TABLE OF CONTENTS

Summer 2021

list view

Nida Sinnokrot, KA (Oslo), 2009/2017, two JCB 3CX 1993-model backhoe arms. Installation view, Palestinian Museum, Birzeit, 2017. Photo: Ziad Trad.

Summer 2021, Vol. 59, No. 8

columns features reviews

COLUMNS

Shengze Zhu, A River Runs, Turns, Erases, Replaces, 2021, HD video, color, sound, 87 minutes.

film

Erika Balsom on Shengze Zhu’s A River Runs, Turns, Erases, Replaces

Tiffany Sia, The Bastard Scroll, 2021, ink on continuous-feed dot-matrix paper, wooden table, chair. Installation view, Artists Space, New York. Photo: Filip Wolak.

on site

Catherine Damman on Tiffany Sia’s “Slippery When Wet”

Alice Neel, Nancy and Olivia, 1967, oil on canvas, 39 × 36". © The Estate of Alice Neel.

on site

Ara Osterweil on Alice Neel

Barry Le Va, Minneapolis Institute of Art, 1968.

passages

Michael Ned Holte on Barry Le Va

Jean Dupuy, Cone Pyramid (Heart Beats Dust) (detail), 1968, stethoscope, spotlight, amplifier, wood, glass, red pigment, 64 1⁄8 × 17 1⁄8 × 18 7⁄8". © ADAGP, Paris.

passages

Julia Robinson on Jean Dupuy

Maria Chávez performing at Marfa Myths, La Mansana de Chinati/The Block, Judd Foundation, Marfa, Texas, March 2016. Photo: Alex Marks.

sound

Natilee Harren on Maria Chávez

Rubén Gámez, Tequila, 1992, 35 mm, color, sound, 85 minutes.

top ten

Bárbara Sánchez-Kane

Vanesa Sander and her boyfriend, Salta, Argentina, 1988.

interviews

María Belén Correa and Cecilia Estalles speak with Devan Díaz and Thora Siemsen about El Archivo de la Memoria Trans Argentina

columns features reviews

Hank Willis Thomas, Remember Me, 2014, neon, 23 5⁄8 × 59 1⁄8".

THE MUSEUM NOW

Artforum has invited some of our leading theorists, curators, artists, and museum directors to consider how art institutions might evolve

Students observing Pablo Picasso’s Guernica, 1937, Warburg Hall, Fogg Museum, Harvard University, Cambridge, MA, 1941. Photo: Exhibition Records (HC 6), folder 2038. Harvard Art Museums Archives, Harvard University, Cambridge, MA.

THE MODEST MUSEUM

Thomas Crow envisions a more “modest” museum

Paintings for the Art Fund of the Museum of Artistic Culture in the Museum Bureau of IZO Narkompros collection, Moscow, 1919–20. © Encyclopedia of the Russian Avant-garde.

REQUIEM FOR A DREAM

Alex Kitnick on the avant-garde museum

Heneghan Peng, Palestinian Museum, 2017, Birzeit. Photo: Iwan Baan.

TELL THE WORLD

Hanan Toukan and Adila Laïdi-Hanieh on the Palestinian Museum

Ken Lum, Melly Shum Hates Her Job, 1989, billboard. Installation view, Witte de With Center for Contemporary Art (now Kunstinstituut Melly), Rotterdam, 2013.

WHAT’S IN A NAME?

Sofía Hernández Chong Cuy on Kunstinstituut Melly

View of “Promise, Witness, Remembrance,” 2021, Speed Art Museum, Louisville, KY. Center: Amy Sherald, Breonna Taylor, 2020. Photo: Bill Roughen.

TAKING CARE

Huey Copeland and Allison Glenn on “Promise, Witness, Remembrance”

Hampton University Museum, Virginia, 2016. Center: Henry Ossawa Tanner, The Banjo Lesson, 1893. Photo: Alexander Kravits.

SCHOOL SPIRIT

Jessica Lynne on art and historically Black colleges and universities

Giovanni Bellini, St. Francis in the Desert, ca. 1476–78, oil on panel. Installation view, Frick Madison, New York, 2021. Photo: Joe Coscia.

SPECIFIC OBJECTS

Jeffrey Weiss on Frick Madison

Ralph Lemon, Rant #3, 2020. Performance view, the Kitchen, New York, February 29, 2020. Ralph Lemon. Photo: Ralph Lemon.

NOTES ON NONPROFIT

Tim Griffin, Ralph Lemon, and Sarah Michelson reflect on the status of the alternative space

columns features reviews

Lee Bul, Sorry for Suffering—You think I’m a puppy on a picnic?, 1990. Performance view, Tokyo, 1990. Lee Bul.

Andrew Russeth on Lee Bul

Hannah Levy, Untitled, 2021, nickel-plated steel, silicone, 25 1⁄4 × 30 1⁄4 × 25". From “Where the threads are worn.”

New York

Connie Fox, Sammy’s Beach I, 2007, acrylic on canvas, 80 × 88". From the series “Sammy’s Beach,” 2007–14.

