TABLE OF CONTENTS

Summer 2017

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Summer 2017, Vol. 55, No. 10

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COLUMNS

LETTERS

As a Matter of Fact

BOOKS

Glenn Ligon, Asma Naeem, Daniel Birnbaum, Rosalyn Drexler, Gabe Fowler, John Edgar Wideman on Summer Reading

National Guard troops in Watts after the declaration of martial law, Los Angeles, August 1965. Photo: Lawrence Schiller/Polaris Communications/Getty Images.

SLANT

Johnie Scott, Barbara Rose, Maya Lin, Ed Ruscha, and Ian Volner on the NEA

PASSAGES

Peter Eleey on Trisha Brown

PASSAGES

Carolyn Christov-Bakargiev on Jannis Kounellis

Gustav Metzger, Norfolk, England, 1960. Photo: Ida Kar. © National Portrait Gallery, London.

PASSAGES

Stephen Willats on Gustav Metzger

FILM

Michael Wood on Michael Almereyda’s Marjorie Prime

João Pedro Rodrigues, O ornitólogo (The Ornithologist), 2016, 2K video, color, sound, 118 minutes. Foreground: Fernando (Paul Hamy). Background: Huntresses (Juliane Elting, Flora Bulcão, Isabelle Puntel).

FILM

James Quandt on João Pedro Rodrigues

top ten

Terre Thaemlitz

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THE POLITICS OF EVERYDAY LIFE

Michelangelo Buonarroti, The Torment of Saint Anthony, ca. 1487–88, oil and tempera on wooden panel, 18 1/2 × 13 1/4".

JUST DO IT?: THE DILEMMA OF ENGAGEMENT

Simon Critchley on the dilemma of engagement

Still from Katy Perry’s 2014 video This Is How We Do, directed by Joel Kefali.

CULTURAL APPROPRIATION: A ROUNDTABLE

Hyperloop One test site, March 29, 2015. North Las Vegas, NV. Inset: Chicago & North Western Railroad viaduct, Boone, IA, 1995. Photo: Joe Elliott.

OFF THE RAILS: THE POLITICS OF INFRASTRUCTURE

Alan M. Berger

View of “Tercerunquinto: Doble fondo” (False Bottom), 2017, Proyectos Monclova, Mexico City. Photo: Rodrigo Viñas.

TERCERUNQUINTO ON GRAFFITI

Protest against gang rape, New Delhi, April 22, 2013. Photo: Xinhua/eyevine/Redux.

UNDECLARED WAR: VIOLENCE AGAINST WOMEN

Silvia Federici

Mildred and Richard Loving at a press conference following their Supreme Court victory in the Loving v. Virginia case, Washington, DC, June 13, 1967. Photo: Francis Miller/Getty Images.

NAEEM MOHAIEMEN ON CITIZENSHIP

Still from Zaineb “Zee” Abdulla’s instructional video on self-defense for Muslim women, 2016.

DRESSED DOWN: THE POLITICS OF THE HIJAB

Mimi Thi Nguyen

Ergot, as illustrated by Jan Christiaan Sepp in Jan Kops’s Flora Batava of Afbeeldingen en Beschrijving van Nederlandsche Gewassen (Pictures and Description of Dutch Crops), 1865.

POWER TRIP: DRUGS AND THE PHARMACOLOGY OF CONTROL

Geoffrey Winthrop-Young

Civil rights demonstration, Los Angeles, March 10, 1965. Photo: MW/AP/REX/ Shutterstock.

CLASS ACTION: TEACHING AND ACTIVISM

Andrew Cole

Archibald J. Motley Jr., Nightlife, 1943, oil on canvas, 36 × 47 3/4".

TAJA CHEEK ON CABARET LAWS

HONEY DIJON ON NIGHTLIFE

Benjamin Henry Latrobe, The White House, Washington, DC, South Front Elevation, 1817, watercolor and ink on paper, 16 1/8 × 21 1/4".

CHANGING THE SUBJECT: RACE AND PUBLIC SPACE

Mabel O. Wilson talks with Julian Rose

JULIE AULT ON GENTRIFICATION

Edward Burtynsky, Tyrone Mine #3, Silver City, New Mexico, USA, 2012, C-print, dimensions variable. © Edward Burtynsky.

ACTS OF LIFE: ECOLOGY AND POWER

Elizabeth A. Povinelli

Jonathan Olshefski, Quest, 2017, digital video, color, sound, 105 minutes. From left: Patricia (P. J.) Rainey, Christine’a Rainey, Christopher Rainey. Production still.

EVERYDAY PEOPLE: JONATHAN OLSHEFSKI’S DOCUMENTARY PORTRAIT OF AN AMERICAN FAMILY IN PHILADELPHIA

Amy Taubin

Workers at the US Bureau of Engraving and Printing, Washington, DC, June 26, 1929. Photo: Library of Congress.

THE ASCENDANCY OF FINANCE: MONEY, SOVEREIGNTY, AND POLITICS

Joseph Vogl

Buck Ellison, Hummus, 2015, ink-jet print, 40 × 50".

OPENINGS: BUCK ELLISON

Drew Sawyer

View of “Jean-Marie Appriou: Sonde d’arc-en-taupe” (Mole’s Rainbow Ring), 2014, Palais de Tokyo, Paris. Photo: Aurélien Mole.

OPENINGS: JEAN-MARIE APPRIOU

Mara Hoberman

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Robert Rauschenberg, Charlene, 1954, oil, charcoal, printed reproductions, newspaper, wood, plastic mirror, men’s undershirt, umbrella, lace, ribbons, fabrics, and metal on Homasote mounted on wood, with electric light, 89 × 112 × 3 1/2". © Robert Rauschenberg Foundation.

