TABLE OF CONTENTS

September 2016

list view

Cover: Bruce Conner, Crossroads, 1976, 35 mm, black-and-white, sound, 37 minutes. Still from the 2013 digital remastering. © Estate of Bruce Conner.

September 2016, Vol. 55, No. 1

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COLUMNS

PASSAGES

Branden W. Joseph on Tony Conrad

PASSAGES

Lee Ranaldo on Tony Conrad

The First Amendment Network, Studio of the Streets, 1990–93, still from a public-access cable TV show on public television, Buffalo. Right: Tony Conrad. © Tony Conrad Estate.

PASSAGES

Jennifer West on Tony Conrad

Mike Kelley and Tony Conrad performing with XXX Macarena at the opening of “John Miller: The New Honeymooners,” Friedrich Petzel Gallery, New York, January 18, 2008. From left: John Miller, Mike Kelley, Tony Conrad. Photo: Colby Bird.

PASSAGES

John Miller on Tony Conrad

BOOKS

Kerry James Marshall on Marvel’s Black Panther

Gabinete de Arquitectura, Breaking the Siege, 2016, brick, mortar. Installation view, Central Pavilion, Venice. Photo: Francesco Galli.

ARCHITECTURE

Ian Volner on the Venice Architecture Biennale

The Wooster Group, The Town Hall Affair, 2016. Performance view, the Performing Garage, New York, June 9, 2016. From left: Germaine Greer (Maura Tierney), Norman Mailer (Scott Shepherd), Norman Mailer (Ari Fliakos), Jill Johnston (Kate Valk). Photo: Paula Court.

PERFORMANCE

J. Hoberman on the Wooster Group’s Town Hall Affair

Martin Creed, Work No. 2656: Understanding, 2016, HD video, color, sound, 3 minutes 11 seconds.

SOUND

Alan Licht on Martin Creed’s “The Back Door”

top ten

Carsten Nicolai

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Fall Exhibitions

45 shows worldwide

Emilio Vedova, Berlin ’64 (detail), 1964, relief, paper, iron, and mixed media on wood, 41 3/8 × 47 5/8 × 7 1/8". From “Postwar: Art Between the Pacific and the Atlantic, 1945–1965.”

Focus Preview

“Postwar: Art Between the Pacific and the Atlantic, 1945–1965”

Hercules Segers, Mountain Valley with Fenced Fields, ca. 1615–30, etching, drypoint, oil, and watercolor on paper, 8 7/8 × 19 1/4".

Vault

Hercules Segers

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FLORAL IMPERATIVE: THE ART OF WILLEM DE ROOIJ

Daniel Birnbaum

View of “Word! Word? Word! Issa Samb and the Undecipherable Form,” 2013, RAW Material Company, Sicap Amitié 2, Dakar. Photo: Antoine Tempé.

DISPATCH: ART IN DAKAR

Issa Samb, untitled, 2010, welded shovels. Installation view, RAW Material Company, Zone B, Dakar. Photo: Sophie Thun.

Koyo Kouoh

Cheikh Ndiaye, Privatisation d’un espace par son ciel bleu (Privatizing a Space by Its Sky), 2016, plastic tarps, concrete, iron. Installation view, Sicap Liberté 3, Dakar. From “Afro Pixels,” Dak’Art.

Cheikh Ndiaye

Youssef Limoud, Maqam, 2016, mixed media. Installation view, Palais de Justice, Dakar. From “Réenchantements,” Dak’Art. Photo: Ricci Shryock.

Cheryl Finley

Aissa Dione, Kameroun, ca. 2001, cotton, raphia.

Aissa Dione

Dakar, 2011. Photo: Jeff Attaway/Flickr.

Sean Anderson

Vincent Michéa’s Zone B—Dakar, 2014, outside his studio, Dakar, 2014. Photo: Vincent Michéa.

Vincent Michéa

Bruce Conner, Three Screen Ray, 2006, three-channel digital video projection. Installation view, Museum of Modern Art, New York, 2016. Photo: Martin Seck. © Estate of Bruce Conner.

SHINE A LIGHT: THE ART OF BRUCE CONNER

Amy Taubin

Jill Magid, The Proposal, 2016, 2.02-carat blue uncut diamond with microlaser inscription, silver ring setting designed by Anndra Neen, ring box, documents. Installation view, Kunst Halle Sankt Gallen, Switzerland. Photo: Stefan Jaeggi.

1000 WORDS: JILL MAGID

Colby Chamberlain

Herzog & de Meuron, Tate Modern addition, 2016, London. Photo: Iwan Baan.

SPECTATOR SPORTS: THE NEW TATE MODERN

Julian Rose

Four performance views of Anne Imhof’s Angst, 2016, Kunsthalle Basel, June 14–15 and 18–19, 2016. Photos: Nadine Fraczkowski.

CLOSE UP: REMOTE CONTROL

on Anne Imhof’s Angst, 2016

Pere Portabella with cameraman Teo Escamilla shooting Nocturno 29, Barcelona, 1968.

FREEDOM OF ASSOCIATION: THE CINEMA OF PERE PORTABELLA

Erika Balsom

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Adrian Piper, Everything #5.1, 2004, gold leaf on Plexiglas. Installation view, KW Institute for Contemporary Art. Photo: Timo Ohler. © Adrian Piper Research Archive Foundation Berlin.

Hannah Black on the 9th Berlin Biennale

View of “What People Do for Money,” 2016, dental office of Danielle Heller Fontana, Zurich. From left: Torbjørn Rødland, Crossed Confections, 2015–16; Torbjørn Rødland, Portrait, 2015–16.

