TABLE OF CONTENTS

Summer 2022

list view

Coco Fusco, Your Eyes Will Be an Empty Word, 2021, HD video, color, sound, 12 minutes. From the Whitney Biennial 2022: “Quiet as It’s Kept.”

Summer 2022, Vol. 60, No. 10

columns features reviews

COLUMNS

International Collection of Modern Art, the J. and K. Bartoszewicz Municipal Museum of History and Art, Lodz, Poland, 1932. Photo: Włodzimierz Pfeiffer.

curation

Rachel Haidu on Muzeum Sztuki

Mickalene Thomas, Resist #2, 2021, acrylic, oil stick, rhinestones, and glitter on canvas mounted on panel, 84 × 108".

curation

Ciarán Finlayson on “Guarding the Art”

Alison Knowles, Proposition #2: Make a Salad, 1962. Performance view, Festival of Misfits, Institute of Contemporary Arts, London, October 24, 1962. Center: Alison Knowles.

slant

Colby Chamberlain on Alison Knowles

A family in Indianapolis, ca. 1915. Photo: J.C. Patton.

on site

Jasmine Sanders on “Black Dolls”

Breyer P-Orridge, Untitled (In Thee Beginning), 2004, marker on paper, sheet size 24 × 18".

on site

Canada Choate on Breyer P-Orridge

Eli Osheyack, Shanghai, 2022. Photo: Dre Romero.

music

Travis Jeppesen on Osheyack’s Intimate Publics

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VENICE 2022

Simone Leigh, Brick House, 2019, bronze. Installation view, Arsenale, Venice, 2022. From “The Milk of Dreams.” Photo: Roberto Marossi.

CHIMERICAL ROMANCE

Chloe Wyma on “The Milk of Dreams”

Nadja, C’est moi, c’est encore moi (It’s Me, It’s Me Again), 1926, lipstick and pencil on paper, 3 5⁄8 × 4 5⁄8". From “The Witch’s Cradle.”

SAY IT WITH—BOLTS!

Daniel Birnbaum on “The Milk of Dreams”

Santiago Ramón y Cajal, Pyramidal cell of the human motor cortex, 1899, ink and pencil on paper, 8 5⁄8 × 6 7⁄8".

THOUGHT EXPERIMENT

Ken Okiishi on “Human Brains: It Begins with an Idea” at Fondazione Prada

David Cronenberg, Crimes of the Future, 2022, 2K video, color, sound, 108 minutes. Saul Tenser (Viggo Mortensen) and Caprice (Léa Seydoux).

GROSS CLINIC

Amy Taubin talks with David Cronenberg about Crimes of the Future

Lydia Ourahmane, Finitude, 2018, ash, chalk, steel, inductor base stereo system. Installation view, New Museum, New York. From the 2018 Triennial. Photo: Maris Hutchinson/EPW Studio.

A LANGUAGE OF ONE’S OWN

Negar Azimi on the art of Lydia Ourahmane

Igshaan Adams, Langa, 2021, paint on wood, plastic beads, glass beads, stone beads, bone beads, polyester rope, nylon rope, cotton fabric, chain, wire, cotton twine, 7' 10 1⁄2“ × 10' 2 7⁄8”.

WORKLINES

Michael Dango on the art of Igshaan Adams

Sonia Delaunay, fabric design study, 1924, gouache on paper, 12 1⁄4 × 9 1⁄4". © PRACUSA S.A.; Louisiana Museum of Modern Art, Humlebæk.

MIGHTY BRAVE

Lynne Cooke on the art of Sonia Delaunay

Andrew Wyeth, Snow Hill, 1989, tempera on panel, 48 × 72". © Andrew Wyeth/Artists Rights Society (ARS); Collection of the Wyeth Foundation for American Art.

CLOSE-UP: EXQUISITE CORPSE

Zack Hatfield on Andrew Wyeth’s Funeral Group drawings, ca. 1991–94

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View of the Whitney Biennial 2022. From left: Mónica Arreola, works from the series “Valle San Pedro,” 2018–20; Danielle Dean, Long Low Line (Fordland), 2019. Photo: Ron Amstutz.

Jace Clayton on Whitney Biennial 2022

View of the Whitney Biennial 2022. Steve Cannon’s library and A Gathering of the Tribes archival material. Photo: Ron Amstutz.

Hilton Als on Whitney Biennial 2022

Julia Lohmann, Corpus Maris I, 2022, seaweed, rattan, plywood. Installation view, Museum of Contemporary Art Australia, Sydney. Photo: Document Photography.

