TABLE OF CONTENTS

January 2018

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January 2018, Vol. 56, No. 5

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COLUMNS

Editor’s Letter

David Velasco on The Power of Good-Bye

Linda Nochlin, Vassar College, Poughkeepsie, NY, ca. 1960s.

PASSAGES

Molly Nesbit on Linda Nochlin

Linda Nochlin teaching an art history class, Vassar College, Poughkeepsie, NY, 1959. Archives & Special Collections, Vassar College Library.

PASSAGES

Ewa Lajer-Burcharth on Linda Nochlin

John Ashbery, P.K., 2015, collage, 10 × 8 1/4".

PASSAGES

Richard Deming on John Ashbery

Sergei Eisenstein’s 1942 sketch for the scene of repentance for Ivan the Terrible.

BOOKS

Stuart Liebman on Naum Kleiman’s Eisenstein on Paper

Stan Brakhage working on Dog Star Man: Prelude, ca. 1961. Photo: Robert Benson.

BOOKS

Erika Balsom on Stan Brakhage’s Metaphors on Vision

Robert Smithson, Blind Angel, 1961, oil on canvas, 44 × 53".

BOOKS

Rex Butler on Thomas Crow’s No Idols

Ateliers Jean Nouvel, Louvre Abu Dhabi, 2017. Photo: Mohamed Somji.

ON SITE

Melissa Gronlund on the Louvre Abu Dhabi

Robert Smithson’s map of Passaic, Wallington, and Woodridge, New Jersey, ca. 1967, showing his amended path. From the Robert Smithson and Nancy Holt Papers, Archives of American Art, Smithsonian Institution.

ON SITE

Phyllis Tuchman on Robert Smithson’s “Monuments of Passaic”

top ten

Carlos Motta

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Drossos Skyllas, Wisconsin Ice Cave, 1950, oil on canvas, 24 × 30". From “Outliers and American Vanguard Art.”

Focus Preview

“Outliers and American Vanguard Art”

Exhibition Preview

SPRING 2018 EXHIBITIONS 40 shows worldwide

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THE USES OF POWER

Nan Goldin

Adrian Piper

Sable Elyse Smith

Kia LaBeija, Eleven, 2015.
Going to doctors’ appointments is a very big part of my life, yet it’s so intimate that I rarely talk about it. My primary physician says that the day my parents and I came into his office was a defining moment in his career. That was in 1994, when I was four years old. I have been seeing him ever since. In the photograph, he is drawing my blood, as he would during any other appointment. I’m wearing my prom dress because when I first began to see him, no one knew if I would make it to prom. It’s titled Eleven because when I took it it, I had spent eleven birthdays without my mother.

Kia LaBeija

Hillary Clinton, New York, November 21, 2014. Photo: Bebeto Matthews/AP.

Donald Moffett

House of Ladosha

K8 Hardy

Ana Mendieta, Rape Scene, 1973, C-print, 10 × 8". © The Estate of Ana Mendieta Collection, LLC.

FULLY LOADED: POWER AND SEXUAL VIOLENCE

Johanna Fateman

Two parental pronuclei in a newly fertilized human egg. Photo: Alan Handyside.

BAROQUE TECHNOPATRIARCHY: REPRODUCTION

Paul B. Preciado

View of “Reinhard Mucha,” 2016, Kunstmuseum Basel. Left: Ohne Titel (Milch)—1:1 Modell des ausjurierten Beitrags zu „Kunst am Bau—Eingeladener Wettbewerb“ für die Volkswagen Universitätsbibliothek der Technischen Universität und der Universität der Kü nste Berlin 2004 (Untitled (Milch)—1:1 Model of the rejected proposal for “Kunst am Bau—Eingeladener Wettbewerb” for the Volkswagen University Library of the Berlin Institute of Technology and the Berlin University of the Arts 2004), 1979/2014. Right: BBKEdition, 1990. Photo: Gina Folly. © Mucha, VG Bild-Kunst, Bonn.

TRAINS OF THOUGHT: THE ART OF REINHARD MUCHA

Graham Bader

View of “Azikiwe Mohammed: Jimmy’s Thrift of New Davonhaime,” 2017, Knockdown Center, New York.

WITH LOVE: JIMMY’S THRIFT OF NEW DAVONHAIME

Azikiwe Mohammed talks with Claudia Rankine

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Ana Mendieta, Untitled (Facial Hair Transplants) (detail), 1972, seven C-prints, each 13 1/4 × 20".

