TABLE OF CONTENTS

Summer 2014

list view

Summer 2014, Vol. 52, No. 10

columns features reviews

COLUMNS

Artforum March 2014 cover: Terry Adkins, Muffled Drums (detail), 2003–13, eleven found bass drums, mufflers, steel, 30' 3“ x 3' 1/2” x 1' 7".

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LETTERS

Alain Resnais, Hiroshima mon amour, 1959, 35 mm, black-and-white, sound, 90 minutes. Elle (Emmanuelle Riva) and Lui (Eiji Okada).

PASSAGES

Emma Wilson on Alain Resnais

Marlene Dumas, Jan Hoet, 1992, ink and crayon on paper, 8 1/8 x 5 1/4".

PASSAGES

Marlene Dumas on Jan Hoet

PASSAGES

Dieter Roelstraete on Jan Hoet

BOOKS

Laurie Simmons

BOOKS

Chris Stein

BOOKS

Simon Denny

BOOKS

Svetlana Alpers

BOOKS

Darby English

BOOKS

Mark Flood

Screenshot from The Griot Sings Haibun, 2005–, implementation and interface by D. Fox Harrell, generated by Harrell and Joseph A. Goaguen.

BOOKS

John Harwood on D. Fox Harrell’s Phantasmal Media

Diagram of Maria Alyokhina’s pretrial jail, Moscow, 2012.

BOOKS

Johanna Fateman on Masha Gessen’s Words Will Break Cement

Joaquim Pinto, E Agora? Lembra-me (What Now? Remind Me), 2013, digital video, color, sound, 164 minutes. Joaquim Pinto and Nuno Leonel.

FILM

James Quandt on Joaquim Pinto’s What Now? Remind Me

Richard Linklater, Boyhood, 2014, 35 mm, color, sound, 160 minutes. Mason (Ellar Coltrane).

FILM

Amy Taubin on Richard Linklater’s Boyhood

Bong Joon-ho, Snowpiercer, 2013, 35 mm, color and black-and-white, sound, 126 minutes. From left: Curtis (Chris Evans), Mason (Tilda Swinton), Andrew (Ewen Bremner), and Tanya (Octavia Spencer).

FILM

Melissa Anderson on Bong Joon-ho’s Snowpiercer

George W. Bush, Vladimir Putin, 2013, oil on board, approx 20 x 18".

SLANT

Matt Saunders on the paintings of George W. Bush

Doug Rickard, #40.805716, Bronx, NY (2009), 2011, ink-jet print. From the series “A New American Picture,” 2008–11.

SLANT

Martha Buskirk on networked photography and copyright

top ten

Kim Stanley Robinson

columns features reviews

Jim Shaw, color study for Whores and Blasphemers, 2014, black-and-white Xerox, ink, and colored pencil on paper, 8 1/2 x 17".

GRAPHIC CONTENT: ART AND ANIMATION

Art Spiegelman, High Art Lowdown. From Artforum, December 1990.

DISREPUTABLE SOURCES: ART AND COMICS

Fabrice Stroun

Splash panel from Basil Wolverton’s Eye of Doom. From Mystic, no. 6 (Marvel, 1952).

ARTIST CURATES: EYE OF DOOM, HAND OF GLORY

Art Spiegelman

Page detail from Marc-Antoine Mathieu’s 3" (Jonathan Cape/Random House, 2011).

WONDER WORLDS: HISTORIES OF COMICS

Stephen Burt

Andy Warhol, Andy2, 1985, digital image, from disk 1998.3.2129.3.4. Collection of the Andy Warhol Museum, Pittsburgh, Foundation Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.

THE WARHOL FILES: ANDY WARHOL’S LONG-LOST COMPUTER GRAPHICS

Cory Arcangel

ARTIST CURATES: BEHIND THE ZINES

Lele Saveri

Jim Shaw, The Jefferson Memorial, 2013, acrylic on muslin, 12 x 22'.

Jim Shaw

Julien Ceccaldi, I Am My Goals, 2014. Comic made for Artforum.

Julien Ceccaldi

Still from Jordan Wolfson’s Raspberry Poser, 2012, digital video, color, sound, 13 minutes 54 seconds.

Jordan Wolfson

Cover of Jaime and Gilbert Hernandez’s Love and Rockets, no. 1 (Fantagraphics, 1984).

Douglas Wolk

Page detail from Julie Doucet’s My New York Diary (Drawn and Quarterly, 1999/2010).

Hillary Chute

Kerry James Marshall, Dailies (detail), 2003–, silk screen on paper, 22 x 30".

Kerry James Marshall

Ida Applebroog, Independence Plaza, 1980, ink and Rhoplex on vellum. Installation view, Printed Matter, New York.

Ida Applebroog

Page from Nick Zedd, Shaolin Comix, no. 2 (1992).

Nick Zedd

Amy Sillman, Triscuits, 2011–12, digital video, black-and-white, silent, 12 minutes 30 seconds.

Ed Halter

Ian Cheng, Thousand Islands Thousand Laws, 2013–, ongoing digital live simulation.

Ian Cheng

View of “Scott Reeder,” 2014, 356 S. Mission Rd., Los Angeles. Photo: Joshua White.