Helen Hughes on 23rd Biennale of Sydney

Pier Paolo Calzolari, Untitled, 2021, salt, pigment, oil pastel, gold leaf, walnut, feather, steel, and lead on wood, 39 3⁄8 × 19 3⁄4 × 4 3⁄4".

New York

Cathy Lu, Nüwa’s Hands, 2022, ceramic, gold luster, steel cable, 101 × 84 × 10".

San Francisco

Arlene Shechet, Altered State, 2020, glazed ceramic, painted hardwood, blackened steel, sand-cast brass electroplated with chrome and nickel, gold leaf, 53 × 39 × 32".

Los Angeles

Adam Pendleton, Just Back from Los Angeles: A Portrait of Yvonne Rainer, 2016–17, video projection, black-and-white, sound, 13 minutes 5 seconds.

Montréal

Nadia Granados, Capitalismo gore (Gore Capitalism), 2022, HD video, color, sound, 3 minutes 50 seconds.

Bogotá

Miguel A. López on Nadia Granados

Mário Cravo Neto, Odé, 1989, ink-jet print, 39 3⁄8 × 39 3⁄8".

Rio de Janeiro

Felipe Scovino on Mário Cravo Neto

Birgir Andrésson, Blackest Night, 2006, wall paint, dimensions variable.

Reykjavik

Tevž Logar on Birgir Andrésson

Rachel Rose, Colore (1820), 2022, pigment and metallic powders on ink-jet print, 13 1⁄4 × 19 5⁄8".

London

Aileen Murphy, mentality-yatter, 2021, vinyl and oil on canvas, 78 3⁄4 × 63".

Dublin

Declan Long on Aileen Murphy

Jacqueline de Jong, Gitane, coup de force (Gitane, Take Over), 1978, oil on canvas, 26 1⁄2 × 38".

Paris

Bertina Lopes, Acrobacia 2 (Stunt 2), 1972–73, mixed media on canvas, 59 × 51 1⁄8".

Rome

Ida Panicelli on Bertina Lopes

View of “Feliza Bursztyn,” 2021–22. Photo: Annik Wetter.

Susch

Camila McHugh on Feliza Bursztyn

Amelie von Wulffen, Untitled, 2022, oil on canvas, 39 3⁄8 × 31 1⁄2".

Vienna

Vanessa Joan Müller on Amelie von Wulffen

View of “Alexandra Bircken,” 2021–22. Photo: Jens Ziehe.

Berlin

Martin Herbert on Alexandra Bircken

Sung Tieu, Moving Target Shadow Detection, 2022, HD animation, color and black-and-white, sound, 18 minutes 56 seconds.

Hamburg

Abhijan Toto on Sung Tieu

View of “Otis Kwame Kye Quaicoe,” 2022. From left: Everette Taylor I, 2022; Sheena Skipper Wrangler, 2022; leather jacket. Photo: Hugard & Vanoverschelde.

Brussels

Sarah Moroz on Otis Kwame Kye Quaicoe

Monira Al Qadiri, OR-BIT 1–6 (detail), 2016–18, 3D-printed plastic, automotive paint, levitation modules. Installation view. From “Experiences of Oil.”

Stavanger

Adam Kleinman on “Experiences of Oil”

Emilija Škarnulytė, t ½, 2019, HD video, color, sound, 18 minutes. Installation view. Photo: GintarėGrigėnaitė.

Vilnius

Neringa Cěrniauskaitė on Emilija Škarnulytė

Joy Labinjo, Terra Firma VII, 2022, oil on canvas, 70 3⁄4 × 98 1⁄4".

Lagos

Ayodeji Rotinwa on Joy Labinjo

Tracey Rose, Die Wit Man (The White Man), 2015, HD video projection, color, sound, 42 minutes 40 seconds.

Cape Town

Athi Mongezeleli Joja on Tracey Rose

Jayashree Chakravarty, Withstanding, 2021, acrylic, oil, paper, audiotape, seeds, synthetic adhesive, and shell flakes on canvas, 70 × 63 3⁄4".

New Delhi

Meera Menezes on Jayashree Chakravarty

Thảo Nguyên Phan, Mute Grain, 2019, three-channel video, black-and-white, sound, 15 minutes 45 seconds. From the Kathmandu Triennale 2077.

Kathmandu

Ayushma Regmi on Kathmandu Triennale 2077

View of “Chun Kook-kwang,” 2022. Photo: Eun Chun.

Seoul

Andrew Russeth on Chun Kook-kwang