TABLE OF CONTENTS

April 2020

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April 2020, Vol. 58, No. 8

columns features reviews

COLUMNS

Albrecht Dürer, Philosophia, ca. 1502, woodcut on paper, 8 1⁄2 × 5 7⁄8"

books

Christopher S. Wood on Saturn and Melancholy

Cover of Fredy Perlman’s I Accuse This Liberal University of Terror and Violence (Black & Red, 1969).

books

Daniel Marcus on Danielle Aubert’s Detroit Printing Co-op

Look from Willi Smith for WilliWear Street Couture Fall 1983 collection. Photo: Max Vadukul.

FASHION

Rachel Seville Tashjian on Willi Smith

Steve Cosson, This Beautiful City, 2008. Performance view, Kirk Douglas Theatre, New York, September 20, 2008. Young Woman “God’s Grace,” T-girl Christian (Emily Ackerman). Photo: Craig Schwartz Photography.

music

Michael R. Jackson on Michael Friedman

View of “Ancient Nubia Now,” 2019–20, Museum of Fine Arts, Boston.

ON SITE

Nasser Rabbat on “Ancient Nubia Now”

Ofelia Gelvezon-Téqui, Predella, 1984, etching on paper, 12 5⁄8 × 9 5⁄8".

ON SITE

Chanon Kenji Praepipatmongkol on “Suddenly Turning Visible”

Ilhan Omar, Washington, DC, June 24, 2019. Photo: Jim Lo Scalzo/Epa-Efe/Shutterstock.

top ten

Stephen Malkmus

columns features reviews

John Baldessari, Pure Beauty, 1966–68, acrylic on canvas, 45 3⁄8 × 45 3⁄8". © Estate of John Baldessari.

JOHN BALDESSARI

Thomas Crow

John Baldessari, Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) (detail), 1973, twelve offset lithographs on paper, clamshell portfolio, each sheet 9 5⁄8 × 12 3⁄4". © Estate of John Baldessari.

JOHN BALDESSARI

Meg Cranston

Still from John Baldessari’s I Am Making Art, 1971, video, black-and-white, sound, 18 minutes 40 seconds. © Estate of John Baldessari.

JOHN BALDESSARI

Ashley Bickerton

Catherine Opie, John (detail), 2013, ink-jet print, 33 × 25". © Estate of John Baldessari.

JOHN BALDESSARI

Catherine Opie

Moyra Davey, i confess, 2019, HD video, color, sound, 56 minutes 46 seconds.

SPEAKING VOLUMES

Kaelen Wilson-Goldie on the films of Moyra Davey

INDECENT PROPOSALS

David Rimanelli on the art of Aubrey Beardsley

Dora Maar, Untitled (Strange fountain), ca. 1934, gelatin silver print, 8 5⁄8 x 6 1⁄4". © Artists Rights Society (ARS), New York/ADAGP, Paris.

CLOSE-UP: DEEP FAKE

Phil Taylor on Dora Maar’s Le simulateur, 1935

Jean Cocteau, Le sang d’un poète (The Blood of a Poet), 1930, 35 mm, black-and-white, sound, 50 minutes. Poet (Enrique Rivero).

MYTHIC PROPORTIONS

J. HOBERMAN ON JEAN COCTEAU’S ORPHEUS

Trevor Shimizu, Molly Ringwald (Self-Portrait), 1999, oil on canvas, 32 × 41".

OPENINGS: TREVOR SHIMIZU

Joe Bucciero

columns features reviews

Marina Vishmidt on Cameron Rowland

Erró, Good Morning America (detail), 1992, alkyd paint on canvas, 9' 10 1⁄8“ × 14' 9 1⁄8”.

New York

Katarina Burin, Irrational Attachments, 2019–20, concrete, vinyl, plants. Installation view.

Providence

Abraham Adams on Katarina Burin

View of “José Santiago Pérez,” 2020.

Chicago

David J. Getsy on José Santiago Pérez

Donna Ruff, Senate, 2019, burned paper, 10 1⁄2 × 8". From the series “The Federalist Papers Undone,” 2019–.

San Francisco

Maria Porges on Donna Ruff

Lynette Yiadom-Boakye, Brothers to a Garden, 2017, oil on linen, 59 × 47 1⁄2".

