TABLE OF CONTENTS

September 2015

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September 2015, Vol. 54, No. 1

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COLUMNS

Cover: Joan Jonas, Organic Honey’s Visual Telepathy, 1972, video, black-and-white, sound, 17 minutes 24 seconds. Photo: Electronic Arts Intermix (EAI), New York.

LETTERS

Object Lesson

Liz Larner’s copy of the map locating Chris Burden’s Scale Model of the Solar System, 1983, in Newport Beach, CA, 1988.

PASSAGES

Liz Larner on Chris Burden

Chris Burden, Doomed, 1975. Performance view, Museum of Contemporary Art Chicago, April 11, 1975.

PASSAGES

Paul Schimmel on Chris Burden

Chris Burden, Exposing the Foundation of the Museum, 1986, three excavations of earth. Installation view, Museum of Contemporary Art, Los Angeles. Photo: Squidds & Nunns.

PASSAGES

Vito Acconci on Chris Burden

Manoel de Oliveira, Visita ou Memórias e Confissões (Visit, or Memories and Confessions), 1982/2015, 35 mm, color, sound, 68 minutes. Manoel de Oliveira.

PASSAGES

James Quandt on Manoel de Oliveira

Todd Haynes, Carol, 2015, 35 mm, color, sound, 118 minutes. Therese Belivet (Rooney Mara) and Carol Aird (Cate Blanchett).

FILM

Melissa Anderson on Todd Haynes’s Carol

Thom Andersen, Juke: Passages from the Films of Spencer Williams, 2015, digital video, black-and-white, sound, 30 minutes. Frame from Spencer Williams’s Juke Joint, 1947.

FILM

J. Hoberman on Thom Andersen’s Juke

Cover for Giorgio Moroder, Déjà Vu, 2015.

MUSIC

Alice Echols on Giorgio Moroder

Wallace Berman, Larkspur, CA, 1961.

SOUND

Alan Licht on Wallace Berman

Claes Oldenburg, Giant Ice Bag, 1969–70, polyvinyl, lacquered wood, mechanical and hydraulic components. Installation view, Los Angeles County Museum of Art, 1971. Photo: © Museum Associates/LACMA.

SLANT

Peter Lunenfeld on “Art and Technology”

top ten

Anna-Sophie Berger

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Fall Exhibitions

45 shows worldwide

Albert Oehlen, Easter Nudes, 1996, oil and acrylic on canvas, 75 1/4 × 106 3/4". From “Painting 2.0: Expression in the Information Age.”

Focus Preview

“Painting 2.0: Expression in the Information Age”

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Fabio Mauri, Il Muro Occidentale o del Pianto (The Western Wall or the Wailing Wall) (detail), 1993, suitcases, bags, boxes, leather casings, fabric, wood, 13' 1 1/2“ × 13' 1 1/2” × 1' 11 5/8". From “All the World’s Futures.”

VENICE 2015

Isaac Julien in collaboration with Mark Nash, Das Kapital Oratorio, 2015. Performance view, Arena, Central Pavilion, Venice, May 8. Photo: Andrea Avezzù.

Benjamin H. D. Buchloh

Atlas of Harun Farocki’s Filmography (detail), 2015, notebooks, approx. one hundred copies of Filmkritik magazine, vitrine, eighty-six digital videos (color, sound, infinite duration). From “All the World’s Futures.”

Jessica Morgan

Danh Vo, Lick Me Lick Me, 2015, white crystalline Greek-marble torso of Apollo, wood, nails. Installation view, Danish pavilion, Venice. Photo: Kate Lacey.

Claire Bishop

Joan Jonas, They Come to Us Without a Word II, 2015. Performance view, Teatro Piccolo Arsenale, Venice, July 21, 2015. Music by Jason Moran. Joan Jonas. Photo: Moira Ricci.

Ann Reynolds

Still from GCC, Vision Driven, 2015, HD video, color, sound, 5 minutes 39 seconds.

1000 WORDS: GCC

Kevin McGarry

Torbjørn Rødland, Pads, 2010–14, C-print, 23 5/8 × 29 7/8".

DREAM WORK: THE ART OF TORBJØRN RØDLAND

Ina Blom

View of “America Is Hard to See,” 2015, Whitney Museum of American Art, New York. On wall: Jonathan Borofsky, Running People at 2,616,216, 1978–79. Photo: Nic Lehoux.

BROUGHT TO LIGHT: THE NEW WHITNEY MUSEUM OF AMERICAN ART

Sarah K. Rich

Still from Johann Lurf’s Twelve Tales Told, 2014, 3-D digital video, color, sound, 4 minutes.

PARALLAX PLURALITY: 3-D CINEMA BEYOND THE FEATURE FILM

Erika Balsom

A barricade during the Paris Commune, boulevard Voltaire and boulevard Richard-Lenoir, 1871. Photo: Bruno Braquehais/BHVP/Roger-Viollet.

GROUNDS FOR ACTION: LANDSCAPE AND PROTEST

David Gissen

Samara Golden, The Flat Side of the Knife, 2014, mixed media. Installation view, MoMA PS1, New York.

