TABLE OF CONTENTS

November 2013

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November 2013, Vol. 52, No. 3

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COLUMNS

Walter De Maria, Meteor Crater, Arizona, 1968. Photo: Michael Heizer.

PASSAGES

Michael Heizer on Walter De Maria

Walter De Maria, The Lightning Field, 1977, Quemado, New Mexico. Photo: John Cliett.

PASSAGES

Jeffrey Weiss on Walter De Maria

Walter De Maria, Instrument for La Monte Young, 1966, aluminum, contact microphones, Eurorack MX 602A mixer, 3 1/2 x 36 x 5".

PASSAGES

La Monte Young on Walter De Maria

Sarah Charlesworth, New York, 1982. Photo: Peter Sumner Walton Bellamy.

PASSAGES

Laurie Simmons on Sarah Charlesworth

Antoine Vollon, Mound of Butter, 1875–85, oil on canvas, 19 3/4 x 24".

BOOKS

Charlotte Birnbaum on Mary Ann Caws’s Modern Art Cookbook

Claude Lévi-Strauss and Didier Eribon, Paris, 1984. Photo: Xavier Lambours.

BOOKS

Eric Banks on Didier Eribon’s Returning to Reims

Alexander Sokurov, Faust, 2011, 35 mm, color, sound, 134 minutes. Moneylender (Anton Adasinsky) and Heinrich Faust (Johannes Zeiler).

FILM

James Quandt on Alexander Sokurov’s Faust

Sophie Fiennes, The Pervert’s Guide to Ideology, 2012, digital video, color, sound, 136 minutes. Slavoj Žižek.

FILM

J. Hoberman on Sophie Fiennes’s Pervert’s Guide to Ideology

Andrea Fraser, Untitled, 2003, video, color, silent, 60 minutes. Installation view, Museum Ludwig, Cologne, 2013.

SLANT

Rhea Anastas on Andrea Fraser

Cover of Artforum, September 1969. Robert Smithson, Yucatán Mirror Displacements (1-9) (detail), 1969.

BACK ISSUES

Bob Nickas on Artforum, September 1969

View of “Deconstructivist Architecture,” 1988, Museum of Modern Art, New York.

ARCHITECTURE

Tina Di Carlo on “Deconstructivist Architecture”

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Linder

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Thomas Hirschhorn, Gramsci Monument, 2013, Forest Houses, Bronx, New York. Photo: Romain Lopez. All works by Thomas Hirschhorn © Artists Rights Society (ARS), New York/ADAGP, Paris.

MONUMENTAL ENDEAVOR: THOMAS HIRSCHHORN’S GRAMSCI MONUMENT

New York City Housing Authority rendering, ca. 1960. Center: McKinley Houses (formerly Forest South Houses). Top left: Forest Houses.

Glenn Ligon

Page from Thomas Hirschhorn’s 33 Ausstellungen im Öffentlichen Raum, 1989–1998 (33 Exhibitions in Public Space, 1989–1998), 1999, booklet, 8 1/4 x 11 3/4". All works by Thomas Hirschhorn © Artists Rights Society (ARS), New York/ADAGP, Paris.

Diedrich Diederichsen

Thomas Hirschhorn, Gramsci Monument, 2013, Forest Houses, Bronx, New York. Photo: Chandra Glick. All works by Thomas Hirschhorn © Artists Rights Society (ARS), New York/ADAGP, Paris.

Julian Rose

Carlo Scarpa, Brion Tomb and Sanctuary, 1969–78, San Vito d’Altivole, Italy. Photo: LeonL/Flickr.

WORLDLY GOODS: THE WORK OF CARLO SCARPA

Carlo Scarpa, Gipsoteca, Museo Canova, 1955–57, Possagno, Italy. Photo: Peter Guthrie/Flickr.

Josiah McElheny

Carlo Scarpa, preliminary drawing, ca. 1970, for the Brion Tomb and Sanctuary, 1969–78, San Vito d’Altivole, Italy.

Nick Mauss

Carlo Scarpa, Brion Tomb and Sanctuary, 1969–78, San Vito d’Altivole, Italy. Photo: Gianantonio Battistella. © CIS A- A. Palladio.

Carol Bove

Carlo Scarpa, restoration of Museo di Castelvecchio, 1958–75, Verona, Italy. Photo: Farrell Nilton/Flickr.

Ken Okiishi

Christopher Wool, Untitled (detail), 2012, glass, lead. Installation view, Chapelle capitulaire du Prieuré de la Charité-sur-Loire, France. Photos: André Morin.

SEEING THROUGH

Anne Pontégnie on Christopher Wool’s Untitled, 2012

Amateur Architecture Studio, Ningbo History Museum, 2008, Zhejiang, China. Photo: Clément Guillaume.

STRUCTURES OF EVERYDAY LIFE: THE ARCHITECTURE OF WANG SHU

Cole Roskam

Still from Shirley Clarke’s Portrait of Jason, 1967, 16 mm transferred to 35 mm, black-and-white, sound, 105 minutes.