Los Angeles

Douglas Watt, Pumpjack (detail), 2019, mixed media, 39 3⁄8 × 24 3⁄4 × 3 1⁄8".

Vancouver

Amy Fung on Douglas Watt

View of “Beatriz Zamora,” 2020.

Mexico City

Fabiola Iza on Beatriz Zamora

Delcy Morelos, Moradas (Dwellings), 2019, mixed media. Installation view.

Bogotá

Fanny Singer on Delcy Morelos

Alex Cerveny, Tela Novela (Soap Opera Canvas), 2019, oil on canvas, 11 × 17 3⁄8".

São Paulo

Camila Belchior on Alex Cerveny

Jade Montserrat, Her inscription read brown sugar, 2017, mixed media on paper, 9 1⁄2 × 6 3⁄4".

London

Prunella Clough, Disused Land, 1999, oil on canvas, 53 × 49".

Chichester

Emily LaBarge on Prunella Clough

Ho Tzu Nyen, 2 or 3 Tigers, 2015, two-channel HD video, color, sound, 18 minutes 46 seconds. From “Animalesque/Art Across Species and Beings.”

Gateshead

Melissa Gronlund on “Animalesque/Art Across Species and Beings”

Jules Adler, La grève au Creusot (The Strike at Creusot), 1899, oil on canvas, 91 × 118 7⁄8".

Paris

Farah Atassi, Model in Studio 2, 2019, oil and glycerol on canvas, 78 3⁄4 × 70 7⁄8".

Dijon

Mara Hoberman on Farah Atassi

Urs Lüthi, Selbstportrait aus der Serie der grossen Gefühle (Self-Portrait from the Strong Feelings Series), 1984/85, diptych, acrylic on canvas, each 78 3⁄4 × 59".

Bologna

Veronica Santi on Urs Lüthi

Renato Leotta, Lighea, 2019, clay, 7 7⁄8 × 6 1⁄4 × 5 7⁄8".

Naples

Eugenio Viola on Renato Leotta

Chiara Fumai, I Say I, 2013, collage and ink on paper, six sheets, each 11 3⁄4 × 8 1⁄4". From “Scrivere disegnando: When Language Seeks Its Other” (Writing by Drawing: When Language Seeks Its Other).

Geneva

Daniel Horn on “Writing by Drawing”

Honza Zamojski, The Body, 2019, mixed media. Installation view. From “4 × 1 = 30.”

Vienna

Caroline Lillian Schopp on “4 × 1 = 30”

Susanne Paesler, o. T. (Untitled),_ca. 1998, lacquer and foil on aluminum, 59 × 59".

Berlin

Dominikus Müller on Susanne Paesler

Raphael Weilguni and Viola Relle, Die Raute kann eigentlich jeder (Basically Anyone Can Do the Rhombus), 2019, porcelain, ceramic, glaze, plaster, 12 5⁄8 × 14 5⁄8 × 8 1⁄4".

Munich

Daniela Stöppel on Raphael Weilguni and Viola Relle

Karol Radziszewski, Hyacinth, 2019, acrylic on canvas, 78 3⁄4 × 118 1⁄8".

Warsaw

Agata Pyzik on Karol Radziszewski

Ilit Azoulay, Forget Me Not, 2019, ink-jet print, 33 1⁄8 × 92 1⁄2". From “Transferumbau: Liebling” (Transfer Rebuild: Liebling).

Tel Aviv

Nuit Banai on “Transferumbau: Liebling”

Shambhavi, Purabiya.Easterly, 2019, iron, dimensions variable.

New Delhi

Meera Menezes on Shambhavi

Yu Guo, Rock and Cliff: The Geological Surface of Horn Town, 2019, video, color, sound, 47 minutes 20 seconds. From “A Geography of Resistance.”

Beijing

Qing Zhang on “A Geography of Resistance”

Ho Sin Tung, Mystery of Love, 2019, pencil, ink, and gouache on paper, 53 × 39 1⁄2".

Hong Kong

Stephanie Bailey on Ho Sin Tung

Zac Langdon-Pole, Cleave Study (ii), 2019, plastic anatomical human tongue cross section, Xenophora shell, 4 × 2 1⁄8 × 3 1⁄2".

Auckland

Anthony Byrt on Zac Langdon-Pole