Luke Skrebowski on Robert Rauschenberg

View of “Los Angeles to New York: Dwan Gallery, 1959–1971,” 2016–17. Foreground: Sol LeWitt, Serial Project, 1 (ABCD), 1966. Background: Mel Bochner, Language Is Not Transparent, 1970. Photo: Rob Shelley.

Thomas Crow on “Los Angeles to New York: Dwan Gallery, 1959–1971”

Aerial view of lunch tables for Cooking Sections’ Climavore: On the Movement of Deserts, 2017, Al Mureijah Square, Sharjah, March 2017.

Murtaza Vali on the Sharjah Biennial

Interior view of Thomas Wilfred’s Lumia Suite, Op. 158, 1963–64.

Rebekah Rutkoff on Thomas Wilfred

View of “Evan Holloway,” 2017. Photo: Steven Probert.

New York

View of “Robert Grosvenor,” 2017. From left: Untitled, 1989–90; untitled adjunct. Photo: Tom Van Eynde.

Chicago

Jacob Proctor on Robert Grosvenor

Erica Deeman, Derek, 2016, ink-jet print, 26 × 26".

San Francisco

Jeanne Gerrity on Erica Deeman

Richard Deacon, Distance No Object, 1988, painted steel, copper, 8' 7“ × 12' 3” × 20'.

San Diego

Phyllis Tuchman on Richard Deacon

View of “Jennie Jieun Lee,” 2017. Photo: Jeff McLane.

Los Angeles

Fred Tomaselli, Mar. 4, 2014, gouache on ink-jet print, 10 1/2 × 11 3/4". From the series “The Times,” 2005–.

London

Duncan Campbell, The Welfare of Tomás Ó Hallissy, 2016, HD video, black and white, sound, 31 minutes.

Dublin

Declan Long on Duncan Campbell

Elodie Seguin, Installation, 2017, wood, ink, polyurethane paint, plaster. Installation view. Photo: François Doury.

Paris

Vajiko Chachkhiani, Winter which was not there, 2017, HD video, color, sound, 12 minutes 30 seconds.

Berlin

Jurriaan Benschop on Vajiko Chachkhiani

View of “Hanns Kunitzberger,” 2017. From left: Ende 2016 Anfang 2017 früh (End of 2016 Beginning of 2017 Early), 2017; Ende 2016 Anfang 2017 mitte (End of 2016 Beginning of 2017 Middle), 2017; Ende 2016 Anfang 2017 spät (End of 2016 Beginning of 2017 Late), 2017.

Hamburg

Jens Asthoff on Hanns Kunitzberger

Michael Krebber, MK/M 2014/15, 2014, acrylic and spray paint on canvas. Installation view. Photo: Gunnar Meier.

Bern, Switzerland

Sherman Sam on Michael Krebber

Milan

Giorgio Griffa, Canone aureo 203 (Golden Ratio 203), 2016, acrylic on canvas, 54 3/4 × 37 3/8".

Rome

Ida Panicelli on Giorgio Griffa

Néstor Sanmiguel Diest, Guerrillero muy enfadado con su hija (A Warrior Infuriated with His Daughter), 1997, acrylic on canvas, 25 5/8 × 18 1/8".

Madrid

Jacob Proctor on Néstor Sanmiguel Diest

Oriol Vilanova, Diumenge (Sunday) (detail), 2017, postcards. Installation view. Photo: Roberto Ruiz.

Barcelona

Martí Peran on Oriol Vilanova

View of “Gonçalo Sena,” 2017. Photo: Bruno Lopes.

Lisbon

Markéta Stará Condeixa on Gonçalo Sena

Hera Büyüktaşçıyan, An Icon of a Marble King I, 2016, wood and marble, 6 3/4 × 14 5/8 × 3 1/8".

Dubai

Stephanie Bailey on Hera Büyüktaşçıyan

Beijing

Sun Dongdong on “Salon, Salon”

View of “Soil and Stones, Souls and Songs,” 2017. Photo: Eddie Lam.

Hong Kong

Stephanie Bailey on “Soil and Stones, Souls and Songs”

Chim↑Pom, LIBERTAD, 2017, digital C-print, 49 1/4 × 74 5/8".

Tokyo

Andrew Maerkle on Chim↑Pom

View of “Pablo Vargas Lugo,” 2017. From left: Vaina (Eumorpha fasciatus) (A) (Sheath [Eumorpha fasciatus] [A]), 2016; Ovipositor, 2017. Photo: Ramiro Chaves.

Mexico City

Marcela Quiroz on Pablo Vargas Lugo

Sonia Andrade, Untitled, 2005, video projection (color, silent, indefinite duration), obsidian. Installation view. Photo: Filipe Berndt.

São Paulo

Felipe Scovino on Sonia Andrade

Faivovich & Goldberg, Decomiso (Seizure) (detail), 2016–17, 253 digital C-prints, 253 file folders with notarized documents, file cabinet, storage racks. Installation view. Photo: Javier Agustin Rojas.

Buenos Aires

Himali Singh Soin on Faivovich & Goldberg

Ranjani Shettar, Remanence from last night’s dream, 2011–16, rosewood, lacquered wood, pigments, 72 × 50 × 35".

New Delhi

Meera Menezes on Ranjani Shettar

Heath Franco, LIFE IS SEXY, 2016–17, two-channel HD video, color, sound, 15 minutes 12 seconds. From The National: New Australian Art.

Sydney

Toni Ross on The National: New Australian Art