TABLE OF CONTENTS

September 2014

list view

Cover: Jeff Koons, Saint John the Baptist, 1988, porcelain, 56 1/2 × 30 × 24 1/2". From the series “Banality,” 1988.

September 2014, Vol. 53, No. 1

columns previews features reviews

COLUMNS

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Letters

PASSAGES

Kobena Mercer on Stuart Hall

Sturtevant at “Sturtevant: Image over Image,” Moderna Museet, Stockholm, March 2012. Photo: Åsa Lundén.

PASSAGES

Bruce Hainley and Claude Wampler on Sturtevant

Sturtevant, Haring Tag July 15 1981, 1985, sumi ink and acrylic on cloth, 9 7/8 × 12 7/8".

PASSAGES

Peter Eleey on Sturtevant

Hudson, drawn by Charles Ray, 2014.

PASSAGES

Charles Ray on Hudson

Letter from Paul Cézanne to Claude Monet, January 16, 1902. Photo: Musée des Lettres et Manuscrits, Paris.

BOOKS

John Elderfield on The Letters of Paul Cézanne

Illustration for Omni, December 1992. Stanislaw Fernandes.

BOOKS

Bruce Sterling on The Mind’s Eye: The Art of Omni

Jean-Luc Godard, Adieu au langage (Goodbye to Language), 2014, 3-D digital video, color, sound, 70 minutes. Josette (Héloise Godet).

FILM

James Quandt on Jean-Luc Godard’s Goodbye to Language

Snøhetta, National September 11 Memorial Museum Pavilion, 2014, New York. Foreground: Michael Arad and Peter Walker and Partners, National September 11 Memorial, 2011. Photo: Jeffrey Tanenhaus/Flickr.

ON SITE

Rosalyn Deutsche on the National September 11 Memorial Museum

wHY, Maurice and Paul Marciano Art Foundation, anticipated completion 2016, Los Angeles. Rendering.

ARCHITECTURE

Fred Bernstein on Kulapat Yantrasast

top ten

Liz Craft

columns previews features reviews

Fall Exhibitions

40 shows worldwide

Chris Ofili, Triple Beam Dreamer, 2001–2002, acrylic, oil, leaves, glitter, polyester resin, map pins, and elephant dung on linen, 72 × 120".

Focus Preview

Chris Ofili

columns previews features reviews

Jeff Koons, Inflatable Flowers (Short Pink, Tall Purple), 1979, vinyl, mirror, acrylic, 16 × 25 × 18". From the series “Inflatables,” 1978–79.

AMERICAN IDOL

Thomas Crow on “Jeff Koons: A Retrospective”

Jeff Koons, Lifeboat, 1985, bronze, 12 × 80 × 60". From the series “Equilibrium,” 1983–93.

Josiah McElheny

Advertisement by Jeff Koons from Flash Art, no. 143 (November/ December 1988).

Carol Bove

Jeff Koons, Bob Hope, 1986, stainless steel, 17 × 5 1/2 × 5 1/2". From the series “Statuary,” 1986.

Rachel Harrison

View of “Jeff Koons: A Retrospective,” 2014, Whitney Museum of American Art, New York. From left: Moon (Light Pink), 1995–2000; Play-Doh, 1994–2014; Cake, 1995–97. All from the series “Celebration,” 1994–.

Margaret Lee

Jeff Koons, Lobster (detail), 2003, polychromed aluminum, steel chain, 57 7/8 × 37 × 17 1/8". From the series “Popeye,” 2002–

Laura Owens

Jeff Koons, Lobster, 2003, polychromed aluminum, steel chain, 57 7/8 × 37 × 17 1/8". From the series “Popeye,” 2002–.

Cory Arcangel

Richard Serra, East-West/West-East, 2014, weatherproof steel. Installation view, Brouq Nature Reserve, Qatar. Photo: Cristiano Mascaro. © Richard Serra/Artist Rights Society (ARS), New York.

SERRA IN THE DESERT

Hal Foster

Tony Hill, Point Source, 1973. Performance view, Lichtburg Filmpalast, 60th International Short Film Festival Oberhausen, Germany, May 2, 2014. Tony Hill.

LIVE AND DIRECT: CINEMA AS A PERFORMING ART

Erika Balsom

LIVING COLOR: THE ART OF ELIOT PORTER

Jimena Canales

CLOSE-UP: SPECTERS OF HISTORY

Carrie Mae Weems’s Lincoln, Lonnie, and Me, 2012

View of “Elements of Architecture,” 2014. Central Pavilion, Venice. Ceiling display. Photo: Francesco Galli.

TOO MUCH INFORMATION

Sylvia Lavin on the 14th Venice Architecture Biennale

Robert Siodmak and Edgar G. Ulmer, Menschen am Sonntag (People on Sunday), 1930, 35 mm, black-and-white, silent, 73 minutes.

