TABLE OF CONTENTS

January 2017

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January 2017, Vol. 55, No. 5

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COLUMNS

Stan VanDerBeek, Movie Mural, 1968, 35-mm slides, hand-drawn scroll, slide projectors, overhead projector, multiple 35-mm and 16-mm films transferred to video, sound. Installation view, Whitney Museum of American Art, New York. Photo: Chandra Glick.

EDITOR’S LETTER

Michelle Kuo

Abbas Kiarostami, Doors Without Keys (detail), 2015, fifty digital prints on canvas, audio, dimensions variable.

PASSAGES

James Quandt on Abbas Kiarostami

Still from the Fox TV show Melrose Place, 1992–99. Season 5, episode 9. Kimberly Shaw (Marcia Cross) and Matt Fielding (Doug Savant) with GALA Committee’s Chinese Take Out, 1995–97.

SLANT

Naomi Fry on the GALA Committee

Pablo Larraín, Neruda, 2016, HD video, color, sound, 108 minutes. Delia del Carril (Mercedes Morán) and Pablo Neruda (Luis Gnecco).

FILM

J. Hoberman on Pablo Larraín’s Neruda

Brendan Bannon, lfo 2, Dadaab Refugee Camp, 2011, C-print, 40 × 60".

ARCHITECTURE

David Huber on “Insecurities: Tracing Displacement and Shelter”

Screen capture from James Bridle’s Cloud Index, 2016, interactive website, www.cloudindx.com.

MEDIA

Himali Singh Soin on James Bridle’s Cloud Index

top ten

Women’s History Museum

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Focus Preview

SPRING 2017 EXHIBITIONS

Merce Cunningham, Root of an Unfocus, 1944. Performance view, Studio Theatre, New York, April 5, 1944. Merce Cunningham. Photo: Barbara Morgan.

Focus Preview

Merce Cunningham

Artist unknown, Martin Luther im Kreise von Reformatoren (Martin Luther in the Circle of Reformers), ca. 1625–50, oil on panel, 26 5/8 × 35 3/8".

Vault

“The Luther Effect”

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Conservation specialists work on the underside of Wolf Vostell’s Concrete Traffic, 1970, Chicago, April 5, 2016. Photo: Stephen Murphy. © The Wolf Vostell Estate.

CAR CULTURE: WOLF VOSTELL’S CONCRETE TRAFFIC

Christine Mehring

Pieter Schoolwerth, Fuck Me #1, 2016, oil, acrylic, and ink-jet print on canvas, 90 × 120". From the series “Fuck Me,” 2016–, from the project “Model as Painting,” 2016–.

1000 WORDS: PIETER SCHOOLWERTH

Molly Warnock

Kerry James Marshall, Untitled, 2009, acrylic on PVC panel, 61 1/8 × 72 7/8".

THE MARSHALL PLAN: KERRY JAMES MARSHALL’S “MASTRY”

Carroll Dunham

Kenneth Anger, Fireworks, 1947, 16 mm, black-and-white, sound, 15 minutes. United States Navy sailors.

CLOSE UP: AMERICA YEAR ZERO

Ara Osterweil on Kenneth Anger’s Fireworks (1947)

Kenneth Tam, Hunks, 2010, concrete, Abercrombie & Fitch paper shopping bags, 11 × 38 × 38".

OPENINGS: KENNETH TAM

Bruce Hainley

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Beverly Buchanan, Medicine Woman (detail), ca. 1993, found-object assemblage, 75 × 23 3/4 × 16 1/2". Photo: Chandra Glick.

Rhea Anastas on Beverly Buchanan

Stan VanDerBeek, Movie Mural, 1968, 35-mm slides, hand-drawn scroll, slide projectors, overhead projector, multiple 35-mm and 16-mm films transferred to video, sound. Installation view. Photo: Chandra Glick.

Erika Balsom on “Dreamlands: Immersive Cinema and Art, 1905–2016”

View of “When Art Becomes Liberty: The Egyptian Surrealists (1938–1965),” 2016. Foreground: Abdel Hady El-Weshahy, Man of the Twentieth Century, n.d. Background, from left: Ahmed Morsi, Adam and Eve, 1959; Ahmed Morsi, Artist in Alexandria, 1989; Ahmed Morsi, Elegy of El-Gazzar, 1968.

Chika Okeke-Agulu on “When Art Becomes Liberty: The Egyptian Surrealists (1938–1965)”

Inji Efflatoun, Untitled, 1942, oil on canvas, 23 5/8 × 31 5/8".

Mara Hoberman on “Art and Liberty: Rupture, War and Surrealism in Egypt (1938–1948)”

View of “Kai Althoff: and then leave me to the common swifts,” 2016–17. Photo: Kai Althoff.

Diedrich Diederichsen on Kai Althoff

Jean Dubuffet, Plage aux baigneurs (Beach with Bathers), 1944, pen and ink on paper, 6 3/8 × 9". © Artists Rights Society (ARS), New York/ADAGP, Paris.

