TABLE OF CONTENTS

November 2016

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Cover: Dread Scott, Imagine a World Without America, 2007, silkscreen on canvas, 75 × 75".

November 2016, Vol. 55, No. 3

columns features reviews

COLUMNS

Benjamin Patterson, Paper Piece, 1960. Performance view, Hypokriterion Theater, Amsterdam, June 23, 1963.

PASSAGES

George E. Lewis on Benjamin Patterson

Madison Square on election night, New York, November 6, 1888 (Harper’s Weekly, November 17, 1888).

BOOKS

Geoffrey Winthrop-Young on Charles Musser’s Politicking and Emergent Media

Page from Brian Chippendale’s Puke Force (Drawn & Quarterly, 2015).

BOOKS

Nicole Rudick on Brian Chippendale’s Puke Force

Peter Eisenman and Matt Roman’s diagram of Andrea Palladio’s Villa Rotonda (1566), 2015.

BOOKS

Daniel Sherer on Peter Eisenman’s Palladio Virtuel

Richard Prince, Self-Portrait with a Spade, 1973–74, gelatin silver print, offset print and ink on board, 12 × 18".

SLANT

Bruce Hainley on “Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)”

Weiss/Manfredi, Novartis Office Building, 2012, East Hanover, NJ. Photo: Paul Warchol.

ARCHITECTURE

Alex Kitnick on the staircase in contemporary architecture

Paul Verhoeven, Elle, 2016, video, color, sound, 131 minutes. Patrick (Laurent Lafitte) and Michèle Leblanc (Isabelle Huppert).

FILM

Johanna Fateman on Paul Verhoeven’s Elle

Paul Meyer, Déjà s’envole la fleur maigre (From the Branches Drops the Withered Blossom), 1960, 35 mm, black-and-white, sound, 83 minutes.

FILM

James Quandt on Paul Meyer’s Déjà s’envole la fleur maigre

Jacolby Satterwhite’s cover artwork for Jacolby Satterwhite, Patricia Satterwhite, and Nick Weiss’s Anthem: Patricia (Vinyl Factory, 2016).

MUSIC

Kevin Lozano on Total Freedom’s Anthem

Still from GentleWhispering’s 2014 YouTube video ~ Relaxing Fluffy Towels Folds ~, 26 minutes 14 seconds.

MEDIA

Julia Bryan-Wilson on autonomous sensory meridian response

top ten

Discwoman

columns features reviews

ARTISTS ON POLITICS

Zoe Leonard, I want a president, 1992, typewriting on paper, 11 × 8 1/2".

Zoe Leonard

Dread Scott

Eileen Myles

Fatima White and her grandmother, Charlesetta Wicks, with Black Women Artists for Black Lives Matter, New Museum, New York, September 1, 2016. Photo: Madeleine Hunt-Erhlich.

Simone Leigh

Wolfgang Tillmans

Arias Serna Saravia, Trump Ocean Club International Hotel & Tower, 2011, Panama City. Rendering.

FOOL’S GOLD: THE ARCHITECTURE OF TRUMP

Ian Volner

Still from a live video feed showing the Million Dollar Theatre marquee during Daniel Joseph Martinez’s Ignore the Dents: A Micro Urban Opera, Los Angeles, September 1990.

CHANGE AGENT: THE ART OF DANIEL JOSEPH MARTINEZ

Michael Ned Holte

Pierre Bismuth, Following the Right Hand of Audrey Hepburn in “Breakfast at Tiffany’s”, 2007, marker on Plexiglas over C-print, 32 × 49". From the series “Following the Right Hand of,” 2007–.

PORTFOLIO: SOUNDSCAPING

Joseph Grigely

Maya Deren, At Land, 1944, 16 mm, black-and-white, silent, 15 minutes. Maya Deren.

CLOSE-UP: PSYCHOLOGICAL PROJECTIONS

Tony Pipolo on Maya Deren’s Meshes of the Afternoon (1943) and At Land (1944)

View of “Timothée Calame: Spring 2016,” Weiss Falk, Basel, 2016. Top left: Kino Süd (Cinema South), 2016. Window: Faut-il vraiment sauver l’Allemagne (Shall We Really Save Germany), 2016. Photo: Gina Folly.

