TABLE OF CONTENTS

October 2017

list view

Cover: Georgy Rublev, Portrait of Joseph Stalin, ca. 1930, oil on canvas, 63 3/4 × 63 3/4". From “Revolution: Russian Art 1917–1932.”

October 2017, Vol. 56, No. 2

columns features reviews

COLUMNS

Lauren Greenfield, Adam, 13, and go-go dancer at bar mitzvah party at the Whisky a Go Go nightclub in West Hollywood, 1992, ink-jet print, 14 × 20".

CLASS

Naomi Fry on Lauren Greenfield’s “Generation Wealth”

PASSAGES

Carlo McCormick on Glenn O’Brien

View of “Michel Houellebecq: French Bashing,” 2017, Venus, New York.

SLANT

Jeffrey Kastner on Michel Houellebecq

Michel Houellebecq, Tourisme #002, 2017, ink-jet print, 39 1/4 × 55 1/2".

SLANT

Mathieu Malouf on Michel Houellebecq

Forensic Architecture, The Architecture of Hellfire Romeo: Drone Strike in Miranshah, Pakistan, 2012, digital composite and rendering, dimensions variable.

ARCHITECTURE

David Huber on Forensic Architecture

Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York, ca. 1943–59, gouache on paper mounted on board, 20 × 24 1/4".

ARCHITECTURE

Julian Rose on Frank Lloyd Wright

Alan Vega, Stars, 2016, graphite and acrylic on canvas, 36 × 24".

MUSIC

Alan Licht on Alan Vega

Jeff Mills, Planets, 2015. Performance view, Barbican Centre, London, June 12, 2017. Jeff Mills. Photo: Mark Allan.

MUSIC

Bill Brewster on Jeff Mills

Colin McCahon, Parihaka Triptych, 1972, acrylic on canvas, 5' 9“ × 12' 4”.

ON SITE

Anthony Byrt on Colin McCahon

Page detail from Dominique Goblet’s Pretending Is Lying (New York Review Comics, 2017).

BOOKS

Nicole Rudick on Dominique Goblet’s Pretending Is Lying

top ten

Sarah Zapata

columns features reviews

Adjaye Associates, National Museum of African American History and Culture, 2016, Washington, DC. Photo: Alan Karchmer.

LIVING SPACES

An interview with David Adjaye

PERFECT STORMS: ED ATKINS AND THE SCIENCE OF WEATHER SIMULATION

Ina Blom

RUSSIA AND THE ART OF REVOLUTION

Iakov Chernikhov, untitled, 1933, graphite, ink, and gouache on paper, 30 × 24". From “Imagine Moscow: Architecture, Propaganda, Revolution.”

SEEING RED: EXHIBITING THE RUSSIAN REVOLUTION

Matthew S. Witkovsky

Chronocard from the 1968 edition of Platon Kerzhentsev’s Printsipy organizatsii (Principles of Organization) (Moscow: Gosudarstvennoe izdatel’stvo, 1924).

SOCIAL ENGINEERING: SOVIET ORGANIZATIONAL SCIENCE

Devin Fore

Iakov Chernikhov, Kompozitsiia 49 (Composition 49), 1933, letterpress on paper, 12 × 8 7/8". From Arkhiteturnye fantazii: 101 kompozitsiia v kraskakh, 101 arkhitekturnaia miniatiura (Architectural Fantasies: 101 Compositions in Color, 101 Architectural Miniatures) (Mezhdunarodnaia kniga, 1933).

LEFT FIELD: REVOLUTIONARY ARCHITECTURE

Owen Hatherley

Black Land and Liberation Initiative event, East Oakland, CA, June 19, 2017. Photo: Roselyn Berry/Twitter.

MANAGING UP: ASSEMBLY AND THE NEW ACTIVISM

Michael Hardt

Aliza Nisenbaum, Evelyn age 12, 2012, oil on linen, 16 × 20".

ALIZA NISENBAUM

OPENINGS

columns features reviews

View of “Wolfgang Tillmans,” 2017, Fondation Beyeler, Basel. Photo: Mark Niedermann.

Maja Naef on Wolfgang Tillmans

Reena Spaulings, Bonjour! 1–3, 2017, oil on Dibond and mixed media. Installation view. Photo: Britta Schlier.

Beau Rutland on Reena Spaulings

View of “Seth Price: Social Synthetic,” 2017, Stedelijk Museum, Amsterdam. Photo: Gert Jan van Rooij.