OPENINGS: SAMARA GOLDEN

Cat Kron

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Taro Shinoda, Karesansui (Dry Landscape), 2015, wood, sand, stone, fabric, holding tank. Installation view, Sharjah Art Museum. Photo: Deema Shahin.

Yasmine El Rashidi on Sharjah Biennial 12

View of “Giorgio Griffa: A Retrospective 1968–2014,” 2015. From left: Sei colori (Six Colors), 1977; Obliquo (Diagonal), 1976. Photo: Annik Wetter. All works by Giorgio Griffa © Artists Rights Society (ARS), New York/SIAE, Rome.

Molly Warnock on Giorgio Griffa

View of “Lara Favaretto: Good Luck,” 2015. From left: Homage to Ambrose Bierce, 2015; Homage to Thomas Pynchon, 2015; Homage to Amelia Earhart, 2015; Homage to Nikola Tesla, 2015.

Ida Panicelli on Lara Favaretto

View of “Lucas Samaras,” 2015.

New York

Jack and Leigh Ruby, Car Wash Incident, 2013–15, two-channel video projection, color, sound, 35 minutes. Photo: Monia Lippi.

Miami

Matthew Biro on Jack and Leigh Ruby

Titus Kaphar, The Vesper Project (detail), 2008–13, mixed media, dimensions variable. Installation view.

Cincinatti

Brynn Hatton on Titus Kaphar

Gordon Matta-Clark, Circus, 1978, Cibachrome, 40 × 30".

Chicago

Daniel Quiles on Gordon Matta-Clark

Zoe Leonard, January 15, frame 10, 2012, gelatin silver print, 9 1/2 × 11 3/4".

San Francisco

Lisa Oppenheim, Lunagrams #5, 2010, toned gelatin silver print, 19 7/8 × 15 7/8". From “Light, Paper, Process: Reinventing Photography.”

Los Angeles

John Wood and Paul Harrison, Semi-Automatic Painting Machine, 2014, HD video, color, sound, 19 minutes.

London

A visitor listens to Katrina Palmer’s The Loss Adjusters, 2015, Easton, Isle of Portland, April 24, 2015. Photo: Brendan Buesnal.

Isle of Portland, UK

Gilda Williams on Katrina Palmer

Vittorio Santoro, Reasoning Is Faultless (But Wrong Nonetheless), II, 2015, four concealed objects, acrylic on canvas, cord, plywood, 31 1/4 × 31 1/4 × 2 1/2".

Dublin

Declan Long on Vittorio Santoro

View of “Florian and Michael Quistrebert,” 2015. From left: Overlight S2E3, 2015; Overlight S2E4, 2015; Overlight S2E5, 2015; Overlight S2E6, 2015. From the series “Overlight,” 2013–.

Paris

Mara Hoberman on Florian and Michael Quistrebert

Margaret Honda, Sculpture, 2015, wood, drywall, paint, 9' 3“ × 59' 3/4” × 78' 9". Installation view. Photo: Aurélien Mole.

Marseille

Riccardo Venturi on Margaret Honda

View of “Mary Heilmann and David Reed,” 2015. From left: David Reed, #550, 2005–2006; Mary Heilmann, Yoshimi, 2004.

Berlin

Bruno Jakob, Flesh Net, 1995, two canvases, one canvas board, one framed photograph, one framed work on paper. Installation view. Photo: Thomas Strub.

Zurich

Hans Rudolf Reust on Bruno Jakob

Linda Fregni Nagler, Contemplation of Death, 2014, selenium-toned gelatin silver print on telex paper, 47 1/2 × 41". From the series “Pour commander à l’air” (To Lead the Air), 2012–.

Milan

Tassos Pavlopoulos, Young bather seems to be waiting for someone, 2012, acrylic on paper, 20 × 16".

Athens

Stephanie Bailey on Tassos Pavlopoulos

Wei Jia, Time Flies, 2014, acrylic on canvas, 59 × 78 3/4".

Shanghai

Fiona He on Wei Jia

View of “Leung Chi Wo,” 2015. Photo: Zhuo Muxi.

Shenzen

Christina Li on Leung Chi Wo

Angelica Mesiti, The Colour of Saying, 2015, three-channel HD video, color, sound, 25 minutes. Installation view.

Sydney

Toni Ross on Angelica Mesiti

Tony Orrico, Untitled (mask), 2015, Sri Lankan graphite, porcupine quills, starfish, tape, solder, paper clips, seashell, chicken bones, beads, barro negro, semen, hair, 10 1/4 × 7 × 13".

Mexico City

Marcela Quiroz on Tony Orrico

Alexandre da Cunha, Comédia I, 2015, bicycle saddle, canvas, 15 3/4 × 15 3/4 × 6".

São Paulo

Alexandre Melo on Alexandre da Cunha

Elmgreen & Dragset, Zwischen anderen Ereignissen (Between Other Events), 2000–15. Performance view. From: “Experienecia Infinita” (Infinite Experience). Photo: Jorge Miño.

Buenos Aires

Kevin McGarry on “Experiencia Infinita”