TABLE OF CONTENTS

May 2022

list view

The Otolith Group, Sovereign Sisters, 2014, digital animation, black-and-white, silent, 3 minutes 47 seconds.

May 2022, Vol. 60, No. 9

columns features reviews

COLUMNS

Ruth Beckermann, MUTZENBACHER, 2022, 2K video, color, sound, 100 minutes.

film

Erika Balsom on Ruth Beckermann’s MUTZENBACHER

Tompkins H. Matteson, Trial of George Jacobs, August 5, 1692, 1855, oil on canvas, 39 × 53".

on site

Susan L. Aberth on “Supernatural America”

View of “Lifes,” 2022, Hammer Museum, Los Angeles. Floor: Charles Gaines, Falling Rock, 2000. Wall: Morag Keil, The Vomit Vortex, 2022. Photo: Joshua White.

on site

Alex Kitnick on “Lifes”

Rackstraw Downes, Hudson River Sewage Treatment Plant Under Construction, 1996, graphite on paper, 12 × 35".

slant

Barry Schwabsky on Rackstraw Downes

Suzanne Valadon, Self-Portrait, 1911, oil on canvas, 28 1⁄2 × 22 5⁄8".

slant

Hannah Stamler on Suzanne Valadon

Marianne North, Flowers of Another Kind of Coral Tree, ca. 1873, oil on board, 22 × 13 3⁄8".

top ten

Issy Wood shares her top ten

columns features reviews

Virginia Overton, Untitled (Ladder), 2009, ladder. Installation view, SculptureCenter, New York.

MAKE HISTORY

Tim Griffin on the art of Virginia Overton

The Otolith Group, INFINITY Minus Infinity, 2019, 4K video, color, sound, 56 minutes 51 seconds.

TODAY, IN A HUNDRED YEARS

Ed Halter and Tobi Haslett on the Otolith Group

The Otolith Group, Otolith I, 2003, digital video, color, sound, 23 minutes 16 seconds.

TODAY, IN A HUNDRED YEARS

Ed Halter on the Otolith Group

The Otolith Group, Nervus Rerum, 2008, HD video, color, sound, 32 minutes.

TODAY, IN A HUNDRED YEARS

Tobi Haslett on the Otolith Group

Éliane Radigue in her studio, Paris, 1971. Photo: Yves Arman. © Fondation A.R.M.A.N.

UNSETTLING THE SCORE

Sasha Frere-Jones on the art of Éliane Radigue

View of “Four Artists-Craftsmen: Ruth Asawa, Ida Dean, Merry Renk, Marguerite Wildenhain,” 1954, San Francisco Museum of Art. Photo: Blair Stapp.

PRODUCTIVE TENSIONS

Kaelen Wilson-Goldie on the art of Ruth Asawa

André Cadere presenting his work on West Broadway, New York, December 11, 1976. Photo: Gianfranco Gorgoni. © Succession André Cadere.

ROMÂNUL

Bruce Hainley on André Cadere’s Itinerant Art

Pierre Molinier, Le messager, 1952, oil on board, 20 1⁄8 × 28 3⁄4".

PORTFOLIO: PIERRE MOLINIER, PAINTINGS

David Rimanelli introduces a portfolio of paintings by Pierre Molinier

columns features reviews

Lumière brothers, Panorama pendant l’ascension de la Tour Eiffel (Panorama from the Ascension of the Eiffel Tower), 1897–98, 35 mm, black-and-white, silent, approx. 50 seconds.

Peter Lunenfeld on “City of Cinema: Paris 1850–1907”

Alix Vernet, Lady, Saint Marks, November, 2021, cheesecloth, latex, spray paint, 54 × 13".

New York

Joan Semmel, Purple Passion, 1973, oil on canvas, 48 × 80". From “Second Erotic Series,” 1972–73.

Philadelphia

Alpesh Kantilal Patel on Joan Semmel

Samara Golden, Guts, 2022, glass mirror, expandable spray foam, acrylic paint, dichroic vinyl, wood, fabric, plastic, paper, nail polish, wire, vinyl floor tile, LED lights, XPS foam board, latex paint, 17 × 26 × 31".

