TABLE OF CONTENTS

November 2015

list view

Cover: Susan Cianciolo, Four-Page Advert for Dune Magazine #3 (detail), 1998, C-prints, collage, newsprint, and tape on gelatin silver print, 14 x 11".

November 2015, Vol. 54, No. 3

columns features reviews

COLUMNS

From left: William Henry Fox Talbot, A Leaf, ca. 1840, photogenic-drawing negative, 3 3/4 × 3 3/8“. William Henry Fox Talbot, A Leaf, ca. 1840, salted paper print, 3 5/8 × 3 3/8”.

BOOKS

Stephen C. Pinson on Kaja Silverman’s Miracle of Analogy

Daniel Bethmont, Géologie, 1911. Detail from a scientific poster.

BOOKS

Ben Kafka on Jussi Parikka’s Geology of Media

A marble bust of a Palmyrene man discovered by the team of Khaled al-Asaad, Palmyra, Syria, September 1, 2002. Photo: Marc Deville/Getty Images.

SLANT

Nasser Rabbat on ISIS and Palmyra

Alice Rohrwacher, Le meraviglie (The Wonders), 2014, Super 16 transferred to digital video, color, sound, 111 minutes. Center: Milly Catena (Monica Bellucci).

FILM

Melissa Anderson on Alice Rohrwacher’s The Wonders

Jean Nouvel, National Art Museum of China, anticipated completion 2017, Beijing. Rendering.

ARCHITECTURE

Winnie Wong on China’s museum boom

Assemble, the Cineroleum, 2010, London.

ARCHITECTURE

Esther Choi on Assemble

View of “Reimagining Modernism: 1900–1950,” 2014–. On wall, from left: Willem de Kooning, Woman, 1944. © Artists Rights Society (ARS), New York.; Alice Neel, Portrait of Dick Bagley, 1946; Walt Kuhn, Clown with a Black Wig, 1930. On platform, from left: Gerrit Rietveld, Zig Zag Stoel, ca. 1937–40; Koloman Moser, armchair, 1903; Alvar Aalto, 31 armchair, 1931–32; Charles Eames, LCW side chair, ca. 1946. Photo: Chandra Glick.

CURATING

Richard Meyer on “Reimagining Modernism” at the Met

Dwayne Browne, Wojciech Kosma, Timothy Murray, Llewellyn Reichman, Yunuen Rhi, and Jessica Lauren Elizabeth Taylor, JESSICA LLEWELLYN TIMOTHY DWAYNE WOJCIECH YUNUEN, 2015. Public rehearsal view, June 11, 2015, Chisenhale Gallery. Llewellyn Reichman and Timothy Murray.

PERFORMANCE

Kathy Noble on Wojciech Kosma

British Sea Power (Scott Wilkinson, Phil Sumner, Neil Wilkinson, Matthew Wood, Abi Fry, and Martin Noble) performing with the Redbridge Brass Band, Barbican Centre, London, January 24, 2015. Photo: Phil Bourne/Redferns/Getty Images.

MUSIC

Jan Tumlir on British Sea Power

top ten

Helen DeWitt

columns features reviews

Diane Simpson, Drawing for Cape (B), 1990, graphite and colored pencil on vellum graph paper, 16 × 22".

SOURCE CODE: THE ART OF DIANE SIMPSON

Kate Nesin

Tabor Robak, Newborn Baby, 2015, HD video (color, silent, 3 minutes), two AUO transparent displays, three flat-screen monitors, five networked interactive digital signage players, HDMI cables, solid-state data storage in SD format, wall-mount brackets, power supplies, adapters. Installation view, Team Gallery, New York.

OPENINGS: TABOR ROBAK

Lloyd Wise

Still from Jean Rouch’s Les maîtres fous (The Mad Masters), 1955, 16 mm transferred to 35 mm, color, sound, 36 minutes.

CLOSE-UP: THE FILM IS THE SEARCH

J. Hoberman on Jean Rouch’s Moi, un noir (1958)

László Moholy-Nagy, soldier looking through periscope, ca. 1915–19, colored pencil and pencil on paper, 5 3/8 × 3 1/2". © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

LINES OF SIGHT: LÁSZLÓ MOHOLY-NAGY AND THE OPTICS OF MILITARY SURVEILLANCE

Joyce Tsai

Ana Mendieta, Burial Pyramid, 1974, Super 8, color, silent, 3 minutes 17 seconds. 35-mm color slide. © The Estate of Ana Mendieta Collection, LLC.

BODILY RITES: THE FILMS OF ANA MENDIETA

Ara Osterweil

PORTFOLIO

Susan Cianciolo

Richard Serra, Splashing, 1968, lead. Installation view, Castelli Warehouse, New York. From “9 at Leo Castelli.” Photo: Peter Moore/VAGA. © Richard Serra/Artists Rights Society (ARS), New York.

DUE PROCESS: RICHARD SERRA’S EARLY SPLASH/CAST WORKS

Jeffrey Weiss

Bibi Borthwick and Mai Aurell model RUN 11 outside Susan Cianciolo’s RUN Store, New York, 2001. Photo: Anette Aurell.

