LIGHT
Joel Meyerowitz (pp. 42, 44, 45). The photographer takes notes at the time of the shooting. For example, his notes for the work on page 42 were as follows: “7/7/81. Sea/Sky, No Horizon. Almost no distinction between air and water. Air has faintest lavender blue cast. I’m standing in blue! Few small ripples along edge. Sand is tan gray with radiant blue tone in wet area.” These selections 1980–81, from “No Horizon” works in “Bay/Sky” series, 8 x 10” color photographs token with view camera. (When the photograph is token the image appears upside down and reversed on the ground gloss.)
Agnes Martin. P. 43: Untitled, 1984, watercolor and ink on rice paper, 9 x 9”. P. 46: Untitled, 1984, watercolor, ink, and pencil on rice paper, 9 x 9”. P. 47: Untitled, 1984, watercolor and ink on rice paper, 9 X 9”.
A LIGHT OPPORTUNITY
Quote from Enzo Cucchi: Vitebsk-Harar, edited and with an interview by Mario Diacono, Trans. Donna Moylan, New York: Sperone/Westwater, 1984.
A LIGHT COMPASS pp. 50–51:
1. Caspar David Friedrich, Mountain Landscape with Rainbow, ca. 1810. Collection of the Folkwang Museum, Essen. 2. Robert Flaherty, Nanook of the North, 1922. Phototeque. 3. lngmar Bergman, The Seventh Seal, 1957. Phototeque. 4. Mathias Grünewald, Resurrection (detail), from lsenheim Altarpiece, ca. 1510–15. Musee Unterlinden, Colmar. 5. William Blake, frontispiece to Visions of the Daughters of Albion (detail), ca. 1795. Tate Gallery, London. 6. Frederic Edwin Church, Iceberg, 1891. 7. Kasimir Malevich, Suprematist Composition: White on White, 1918. Museum of Modern Art, New York. 8. Edvard Munch, The Sun, 1909–12. Oslo University. 9. J.M.W. Turner, Staffa: Fingal’s Cave, 1832. 10. Piet Mondrian, Composition in Line, 1917. Rijksmuseum Kröller-Müller. 11. Japanese stamp, 1979. 12. Sumako Yamada, drawing of mushroom cloud, ca. 1974. From Unforgettable Fire: Pictures Drawn by Atomic Bomb Survivors, New York: Pantheon, 1977. © NHK. Reprinted by permission of Pantheon Books. 13. Vincent van Gogh, The Starry Night (detail), 1889. Museum of Modern Art, New York. 14. Jan Vermeer, Girl with Pearl Earring (detail), ca. 1665. Mauritshuis, the Hague. 15. Rembrandt van Rijn, The Annunciation to the Shepherds (detail), 1634. Rijksmuseum, Amsterdam. 16. Vaslav Nijinsky in L’Après-midi d’un faune, ca. 1910. 17. Timothy O’Sullivan, Shoshone Falls. About 1868. Boston Public Library. 18. Katsushika Hokusai, View on a Fine Breezy Day, from “Thirty-six Views of Mount Fuji,” 1822–32. 19. Assar At-Tebrizi, The Ascension of the Prophet, 15th century. Austrian National Library, Vienna. 20. Roy Lichtenstein, Rouen Cathedral Set 1, 1968. Private collection. 21. Dan Flavin, “Monument” for V. Tatlin, 1967. Installation view at Museum of Contemporary Art, Los Angeles, 1984. 22. Gordon Malta-Clark, Project Office Baroque, Antwerp (detail), 1977. 23. Satyajit Ray, Distant Thunder, 1973. Phototeque. 24. Japanese umbrella-maker, ca. 1880. 25. Japanese tattoo. 26. Nam June Paik, TV Buddha, 1974. Photo: Peter Moore. 27. Edward Hopper, Nighthawks (detail), 1942. Art Institute of Chicago. 28. Yamaha B-6 power amplifier. 29. Japanese puppet. 30. Japanese Netsuke, 19th century. Collection of the California Palace of the Legion of Honor, San Francisco. 31. Láslzó Moholy-Nagy, Self-Portrait, 1924, photogram with torn paper. George Eastman House, Rochester, New York. 32. Alfred Hitchcock, Rear Window, 1954. Phototeque. 33. Richard Diebenkorn, Ocean Park #112 (detail), 1978. 34. Francis Frith, The Pyramids of Dashoor: From the East, 1858. Victoria & Albert Museum, London. 35. Muhammad Ait, A Thoughtful Man, ca. 1610–15. Boston Museum of Fine Arts. 36. Mexican mosaic mask, 15th century, probably representing Quetzalcoatl. British Museum, London. 37. Alia Nazimova as Salomé, film still, 1920s. Photo: Walter Robinson. 38. Antonio Gaudí, “The Coronation of the Virgin” (detail), from Expiatory Temple of the Holy Family, 1882–1930, Barcelona. 39. Hans Holbein, The Ambassadors (detail), 1533. National Gallery, London. 40. Mosaic of Empress Theodora at Church of S. Vitale, Ravenna. 41. Pyramid of the Sun, Teotihuacán, Mexico. 42. Fernando Botero, The Atelier of Vermeer, 1964. Private collection. 43. Francisco Goya, The Third of May, 1808 (detail), 1814. Museo del Prado, Madrid. 44. Quartz after gold removal, Johannesburg, South Africa, 1968. 45. Diego Velázquez, Las Meninas (detail), 1656. Museo del Prado, Madrid. 46. Titian, Portrait of Francesco Savorgnan della Torre (detail), n.d. National Trust, Great Britain. 47. Star of the South, 125-carat cut diamond, found in Brazil in 1853. 48. El Greco, Martyrdom of Saint Maurice, 1580–82. El Escorial. 49. Monolithic portal (detail of center and frieze), Tiahuanaco, Bolivia, built after 100 A.D. 50. Dancer of the Quetzals, Teotihuacán, Mexico. 51. Caravaggio, The Conversion of St. Paul (detail), ca. 1601. Santa Maria del Popela, Rome. 52. Sun Stone, Teotihuacán, Mexico.