Huntington

Barry Schwabsky on Connie Fox

View of “Sun Ra,” 2021. From left: Super-Sonic Sounds (El Saturn Records, 1957); Art Forms of Dimensions Tomorrow (El Saturn Records, 1965); The Night of the Purple Moon (El Saturn Records, 1970). Photo: Robert Chase Heishman.

Chicago

Calvin Forbes on Sun Ra

Mark McKnight, Voidpull, 2021, gelatin silver print, 16 × 20".

Los Angeles

Wanda Koop, Barcode Face, 2021, acrylic on canvas, 84 × 60".

Montréal

Ara Osterweil on Wanda Koop and Oli Epp

View of “Gabriel Rico: I May Use an Electric Drill, but I Also Use a Hammer,” 2021. From left: Can you smell maths? (Pink Deer), 2021; Can you smell maths? (Watermelon Oryx), 2021. Photo: Fernando Marroquin.

Mexico City

Gaby Cepeda on Gabriel Rico

Charles Gaines, Face #16, Naoki Sutter-Shudo (Japanese/French/Swiss German), 2020, acrylic paint, acrylic sheet, ink-jet print, 66 1⁄2 × 55 1⁄4 × 8". From “Numbers and Faces: Multi-Racial/Ethnic Combinations Series 1,” 2019–20.

London

View of “Lawrence Weiner,” 2021. From left: PUT WITH THE OTHER THINGS, 2020; HELD JUST ABOVE THE CURRENT, 2016; IN LINE WITH SOME-THING ELSE, 2020.

Dublin

Declan Long on Lawrence Weiner

Taysir Batniji, Tempête (Storm), 1998/2021, diptych, acrylic on canvas on wall, each 82 5⁄8 × 42 1⁄4". Photo: Aurélien Mole.

Paris

Lillian Davies on Taysir Batniji

León Ferrari, La justicia/1492–1992 Quinto centenario de la Conquista (Justice/1492–1992 Fifth Centenary of the Conquest), 1992, mixed media. Installation view. Photo: Joaquín Cortés/Román Lores.

Madrid

Ren Ebel on León Ferrari

View of “Nuti.Scarpa: È questa la prima o l’ultima notte sul nostro pianeta?” (Nuti.Scarpa: Is This the First or the Last Night on Our Planet?), 2021. From left: Lulù Nuti, Mari (Seas), 2020–21; Delfina Scarpa, Motore, remoto (Motor, Remote), 2020. Photo: Simon d’Exéa.

Rome

Ida Panicelli on Lulù Nuti and Delfina Scarpa

Taoli Havini, Answer to the Call, 2021, wooden platform, carpet, felt hangings, scaffolding, twenty-two speakers, sound. Installation view. Photo: gerdastudio.

Venice

Veronica Santi on Taloi Havini

Karam Natour, Nothing Personal, 2017, two-channel HD video, color, sound, 21 minutes 8 seconds.

Zurich

Adam Jasper on Karam Natour

Liliane Tomasko, We Sleep Where We Fall, 2019–20, acrylic and acrylic spray paint on linen, 82 1⁄4 × 76 1⁄8".

Berlin

Thomas Demand, chaffinch, 2020, ink-jet print, 67 3⁄4 × 53 1⁄8". From the series “Model Studies IV,” 2020.

Leuven

Huib Haye van der Werf on Thomas Demand

Marek Włodarski, Montaż konstrukcji (Construction Montage), ca. 1949, watercolor, gouache, and pencil on paper, 11 5⁄8 × 8 1⁄4".

Warsaw

Camila McHugh on “Henryk Streng/Marek Włodarski and Jewish-Polish Modernism”

Krišs Salmanis, Metro Surfer, 2019, stop-motion animated video, color, sound, 2 minutes 30 seconds.

Riga

Zane Onckule on Krišs Salmanis

Gökçen Cabadan, Hiddenface, 2020, oil on canvas, 27 1⁄2 × 19 5⁄8".

Istanbul

Kaya Genç on Gökçen Cabadan

Baya Mahieddine, Deux femmes avec vase fond jaune (Two Women with Vase and Yellow Background), 1997, watercolor and gouache on paper, 38 5⁄8 × 58 1⁄8".

Sharjah

Rahel Aima on Baya Mahieddine

Anju Dodiya, Circle of Fog, 2021, ink-jet print mounted on light box, 15 × 11 1⁄2 × 3". From “Erasure.”

New Delhi

Meera Menezes on “Erasure”

Alice Wang, Untitled, 2020, mixed media. Installation view.

Shanghai

Travis Jeppesen on Alice Wang

Lucy Bleach, attenuated ground (the slow seismogenic zone) (detail), 2021, double bass, toffee, seismometer, wooden table, tactile trans-ducers, formply, plaster, surface-vibration speakers, polished concrete, powdered core sample, powdered gold leaf, Ficus coronata plant, rhizobox, soil. Installation view. From the TarraWarra Biennial 2021. Photo: Andrew Curtis.

Healesville

Helen Hughes on TarraWarra Biennial 2021