RADICAL CHIC: THE ART OF SUSAN CIANCIOLO

Nick Mauss

columns features reviews

View of “Glenn Ligon: Encounters and Collisions,” 2015, Tate Liverpool, London. Walls, from left: Jackson Pollock, Yellow Islands, 1952; David Hammons, Untitled (Body Print), 1974; Kelley Walker, Black Star Press (Triptych), 2005. Floor: Cady Noland, Pipes in a Basket, 1989. Photo: Roger Sinek.

Lynne Cooke on “Glenn Ligon: Encounters and Collisions”

View of “Barbara Hepworth: Sculpture for a Modern World,” 2015. From left: Oval Sculpture (Delos), 1955; Curved Form (Delphi), 1955. Photo: Olivia Hemingway.

Norman L. Kleeblatt on Barbara Hepworth

View of “The Freedom Principle: Experiments in Art and Music, 1965 to Now,” 2015. Clockwise, from left: Nari Ward, We the People, 2011; Renée Green, Space Poem #3 (Media Bicho), 2012; Sanford Biggers, Ghetto Bird Tunic, 2006; Terry Adkins, Native Son (Circus), 2006/2015. Photo: Nathan Keay.

Solveig Nelson on “The Freedom Principle: Experiments in Art and Music, 1965 to Now”

Rita McBride, Middle East, 2015, water-jet-cut brass plate with silver nitrate patina and Renaissance wax, three parts, overall 20 1/2 × 29 × 1/4".

New York

Cynthia Daignault, Neighbor, 2015, oil on canvas, 12 × 9".

Baltimore

Bibiana Obler on Cynthia Daignault

View of “Tony Lewis,” 2015.

Chicago

Solveig Nelson on Tony Lewis

View of “Lukas Geronimas,” 2015. From left: Custom Dust Drawing (Reclining Nude), 2015; Custom Table 2, 2015; Custom Shelf with Narrative, 2015; Untitled, 2015.

Minneapolis

Christina Schmid on Lukas Geronimas

Liam Everett, Untitled (Limnos), 2015, acrylic, enamel, alcohol, and salt on oil-primed linen, 77 × 60". From “Nacht und Traüme.”

San Francisco

Brian Karl on “Nacht und Träume”

Lauren Davis Fisher, TBD, 2015, papier-mâché, wire, 64 3/4 × 29 3/4 × 19 1/2". From “Recesses.”

Los Angeles

Larry Johnson, Untitled (Raven Row Giraffe), 2015, C-print, wood, 5' 5“ × 10' 8 3/4” × 2 3/4".

London

Anne Hardy, TWIN FIELDS (detail), 2015, timber, light, cinder blocks, cast concrete, carpet, fan, chain, rebar, air, rubber, audio (7 minutes 24 seconds), dimensions variable. Photo: Anne Hardy.

Glasgow

Declan Long on Anne Hardy

Anita Molinero, Sans titre (multicolores), 2014, concrete, rebar, polystyrene, acrylic, 20 1/2 × 11 × 19 1/4". From the series “Des petits bétons de la petite ceinture” (Small Pieces of Concrete from the Inner Circle Line), 2014–.

Paris

Laura Owens, Untitled, 2015, oil, Flashe paint, acrylic, silkscreen inks, and gesso on linen, five panels, each 108 × 84". Photo: Jens Ziehe.

Berlin

Jānis Avotiņš, Untitled, 2015, oil on canvas, 17 1/4 × 17 1/4".

Hamburg

Jens Asthoff on Jānis Avotiņš

View of “Absolute Beauty–Neoacademism in Saint Petersburg,” 2015. Photo: József Rosta.

Budapest

Kate Sutton on “Absolute Beauty”

View of “Ugo Rondinone,” 2015.

Zurich

Lawrence Abu Hamdan, Conflicted Phonemes, 2012, vinyl, paper, paint, wood. Installation view.

St. Gallen, Switzerland

Daniel Horn on Lawrence Abu Hamdan

Jack Whitten, Atopolis: For Édouard Glissant, 2014, acrylic on canvas, 10' 4 1/2“ × 20' 8 1/2”. From “Atopolis,” 2015

Mons, Belgium

Jos Van den Bergh on “Atopolis”

Vincenzo Agnetti, Dimenticato a memoria (Forgotten by Heart), 1972, felt, acrylic, 47 1/4 × 31 1/2".

Milan

Paola Nicolin on Vincenzo Agnetti

Lina Selander, Lenin’s Lamp Glows in the Peasant’s Hut, 2011, HD video, black-and-white, sound, 23 minutes. Installation view. Photo: Danilo Donzelli.

Naples

Eugenio Viola on Lina Selander

Ashish Avikunthak, Kalkimanthankatha (The Churning of Kalki), 2015, digital video, color and black-and-white, sound, 79 minutes.

Mumbai

Murtaza Vali on Ashish Avikunthak

Parul Gupta, Extending the Line, 2013, ink-jet print, 36 × 32". From the series “Extending the Line,” 2013–. From “Phenomenology of Perception,” 2015.

New Delhi

Meera Menezes on “Phenomenology of Perception”

View of “Hu Xiangqian,” 2015.

Beijing

Yang Beichen on Hu Xiangqian

Lais Myrrha, Dois quartos (Two Bedrooms), 2015, colored pencil on blueprint architectural plan, cement, rubble, dimensions variable. Photo: Eduardo Ortega.

São Paulo

Camila Belchior on Lais Myrrha