New York

Harold Mendez, Margarita (detail), 2016, batting-helmet foam, broken glass, dried foliage, feathers, steel, 81 × 12 × 12"

Chicago

Daniel Quiles on Harold Mendez

View of “Camille Blatrix,” 2016. From left: Whast, 2016; Soul, 2016. Photo: John White.

San Francisco

Annie Godfrey Larmon on Camille Blatrix

Allan Sekula, Untitled Slide Sequence (detail), 1972/2011, three duplicate sets of twenty-five black-and-white 35-mm transparencies, projected at 13-second intervals; text panel. From “The Uses of Photography: Art, Politics, and the Reinvention of a Medium.”

San Diego

Kate Butler on “The Uses of Photography”

View of “Lisa Williamson,” 2016. Photo: Steven Rimlinger.

Los Angeles

View of “Amalia Ulman,” 2016. Photo: Tim Bowditch.

London

View of “Rometti Costales,” 2016. Photo: Paul Nicoué.

Paris

Dena Yago, HONK ONCE IF YOU LOVE LIVING, HONK TWICE IF YOU LIVE WITH THE DEAD, 2016, industrial rubber, dimensions variable.

Berlin

Melissa Kretschmer, Green Sleeve, 2016, vellum, gesso, gouache, beeswax, plywood, 84 × 27 × 2". From “Painting After Postmodernism: Belgium–USA.”

Brussels

Phyllis Tuchman on “Painting After Postmodernism: Belgium–USA”

Martin Le Chevallier, Münster, 2016, HD video, color, sound, 48 minutes. From “Tracing the Future.” KADOC.

Leuven, Belgium

T. J. Demos on “Tracing the Future”/Yto Barrada

View of “Erik Steinbrecher,” 2016.

Basel

Hans Rudolf Reust on Erik Steinbrecher

View of “Bertrand Lavier,” 2016. From left: Vénus d’Amiens (Venus of Amiens), 2015; Le château des papes (The Papal Palace), 1991; Black Adder II, 2005. Photo: Stefan Altenburger Photography.

Vaduz, Liechtenstein

Adam Jasper on Bertrand Lavier

Jay Heikes, Beyond Zebra, 2016, pigmented mortar, burlap, salt, latex, glue, steel, slag, rubber hose, wood, 37 × 29 × 1 1/2".

Milan

Simone Menegoi on Jay Heikes

Marisa Albanese, Le storie del vento (Stories of the Wind), 2016, aluminum, video projections. Installation view.

Naples

Eugenio Viola on Marisa Albanese

Benjamin Crotty, Menu No. 3, 2016, acetate, glass, 12 × 9 1/4 × 1/8". From the series “Menu No. 1–15,” 2016.

Oslo

Maria Horvei on Benjamin Crotty

Wang Xingwei, Traitors, 2015, oil on canvas, 78 5/8 × 94 1/2".

Beijing

Bao Dong on Wang Xingwei

Nam June Paik, The Rehabilitation of Genghis-Khan, 1993, mixed-media installation with television monitors, video player, neon lights, video (color, silent, 25 minutes 58 seconds), 102 3/8 × 39 3/8 × 86 5/8". From: “Liu Xiaodong, Carsten Nicolai, Nam June Paik.”

Shanghai

Hanlu Zhang on Liu Xiaodong, Carsten Nicolai, and Nam June Paik

View of “Proof: Francisco Goya, Sergei Eisenstein, Robert Longo,” 2016–17. Center: Robert Longo, Untitled (Pentecost), 2016. Right: Robert Longo, Untitled (Guernica Redacted, After Picasso’s Guernica, 1937), 2014.

Moscow

John-Paul Stonard on Francisco Goya, Sergei Eisenstein, and Robert Longo

Cristiana de Marchi, Future, 2016, ice, dimensions variable.

Dubai

Murtaza Vali on Cristiana de Marchi and Monira Al Qadiri

Sandra Gamarra, Cielo Raso, 2016, concrete blocks, graphite, false gold, screws, 30' × 32' 9” × 12 3/8”. Photo: Filipe Berndt.

São Paulo

Camila Belchior on Sandra Gamarra

View of “Miguel Fernández de Castro,” 2016. Floor: Tiempo lamido (Licked Time), 2016. Wall, from left: Sásabe #14, 2015; Sásabe #29, 2016; Sásabe #18, 2011–16.

Mexico City

Marcela Quiroz on Miguel Fernández de Castro

Navjot Altaf, Pattern, 2015–16, rice seeds on floor. Installation view. Photo: Anil Rane.

Mumbai

Prajna Desai on Navjot Altaf

View of “THE PUBLIC BODy .01,” 2016. Floor: Carter Mull, Broker, 2014. Walls, from left: Ryan McGinley, YEARBOOK, 2014; Abdul Abullah, Abdul-Hamid Ibrahim Percival Charles Charles Charles Charles, 2012; Sarah Lucas, Untitled, 2012. Photo: Jessica Maurer.

Sydney

Toni Ross on “THE PUBLIC BODY .01”