TABLE OF CONTENTS

January/February 2021

list view

January/February 2021, Vol. 59, No. 5

columns features reviews

COLUMNS

Joachim Olender, La collection qui n’existait pas (The Collection That Doesn’t Exist), 2014, HD video, color, sound, 93 minutes. Herman Daled.

passages

Benjamin H. D. Buchloh on Herman Daled: Collector of Utopias (Works on Paper)

Shuzo Azuchi Gulliver, Cinematic Illumination, 1968–69, eighteen slide projections (1,350 black-and-white slides, sound, 114 minutes 45 seconds), 108 color gels, disco ball. Installation view, the Museum of Modern Art, New York, 2020. Photo: Robert Gerhardt.

ON SITE

J. Hoberman on Shuzo Azuchi Gulliver’s Cinematic Illumination

Charles Atlas, Because We Must, 1989, video, color, sound, 52 minutes 37 seconds. Foreground: Michael Clark. Background: Amanda King. Production still. Photo: Dee Conway/Bridgeman Images.

ON SITE

Lizzie Homersham on Michael Clark

Lydia Ourahmane and Alex Ayed, Fox, Glass Eyes, Tara River Water, Boat Trailer, Pirlitor Stone, Wand, Sage, Stone, 5 Paintings on Canvas, 1.5L Adriatic Sea 1.5L Adriatic Sea, 1kg Honey (Crna Gora), Olive Oil, Double Bag, 250g Coffee x2, 100g Coffee, Salt, Sugar Cubes, Bubble Gum x2, Cigarettes (20 pack), Tinned Sardines, Vit C Juice Carton x3, Eurocrem, Fridge Magnet x2, Chicken Soup x2, Beef Soup x2 (detail), 2020, taxidermy fox, boat trailer, stones, water, wand, sage, five paintings on canvas, water bottles, coffee, juice cartons, plastic bags, cigarettes, fridge magnets, food items. Installation view, Wiels Contemporary Art Centre, Brussels. Photo: Philippe de Gobert.

ON SITE

Amanda Sarroff on “Risquons-Tout”

Caravaggio, The Inspiration of Saint Matthew, 1602, oil on canvas, 9' 8 1/2" x 6' 2 1/2".

slant

Alex Kitnick on the discontent with museums

Cover of Sarah Schulman’s After Delores (E. P. Dutton, 1988).

topten

Torrey Peters

columns features reviews

Philip Guston, Sarasota, FL, 1967.

Philip Guston

Five contributors consider Guston’s oeuvre

Philip Guston, If This Be Not I, 1945, oil on canvas, 42 1/4 × 55 1/4". © The Estate of Philip Guston.

Now You See Me

Dan Nadel on Philip Guston’s Jewishness

Philip Guston, Untitled, 1964, oil on canvas, 66 × 76". © The Estate of Philip Guston.

Untitled, 1964

Sarah K. Rich on Philip Guston’s Untitled, 1964

Ugly Feelings

Robert Slifkin on Philip Guston and white privilege

Philip Guston, City Limits, 1969, oil on canvas, 77 × 103 1/4". © The Estate of Philip Guston.

City Limits, 1969

Chris Ofili on Philip Guston’s City Limits, 1969

Project: Trenton Doyle Hancock

Step and Screw: Stock Photo Exchange, 2020

Aaron Hicks, Visitation, 1998, lacquer and acrylic on canvas, 36 × 30".

Image Conscious

Jasmine Sanders on the Black Romantic

Deborah Remington, Haddonfield, 1965, oil on canvas, 74 1⁄8 × 69". © Deborah Remington Charitable Trust for the Visual Arts/Licensed by VAGA at Artists Rights Society (ARS), New York.

Hard Drives

Suzanne Hudson on the art of Deborah Remington

Lucas Samaras, Untitled, 2008–20, ink-jet print, 14 × 14". From the “GESTURES” series, 2008–20.

Project: Lucas Samaras

David Velasco

Nash Glynn, Self Portrait with One Foot Forward and One Hand Reaching Out, 2020, acrylic on canvas, 48 × 36".

Openings: Nash Glynn

Hari Nef on the art of Nash Glynn

Hayley Barker, Front Yard at Dusk with Visitor, 2020, oil on linen, 82 × 100".

Openings: Hayley Barker

Barry Schwabsky

columns features reviews

View of “ART CLUB2000: Selected Works 1992–1999,” 2020–21, Artists Space, New York. Reinstallation of “Commingle,” 1993. Photo: Filip Wolak.

Domenick Ammirati on ART CLUB2000

Moira Dryer, Picture This, 1989, casein on wood, 46 × 48".

Molly Warnock on Moira Dryer

Archie Rand, Therefore, God exists., 2017, acrylic on canvas, 24 × 18". From “The Cherry-Blossom Proof” series, 2017.

