TABLE OF CONTENTS

May 2004

list view

Cover: Dave Muller, Self-Portrait at the approach (359 pictures) (detail), 2004, synthetic polymer paint on paper, 84 x 36". From the 2004 Whitney Biennial. Inset: Bas Jan Ader, I’m Too Sad to Tell You, 1971, still from a black-and-white film in 16 mm, 3 minutes 21 seconds. From “The Big Nothing,” Summer Preview.

May 2004, Vol. 42, No. 9

columns previews features reviews

COLUMNS

EDITOR’S LETTER

Tim Griffin on Editor’s Letter

Richard Wollheim, London, ca. 1980. Photo: Rupert Wollheim.

PASSAGES

Svetlana Alpers on Svetlana Alpers on Richard Wollheim

ARCHITECTURE

Daniel Herman on Yves Klein’s air architecture

FILM

Amy Taubin on Superstar in a Housedress: The Life and Legend of Jackie Curtis

Still from documentary footage of the making of Swordfish (2001) as seen in Thom Andersen’s Los Angeles Plays Itself, 2003, color video, 169 minutes.

FILM

Gary Indiana on Gary Indiana on Los Angeles Plays Itself

SOUND

Theresa Duncan on Game Boy music

SOUND

Alan Gilbert on Ultra-red

top ten

Miranda July

columns previews features reviews

Lamar Peterson, Mother and Son, 2004, acrylic and gouache on paper, 37 x 31 1/2".

US News

the SITE Santa Fe Biennial

US News

the 2004 Carnegie International

Vault

“Turner, Whistler, Monet”

Vault

Childe Hassam

On the Road

Traveling exhibitions

Port of Pasaia, Spain, 2004. Photo: S. Khourian.

International Shorts

Manifesta 5

International Shorts

the Biennale of Sydney

columns previews features reviews

MANY HAPPY RETURNS: THE 2004 WHITNEY BIENNIAL

Dave Muller, . . . That Hollywood Adage: be nice to the people on the way up, because they’re the same people on the way down (detail), 2004, and Aleksandra Mir, No Smoking (detail), 2004, 1 of 16 signs installed throughout the galleries.

Jack Bankowsky

Raymond Pettibon, Title on the Line (detail), 2004.

David Joselit

Yayoi Kusama, Fireflies on the Water, 2002.

Pamela M. Lee

Anselm Kiefer, Occupations, 1969. From Interfunktionen 12 (1975). Photo: Mónica Naranjo Uribe.

CONTINENTAL SCHRIFT: THE STORY OF INTERFUNKTIONEN

Christine Mehring

IN CONVERSATION: DAN GRAHAM AND MICHAEL SMITH

Tim Griffin, introduction

1000 WORDS: MATTHEW BARNEY

Bennett Simpson

MODERN STYLE: “FASHIONING FICTION” AT MoMA

Abigail Solomon-Godeau

Peter Halley

OPENINGS: LARA FAVARETTO

Giorgio Verzotti

columns previews features reviews

Daniel Birnbaum on Bernd and Hilla Becher

Franz Gertsch, Patti Smith IV, 1979, acrylic on canvas, 9' 4 1/2“ x 13' 9 3/4”.

Frances Richard on Franz Gertsch

Left: Valentina Kulagina, Female Shock-workers Strengthen the Shock Brigades, Master Technology, and Increase the Ranks of the Proletarian Specialists, 1931, lithograph, 39 3/8 x 28 5/16“. Right: Gustav Klutsis, design for a postcard for the All-Union Olympiad (Spartakiada), Moscow, 1928, photographs, paper, and gouache on paper, 8 x 5 1/2”.

Maria Gough on Gustav Klutsis and Valentina Kulagina

New York

Boston

Francine Koslow Miller on Maurizio Cannavacciuolo

Atlanta

Philip Auslander on Anne Truitt

San Francisco

Glen Helfand on Harrell Fletcher

Seattle

Emily Hall on Claire Cowie

Los Angeles

Vigo, Spain

Alexandre Melo on “Other Alternatives”

Milan

Rome

Massimo Carboni on Ouattara Watts

Paris

Paul Galvez on Thomas Hirschhorn

Zurich

Lüneburg, Germany

Nina Möntmann on “Die Universität ist eine Fabrik”

Berlin/Frankfurt

Noemi Smolik on Kristen Pieroth

Göteborg, Sweden

Liutaurus Psibilskis on Monika Nyström

London