth Kelly Foundation.

Sarah K. Rich on Ellsworth Kelly

Eunnam Hong, Lunch Break, 2023, oil on linen, 33 × 40".

New York

Senga Nengudi, Water Composition II, 1970/2019, vinyl, water, rope, dimensions variable. From the series “Water Compositions,” 1970–. Photo: Thomas Barratt.

Beacon

Dan Adler on Senga Nengudi

Lebohang Kganye, Setshwantso le ngwanaka II, 2013, ink-jet print, 11 3⁄8 × 16 1⁄2". From the series “Ke Lefa Laka: Her-story” (It’s My Heritage: Her-Story), 2013.

Philadelphia

Athi Mongezeleli Joja on Sue Williamson and Lebohang Kganye

Jenene Nagy, mass 17, 2018, graphite paint and torn paper mounted on paper, 33 × 33".

Laramie

Dan Beachy-Quick on Jenene Nagy

Rafael Lozano-Hemmer, Airborne Newscasts, 2013, projectors, computers, surveillance cameras, custom-made software running Navier-Stokes equations, programmed in Delphi and TouchDesigner. Installation view. Photo: Drew Altizer.

San Francisco

Maria Porges on Rafael Lozano-Hemmer

Max Hooper Schneider, Fossil Epizoon (dyrosaurus), 2021, Eocene epoch fossil, aluminum machine, custom base. Installation view. Photo: Paul Salveson.

Los Angeles

View of “Josef Strau,” 2023. Photo: Omar Olguin.

Mexico City

Gaby Cepeda on Josef Strau

Cecilia Vicuña, Janis Joe (Janis Joplin and Joe Cocker), 1971, oil on canvas, 78 3⁄4 × 86 5⁄8".

Santiago

Verónica Tello on Cecilia Vicuña

Tom Blackwell, Queens Boulevard, 1974, oil on canvas, 61 1⁄8 × 83". From “Picture This: Photorealism 1966–1985, Part 2,” 2023.

London

Binta Diaw, Chorus of Soil, 2023, soil, okra, cowpea, and indigo seeds, sound. Installation view, Tobacco Warehouse. From the Liverpool Biennial 2023. Photo: Mark McNulty.

Liverpool, England

Dylan Huw on Liverpool Biennial 2023

View of “Basma al-Sharif,” 2023. Photo: Tadzio.

Paris

Lillian Davies on Basma al-Sharif

Yuri Ancarani, Il capo (The Chief), 2010,
35 mm, color, sound, 15 minutes.

Milan

Ana Vukadin on Yuri Ancarani

Margaret Salmon, Boy (winter), 2022, 35 mm, black-and-white, sound, 32 minutes 39 seconds.

Vienna

Lisette May Monroe on Margaret Salmon

View of “Diamond Stingily,” 2023. From left: Living Room, Ma’s Room II, Children’s Room II, 2023, triptych; Back of House, 2023. Photo: Philip Poppek.

Berlin

Ulrike Rosenbach, Schmelzprozesse (Melting Processes), 1982/2023. Installation view. Foreground: Herzpendel—Energetisches Phänomen (Heart pendulum—Energetic phenomenon), 1990. Background: Last Call für Engel (Last Call for Angels), 2022. Photo: Mareike Tocha.

Bonn

Noemi Smolik on Ulrike Rosenbach

Taslima Ahmed, Canvas Automata (Jupiter), 2023, UV print on canvas, 60 1⁄4 × 44 7⁄8".

Münster

Moritz Scheper on Taslima Ahmed

View of “Simnikiwe Buhlungu,” 2023. Photo: Sergi Pera Rusca.

Amsterdam

Annie Goodner on Simnikiwe Buhlungu

Monica Sjöö, God Giving Birth, 1968, oil on Masonite, 72 × 48".

Stockholm

Adam Kleinman on Monica Sjöö

Ana Gzirishvili, Tranquil Soil, 2023, artificial leather, leather, metal, fabric, plastic, wood, 29 1⁄2 × 4 × 2 1⁄2".

Tbilisi

Franz Thalmair on Ana Gzirishvili

Cengiz Çekil, Towards Childhood, Since Childhood, 1974/2010, Coca-Cola bottles, string, tree branches, light bulbs, cable, electric tape, electrical equipment, each 13 3⁄8 × 4 × 4".

Istanbul

Kaya Genç on Cengiz Çekil

Dorsa Asadi, “A sinner’s flesh should have an Immersion baptism,” Belle said, 2022, glazed ceramic, 19 3⁄4 × 23 5⁄8 × 11".

Dubai

Yalda Bidshahri on Dorsa Asadi

View of “Faith Ringgold and Hank Willis Thomas,” 2023. From left: Faith Ringgold, Windows of the Wedding #15: Friends, 1974; Faith Ringgold, Windows of the Wedding #6: Patience and Understanding, 1974; Hank Willis Thomas, Tomorrow, The United States of Africa, 2023. Photo: Nina Lieska.

Cape Town

Nkgopoleng Moloi on Faith Ringgold and Hank Willis Thomas

Mataaho Collective, Tuakirikiri, 2023, tubular slackline webbing, cam buckles, s-hooks. Installation view, Gwangju Biennale Exhibition Hall. From the Gwangju Biennale, 2023. Photo: glimworkers.

Gwangju

Adela Kim on 14th Gwangju Biennale

Nona Garcia, Overland, 2023, oil on canvas, 7' 3 3⁄8" × 12' 3 3⁄8".

Manila

Carlos Quijon Jr. on Nona Garcia

Stephen Bush, Grüngold, 2022, colored pencil on paper, 33 7⁄8 × 43 3⁄4".

Melbourne

Helen Hughes on Stephen Bush