1000 WORDS: SCOTT REEDER

Ben Carlson

Paolo Gioli, L’operatore perforato (The Perforated Cameraman), 1979, 16 mm, black-and-white, silent, 8 minutes 53 seconds at 18 fps.

PERSISTENCE OF VISION: THE FILMS OF PAOLO GIOLI

Patrick Rumble

Sandy Kim, Self Portrait on Subway, New York City, 2012, digital C-print.

OPENINGS: SANDY KIM

Sarah Nicole Prickett

columns features reviews

View of “Christopher Williams: The Production Line of Happiness,” 2014, Art Institute of Chicago.

Joel Snyder on Christopher Williams

View of “The Shadows Took Shape,” 2014. Foreground, from left: Derrick Adams, WE><HERE, 2013; Lili Reynaud-Dewar, Interpretation, 2010; Trenton Doyle Hancock, A New Creature #1, 2013; Harold Offeh, Covers. After Betty Davis. They Say I’m Different, 1974, 2013; Harold Offeh, Covers. After Grace Jones. Island Life. 1985, 2008; Harold Offeh, Covers. After Funkadelic. Maggot Brain. 1971, 2013; William Villalongo, Sista Ancesta (E. Kelly/D. R. of Congo, Pende), 2012; Sanford Biggers, Vex, 2013. Photo: Adam Reich.

George Lewis on “The Shadows Took Shape”

Jonathas de Andrade, O Levante (The Uprising), 2012, digital video, color, sound, 7 minutes 59 seconds. Production still. Photo: Ricardo Moura.

Jennifer Josten on “Cruzamentos: Contemporary Art in Brazil”

View of “Citizen Artist: Forms of Address,” 2013. Background, from left: Arunkumar H G, Country and City: Everyday Strangers, 2013; Rashid Rana, What Lies Between Flesh and Blood 3, 2009. Foreground: Jitish Kallat, Circadian Rhyme—2 & 3, 2012–13. Photo: Anil Rane.

Saloni Mathur on “Aesthetic Bind”

Brian O’Doherty, Structural Play: Vowel Grid, 1970, video, color, sound, 15 minutes 43 seconds.

New York

View of “James Lee Byars: I Cancel All My Works at Death,” 2014.

Detroit

Matvei Yankelevich on “James Lee Byars: I Cancel All My Works at Death”

View of “Lena Henke,” 2014. From left: Galocher (poupée) (Kissing with Tongues [Doll]), 2014; Galocher (oeil poché) (Kissing with Tongues [Black Eye]), 2014; Galocher (fécond) (Kissing with Tongues [Fecundity]), 2014.

Saint Louis

Karen Butler on Lena Henke

Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–2007, mixed media. Installation view. From “Take It or Leave It: Institution, Image, Ideology.”

Los Angeles

Elizabeth McIntosh, The Girl, 2014, oil on canvas, 73 x 49". From “Persian Rose Chartreuse Muse Vancouver Grey.”

Vancouver

Monika Szewczyk on “Persian Rose Chartreuse Muse Vancouver Grey”

Apichatpong Weerasethakul, Blow Up, 2009, C-print, 57 3/4 x 87 3/8".

London

Aleksandra Domanović, Things to Come, 2014, UV prints on transparent polyester foil. Installation view. From the 2014 Glasgow International.

Glasgow

Jacob Proctor on 2014 Glasgow International

Julien Crépieux, Cumulus d’après Canoe of Port des Français de Michel Blondela (1799), 2014, silk-screen, ink, and salt on tinted MDF, 31 1/2 x 46 7/8".

Paris

Dorothy Iannone, Dialogues X (detail), 1968–69, one of nine drawings, felt-tip pen and collage on paper, 14 1/2 x 14 1/4".

Berlin

David Lamelas, Segnalamento (Signaling), 2014, marble slabs, maple tree. Installation view.

Milan

Alessandra Pioselli on David Lamelas

View of “Sofie Thorsen,” 2014. Foreground: Screen 2, 3, 4, 2014. Background: Screens Within Screens/1 (detail), 2014.

Vienna

Bleda and Rosa, Trafalgar (detail), 2013, nine ink-jet prints mounted on paper with text, overall 75 1/2 x 63 3/4".

Madrid

Pablo Llorca on Bleda and Rosa

Antoni Abad, Leido, 2005, video projection, color, sound, duration variable. From the series “canal*GITANO,” 2005.

Barcelona

Martí Peran on Antoni Abad

View of “Artur Barrio,” 2014.

São Paulo

Kaira M. Cabañas on Artur Barrio

Rasheed Araeen, Chakras, 1969–70, sixteen C-prints, sixteen wood disks. Installation view.

Sharjah

Kaelen Wilson-Goldie on Rasheed Araeen

Reza Aramesh, Action 136: Put this in your record: I am Present!, 2014, three-channel 35-mm slide projection, color, silent.

Dubai

Hiraki Sawa, Lenticular, 2013, mixed-media assemblage with color video and sound (by Bun), 8 minutes 30 seconds.

Tokyo

Shinyoung Chung on Hiraki Sawa

Mikhail Karikis, Children of Unquiet, 2013–14, digital video, color, sound, 16 minutes 30 seconds. From the 19th Biennale of Sydney.

Sydney

Toni Ross on 19th Biennale of Sydney