TABLE OF CONTENTS

November 2022

list view

Tala Madani, Golden Pour (detail), 2015, oil on linen, 16 1⁄4 × 14".

November 2022, Vol. 61, No. 3

columns features reviews

COLUMNS

letters

Letter to the editor

Nikyatu Jusu, Nanny, 2022, 2K video, color, sound, 98 minutes. Aisha (Anna Diop).

film

Amy Taubin on Nanny and Saint Omer

Leigh Ledare, The Task, 2017, HD video, color, sound, 118 minutes.

on site

Colby Chamberlain on the FRONT Triennial

Pierre Huyghe, Variants, 2021–, still from the real-time simulation component of a mixed-media installation additionally comprising a scanned forest, generative mutations and sounds, intelligent camera, environmental sensors, animals, plants, microorganisms, and materialized mutations: synthetic and biological material aggregate.

on site

Ina Blom on Pierre Huyghe’s Variants

Curzio Malaparte, Lipari, Italy, March 1934. Photo: Wikicommons.

slant

John Ganz on “Casa Malaparte: Furniture”

View of “ᐊᖏᕐᕋᒧᑦ/Ruovttu Guvlui/Towards Home,” 2022–23, Canadian Centre for Architecture, Montreal. Photo: Mathieu Gagnon.

slant

Amin Alsaden on “ᐊᖏᕐᕋᒧᑦ/Ruovttu Guvlui/ Towards Home”

Gossip Girl, 2007–12, still from a TV show on The CW. Season 1, episode 13, “A Thin Line Between Chuck and Nate.” Serena van der Woodsen (Blake Lively).

top ten

Kay Gabriel shares her top ten

columns features reviews

Tala Madani, Bright Eyes, 2007, oil on linen, 11 7⁄8 × 9 1⁄2".

GRIN AND BEAR IT

Sarah Lehrer-Graiwer on the art of Tala Madani

Martin Wong, Eureka, CA, ca. 1975. © The Wong Foundation/P.P.O.W.

HUMBOLDT FOG

Solomon Adler on Martin Wong’s Eureka Years

East elevation drawing of the Doris Duke Theatre, Jacob’s Pillow, Becket, MA, ca. 1988–89.

1000 WORDS: YVE LARIS COHEN

Yve Laris Cohen talks About “Studio/Theater”

Eddie Martin, We Were Once Kids, 2021, digital video, color, sound, 88 minutes. Mel Stones’s featured archival photograph of Harold Hunter, New York, 1992.

LIVING MEMORY

Lila Lee-Morrison on Kids and the surplus of the image

Jimmy DeSana and Terence Sellers, Untitled, 1978, gelatin silver print, approx. 6 5⁄8 × 9 1⁄2". From the series “The Dungeon.”

PORTFOLIO: JIMMY DESANA AND TERENCE SELLERS

John Belknap

Jannis Kounellis, Untitled, 1972, stones, doorway. Installation view, Fondazione Prada, Venice, 2019. Photo: Agostino Osio-Alto Piano. © Artists Rights Society (ARS), New York; SIAE, Rome. © Estate of Jannis Kounellis.

CLOSE-UP: JANNIS KOUNELLIS

David Rimanelli on the “blocked door” series

columns features reviews

View of “Ken Lum: Death and Furniture,” 2022–23. Floor: Untitled Furniture Sculpture, 1978–. From the series “Furniture Sculptures,” 1978–. Walls: Works from the series “Photo-Mirrors,” 1998.

Toronto

Joni Low on KEN LUM

Portia Munson, Today Will Be AWESOME, 2022, found objects, synthetic fabric and cloths, mannequin, salvaged bar table, deconstructed secretary cabinet, 72 × 60 × 70".

New York

Mary Ann Unger, Across the Bering Strait, 1992–94, Hydrocal, steel, pigment, graphite, dimensions variable. Photo: Bradley Wakoff.

Williamstown

Jackson Davidow on Mary Ann Unger

View of “The Double: Identity and Difference in Art Since 1900,” 2022. From left: Felix Nussbaum, Orgelmann (Organ Grinder), 1942–43; Marcel Duchamp, Fresh Widow, 1920/1964; Kerry James Marshall, Two Invisible Men Naked, 1985; Lorna Simpson, Untitled (Two Necklines), 1989. Photo: Robert Shelley.

Washington, DC

Ian Bourland on “The Double: Identity and Difference in Art Since 1900”

James Welling, Portrait of a Woman from a Grave Marker, 2022, oil on laser print, 11 3⁄8 × 17 1⁄8".

