TABLE OF CONTENTS

February 2014

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February 2014, Vol. 52, No. 6

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COLUMNS

Anthony Caro working in his Camden Town studio, London, 1989. Photo: John Riddy. © Barford Sculptures Ltd.

PASSAGES

Michael Fried on Anthony Caro

Anthony Caro, Midday, 1960, painted steel. Installation view, Metropolitan Museum of Art, New York, 2011.

PASSAGES

Charles Ray on Anthony Caro

PASSAGES

Greil Marcus on Lou Reed

Claude Lanzmann, The Last of the Unjust, 2013, 16 mm and 35 mm, color and black-and-white, sound, 218 minutes. Claude Lanzmann and Benjamin Murmelstein.

FILM

Jonathan Rosenbaum on Claude Lanzmann’s The Last of the Unjust

Nancy Buirski, Afternoon of a Faun: Tanaquil Le Clercq, 2013, HD video, color and black-and-white, sound,
91 minutes.

FILM

Amy Taubin on Nancy Buirski’s Afternoon of a Faun

BOOKS

Nico Baumbach on Alain Badiou and Jacques Rancière

Painted apartment building from the Tirana color facade project, 2001–11, Tirana, Albania, 2007. Photo: David Dufresne/Flickr.

SLANT

Hans Ulrich Obrist on Edi Rama and Anri Sala

SLANT

Nasser Rabbat on “She Who Tells a Story”

MEDIA

Finn Brunton on Bitcoin

top ten

Matthew Carter

William Anastasi, Without Title (timed/unsighted, in situ drawing remembering the sound of its own making) (detail), 2013, graphite on paper, speaker, sound, drawing 60 x 67".

MUSIC

Alan Licht on William Anastasi

columns features reviews

Kader Attia, Rochers Carrés (Square Rocks), 2008, gelatin silver print, 31 1/2 x 39 3/8". From the series “Rochers Carrés,” 2008–.

ALL THE DIFFERENCE IN THE WORLD: THE ART OF KADER ATTIA

Manthia Diawara

Biothing, aMaze, 2009. Rendering.

BREAKING THE CURVE: BIG DATA AND DESIGN

Mario Carpo

ETERNAL RETURN: ROBERT MORRIS’S RECENT WORK

Jeffrey Weiss

Alain Resnais, Je t’aime, je t’aime, 1968, 35 mm, color, sound, 91 minutes. Claude Ridder (Claude Rich). Photo: Film Desk/Bleeding Light Film Group/Mag Bodard.

TRAVEL AGENTS: ALAIN RESNAIS’S JE T’AIME, JE T’AIME AND THE CINEMATIC TIME MACHINE

Ed Halter

View of “Joëlle Tuerlinckx: WOR(L)D(K) IN PROGRESS?,” 2013–14, Arnolfini, Bristol, UK.

CLOSE-UP: MEASURE FOR MEASURE

Cathleen Chaffee on Joëlle Tuerlinckx’s three-part retrospective, 2012–14

Édouard Manet, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863, oil on canvas, 81 7/8 x 104 1/8".

THE INVENTION OF NON-ART: A HISTORY

Thierry de Duve on the Salon des Refusés

Still from Beny Wagner’s Invisible Measure, 2013, HD video, color, sound, 36 minutes 15 seconds.

OPENINGS: BENY WAGNER

Alexander Scrimgeour

columns features reviews

View of “Isa Genzken: Retrospective,” 2013–14. Foreground, from left: Dan, 1999; Andy, 1999; Wolfgang, 1998; Isa, 2000; Soziale Fassade, 2002; Soziale Fassade, 2002.

Hal Foster on Isa Genzken

View of “The Way of Shovel,” 2013–14. From left: Moyra Davey, May 7, 2001, 2003; Moyra Davey, Floor, 2003; Moyra Davey, Copperheads 101–200, 2013; Mariana Castillo Deball, Uncomfortable Objects, 2012; Scott Hocking, Rusty Sputnik, 2013. Photo: Nathan Keay.

