TABLE OF CONTENTS

October 2014

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October 2014, Vol. 53, No. 2

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COLUMNS

Still from Maria Lassnig’s Palmistry, 1973, 16 mm, color, sound, 10 minutes.

PASSAGES

Hans Ulrich Obrist on Maria Lassnig

Maria Lassnig, Selbstporträt mit Kochtopf (Self-Portrait with Cooking Pot), 1995, oil on canvas, 49 1/4 × 39 3/8".

PASSAGES

Paul McCarthy on Maria Lassnig

BOOKS

Svetlana Alpers on Walker Evans: The Magazine Work

David Cronenberg, Maps to the Stars, 2014, digital video, color, sound, 111 minutes. Dr. Stafford Weiss (John Cusack).

FILM

Amy Taubin on David Cronenberg’s Consumed and Maps to the Stars

Michael Roemer, Nothing but a Man, 1964, 35 mm, black-and-white, sound, 95 minutes. Josie (Abbey Lincoln) and Duff Anderson (Ivan Dixon).

FILM

Melissa Anderson on Michael Roemer

Livia Corona, 45,547 Homes for Mexico Ixtapaluca, 2007, C-print, 30 × 40". From the series “Two Million Homes for Mexico,” 2003–.

ARCHITECTURE

Jacob R. Moore on “Beyond the Supersquare”

John Burtle, Rebecca Correia,
Pauline Lay, Guan Rong, and
Chelsea Zeffiro, John and Guan’s Noooooooooooooooooooooooooooooooo TV, 2014. Performance view, Hammer Museum, Los Angeles, June 21, 2014.
From a KCHUNG TV, 2014.

ON SITE

Thomas Lawson on Made in L.A. 2014

View of “Unedited History: Iran 1960–2014,” 2014, Musée d’Art Moderne de la Ville de Paris, 2014.

ON SITE

Negar Azimi on “Unedited History: Iran 1960–2014”

SLANT

Bibiana Obler on “Degenerate Art”

top ten

Jessie Stead

columns features reviews

Dyed Indian bag, Korean, designed for Chinese market, early twenty-first century, cloth. From the collection of Richard Tuttle. © Nick Danziger.

PORTFOLIO

Richard Tuttle

Cameron Jamie, Botanical Wounds, 2011, ink on paper, 12 3/4 × 9 3/4".

MINOR THREAT: THE ART OF CAMERON JAMIE

Branden W. Joseph

1000 WORDS: NEÏL BELOUFA

Alexander Scrimgeour

Gaylen Gerber, Clear Sky/Garden Addition, 1997, Cibachrome print, charcoal, Plexiglas frame, 31 × 31". Installation view, White Flag Projects, Saint Louis, 2009. Photo: Gaylen Gerber and Tom Van Eynde.

SOFT TOUCH: THE ART OF GAYLEN GERBER

Beau Rutland

Cecil Balmond’s project Sigma, 1994–. Rendering, 2014.

CODE BREAKER

Julian Rose talks with Cecil Balmond

DECLARATION ON DIGITAL CAPITALISM

The International Necronautical Society

Jean-Pierre and Luc Dardenne, Deux jours, une nuit (Two Days, One Night), 2014, digital video, color, sound, 95 minutes. Sandra (Marion Cotillard) and coworkers.

TOO GOOD TO BE TRUE: THE FILMS OF JEAN-PIERRE AND LUC DARDENNE

James Quandt

Alex Olson, Jane Birkin Autograph, 2009, oil on canvas, 18 × 14".

OPENINGS: ALEX OLSON

Suzanne Hudson

columns features reviews

Charles Ray, Unpainted Sculpture, 1997, automotive primer, fiberglass, 4' 11 7/8“ × 6' 6” × 14' 2 7/8".

Andrei Pop on Charles Ray

Alberto Baraya, Expedition Berlín, Herbarium of Artificial Plants (detail), 2013–, mixed media, dimensions variable.

Christian Rattemeyer on the 8th Berlin Biennale

View of “Lygia Clark: The Abandonment of Art, 1948–1988,” 2014. Works from the series “Bichos” (Beasts), 1960–66. Photo: Thomas Griesel.

