TABLE OF CONTENTS

January 2023

list view

Tania Candiani, Cierre Libertad (Securing Libertad), 2008, mixed-media, found materials, United States/Mexico border fence. Installation view, Tijuana, Mexico. From the series “Reinterpretación del paisaje” (Reinterpretation of the Landscape), 2008.

January 2023, Vol. 61, No. 5

columns features reviews

COLUMNS

Jean-Luc Godard, Paris, October 15, 1998. Photo: Richard Dumas/Agence VU/Redux.

passages

James Quandt on Jean-Luc Godard

Jean-Luc Godard, JLG/JLG - autoportrait de décembre (JLG/JLG - Self-Portrait in December), 1994, 35 mm, color, sound, 62 minutes. Jean-Luc Godard.

passages

Yvonne Rainer on Jean-Luc Godard

Jean-Luc Godard, 2 ou 3 choses que je sais d’elle (2 or 3 Things I Know About Her), 1967, 35 mm, color, sound, 87 minutes. Juliette Janson (Marina Vlady).

passages

Amy Taubin on Jean-Luc Godard

Silke Otto-Knapp, Mendocino, CA, January 2021. Photo: Sharon Lockhart.

passages

Sharon Lockhart on Silke Otto-Knapp

John Haberle, Imitation, 1887, oil on canvas, 10 × 14".

slant

David Joselit on “Cubism and the Trompe l’Oeil Tradition”

architecture

Kate Sutton on Jože Plečnik

Still from @coolranchdoritowhore’s September 29, 2022, TikTok video.

top ten

Paris Starn’s Top Ten

columns features reviews

Claes Oldenburg in his studio, New York, 1961. Photo: Robert R. McElroy. © Robert R. McElroy.

CLAES OLDENBURG (1929–2022)

Achim Hochdörfer, Charles Ray, Rachel Harrison, and Paula Cooper pay tribute to the artist

Claes Oldenburg & Coosje van Bruggen, Shuttlecock on a High Wire, in the Rotunda of the Guggenheim Museum, 1995, pencil and pastel on paper, 29 × 231⁄8". From the series “Shuttlecocks,” ca. 1995–2002. © Claes Oldenburg and Coosje van Bruggen.

CLAES OLDENBURG (1929–2022)

Achim Hochdörfer on Claes Oldenburg

Claes Oldenburg’s 1962 Assorted Food on a Stove at the 32nd Venice Biennale, June 1964. Photo: Sergio del Grande/Mondadori Portfolio/Bridgeman Images.

CLAES OLDENBURG (1929–2022)

Paula Cooper on Claes Oldenburg

Claes Oldenburg, New Jersey, ca. 1960s. Photo: Ken Heyman.

CLAES OLDENBURG (1929–2022)

Rachel Harrison on Claes Oldenburg

Claes Oldenburg, Giant Soft Fan, 1966–67, vinyl, foam rubber, wood, metal, plastic tubing; fan: approx. 10' 1⁄8" × 4' 10 1⁄2" × 5' 1 7⁄8". © Claes Oldenburg.

CLAES OLDENBURG (1929–2022)

Charles Ray on Claes Oldenburg

Photo by Claes Oldenburg shot from a window of his studio, New York, ca. 2017. Varick Street. © Claes Oldenburg and Coosje van Bruggen.

PORTFOLIO: CLAES OLDENBURG

Tania Candiani, Cascos protectores (Protective Helmets) (detail), 2003, ink-jet prints, each 24 × 20". From the series “Protección familiar” (Family Protection), 2003–2007. Photo: Julio Orozco.

STITCHING THE BATTLEGROUNDS

Michael Dango on the art of Tania Candiani

Sanya Kantarovsky, Mandible, 2020, watercolor on paper, 14 3⁄4 × 11 1⁄4".

PREDICAMENTS

Barry Schwabsky on the art of Sanya Kantarovsky

View of “Getting Chippy With It,” 2021, O’Flaherty’s, New York. Photo: Marisa Sottos.

THE GIMMICK’S SHADOW

Domenick Ammirati on artist-run galleries

D Harding, Extractive painting 2, 2021, gum arabic and dry pigment on linen, pigment on unprocessed photographic paper extracted from linen canvas. Installation view, Monash University Museum of Art, Melbourne. Photo: Andrew Curtis.

OPENINGS: D HARDING

Tara McDowell on the art of D Harding

columns features reviews

Jan Davidsz. de Heem, Fruits et riche vaisselle sur une table (Un dessert) (A Table of Desserts), 1640, oil on canvas, 58 5⁄8 × 78 7⁄8".

Molly Warnock on “Les Choses”

Constance DeJong, Flame, 2019, spoken text and sound material on sensor-activated digital frame, 2 minutes 28 seconds, 9 3⁄4 × 11 7⁄8 × 6".

New York

Alice Rahon, ¡Torito, Toro! (Little Bull, Bull!), 1951, oil and sand on canvas, 28 3⁄4 × 23 5⁄8".