NOA NOA ON THE WANNSEE: TABU, PEOPLE ON SUNDAY, AND THE LOST PARADISE OF SILENT FILM

J. Hoberman

Still from Agnieszka Polska’s Future Days, 2013, HD video, color, sound, 29 minutes.

OPENINGS: AGNIESZKA POLSKA

Tom McDonough

columns previews features reviews

James Meyer on Carl Andre

Graham Bader on Sigmar Polke

View of “James Benning: Decoding Fear,” 2014. Foreground: After Gee’s Bend, 2013. Background, from left: Architectural Rendering (Two Cabins), 2014; Data Entry, 2014; May 22, 1942 (for Ted), 2013. Photo: UMJ/N. Lackner.

Lynne Cooke on James Benning

© Succession Henri Matisse, Paris/ARS, New York.

Alastair Wright on “Henri Matisse: The Cut-Outs”

Robert Longo, After de Kooning (Woman and Bicycle, 1952–1953), 2014, charcoal on mounted paper, 90 × 57 5/8".

New York

View of “Michael E. Smith,” 2014. From left: untitled, 2014; untitled, 2014.

Ferndale, Michigan

Nadja Rottner on Michael E. Smith

Michael Sailstorfer, Forst (Forest), 2010/2014, trees, motors, steel, dimensions variable.

Cincinnati

Jeffrey Saletnik on Michael Sailstorfer

Maddie Reyna, Fantasie, 2014, ink-jet print, 36 × 24".

Chicago

Michelle Grabner on Maddie Reyna

Yuji Agematsu, untitled (detail), 2014, mixed media, dimensions variable.

Portland, Oregon

Jon Raymond on Yuji Agematsu

Clare Rojas, Untitled, 2014, oil on canvas, 48 × 64".

San Francisco

Gwen Allen on Clare Rojas

Flyer by John Dorr for James Dillinger’s 1983 feature-length video Blonde Death. From “EZTV: Video Transfer.”

Los Angeles

View of “Eva Rothschild,” 2014. Left: Honeymoon, 2014. Foreground and background: Fall, Fall, and Falling, 2014. Middle ground: Lantern, 2014.

London

View of “Enrique Ramírez,” 2014.

Paris

View of “Katja Novitskova,” 2014.

Berlin

Michael Hakimi, Zopf (Plait), 2014, spray paint and lacquer on linen, 35 × 26 3/4".

Hamburg

Jens Asthoff on Michael Hakimi

Nicolas Ceccaldi, Apocryphal Masquerade, 2014, deer skull, ribbon, red wine, 12 3/8 × 4 × 6 3/4".

Munich

John Beeson on Nicolas Ceccaldi

Robert Overby, Magnetic Stretch, July 5, 1970, polyvinyl chloride and resin, 48 × 60 × 3".

Bergamo, Italy

Marco Tagliafierro on Robert Overby

Nils Dardel, Den döende dandyn (The Dying Dandy), 1918, oil on canvas, 55 × 70 7/8".

Stockholm

Ronald Jones on Nils Dardel

Mark Manders, Room with Unfired Clay Figure, 2014, painted bronze, wood, iron, plastic, painted ceramic, chair, painted epoxy, 8' 11 1/2“ × 14' 4 1/4” × 20' 4".

Antwerp

Jos Van den Bergh on Mark Manders

Leon Vranken, Horizon, 2014, bricks, cement, steel struts, 9' 2 1/2“ × 26' 4” × 16' 5".

Hasselt, Belgium

Wouter Davidts on Leon Vranken

View of “Nikos Markou and Kostis Velonis,” 2014. Foreground: Kostis Velonis, Who Might Rebuild?, 2014. Background, from left: Kostis Velonis, Model for the Prospect of Shipwreck, 2013; Nikos Markou, 02.03.2013.

Athens

Stephanie Bailey on Nikos Markou and Kostis Velonis

Magdi Mostafa, The Surface of Spectral Scattering, 2014, LED lights, eight-channel audio, fabric. Installation view.

Cairo

Anneka Lenssen on Magdi Mostafa

Zhanna Kadryova, Untitled, 2014, wallpaper, burned brick wall segments. Installation view. From “Fear and Hope.”

Kiev

Larissa Babij on “Fear and Hope”

View of “Ricardo Alcaide,” 2014.

São Paulo

Camila Belchior on Ricardo Alcaide

Sun Xun, A Historic Moment, 2014, ink on paper, 43 3/4 × 63 1/8".

Hong Kong

Stephanie Bailey on Sun Xun

View of “Advance Through Retreat,” 2014. Left wall: Li Zhengtian, On Socialist Democracy and the Chinese Legal System, 2014. Middle and right: Andreas Mayer-Brennenstuhl, Rewriting Modernity; De-growth Now, 2014.

Shanghai

Robin Peckham on “Advance Through Retreat”