CLOSE UP: SMOKE SCREEN

Thomas Beard on Shirley Clarke’s Portrait of Jason (1967)

View of “International Exhibition of Modern Art” (The Armory Show), 1913, 69th Regiment Armory, New York. Photo: Smithsonian Archives of American Art.

DON’T SHOOT THE MESSENGER

Thierry de Duve on the Duchamp syllogism

Still from Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness, 2013, 16 mm, color, sound, 98 minutes. Iti Kaevats.

1000 WORDS: BEN RIVERS AND BEN RUSSELL

Rachael Rakes and Leo Goldsmith

Four stills from Eva Kot’átková’s Sit Up Straight, 2008, four-channel digital video projection, color, sound, 2 minutes, 1 minute 30 seconds, 4 minutes, 2 minutes 30 seconds.

OPENINGS: EVA KOT’ÁTKOVÁ

Apsara DiQuinzio

columns features reviews

Hong-Kai Wang, Music While We Work, 2011, multichannel sound and two-channel digital video installation, 39 minutes 17 seconds. Production still. Photo: Chen You-Wei.

Branden W. Joseph on “Soundings”

View of “Erika Vogt,” 2013.

New York

Newsha Tavakolian, Ghazal Shakari, 2010, C-print, 23 5/8 x 31 1/2". From the series “Listen,” 2010. From “She Who Tells a Story: Women Photographers from Iran and the Arab World.”

Boston

Peter Fischli and David Weiss, The Objects for Glenstone (detail), 2011/2013, polyurethane and acrylic, dimensions variable.

Potomac, MD

Colin Lang on Peter Fischli and David Weiss

McArthur Binion, Icecicle: Juice, 1976, oil stick, Dixon wax crayon on aluminum, 71 x 45".

Chicago

Faye Gleisser on McArthur Binion

View of “Daniel Knorr,” 2013.

Los Angeles

View of “Notes on Neo-Camp,” 2013.

London

Nikhil Chopra, Coal on Cotton, 2013. Performance view, July 7, 2013. Photo: Stephan Iles.

Manchester, UK

Sherman Sam on Nikhil Chopra

View of “Diogo Pimentão,” 2013.

Paris

Pierre et Gilles, Sainte Véronique, 2013, ink jet and acrylic on canvas, gilt frame, 51 1/8 x 38 1/2 x 2 3/8". From “Les Aventures de la vérité” (The Adventures of Truth).

Saint-Paul-De-Vence, France

Barry Schwabsky on “Les Aventures de la vérité”

Haegue Yang, Blind CurtainFlesh Behind Tricolore, 2013, aluminum venetian blinds and frame, 15 x 23 x 5'.

Strasbourg, France

Jian-Xing Too on Haegue Yang

Martha Jungwirth, Untitled, 1987, oil on cardboard mounted on canvas, 42 1/2 x 28".

Berlin

View of “Alan Charlton,” 2013. From left: Vertical Triangle Painting, 2013; Vertical Triangle Painting, 2013.

Hamburg

Jens Asthoff on Alan Charlton

Ericka Beckman, You the Better, 1983, digital video transferred from 16 mm film, color, sound, 32 minutes.

Bern, Switzerland

John Beeson on Ericka Beckman

Thomas Locher, GIOTTO.2.G-W-G, 2013, digital C-print, Acryla, aluminum frame, 66 5/8 x 69 3/4 x 4 3/4".

Vienna

Brigitte Huck on Thomas Locher

View of “Max Hooper Schneider,” 2013.

Milan

Marco Tagliafierro on Max Hooper Schneider

Erol Akyavaş, Explosion, 1982, acrylic on canvas, 104 3/4 x 85 7/8".

Istanbul

Mine Haydaroğlu on Erol Akyavaş

View of “Juan Downey,” 2013. From left: World Map, 1979; Video Trans Americas, 1973–76.

Mexico City

Chris Sharp on Juan Downey

Horacio Zabala, 300 metros de cinta negra para enlutar una plaza pública (300 Meters of Black Plastic to Swathe a Public Square in Mourning), 1972, mixed media, dimensions variable. From “Arte de Sistemas: El CAYC y el proyecto de un nuevo arte regional, 1969–1977” (Systems Art: CAYC and the Project of a New Regional Art).

Buenos Aires

Daniel Quiles on “Arte de Sistemas”

Abraham Palatnik, Aparelho Cinecromático (Kinechromatic Device), 1969, lamps, motor, electromagnets, colored lights, acrylic scrim, 46 x 27 1/2 x 7 7/8".

Rio de Janeiro

Kaira M. Cabañas on Abraham Palatnik

Anisuzzaman Sohel, Leap Across Time 1, 2013, pen and acrylic on paper, 30 x 20". From “Barbed Floss.”

Mumbai

Ryan Holmberg on “Barbed Floss”