TABLE OF CONTENTS

May 2023

list view

Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, two-channel HD video, color, silent, 9 minutes.

May 2023, Vol. 61, No. 9

columns features reviews

COLUMNS

Guy Brett with Lea Lublin’s 1975 Interrogations sur l’art, Discours sur l’art (Interrogations into Art, Discourse on Art), Serpentine Gallery, London, May 1975. Photo: Teodoro Maler.

books

James Meyer on Yve-Alain Bois’s An Oblique Autobiography

Cyril Schäublin, Unrest, 2022, 2K video, color, sound, 93 minutes.

film

James Quandt on Cyril Schäublin’s Unrest

*Gerhard Richter in his studio with Spiegel (Mirror), 1981, and Abstraktes Bild (Faust) (Abstract Painting [Faust]), 1980, Düsseldorf, 1981. © Gerhard Richter.

slant

John Ganz on Gerhard Richter

Spread from Barbara T. Smith’s Coffin: Die Cut, Rick Hard-Bound, 1966–67, Xeroxes, spiral bound, 11 1⁄4 × 17 3⁄4". From the series “Coffin,” 1966–67.

on site

Michael Ned Holte on Barbara T. Smith’s “The Way to Be”

Leonora Carrington, El mundo mágico de los mayas (The Magical World of the Mayans), 1963–64, casein tempera on panel, 6' 6 3⁄4" × 14' 1 3⁄4". © Estate of Leonora Carrington/Artists Rights Society (ARS), New York.

on site

Susan L. Aberth on “Leonora Carrington: Revelación”

Meditation Ocean Constellation, M.O. Turtlegrass Meadow, 2023, six-channel HD video, color, sound, 67 minutes. Photo: Hope Ginsburg.

on site

Annie Dell’Aria on “Meditation Ocean”

columns features reviews

New Red Order, Culture Capture: Crimes against Reality, 2020, two-channel HD video, color, sound, 9 minutes.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Nam June Paik, McLuhan Caged, 1967, video tape recorder, shadow-mask color television screen, stereo tape recorder, stereo tape amplifier. Installation view, Galerina Bonino, New York, 1968. © Nam June Paik Estate.

NO RESOLUTION: VIDEO ART IN AND AROUND THE CONTEMPORARY

Alex Kitnick on video art’s elusive past and tenuous future

Bruce Nauman, Bouncing in the Corner, No. 1, 1968, video, black-and-white, sound, 60 minutes. © Bruce Nauman/Artists Rights Society (ARS), New York.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Seth Price recalls his days working at EAI and coming around to Bruce Nauman’s performance tapes

View of “The Machine as Seen at the End of the Mechanical Age,” 1968–69, Museum of Modern Art, New York. Left: Nam June Paik, Rondo Electronique, 1966–68. Right: Nam June Paik, McLuhan Caged, 1967; Nixon Tape, 1965; Lindsay Tape, 1967. Photo: James Matthews. © Nam June Paik Estate.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Tina Rivers Ryan on “Signals: How Video Transformed the World”

Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, five-channel digital video installation (color, sound, various durations), surveillance switcher, custom hardware. Installation view, Museum of Modern Art, New York, 2023. Photo: Robert Gerhardt.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Martine Syms discusses Dara Birnbaum’s 1990 installation Tiananmen Square: Break-In Transmission

View of “People Make Television,” 2023, Raven Row, London. Photo: Marcus J. Leith.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Erika Balsom on “People Make Television”

Ching Jan Lee and Shu Lea Cheang, Taiwan: The Generation After Martial Law, 1990, video, color, sound, 58 minutes.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Tiffany Sia writes on the 1990 video Taiwan: The Generation After Martial Law

!Mediengruppe Bitnik, Ashley Madison Angels at Work in Fort Worth, 2023, LCD screens, metal trolley stands, video player, cables, pink lighting gels, neon lights, five-channel HD video (color, sound, 8 minutes 7 seconds). Installation view, Modern Art Museum of Fort Worth. Photo: Kevin Todora.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Anna Lovatt on “I’ll Be Your Mirror: Art and the Digital Screen”

John Knecht, The Possible Fog of Heaven (detail), 1993, digital video, color, sound, 10 minutes 47 seconds.

THE SCREEN AGE: VIDEO’S PAST AND FUTURE

Cory Arcangel on John Knecht’s The Possible Fog of Heaven, 1993

Carrie Mae Weems, The In Between (detail), 2022–23, mixed media. Installation view, Calligraphy Square, Sharjah, 2023. Photo: Haupt & Binder.

