TABLE OF CONTENTS

September 2017

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September 2017, Vol. 56, No. 1

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COLUMNS

James Rosenquist, Cologne, 1972. Photo: Angelika Platen.

PASSAGES

Michael Lobel on James Rosenquist

Cover of Avalanche 6 (Fall 1972). Vito Acconci.

PASSAGES

Tim Griffin on Vito Acconci

Vito Acconci, Murinsel, 2003, Graz, Austria. Photo: Bildarchiv Monheim GmbH/Alamy.

PASSAGES

Steven Holl on Vito Acconci

PASSAGES

John Elderfield on Howard Hodgkin

Top of the Lake: China Girl, 2017, still from a TV show on SundanceTV. Episode 6. Robin Griffin (Elisabeth Moss).

TELEVISION

Amy Taubin on Jane Campion’s Top of the Lake: China Girl

FILM

James Quandt on Abbas Kiarostami’s 24 Frames

Card VIII of Hermann Rorschach’s test, 1921.

BOOKS

Ben Kafka on Damion Searls’s The Inkblots

Harun Farocki, Parallel I, 2012, two-channel HD video, color, sound, 16 minutes.

SLANT

Adam Jasper on Harun Farocki’s final project

Laura Horelli, Namibia Today, 2017, eighteen ink-jet and offset prints. Installation view, Schillingstraße subway station, Berlin. Photo: Christoph Leitner.

ON SITE

Michele Faguet on Laura Horelli’s Namibia Today

top ten

Pendleton Ward

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Fall Exhibitions

40 shows worldwide

Anna Maria Maiolino, Por um fio (By a Thread), 1976, ink-jet print, 22 3/8 × 31 1/8". From “Anna Maria Maiolino,” Museum of Contemporary Art, Los Angeles.

Focus Preview

“Pacific Standard Time: LA/LA”

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Slave shackles, pre-1860. From “Slavery and Freedom,” 2016–26, National Museum of African American History and Culture, Washington, DC.

RED, BLACK, AND BLUE: THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE AND THE NATIONAL MUSEUM OF THE AMERICAN INDIAN

Huey Copeland talks with Frank B. Wilderson III

Kerstin Brätsch, Poli‘ahu’s Curse: First Bone Chill, 2012–16, luster and enamel on antique glass, drawn glass, glass jewels, agate, lead, 36 1/2 × 25".

LUX NOVA: “KERSTIN BRÄTSCH: INNOVATION”

Daniela Stöppel

Rosa Barba, Boundaries of Consumption, 2012, 16-mm film, modified projector, film canisters, metal spheres. Installation view, Kunsthaus Zürich. Photo: Jenny Ekholm.

HISTORICAL PROJECTIONS: THE ART OF ROSA BARBA

Erika Balsom

Nicole Eisenman's “Sketch for a Fountain” in Münster.

CONTINENTAL DIVIDES

THE VENICE BIENNALE, DOCUMENTA, AND SKULPTUR PROJEKTE MÜNSTER

Pierre Huyghe, After ALife Ahead, 2017, concrete ice-rink floor, sand, clay, phreatic water, bacteria, algae, bees, chimera peacocks, aquarium, black switchable glass, textile cone, incubator, human cancer cells, genetic algorithm, augmented-reality program, automated ceiling structure, rain, ammoniac, logic game. Installation view. From Skulptur Projekte Münster. Photo: Ola Rindal.

ROCK PAPER SCISSORS

Benjamin H. D. Buchloh on some means and ends of sculpture at Venice, Münster, and Documenta

Pavel Filonov, Formula of Spring, 1922–23, oil on canvas, 39 3/8 × 39 3/8". Neue Galerie, Kassel.

THINKING TWICE

Daniel Birnbaum on Documenta 14

Liliana Porter, El hombre con el hacha y otras situaciones breves, Venecia 2017 (Man with Ax and Other Brief Situations, Venice 2017) (detail), mixed media. Installation view, Arsenale, Venice. From “Viva Arte Viva: Pavilion of Time and Infinity.” Photo: Chandra Glick.

THE LONG VIEW

Claire Bishop on the 57th Venice Biennale

Graffiti, Dionysiou Areopagitou Street, Athens, April 9, 2017. Photo: Louisa Gouliamaki/Getty Images.

BORDER AS FORM

Nuit Banai on Documenta 14

Nikhil Chopra, Drawing a Line Through Landscape, 2017. Performance view, Tsarino, Bulgaria, May 18, 2017. From Documenta 14. Photo: Madhavi Gore.

FAR AND AWAY

Himali Singh Soin on Nikhil Chopra's Drawing a Line Through Landscape, Documenta 14

Anne Imhof, Faust, 2017. Performance view, German pavilion, Venice. From the 57th Venice Biennale. Eliza Douglas. Photo: Nadine Fraczkowski.

PERSONAL TOUCH

David Velasco on Anne Imhof’s Faust at the German Pavilion, Venice

Daniel Knorr, Expiration Movement, 2017, smoke, text. Installation view, Zwehrenturm, Kassel. From Documenta 14. Photo: Bernd Borchardt. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

SUMMER OF THE SHAMANS

Diedrich Diederichsen on Documenta 14 and the 57th Venice Biennale

Diamond Stingily, Kaa (detail), 2015, Kanekalon hair, plastic barrettes. Installation view, Ramiken Crucible, New York.