Los Angeles

Keith Cunningham, Two Hanging Chickens, 1956, 35 7⁄8 × 27 3⁄8".

London

Jesse Jones, The Tower, 2022, still from the 4K video component (black-and-white, sound, 40 minutes) of a mixed-media installation additionally comprising sculpture and live performance.

Dublin

Declan Long on Jesse Jones

View of “Vita nuova. nouveaux enjeux de l’art en Italie 1960–1975” (New Life: New Issues for Art in Italy 1960–1975), 2022. Wall, from left: Marinella Pirelli, Bruciare (To Burn), 1971; Mario Ceroli, Fiori (Flowers), 1965. Floor, from left: Pino Pascali, Campi arati e canali di irrigazione (Plowed Fields and Irrigation Canals), 1967; Mario Merz, Acqua scivola (Water Slips Down), 1969. Photo: Jean-Christophe Lett.

Nice

Giorgio Verzotti on “Vita nuova. nouveaux enjeux de l’art en Italie 1960–1975”

View of “Néstor Sanmiguel Diest,” 2022. Photo: Antón Bilbao.

Madrid and Vitoria-Gasteiz

Javier Montes on Néstor Sanmiguel Diest

View of “Cinzia Ruggeri,” 2022. From left: Grembiule spugna (Sponge Apron), ca. 1994; Abito ziggurat (Ziggurat Dress), 1984–85; Gioco per palude (Game for Swamp), 2018. Photo: Piercarlo Quecchia.

Rome

Olamiju Fajemisin on Cinzia Ruggeri

Liu Chuang, Bitcoin Mining and Field Recordings of Ethnic Minorities (detail), 2018, three-channel video installation,
6K video, color, sound, 40 minutes 10 seconds. From “Statecraft (and beyond),” 2022.

Athens

Agnieszka Gratza on “Statecraft (and beyond)”

Sibylle Bergemann, Birgit, 1984, gelatin silver print, 9 3⁄8 × 14".

Berlin

Martin Herbert on Sibylle Bergemann

Bruce and Norman Yonemoto, Made in Hollywood, 1990, 35 mm, 16 mm, and video transferred to digital video, color, sound, 56 minutes 12 seconds.

Hamburg

Camila McHugh on Bruce and Norman Yonemoto

View of “N. Dash,” 2022. From left, Untitled, 2021; Untitled, 2022.

Ghent

Alex Bacon on N. Dash

Jeannette Ehlers, Moko Is Future, 2022, 4K video, color, sound, 12 minutes.

Copenhagen

Fredrik Svensk on Jeannette Ehlers

Michal BarOr, Looters, 2018, ink-jet prints, MDF, acrylic, wood, clay jars. From the Biennale Matter of Art, 2022.

Prague

Jonah Goldman Kay on Biennale Matter of Art

Cevdet Erek, Brutal Times, 2022, multichannel sound, animation on LED screen, moving lights, wood, iron, and netting. From Manifesta 14 Prishtina. Photo: Ivan Erofeev.

Pristina, Kosovo

Erëmirë Krasniqi on Manifesta 14 Prishtina

Walid Sadek, untitled, 2020–22, acrylic and spray paint on aluminum plate, 9 7⁄8 × 7 7⁄8 × 1 1⁄8".

Beirut

Natasha Gasparian on Walid Sadek

Askhat Akhmedyarov, Sabyr, 2022, cauldrons, dimensions variable. Photo: Anvar Rakishev.

Almaty

Inga Lāce on Askhat Akhmedyarov

Thania Petersen, Rampies Sny (detail), 2022, organza bags, citrus leaves smoked with frankincense, essential oils, dimensions variable. From “Indigo Waves and Other Stories.”

Cape Town

Allison Young on “Indigo Waves and Other Stories”

Nasreen Mohamedi, untitled, ca. 1970, vintage photographic print, 11 × 14".

Mumbai

Mario D’Souza on Nasreen Mohamedi

Wei Jia, Wilderness Lovers, 2020, acrylic on canvas, 23 5⁄8 × 19 3⁄4".

Taipei

Travis Jeppesen on Wei Jia

View of “Jane Lee,” 2022. From left: untitled, 2022; Where Is Painting #9, 2022. Photo: Toni Cuhadi.

Singapore

Samantha Kuok Leese on Jane Lee

View of “Ronnie van Hout,” 2022. Foreground: Seer, 2022. Background: Seen 1, 2022. Wall: Seeing, Being, 2022. Photo: Simon Hewson.

Sydney

Toni Ross on Ronnie van Hout