NORTHERN LIGHTS
Per Kirkeby (pp. 53–55). Dominant concerns in Kirkeby’s work lead us, among all the possible data, to provide the reader with the background that Kirkeby went on Polar expeditions and field trips to the northernmost areas of Greenland and was earlier a practicing geologist in addition to working as an artist. P. 53: untitled, 1984, ink, color crayon, and pencil on paper, 8 1/4 x 8 1/4”. P. 54: untitled, 1984, ink, color crayon, and pencil on paper, 8 1/4 x 8 1/4”. P. 55: Mutter mit Kind (Mother with child), 1983, oil on canvas, co. 78 x 78”. Project created for this issue of Artforum.
Vitaly Komar and Alexander Melamid (pp. 56–58). Light as a protagonist appearing in five guises from holy and classical style to realism, expressionism, new wave, and synthetic. Read like a book from left to right, the project is the saga of the gradual painting out of light, beginning with transcendental light and ending with the death of light and the coming of the era of synthetic light. Escape from the Shadow, 1984, tempera and oil on canvas, each panel 13 1/2 x 13 1/2”. Project created for this issue of Artforum.
EASTERN LIGHTS
Francesco Clemente (pp. 61–64). The pink ray bow of light dawns on you as the ribbon of the wrapping unfolds the tales of light about never being able to see all light at once. You can only get the heads and tails of this if you reshuffle the wrapping to cover the adjoining body of the riddle getting an ellipse of the senses; you have to have blindness to have insight. Untitled, 1984, pastel on paper. Foldout project created for this issue of Artforum.
Eiko lshioka. Pp. 65–66: this set from the film Mishima shows the erotic split that occurs when the hero dreams he is making love to his obsession, the Golden Pavilion. Eiko lshioka, set for film dramatization of The Temple of the Golden Pavilion, novel by Yukio Mishima, from Mishima, color film in progress in 35 mm., 1984. Production designer for dramatizations: Eiko lshioka; director: Paul Schroder; director of photography and lighting: John Bailey; screenplay: Paul Schroder and Leonard Schroder; music: Philip Gloss; executive producers: George Lucas and Francis Ford Coppola; coproducers: Tom Luddy and Mota Yamamoto. Photos: Sukita.
Pp. 68, 70: another set from Mishima. The image of a Delacroix painting on an archetypal Eastern screen embellished with a Western frame merges with and gives way to a view of woods behind, through frontal and rear projections of light. Set for film dramatization of Runaway Horses, novel by Yukio Mishima. Photos: Sukita.
WESTERN LIGHTS
Gerhard Richter (pp. 67, 69, 71). A rhetoric that critically sheds light on the picture which already emanates it. P. 67: Abstraktes Bild (552-4) (Abstract picture [552-4], detail), 1984, oil on canvas, ca. 101 1/2 x 78”. P. 69: Abstraktes Bild (522-2) (Abstract picture [522-21]), 1984, oil on canvas, ca. 101 1/2 x 78”. P. 71: Abstraktes Bild (522-1) (Abstract picture [522–11]), 1984, oil on canvas, ca. 11 1/2 x 78”.
Pat Place and Linda Yablonsky (pp.74–75). Polaroids from the artists’ monthly trips to the full moon from a New York city roof. They shoot into the night sky without a flash. Until the camera’s shutter closes is the amount of time allotted to make the broad arm gestures and do the camera-shaking that registers as the drawing. Visual echoes of the gestures by the moonlight. From “Moon Drawings” series, in progress (these works 1984), Polaroid photographs, each 3 1/8 x 3 1/8”.
SOUTHERN LIGHTS
Nicola De Maria (pp. 77–79). The artist points out that the landscape spread is a representation of the inside of the head of the cosmic artist, which appears on the page before. “II regno dei fiori” (The kingdom of flowers), 1984, watercolor, pastel, powdered pigment, and oil pencil on paper, 3 panels, each 11 x 11”. P. 77: Sorridi Faccia. Testa dell’Artista cosmico (Pittore e contante) (Smile face. The head of the cosmic artist [painter and singer]). Pp. 78–79: Regno dei fiori + polline + dipinte (The kingdom of flowers + pollen + paintings). Project created for this issue of Artforum.
Peter Magubane P. 80, top: “Traveling in the Transkei in 1976, I came across this boy . . . so sick with marasmus that he could not keep food down. It isn’t that there is so much starvation, but in these places they just don’t get the right things to eat.” P. 80, below: “The men . . . are sorting out ore at a gold mine at Carletonville in the Western Transvaal.” From Peter Mogubone, Magubane’s South Africa, New York: Alfred A. Knopf, 1978. © 1978 by Peter Mogubone. Reproduced by permission of Alfred A. Knopf, Inc.