Los Angeles

Annabeth Marks, Talisman, 2021, acrylic on canvas, 28 × 22".

Toronto

Dan Adler on Annabeth Marks

Donna Huanca, BLISS STARTE/GOLDEN HOUR, 2021, oil and sand on digital print on canvas, 94 × 75".

Mexico City

Gaby Cepeda on Donna Huanca

Sandra Gamarra, Nº 3 Producto: mestizo, 2021, oil on canvas, 31 1⁄2 × 39 3⁄8". From the twenty-part suite Producción/Reproducción, 2021.

Lima

Giuliana Vidarte on Sandra Gamarra

View of “Jacques Douchez and Norberto Nicola,” 2021–22. Photo: Karina Bacci.

São Paulo

Camila Belchior on Jacques Douchez and Norberto Nicola

View of “Yu Ji,” 2022. Photo: Eva Herzog.

London

View of “Aleana Egan,” 2022. From left: Dress for Marion, 2021; be forgiving! change roles, 2007. Photo: Simon Mills.

Derry-Londonderry

Eva Kenny on Aleana Egan

Judit Reigl, Corps au pluriel (Body in Plural), 1991, mixed media, 74 3⁄4 × 74 3⁄4". From the series “Corps au pluriel,” 1990–92.

Paris

Lillian Davies on Judit Reigl

Davide Balliano, Untitled_0209, 2021, plaster, gesso, and varnish on linen, 20 × 20".

Milan

Veronica Santi on Davide Balliano

John Stezaker, Train, 2012–21, HD video, color and black-and-white, silent, 9 seconds.

Naples

Ana Vukadin on John Stezaker

View of “Tobias Kaspar,” 2022. From left: Mille Fleurs (Leif Randt); The Dimitri; Paris Fashion Week (The Revealing of Metastructures); The Balenciaga Revenge (Artist Pants); all works 2022. Photo: Sebastian Schaub.

Zurich

Jeppe Ugelvig on Tobias Kaspar

Merril Wagner, Untitled (#14 June), 1997, oil on linen, 24 × 30".

Berlin

Kristian Vistrup Madsen on Merrill Wagner

Yalda Afsah, Centaur, 2020, HD video, color, sound, 13 minutes.

Munich

Stanton Taylor on Yalda Afsah

Rotimi Fani-Kayode, Every Moment Counts (Ecstatic Antibodies), 1989, C-print, 24 × 20 1⁄4". From “Every Moment Counts: Feelings of AIDS.”

Høvikodden

Sarah Lookofsky on “Every Moment Counts: Feelings of AIDS”

Teresa Gierzyńska, Tęsknota (Longing), 1986, gelatin silver print, aniline, 11 3⁄4 × 15". From the series “O niej” (About Her), 1979–.

Warsaw

Camila McHugh on Teresa Gierzyńska

Fatima Uzdenova, All About My Mother (detail), 2021, mixed-media installation, dimensions variable. From “Staple: What’s on Your Plate?.”

Jeddah

Rahel Aima on “Staple: What’s on Your Plate?”

View of “Sanaa Gateja,” 2022. Photo: Emmanuel Ekolu.

Kampala

Nantume Violet on Sanaa Gateja

Sosa Joseph, The Ferryman and His Jaundiced Child, 2019, oil on canvas, 107 1⁄2 × 57 3⁄4".

Mumbai

Skye Arundhati Thomas on Sosa Joseph

Wang Xin, I Am Awake and My Body Is Full of the Sun and the Earth and the Stars, I Am Now Awake and I Am an Immense Thing (detail), 2022–, still from the digital animation component (color, sound, 20 minutes 3 seconds) of a mixed-media installation additionally comprising a Web camera, speakers, reflective tape, projection light, and a mini PC.

Hong Kong

Nuit Banai on Wang Xin

Maya Muñoz, Happiness, 2021, acrylic on paper, 18 × 22 1⁄2".

Manila

Carlos Quijon Jr. on Maya Muñoz

Stanislava Pinchuk, The Wine Dark Sea, 2020–, marble, enamel, dimensions variable. From the Adelaide Biennial of Australian Art: “Free/State.”

Adelaide

Zoë De Luca on Adelaide Biennial of Australian Art