Gregor Quack on Seth Price

FX Harsono, Voice Without a Voice Sign, 1993–94, silk screen on canvas, wooden stools, stamps. Installation view, National Art Center, Tokyo, 2017.

Chanon Kenji Praepipatmongkol on “Sunshower: Contemporary Art from Southeast Asia, 1980s to Now”

Henrique Oliveira, Devir, 2017, plywood, tree branches, bark. Installation view.

New York

Dana Schutz, Slow Motion Shower, 2015, oil on canvas, 78x72".

Boston

Kevin Hong on Dana Schutz

Mohamed Bourouissa, The City, 2016, gelatin silver print, spray paint, and lacquer on car metal plate and car body parts, 691/4x983⁄8x113/4".

Philadelphia

Murtaza Vali on Mohamed Bourouissa

Charles McGee, Rhapsody in Black and White, 2008, ink jet on Dibond, 60 x 118 x 4".

Detroit

Matthew Biro on Charles McGee

View of “From Counterculture to Cyberculture,” 2017. Clockwise from top right: Bruce Conner, Christ Casting Out the Legion of Devils, 2003; Lucy Dodd, Lady Long Gone, 2016; Dawn Kasper, UH yes, UH no, 2017; Jared Madere, To be titled (Matter Harmonic Topiary), 2017.

San Francisco

Gwen Allen on “From Counterculture to Cyberculture”

William E. Jones, Villa Iolas (Paul Thek, Lucio Fontana, Takis, Harold Stevenson, René Magritte, Egyptian Sculpture), 1982/2017, hand-coated ink-jet print, 16 x 20".

Los Angeles

Vicky Wright, The Absent Face—Where Are You? VI, 2017, oil and natural gesso with geological mica on linen over aluminum panel, 46 3/4 x 33 3/8".

London

Cécile Beau, Albédo 0,60, 2017, frigorific system, copper, water, Chinese ink, polyethylene tub, 60 x 60".

Paris

Caleb Considine, Pigs blood for a painting I didn’t make, 2017, oil on canvas, 13 x 19".

Cologne

Marvin Gaye Chetwynd, Salamander, 2017, latex, paper, cardboard, papier-mâché, foam padding, plastic, Dutch metal, metal stand, 64 1/4 x 60 5/8 x 61". Photo: Gregor Staiger.

Zurich

Adam Jasper on Marvin Gaye Chetwynd

Josip Vaništa, Deposition (detail), 1986, digital print on archival paper, multipart, each 18 7/8 x 13".

Vaduz, Liechtenstein

Kate Sutton on Gorgona

Paola Di Bello, Ora e qui, Milano, #5.2 (Now and Here, Milan, #5.2), 2016, C-print, approx. 24 × 30". From the series “Ora e qui, Milano,” 2016.

Milan

Giorgio Verzotti on Paola Di Bello

Luigi Ontani, David d’après Michelangelo, 1970, seven color photographs, overall 6' 1“ x 25' 3”.

Rome

Ida Panicelli on Luigi Ontani

Selim Turan, Mobile (Acrobats), 1975–80, Japanese paper, wire, string, cloth, aluminum foil, acrylic paint, lead, beeswax, thumbtack, silver paper, papiermâché, approx. 26 × 7 1/4 × 7 1/4".

Istanbul

Mine Haydaroglu on Selim Turan

Waddah Faris, Max Ernst taking belly dance lessons, The Fontana Cabaret, Beirut, 1969, gelatin silver print, 13 3/4 x 16 1/2".

Beirut

Kaelen Wilson-Goldie on Waddah Faris

Amba Sayal-Bennett, Aera, 2017, drawing, projection, and mixed media, 10' 4“ x 10' 7/8” x 4' 10 5/8".

Dubai

Murtaza Vali on Amba Sayal-Bennett

Andy Warhol, Marilyn Monroe’s Lips, 1962, synthetic polymer, silk-screen ink, and pencil on canvas, 6' 10 3/4“ x 13' 7”.

Mexico City

Valdirlei Dias Nunes, Untitled, 2017, acrylic on canvas, 19 5/8 x 11 7/8".

São Paulo

Camila Belchior on Valdirlei Dias Nunes

Zhou Tiehai, Will/We Must, 1996, 35 mm, black-and-white, silent, 9 minutes 17 seconds.

Shanghai

Philip Brophy, Evaporated Music 2: At the Mouth of Metal, 2006–2008, video, color, sound, 18 minutes.

Melbourne

Helen Hughes on Philip Brophy