TABLE OF CONTENTS

Summer 2023

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hannah baer nude deepfake, 2023.

Summer 2023, Vol. 61, No. 10

columns features reviews

COLUMNS

Ken Jacobs, Orchard Street, 1955/2014, 16 mm transferred to HD video, color, silent, 27 minutes 20 seconds.

film

Amy Taubin on Ken Jacobs

Lowell Nesbitt, I.B.M. Disc Pack, 1965, oil on canvas, 64 × 80". © Estate of Lowell Nesbitt/licensed by VAGA at Artists Rights Society (ARS), NY.

on site

Tina Rivers Ryan on “Coded: Art Enters the Computer Age”

View of “Tom Burr,” 2023, Bortolami, New York. From left: Floor Model (adolescent), 2022; Opening Sequence (blue), 2023. Photo: Guang Xu.

on site

David Joselit on Tom Burr

Simone Forti, Three Grizzlies, 1974, video, black-and-white, sound, 17 minutes.

performance

Claudia La Rocco on Simone Forti

Tabita Rezaire, Sugar Walls Teardom (detail), 2016, still from the HD video component (color, sound, 21 minutes 37 seconds) of a mixed-media installation additionally comprising a gynecological chair and mechanical arm. From “Think Tank: REPRODUCTIVE AGENTS.”

slant

Nikki Columbus on the work of art in the age of mechanical reproduction

Michelangelo, Pietà, 1498–99, marble. Installation view, Vatican Pavilion, World’s Fair, New York, 1964–65.

top ten

Jerry Torre shares his top ten

columns features reviews

David Young, Cloud Canyon (b65a,c4600,a-19,3,6,4,44,50), 2019, AI/machine learning–generated digital image.

GETTING SMART

hannah baer, Mario Carpo, and Zoë Hitzig reflect on the uses of AI

PROJECTIVE REALITY

hannah baer on mythologies of intelligence

Visualization from Daniel Bolojan/Nonstandardstudio’s Machine Perceptions: Gaudí + Neural Networks, 2021.

IMITATION GAMES

Mario Carpo on the new humanism

Bennett Miller, Untitled, 2022–23, ink-jet print, 14 1⁄4 × 14 1⁄4".

MOTION BLUR

Zoë Hitzig on Bennett Miller

Rosemarie Trockel, Ohne Titel (“Es gibt kein unglücklicheres Wesen unter der Sonne als einen Fetischisten der sich nach einem Frauenschuh sehnt und mit einem ganzen Weib vorlieb nehmen muss” K.K.:F.) (Untitled [“There is no more unfortunate creature under the sun than a fetishist who yearns for a woman’s shoe and has to settle for the whole woman” K.K.:F.]), 1991, bronze, artificial hair. Installation view, Museum für Moderne Kunst, Frankfurt, 2022. Photo: Frank Sperling. © Rosemarie Trockel/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

IMPIETY

Lynne Cooke on the art of Rosemarie Trockel

Lygia Pape, Tecelar (Weaving), 1958, woodcut on paper, 16 1⁄8 × 23 1⁄4". © Projeto Lygia Pape.

WEAVING THE METABOLIC RIFT

Michael Dango on the art of Lygia Pape

Pacita Abad, L.A. Liberty, 1992, acrylic, cotton yarn, plastic buttons, mirrors, gold thread, and painted cloth on stitched and padded canvas, 94 × 58". From the series “Immigrant Experience,” 1990–95. © Pacita Abad Art Estate.

TAKING LIBERTY

Murtaza Vali on the art of Pacita Abad

CLOSE-UP: SEEK, MEMORY

Claire Bishop on Mike Nelson’s MAGAZIN: Büyük Valide Han, 2003

Mike Nelson, The Deliverance and The Patience, 2001, mixed media. Installation view, Hayward Gallery, London, 2023. Photo: Liam Harrison.

THE LIMITED MOVEMENTS OF AN OUTMODED WORLD

Luke Skrebowski on the art of Mike Nelson

Alex Carver, The Recipients (wound site), 2023, oil on linen, 79 × 79". From the series “A Desired Mesh,” 2023.

OPENINGS: ALEX CARVER

Dean Kissick on Alex Carver

Tolia Astakhishvili, once upon the time, (diagnoses and treatments), 2023, paint, coffee, dirt, ink, pigment, papier-mâché, plaster, chairs, blankets. Installation view, Bonner Kunstverein. Photo: Mareike Tocha.

OPENINGS: TOLIA ASTAKHISHVILI

Kristian Vistrup Madsen on Tolia Astakhishvili

columns features reviews

Joy Episalla, As long as there’s you, As long as there’s me, 2023, HD video, black-and-white, sound, 35 minutes.

Thomas (T.) Jean Lax on “Exposé•es”

Buck Ellison, Rain in Rifle Season, Distributions from Split-Interest Trusts, Price Includes Uniform, Never Hit Soft, 2003, 2021, ink-jet print, 39 3⁄4 × 53 1⁄8".