Daniel Birnbaum on Lygia Clark

John Akomfrah, Peripeteia, 2012, HD video, color, sound, 18 minutes 12 seconds.

Chika Okeke-Agulu on Dak’Art 2014

Garry Winogrand, New York, ca. 1963, gelatin silver print, 9 × 13 3/8".

New York

Dan Colen, TBT, 2014, flowers on bleached Belgian linen, 47 × 37".

Greenwich, Connecticut

Barry Schwabsky on Dan Colen

View of “Deborah Stratman,” 2014.

Buffalo

Chris Stults on Deborah Stratman

Allan Sekula, Sugar Gang 1–6, 2010, six C-prints, each 31 1/2 × 31 1/2".

Los Angeles

View of “Ursula Mayer,” 2014.

Vancouver

Jaleh Mansoor on Ursula Mayer

Elias Hansen, If fucking would’ve fixed this, I’d have fucked the shit out of you a long fucking time ago., 2014, enamel paint, found object, glass, playing card, steel, tape, wood, 43 × 13 × 16".

London

Oleg Vassiliev, Space and Landscape, 1994, oil on canvas, 48 × 36". From “Paper Museums: Moscow Conceptualism in Transit.”

Southampton, UK

Sylwia Serafinowicz on “Paper Museums: Moscow Conceptualism in Transit”

View of “Isabel Nolan,” 2014. From left: The view from nowhere, 2014; Here (beneath the endless night), 2014; The weakening eye of day, 2014.

Dublin

Declan Long on Isabel Nolan

Chris Martin, Perfect January Morning (A Remark You Made), 2012–14, acrylic, glitter, collage on canvas, 48 × 39".

Berlin

View of “Carolin Eidner,” 2014. From left: Ignorance Towards What Really Is, 2014; Verticality as the Speed of Horizon, 2014; Twilight Demand, 2014.

Cologne

Noemi Smolik on Carolin Eidner

Maria Eichhorn, Baudiagramm, 12 Pendel, 8 Ruten (Building Diagram, 12 Pendulums, 8 Rods), 2014, floor drawing, texts, object descriptions, hose, pump, pendulums, rods, dimensions variable.

Bregenz, Austria

Tobias Vogt on Maria Eichhorn

View of “Shannon Ebner,” 2014.

Milan

Tom Humphreys, A4 Coffin, 2012, pastel, charcoal, and acrylic on paper, aluminum, wood, glass, 48 1/2 × 34 1/2 × 3".

Paris

Daniel Quiles on Tom Humphreys

View of “Pamela Rosenkranz,” 2014.

Zurich

Simon Baier on Pamela Rosenkranz

Naeem Mohaiemen, Rankin Street, 1953, 2013, video, black-and-white, sound, 7 minutes 43 seconds; blueprint drawings, print on archival paper, sandstone 3-D print. Installation view.

Basel

Hans Rudolf-Reust on Naeem Mohaiemen

View of “Josef Dabernig,” 2014.

Vienna

Brigitte Huck on Josef Dabernig

View of “Svätopluk Mikyta,” 2014. From left: Pomoderna I, 2014; Pomoderna II, 2014; Face, 2013.

Prague

Markéta Stará Condeixa on Svätopluk Mikyta

Jeong Zik Seong, 201438, 2014, acrylic and oil on canvas, 76 3/8 × 102".

Seoul

Shinyoung Chung on Jeong Zik Seong

Kim Pieters, . . . to walk horizontally along the edge of a word, blinded by sun, to forget what was seen, and what there is, and beneath heel, to gather the fiction of a hill, 2011, four panels, mixed media on hardboard, overall 3' 11 1/4“ × 14' 1 1/4”.

Wellington, New Zealand

Anthony Byrt on Kim Pieters

Christian Megert, Parede espelhada e móbile (Mirrored Wall and Mobile), 1963, mirrors, wood, thread. Installation view. From “Zero.”

São Paulo

Kaira M. Cabañas on “ZERO”