OPENINGS: TIMOTHÉE CALAME

Daniel Horn

columns features reviews

Rochelle Feinstein, I Made a Terrible Mistake, 2002–2005, mixed media. Installation view.

Daniela Stöppel on Rochelle Feinstein

Lucas Samaras, AutoPolaroid, 1970, ink on Polaroid, 3 3/8 × 4 1/4". From the series “AutoPolaroids,” 1969–71.

Robert Pincus-Witten on Lucas Samaras

Paolo Cotani, Tensioni, 1993, polyester bands, steel, 72 1/2 × 23 3/4 × 3 1/2".

Milan

Huang Rui, 1976, 2016, diptych, oil on canvas, each panel 59 × 59".

Paris

Ernst Wilhelm Nay, Augen (Eyes), 1963, oil on canvas, 78 3/4 × 63". From the series “Augenbilder” (Eye Paintings), 1963–64.

Berlin

View of “Gerry Bibby and Henrik Olesen,” 2016. From left: Costumes, 4, Black on Red, 2016; Costumes, 3, White and Pink on Black, 2016; Costumes, 1, Red on White, 2016.

Munich

Daniela Stöppel on Gerry Bibby and Henrik Olesen

Georg Baselitz, The Modern Painter, 1965, oil on canvas, 63 3/4 × 51 1/4".

Frankfurt

Jurriaan Benschop on Georg Baselitz

View of “David Smith,” 2016. From left: 7 Hours, 1963; Untitled (Chock Full O’Nuts), 1960.

Zurich

Bethan Huws, Frog, 2011, wig stand, fur hat, toy frog, 17 × 11 × 11 3/4".

Zuoz, Switzerland

Hans Rudolf Reust on Bethan Huws

Ragnar Kjartansson, Take Me Here by the Dishwasher: Memorial for Marriage, 2011/2014. Performance view.

London

View of “Zoë Paul: Solitude and Village,” 2016. From left: <>, 2016; au, 2016; Untitled, 2016.

Athens

Cathryn Drake on Zoë Paul

View of “The Uncertain, or the Shelved . . . ,” 2016.

Shanghai

Arthur Solway on “The Uncertain, or the Shelved . . .”

Inga Meldere, Students Painting Some of the Remarkable Scenery in the Park, 2016, ink-jet print, acrylic, and oil on canvas, 43 1/4 × 25 1/2".

Tallinn, Estonia

Neringa Černiauskaitė on Inga Meldere

Hamed Ewais, Le Gardien de la Vie (The Protector of Life), 1967–68, oil on canvas, 52 × 39 1/2". From “The Short Century.”

Sharjah

Melissa Gronlund on “The Short Century”

Ram Kumar, Benares, 2015, oil on canvas, 36 × 24".

Kolkata

Alex Traub on Ram Kumar

Reproduction of a poster by L. Mendoza for the film Macario, 1960, written by B. Traven.

Mexico City

Magali Arriola on B. Traven

Contact sheet by Afonso Ropperto showing performance of Xerox Action, 1980, by Hudinilson Jr.

São Paulo

Tobi Maier on Hudinilson Jr.

View of “Francis Upritchard: Jealous Saboteurs,” 2016. Center: Mandrake, 2011. Photo: Mark Tantrum.

Wellington

Anthony Byrt on Francis Upritchard

Cao Fei, La Town, 2014, video, color, sound, 41 minutes 58 seconds.

New York

View of “Bettina Pousttchi: Double Monuments,” 2016. From left: Double Monument for Flavin and Tatlin VII, 2010; Double Monument for Flavin and Tatlin IX, 2013.

Washington, D.C.

Jordan Amirkhani on Bettina Pousttchi

Josh Kline, RAID Drives, 2015–16, plaster, ink-jet ink, cyanoacrylate, handcuffs, commercial shelving, LED lights, 37 × 27 1/2 × 15". From “The Politics of Portraiture.”

San Francisco

Sarah M. Miller on “The Politics of Portraiture”

Betty Tompkins, Fuck Painting #52, 2014, acrylic on canvas, 60 × 84". From the series “Fuck,” 1969–.

Los Angeles