New York

A.K. Burns, What Is Perverse Is Liquid (NS 0000), 2023, three-channel video installation, HD video, color, sound, 35 minutes. Installation view. Photo: Stephen Takacs.

Columbus

Colby Chamberlain on A.K. Burns

Bonnie Lucas, White Rock, 1986, mixed media on fabric, 49 × 34 × 4".

Portland

Bean Gilsdorf on Bonnie Lucas

Mike Henderson, Freedom, 1968, oil on canvas, 5' 9 1⁄2“ × 12' 3”.

Davis

Maria Porges on Mike Henderson

View of “Drum Listens to Heart,” 2022–23. From left: Milford Graves, Pathways of Infinite Possibilities: Yara, 2017; Harold Mendez, but I sound better since you cut my throat, 2016; Luke Anguhadluq, Drum Dance, 1970; Milford Graves, Bikongo-Ilfá: Spirit of the Being, 2020; Milford Graves, Pathways of Infinite Possibilities: Skeleton, 2017.

San Francisco

Francesca Wilmott on “Drum Listens to Heart”

View of “Another World: The Transcendental Painting Group, 1938–1945,” 2022–23.

Los Angeles

View of “Andrés Argüelles Vigo,” 2023. All works Untitled, 2023.

Lima

Giuliana Vidarte on Andrés Argüelles Vigo

Lucia Koch, Lasagna, 2023, ink-jet print on paper, 94 1⁄2 × 59".

Rio de Janeiro

Felipe Scovino on Lucia Koch

Pilvi Takala, The Stroker, 2018, two-channel HD video projection, color, sound, 15 minutes 16 seconds.

London

Andrew Black, On Clogger Lane, 2023, digital and HD video, color, sound, 1 hour.

Leeds

Lisette May Monroe on Andrew Black

Liz Magor, Coiffed, 2020, painted plywood, fabric skirting, silicone rubber, artificial hair, acrylic throw, woolen blankets, silver fabric, linen, jewelry boxes, costume jewelry, packaging materials, 2' 3 1⁄8“ × 12' 11 7⁄8” × 8'.

Southend-on-Sea

Emily LaBarge on Liz Magor

Megan Rooney, Eyes on Arcadia (Dancing), 2023, acrylic, oil, pastel, and oil stick on canvas, 8' 10 3⁄4" × 19' 3⁄8".

Paris

Galli, Hocker (Stool), 1989/1998, acrylic on cardboard, 48 × 33 7⁄8".

Madrid

Joaquín Jesús Sánchez on Galli

View of “Jonathas de Andrade,” 2023. Foreground: Lost and Found, 2020. Background: The Club, 2010. Photo: Bruno Lopes.

Lisbon

Alexandre Melo on Jonathas de Andrade

Isabella Ducrot, Discesa dello spirito santo (Descent of the Holy Spirit), 2021, mixed media on paper, 15' 1 1⁄8 " × 9' 1 1⁄2 ".

Rome

Agnieszka Gratza on Isabella Ducrot

Nathlie Provosty, Untitled (i), 2021, oil on linen, 19 × 15".

Milan

Yuki Higashino on Nathlie Provosty

Andreas Duscha, World Trade Center, 2023, oil on polymer pressure plate, 16 1⁄8 × 12 5⁄8". From the series “Ghostcard,” 2023.

Vienna

Hana Ostan Ožbolt on Andreas Duscha

Margaret Raspé, Wasser ist nicht mehr Wasser (Water Isn’t Water Anymore), 1990. Performance view, Bzura River, Łódź, Poland, 1990. Photo: Dagmar Uhde.

Berlin

Noemi Smolik on Margaret Raspé

Candice Breitz, Whiteface, 2022, two-channel 4K video, color, sound, 35 minutes 23 seconds.

Baden-Baden

Gürsoy Doğtaș on Candice Breitz

G. B. Jones, Reading Magazines, 1994, graphite on paper, 12 × 8 7⁄8".

Amsterdam

Travis Jeppesen on G. B. Jones

Oscar Tuazon, Los Angeles Water School, 2023, cardboard, wood, tape, tree, fountain. Installation view. From the series “Water School,” 2016–. Photo: Thor Brødreskift.

Bergen

Live Drønen on Oscar Tuazon

Nujoom Alghanem, Between Two Shores, 2022–23, acrylic and charcoal on canvas, 57 1⁄4 × 94 1⁄2".

Dubai

Rahel Aima on Nujoom Alghanem

T. Vinoja, Mullivaikkal, 2019, ink on paper, 8 1⁄4 × 11 3⁄8".

Kolkata

Mario D'Souza on T. Vinoja

Zhang Xiaogang, Light No. 10, 2022, oil on canvas, 47 1⁄4 × 59". From the series “Light,” 2016–.

Hong Kong

Ophelia Lai on Zhang Xiaogang

View of “Mitchel Cumming and Kenzee Patterson,” 2023. Floor: maker unknown, millstone, ca. 1812–30. Wall: Kenzee Patterson, Flexure A, 2022. Photo: Jessica Maurer.

Sydney

Toni Ross on Mitchel Cumming and Kenzee Patterson