OPENINGS: DIAMOND STINGILY

Johanna Fateman

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Walker Evans, Sidewalk Display, 1957, 35-mm slide. Originally published in Fortune, October 1958. © Walker Evans Archive, The Metropolitan Museum of Art.

Drew Sawyer on Walker Evans

Bernard Buffet, La plage, 1956, oil on canvas, 44 7/8 × 76 3/4".

New York

Robert Pincus-Witten on Bernard Buffet

Ceal Floyer, Plughole, 2017, video projection, color, sound, 3 minutes 53 seconds.

New York

John Graham, Poussin m’instruit (Poussin Instructs Me), 1944, oil on panel, 60 × 48".

Water Mill, New York

Barry Schwabsky on John Graham

Tania Pérez Córdova, First-Person Narrator (detail), 2013/2017, marble and prescription cosmetic contact lenses, 4 1/4 × 74 3/4 × 1".

Chicago

Daniel Quiles on Tania Pérez Córdova

Ryan McLaughlin, Demeter, 2017, oil on canvas, 15 1/2 × 24".

Portland, Oregon

Jon Raymond on Ryan McLaughlin

View of “Rebecca Warren,” 2017. Photo: Sean Logue.

Los Angeles

Monique Mouton, Untitled, 2012, oil on plywood, 94 × 8 × 1/2".

Vancouver

Lee Plested on Elizabeth McIntosh, Monique Mouton, Silke Otto-Knapp

Isaac Julien, After George Platt Lynes (Looking for Langston Vintage Series), 1989/2017, Kodak Premier print, 70 7/8 × 102 3/8".

London

Tony Cragg, Migrant, 2015, bronze, 86 5/8 × 59 × 57 7/8". Photo: Michael Richter.

West Bretton, United Kingdom

Sherman Sam on Tony Cragg

Tiziana La Melia, Je ne sais quoi, 2016–17, oil and aluminum powder on canvas, ink on wooden artist frame, 24 3/8 × 20 7/8".

Paris

Simon Martin, Untitled, 2008, digital animated HD video, color, sound, 16 minutes.

Berlin

Iulia Nistor, Evidence E1 W4 A3, 2015, oil on wood, 15 3/4 × 19 5/8".

Hamburg

Jurriaan Benschop on Iulia Nistor

Claus Richter, To Do Bear (1–2) (detail), 2017, steel, fabric, motor, wood, rubber, plastic, 110 1/4 × 27 1/2 × 27 1/2".

Cologne

Noemi Smolik on Claus Richter

Bernard Voïta, Jalousie I (Venetian Blinds I), 2017, thermo-lacquered steel, 91 3/8 × 51 1/8 × 96 1/2“ (open), 70 7/8 × 51 1/8 × 2 3/4” (closed).

Geneva

Hans Rudolf Reust on Bernard Voïta

Florian Pumhösl, Kanal Abschmilt VII (Canal Section VII), 2017, anticorrosive paint on galvanized sheet steel, 86 5/8 × 30 3/8 × 2".

Vienna

Yuki Higashino on Florian Pumhösl

Patrick Van Caeckenbergh, Les Loques de Chagrin. Fabularum (La Vie d’Ésope) (The Rags of Grief. Fabularum [The Life of Aesop]), 2009, mixed media, 7' 2 1/4“ × 10' 2” × 14' 7 1/4".

Antwerp

Jos Van den Bergh on Patrick Van Caeckenbergh

Ger van Elk, It’s me twice as flat as I can be, 1973, bamboo, black-and-white photograph, elastic band, 90 1/8 × 65".

Otterlo, The Netherlands

Annie Ochmanek on Ger van Elk

Liliana Moro, Ouverture, 2017, melting tin, industrial jack, twenty-four ceramic cherry couples, five glassy ceramic tangerines, dimensions variable.

Milan

View of “Lucy McKenzie,” 2017. Photo: Kristien Daem.

Venice

Paola Nicolin on Lucy McKenzie

Ana Vidigal, Só a poesia nos pode salvar. Há lugar para mim? (Bambi a fugir de lá) (Only Poetry Can Save Us. Is There Room for Me? [Bambi Fleeing from There]), 2017, mixed media on paper, 63 × 50".

Lisbon

Alexandre Melo on Ana Vidigal

Anu Põder, Composition with a Torso and a Child’s Hands, 1986, textile, wood, plastic, epoxy, 21 5/8 × 24 3/8 × 14 1/8".

Tallinn, Estonia

Neringa Černiauskaitė on Anu Põder

Yazan Khalili, Copy of a Copy of a Copy, 2017, posters, ink-jet print, shipping pallet. Installation view. Photo: Alexander Wolfe.

Dubai

Melissa Gronlund on Yazan Khalili

Yang Jiechang, Soy Sauce Drawing 1, 1988, soy sauce, paper, 14 3/4 × 12 1/8". From the series “Soy Sauce Drawings,” 1988.

Beijing

Lee Ambrozy on Yang Jiechang

View of “Mitsutoshi Hanaga,” 2017. Photo: Takahashi Fujikawa.

Tokyo

Victor Wang on Mitsutoshi Hanaga

View of “Alejandro Paz,” 2017. Photo: Luis Gallardo.

Mexico City

Marcela Quiroz on Alejandro Paz

Daniel Senise, Skylight, 2017, monotype on cotton on aluminum, 98 3/8 × 118 1/8".

São Paulo

Camila Belchior on Daniel Senise