New York

McArthur Binion, DNA:Work, 2020, ink, oil stick, and paper on board, 72 × 48". From the series “DNA:Work,” 2014–.

Chicago

Elias Sime, Tightrope: Noiseless 8, 2019, reclaimed electrical wires and components on panel, 7' 6“ × 10' 8”. From the series “Tightrope,” 2019–20.

St. Louis

Jessica Baran on Elias Sime

Kandis Williams, Pins and Needles, 2016, vinyl adhesive on Plexiglas, fluorescent light, 48 × 90 1⁄4". From Made in L.A. 2020.

Los Angeles

Karla Kaplun, Escena: Acto II (Scene: Act II), 2020, oil on canvas, wooden frame, 92 1⁄4 × 73 5⁄8 × 2".

Mexico City

Gaby Cepeda on Karla Kaplun

Beatriz González, Peinador gratia plena (Dressing Table Gratia Plena), 1971, enamel on metal on furniture, 59 × 59 × 15".

Bogotá

Eugenio Viola on Beatriz González

Bruno Dunley, Cabeça de ferro (Head of Iron), 2019, oil on canvas, 86 5⁄8 × 70 7⁄8".

São Paulo

Ela Bittencourt on Bruno Dunley

Christina Quarles, Sweet Chariot, 2020, acrylic on canvas, 72 × 96".

London

View of “Jamie Crewe,” 2020. From left: “Morton”—“Beedles”—“An abyss”, 2020; “The Ideal Bar”—“Le Narcisse”—“Alec’s”, 2020. Photo: Jules Lister.

Hull

Andrew Hunt on Jamie Crewe

Eulàlia Rovira, Esmorteir l’esmorteït (Deaden the Deadened), 2020, wooden beams, nylon ratchet straps. Installation view.

Barcelona

Joaquín Jesús Sánchez on Eulàlia Rovira

Corinna Gosmaro, CHUTZPAH!, 2020, mountain-climbing ropes, wire brushes, 118 1/8 × 35 1/2".

Rome

Ida Panicelli on Corinna Gosmaro

Latifa Echakhch, Sun Set Down, 2020, acrylic paint, concrete, vinyl, and fiber on canvas mounted on aluminum, 78 3/4 × 59 1/8". From the series “Sun Set Down,” 2020.

Milan

Veronica Santi on Latifa Echakhch

View of “Gaylen Gerber,” 2020. Photo: Gaylen Gerber and Paul Levack.

Vienna

Yuki Higashino on Gaylen Gerber

Ei Arakawa, How to DISappear in America (Duration: multiple times in total of 9 hours, & approx. 60 hours on preparation, Honorarium: 3,500 EUR, 0.72 EUR per minute), 2020, LEDs, hand-dyed fabric, grommets, controller, SD card, power supplies. Installation view.

Düsseldorf

Gregor Quack on Ei Arakawa

Marcin Dudek, Slash & Burn, 2020, acrylic paint, steel powder, image transfer, medical tape, UV varnish on wood, aluminum, and steel, 100 3/4 × 99 1/4".

Brussels

Adam Jasper on Marcin Dudek

Renzo Martens and Cercle d’Art des Travailleurs de Plantation Congolaise, White Cube (trailer), 2020, video, color, sound, 5 minutes. From “Monoculture: A Recent History.”

Antwerp

Yoann Van Parys on “Monoculture: A Recent History”

John Bauer, Ännu sitter Tuvstarr och ser undrande ner i vattnet (Princess Tuvstarr Gazing Down Into the Dark Waters of the Forest Tarn), 1913, watercolor, gouache, and ink on paper. 9 7/8 × 10 5/8".

Stockholm

Sabrina Tarasoff on John Bauer

Paulina Ołowska, Seducer, 2020, oil on canvas, 67 × 43 1/4". From “Wages for Housework.”

Warsaw

Agata Pyzik on “Wages for Housework”

Zanele Muholi, Bangizwenkosi, The Sails, Durban, 2019, gelatin silver print, 23 5/8 × 15 3/4". From the series “Somnyama Ngonyama” (Hail the Dark Lioness), 2012–.

Cape Town

Athi Mongezeleli Joja on Zanele Muholi

Fahd Burki, Affinity, 2020, wood, acrylic gesso, 29 3/4 × 22 7/8".

Dubai

Jyoti Dhar on Fahd Burki

Kazuo Kuniyoshi, Terua, Koza City was called by the nickname “Black People’s Town.” (Kokujingai), 1971, ink-jet print, 15 3/4 × 22 1/2". From “Wishful Images: When Microhistories Take Form.”

Singapore

Wong Bing Hao on “Wishful Images”

View of “Haegue Yang,” 2020–21.

Manila

Carlos Quijon Jr. on Haegue Yang

Natalya Hughes, Woman I (Me from here), 2018–19, acrylic on polyester, 76 × 57 7/8".

Sydney

Toni Ross on Natalya Hughes