San Francisco

Gabrielle Selz on Alice Rahon

Sarah Pucci, A Heart That Sees You, ca. 1990, beads, sequins, pins, foam, locket, stand, 13 × 11 3⁄4 × 2 3⁄4".

Los Angeles

Alexis Smith, The American Way, 1980, mixed-media collage, 16 × 52".

San Diego

Suzanne Hudson on Alexis Smith

General Idea, Evidence of Body Binding, 1971, fifteen gelatin silver transparencies mounted in fluorescent light boxes, overall dimensions variable, each element 8 × 12 × 3 3⁄8".

Ottawa

Dan Adler on General Idea

Michaella Garrick, Aye, Black Girl (detail), 2022, sugarcane, wood, wire, digital prints, 96 × 96 × 4". From “Sighting Black Girlhood,” 2022.

Kingston

Rianna Jade Parker on “Sighting Black Girlhood”

Ana Segovia and Diego Vega Solorza, Paisajes, 2022. Performance view, Galería Karen Huber, September 20, 2022. Dancer (Tonatihu Saguilan). Photo: Pablo Astorga.

Mexico City

Gaby Cepeda on Ana Segovia

View of “María Abaddon and Wynnie Mynerva,” 2022. Foreground, from left: María Abaddon, Androfagia (Androphagia), 2022; Wynnie Mynerva, Sendero (Path) (detail), 2022. Background: Wynnie Mynerva, La posibilidad de los deseos hecho carne (The Possibility of Desires Made Flesh) (detail), 2022. Photo: Ian Tevo.

Lima

Mercedes Reátegui on María Abaddon and Wynnie Mynerva

View of “Veronica Ryan,” 2022. Photo: Eva Herzog.

London

View of “Genesis Belanger,” 2022. From left: Masculine Still Life (Keeping It Together), 2022; Minor Procedure, 2022. Photo: Claire Dorn.

Paris

Andrew Berardini on Genesis Belanger

Hans Op de Beeck, We Were the Last to Stay, 2022, mixed media, dimensions variable. From the 16th Biennale de Lyon. Photo: Blaise Adilon

Lyon

Laura McLean-Ferris on Biennale de Lyon

Fuentesal Arenillas, Untitled (Familia), 2022, iroko wood, sapele, pine, mahogany, iron, vinegar, chipboard, canvas, cardboard. 47 1⁄4 × 110 1⁄4 × 18 1⁄2". Photo: David Zarzoso.

Valencia

Joaquín Jesús Sánchez on Fuentesal Arenillas

View of “Pietro Consagra,” 2022. From left: Variazione n. 1 lenzuolo azzurro (Variation n. 1 Blue Bedsheet), 1974; Lenzuolo bianco (White Bedsheet), 1969. Photo: Riccardo Gasperoni.

Milan

Camila McHugh on Pietro Consagra

View of “Oscar Murillo,” 2022. Photo: Bowditch, Lismanis, and Russell.

Venice

Eugenio Viola on Oscar Murillo

Daniel Turner, (Holdenweid) Burnish 2, 2022, gesso, canvas, steel burnish, 9 × 12'.

Basel

Adam Jasper on Daniel Turner

Michel Majerus, untitled, ca. 1993, acrylic on cotton, 31 7⁄8 × 22".

Berlin

Martin Herbert on Michel Majerus

View of “Angharad Williams,” 2022. Wall: Cars, 2022. Floor: What it feels like to live another day, 2022. Photo: Cedric Mussano.

Düsseldorf

Stanton Taylor on Angharad Williams

Gluklya, Red Yurt, 2021–22, bamboo, felt, 22' 11 5⁄8" × 10' 17 3⁄4" × 22' 11 5⁄8". Photo: Eva Broekema.

Amsterdam

Natasha marie Llorens on Gluklya

Lee Lozano, untitled, 1963, conté crayon on paper, 23 7⁄8 × 18 3⁄4”.

Copenhagen

Anya Harrison on Lee Lozano

Krišs Salmanis, Wake Me Up When It’s Over, 2022, mixed media, dimensions variable. From Survival Kit 13. Photo: Ēriks Božis.

Riga

Maija Rudovska on Survival Kit 13

Futoshi Miyagi, Banner (from Road to Nominewee), 2022, cloth, thread, 23 5⁄8 × 25 3⁄8". From the series “American Boyfriend,” 2012–.

Tokyo

Yuki Higashino on Futoshi Miyagi

Gao Xingjian, Miss, 1995, ink on paper, 94 1⁄2 × 46 7⁄8".

Taipei

Travis Jeppesen on Gao Xingjian

Imelda Cajipe Endaya, May bukas pa, inay (There Is Still Tomorrow, Mother), 1982, oil on canvas and sawali panels, 4' 1⁄4" × 17' 5 1⁄2"

Manila

Carlos Quijon Jr. on Imelda Cajipe Endaya