PREVAILING LATITUDE

Siddhartha Mitter on the Sharjah Biennial

Frida Orupabo, Untitled, 2019, collage and paper pins mounted on aluminum, 52 × 48 3⁄8".

OPENINGS: FRIDA ORUPABO

Portia Malatjie on Frida Orupabo

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View of “Bari Ziperstein,” 2023. Photo: Thomas Barratt.

New York

View of “Shahryar Nashat,” 2022–23.

Chicago

Blake Oetting on Shahryar Nashat

Bas Jan Ader, The artist as consumer of extreme comfort, 1968/2003, gelatin silver print, 13 1⁄4 × 19".

Dallas

Michael Corris on Bas Jan Ader

View of “Na Mira,” 2023. From left: Mori 1; Bad Ground; Mori 3, all 2023. Photo: Marten Elder.

Los Angeles

View of “Rebecca Belmore,” 2023–. Photo: Akeem Nermo.

Vancouver

Jaleh Mansoor on Rebecca Belmore

Pablo Andino, Ojos nuez #1 (Walnut Eyes #1), 2023, rum, resin, nut, teak, salvaged fabric, knife, shoe sole rubber, 13 3⁄4 × 7 7⁄8 × 2".

Mexico City

Gaby Cepeda on Pablo Andino

View of “Mapa Teatro,” 2023. Photo: Oscar Monsalve.

Bogotá

Eugenio Viola on Mapa Teatro

Jenkin van Zyl, Surrender, 2023, 4K video, color, sound, 48 minutes 46 seconds.

London

Angelo Madsen Minax, Bigger on the Inside, 2022, 2K video, color, sound, 12 minutes.

Bexhill

Dylan Huw on Angelo Madsen Minax

Patricia Hurl, The Kerry Babies Trial, 1987, oil on canvas, 61 × 42 7⁄8".

Dublin

Declan Long on Patricia Hurl

Celia Hempton, Jakarta, Indonesia, 3rd June 2022, oil on aluminum, 11 3⁄8 × 15 3⁄4".

Paris

Mara Hoberman on Celia Hempton

Jimmie Durham, Malinche, 1988–92, wood, cotton, snakeskin, watercolor, polyester, metal, 69 3⁄4 × 23 5⁄8 × 35".

Naples

Giorgio Verzotti on Jimmie Durham

Irina Lotarevich, Unit, 2023, cast silver, stainless steel, 4 3⁄8 × 11 5⁄8 × 2 3⁄8".

Vienna

Hana Ostan Ožbolt on Irina Lotarevich

Karen Lamassonne, La venida de la ceiba (The Coming of the Ceiba), 1989, acrylic on paper, 29 1⁄8 × 41 3⁄4". From the series “Homenaje a Cali” (Homage to Cali), 1989.

Berlin

Philippe Van Snick, Instability of Fundamentals, 1990, vinyl paint on wood, trestles, dimensions variable. Photo: Thomas Ost.

Brussels

Wouter Davidts on Philippe Van Snick

Oda Knudsen, Skibet skal sejle i nat (The Ship Must Sail Tonight), 1997, oil on canvas, 58 1⁄4 × 36 5⁄8".

Copenhagen

Barry Schwabsky on Oda Knudsen

Zsófia Keresztes, Untitled, 2023, polystyrene, glass mosaics, construction adhesive, steel, cement joint, fiberglass mesh, spirit levels, 86 1⁄4 × 46 × 44 7⁄8".

Budapest

Maximilian Lehner on Zsófia Keresztes

Ange-Frédéric Koffi, Drift, 2022, ink-jet print, 47 1⁄4 × 31 1⁄2".

Abhijan

E. N. Mirembe on Ange-Frédéric Koffi

Kemang Wa Lehulere, Conference of the Birds, 2017–21, salvaged school desks, ceramic dogs, paper scrolls, music stands, mixed media, dimensions variable.

Cape Town

Nkgopoleng Moloi on Kemang Wa Lehulere

Atul Dodiya, Anand with his book of poems, 2020–22, oil on canvas, 60 × 78".

Mumbai

Mario D’Souza on Atul Dodiya

Uriel Orlow, What Plants Were Called Before They Had a Name (Guatemala), 2019–21, transparency film, overhead projectors, canvas panels, HD video (color, sound, 11 minutes 53 seconds), dimensions variable. Photo: Samagra Shah.

Kathmandu

Ayushma Regmi on Uriel Orlow

seok ho kang, untitled, 2016, oil on linen, 28 3⁄4 × 28 3⁄4".

Seoul

Andrew Russeth on seok ho kang

View of “Kate Newby,” 2023. Photo: Samuel Hartnett.

Auckland

Lucinda Bennett on Kate Newby