PRINT December 2014

David Rimanelli

Genieve Figgis, Self-Portrait as Evelyn Nesbit, 2014, acrylic on canvas, 11 3/4 × 9 3/4".

1 SIGMAR POLKE (MUSEUM OF MODERN ART, NEW YORK; CURATED BY KATHY HALBREICH WITH MARK GODFREY AND LANKA TATTERSALL) This has been rather an annus mirabilis for the Modern, which at one point this summer offered, simultaneously, extraordinary exhibitions of the work of Mike Kelley (at MoMA PS1), Gauguin, Lygia Clark, Jasper Johns, Robert Heinecken, and Sigmar Polke. On my first trip to that last, must-see-time-and-again retrospective, I went at the close of day and had only thirty minutes to look; but even before I reached the first gallery, I was thunderstruck by a single work in the museum’s cavernous atrium, The Hunt for the Taliban and Al Qaeda, 2002. Polke took a newspaper diagram illustrating the US response to the September 11 attacks and created a lavender-tinted “machine painting.” Lavender.

Co-organized with Tate Modern, London.


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