Kevin McGarry on Manifesta 11

Steve McQueen, End Credits, 2012/2016, sequence of digital scans, black-and-white, sound, 12 hours 54 minutes; sound element: 19 hours 23 minutes. Installation view. Photo: Ron Amstutz.

J. Hoberman on Steve McQueen

View of “Andrzej Wróblewski: Recto/Verso,” 2015–16. From left: The Lovers, 1956; Man with Three Heads, Figural Composition no. 1477, ca. 1956; Fan, Abstract Composition no. 1137, n.d.; Mother with Dead Child, 1949. © Andrzej Wróblewski Foundation.

Dieter Roelstraete on Andrzej Wróblewski

Olafur Eliasson, The open pyramid, 2016, steel, aluminum, mirror foil, wood, paint, spotlight. Installation view. Photo: Anders Sune Berg.

Du Keke on Olafur Eliasson

View of “Jason Moran,” 2016. From left: STAGED: Savoy Ballroom 1, 2015; The Temple (for Terry Adkins), 2016; Basin Street Run 1, 2016; Basin Street Run 2, 2016; STAGED: Three Deuces, 2015. Photo: Farzad Owrang.

New York

Jane Irish, House of Tan Ky, 2015, egg tempera on linen, 50 1/2 × 55".

Philadelphia

Becky Huff Hunter on Jane Irish

Lee Godie, Untitled (self-portrait with paint box), n.d., gelatin silver print, 4 7/8 × 3 7/8".

Chicago

Solveig Nelson on Lee Godie

Peter Barrickman, 4th Minute, 2016, colored pencil and acrylic on canvas, 24 × 20".

Milwaukee

Barry Schwabsky on Peter Barrickman

Mariah Garnett, Other & Father, 2016, two-channel HD video transferred from 16 mm, color, sound, 11 minutes. Installation view.

Los Angeles

Michael Stevenson, Signs & Wonders, 2015–16, mixed media. Installation view. Photo: Mariell Lind Hansen.

London

View of “Glasgow International.” Left and center: Lawrence Lek, QE3, 2016. Right: Sheila Hicks, Mighty Mathilde and Her Consort, 2016. Photo: Ruth Clark.

Glasgow

Jacob Proctor on Glasgow International

Paris

Ketuta Alexi-Meskhishvili, Invisible Majority (Eliza), 2016, ink-jet print, 17 1/2 × 21".

Berlin

Marvin Gaye Chetwynd, Camshafts in the Rain, 2016. Performance view. Tatiana Feldman. Photo: Simon Vogel.

Bonn, Germany

Noemi Smolik on Marvin Gaye Chetwynd

Katherine Bernhardt, Playing Games, 2016, mixed media. Installation view.

Vienna

Mariana Telleria, Before Our Birth, 2016, car wreckage and mixed media. Installation view. From “Répétition.” Photo: Asad Raza.

Brussels

Leland de la Durantaye on “Répétition”

Anastasia Ax, COPYRIGHT Copyright, 2016, paper, 12 1/4 × 8 1/4 × 4 3/8". From the series “Copyright,” 2016–.

Stockholm

Fredrik Svensk on Anastasia Ax

View of “Oa4s,” 2016.

Oslo

Cat Kron on Oa4s

View of “Paolo Gioli,” 2016. From left: Grande sviluppo rosso (Big Red Progression), 1966; Grande proiezione orizzontale (Big Horizontal Projection), 1969. Photo: Andrea Rossetti.

Milan

Ann Veronica Janssens, CL9 Pink Shadow, 2015–16, annealed glass, PVC filter CL9, 82 5/8 × 41 3/8 × 6".

Naples

Eugenio Viola on Ann Veronica Janssens

Cabello/Carceller, Rapping Philosophy: Foucault, Sontag, Butler, Mbembe, 2016. Performance view, May 13. MC Hábil Harry. Photo: Oak Taylor-Smith.

Madrid

Javier Hontoria on Cabello/Carceller

View of “Memory Games: Ahmed Bouanani Now,” 2016, Bahia Palace. From left: Yto Barrada, #18 Majdoub Appliqué Flag, 2016; Yto Barrada, #48 Majdoub Appliqué Flag, 2016; Yto Barrada, #15 Majdoub Appliqué Flag, 2016. From the Marrakech Biennale 6. Photo: Jens Martin.

Marrakech

Paola Nicolin on Marrakech Biennale 6

Nadia Kaabi-Linke, Spic and Span in February, 2016, silk paper and graphite on canvas, 79 1/2 × 74".

Kolkata

Alex Traub on Nadia Kaabi-Linke

Fahd Burki, Noon, 2015, acrylic and pencil on paper, 30 × 22".

Dubai

Murtaza Vali on Fahd Burki

Len Lye, Georgia O’Keeffe, 1947, gelatin silver print, 16 7/8 × 14 1/8". From “Emanations: The Art of the Cameraless Photograph.”

New Plymouth, New Zealand

Anthony Byrt on “Emanations: The Art of the Cameraless Photograph”

Li Ran, Same Old Crowd, 2016, four-channel synchronized HD video, black-and-white, sound, 15 minutes. Installation view. Photo: Justin Hei.

Shanghai

Yang Beichen on Li Ran

Fuyuhiko Takata, Ghost Painting, 2015, digital video, color, 2 minutes 44 seconds.

Tokyo

Andrew Maerkle on Fuyuhiko Takata

View of “Cibelle Cavalli Bastos,” 2016. Photo: Gui Gomes.

São Paulo

Tobi Maier on Cibelle Cavalli Bastos

Nicholas Mangan, Ancient Lights, 2015, two-channel HD video, color, sound, 13 minutes 41 seconds and 5 minutes 12 seconds. Installation view.

Mexico City

Annie Godfrey Larmon on Nicholas Mangan