Hannah Feldman on “The Way of the Shovel”

69th Regiment Armory during the 1913 International Exhibition of Modern Art in New York. Walt Kuhn, Walt Kuhn Family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.

Robert Pincus-Witten on “The Armory Show at 100”

İnci Eviner, Co-Action Device: A Study, 2013, mixed media installation with live performance by Sırma Öztaş. Galata Greek Primary School, Istanbul.

Istanbul

Mine Haydaroğlu on İnci Eviner

Taus Makhacheva, The Fast and the Furious, 2011, C-print, 35 3/8 x 23 5/8".

Makhachkala, Russia

Lali Pertenava on Taus Makhacheva

Jewyo Rhii, Moving Floor, 2013, mixed media, dimensions variable.

Seoul

Jung-Ah Woo on Jewyo Rhii

Roshan Chhabria, Weight of a Brain (detail), 2013, watercolor on paper, 22 1/2 x 31".

Mumbai

Ryan Holmberg on Roshan Chhabria

Willem de Kooning, Untitled XXIX, 1983, oil on canvas, 77 x 88".

New York

Fernand Léger, La Ville (The City), 1919, oil on canvas, 91 x 117 1/2". © Artists Rights Society (ARS), New York/ADAGP, Paris.

Philadelphia

Daniel Marcus on Fernand Léger

Jessica Frelinghuysen, Hello?! (detail), 2008–10, steel, nylon, speakers, video projection, color, sound, 36 x 60 x 84".

Detroit

Matthew Biro on Jessica Frelinghuysen

Futurefarmers, This Is Not a Trojan Horse, 2010. Performance view, Abruzzo, Italy, July 4, 2010. Photo: Daniela d’Arielli.

San Francisco

Frances Richard on Futurefarmers

Emilie Halpern, October 26th 2013, 4:03pm, gold leaf, 25' x 15' 6“ x 12' 1”.

Los Angeles

View of “Roy Arden,” 2013. Foreground: Procession, 2013. Wall: Teenager, 2013.

Vancouver

Aaron Peck on Roy Arden

Derek Jarman, Eyes, 1986, oil and mixed media on canvas, 14 1/3 x 10 1/2 x 1 1/8".

London

Amar Kanwar, The Prediction, 1991–2012, silkscreened, handmade banana-fiber-paper book and digital projection (color, silent, 8 minutes); book: 22 3/4 x 55 1/2".

Wakefield, UK

Zehra Jumabhoy on Amar Kanwar

Brice Dellsperger, Body Double 30, 2013, digital video, color, sound, 2 minutes 29 seconds.

Paris

View of “Painting Forever! Keilrahmen,” 2013.

Berlin

*Advertisement for Jägermeister featuring Klaus Nomi shot by Jan Michael, which ran in a 1981 issue of New York magazine.(

Aachen, Germany

Daniela Stöppel on Klaus Nomi

Ilse D’Hollander, Untitled (#25), 1996, oil on canvas, 27 1/2 x 21 5/8".

Düsseldorf

Andrea Gyorody on Ilse D’Hollander

View of “Dieter Roth and Björn Roth,” 2013–14. Foreground: Björn Roth, Oddur Roth, and Einar Roth with Davíd Por Jonsson, The Relatively New Sculpture, 2013. Background: Dieter Roth, Solo Scenes, 1997–98.

Milan

Myriam Ben Salah on Dieter Roth and Björn Roth

View of “Monica Bonvicini,” 2013. Against wall: Straps & Mirror, 2010. On floor: Black You, 2010.

Brescia, Italy

Pier Paolo Pancotto on Monica Bonvicini

Thomas Julier, Dawn in the Basement (Light Check), 2013, wallpaper, LED spotlight, HD video projection (color, silent, 12 minutes), dimensions variable.

Zurich

Quinn Latimer on Thomas Julier

Michael Portnoy, THRILLOCHROMES , 2013, digital video, color, sound, 22 minutes.

Rotterdam

Mary Rinebold on Michael Portnoy

Viktor Takáč, I’ll Be Right Back, 2013, drywall, 10' 10“ x 16' 5” x 16' 5".

Prague

Markéta Stará on Viktor Takáč