Daniel Quiles on Radical Women: Latin American Art, 1960–1985”

View of “Anna Maria Maiolino,” 2017, MoCA Grand Avenue, Los Angeles. Foreground: Entrevidas (Between Lives), 1981. Photo: Brian Forest.

Kaira M. Cabañas on Anna Maria Maiolino

Andy Campbell on Laura Aguilar

Jesús Ruiz Durand, Afiche de difusión de la Reforma Agraria (Promotional Posters for the Agrarian Reform), 1969–72, offset print on paper,
383⁄4 × 275⁄8".

C. Ondine Chavoya on “Memories of Underdevelopment”

Arshile Gorky, Pastoral, 1947, oil and pencil on canvas, 44 1/8 x 56". © The Arshile Gorky Foundation/Artists Rights Society (ARS), New York.

New York

Catherine Jansen, Sewing Space, 1981, thread, embroidery, xerography on cloth. Installation view. From “Making /Breaking the Binary: Women, Art & Technology (1968–1985).” Photo: Gideon Barnett.

Philadelphia

Hannah Stamler on “Making/Breaking the Binary: Women, Art, and Technology (1968–1985)”

John McAllister, once were wild, 2017, oil on canvas, 72 × 61".

Chicago

Michelle Grabner on John McAllister

Judy Chicago, Morning Fan, 1971, sprayed acrylic on acrylic, 60 × 120".

San Francisco

Gwen Allen on Judy Chicago

Tanya Brodsky, More Fucking Hoops, 2017, metal and chrome footrests, balloon, 21 × 16 × 16".

Los Angeles

Jake and Dinos Chapman, The Disasters of Yoga (detail), 2017, eighty etchings from Francisco Goya’s “Disasters of War” (published 1863), glitter paint, this print 9 3/8 × 12 7/8".

London

Reena Saini Kallat, Light Leaks, 2008–10, metal, sacred thread, fly zapper. Installation view, 2017. From “New North and South.” Photo: Michael Pollard.

Manchester, UK

Zehra Jumabhoy on “New North and South”

Martin Boyce, Untitled, 2017, painted perforated steel, aluminum, painted steel, steel chain, blackened nickel-plated steel, blackened cast bronze, 78 5/8 × 118 3/8".

Glasgow

Lauren Dyer Amazeen on Martin Boyce

Pascal Convert, Falaise de Bâmiyân (Bamiyan’s Cliffs) (detail), 2017, fifteen platinum palladium prints, each 65 3/8 × 43 1/4".

Paris

David Tudor, Rainforest V (Variation 2), 1973/2015, mixed media. Installation view. From the 14th Biennale de Lyon. Photo: Blaise Adilon.

Lyon

Riccardo Venturi on Biennale de Lyon

View of “Louisa Clement,” 2017. Photo: Trevor Good.

Berlin

Kendell Geers, Flesh of the Spirit 19, 2016, bronze, 57 1/2 × 17 3/8 × 13 3/8". From the series “Flesh of the Spirit,” 2010–.

Brussels

Jos Van den Bergh on Kendell Geers

James Bishop, Untitled (Bank), 1974, oil on canvas, 76 3/4 × 76 3/4".

Zurich

Adam Jasper on James Bishop

View of “Naufus Ramírez-Figueroa,” 2017. Photo: Bruno Lopes.

Lisbon

Markéta Stará Condeixa on Naufus Ramírez-Figueroa

Luisa Rabbia, Love (detail), 2016, colored pencil and acrylic on canvas, 9' × 16' 10".

Reggio Emilia, Italy

Ida Panicelli on Luisa Rabbia

View of “Jan De Cock,” 2017. Photo: Agostino Osio.

Milan

Giorgio Verzotti on Jan De Cock

View of “Halil Altındere,” 2017. Photo: Rıdvan Bayrakoğlu.

Istanbul

Gökcan Demirkazik on Halil Altındere

Lais Myrrha, Corpo de prova #5 (Body of Proof #5), 2017, bronze, concrete, watercolor on paper, dimensions variable.

Rio de Janeiro

Sérgio B. Martins on Lais Myrrha

Madhvi Parekh, Untitled (Durga II), 2006, acrylic paint on acrylic sheet, 48 x 351/2"

New Delhi

Meera Menezes on Madhvi Parekh

View of “Takahiro Iwasaki,” 2017. Foreground: Out of Disorder (Structure of Light), 2017. _Background: Out of Disorder (Frame), 2017. Photo: Keizo Kioku.

Tokyo

Ryan Holmberg on Takahiro Iwasaki

Shi Yong, Under the Rule-L, 2017, iron, stainless steel, poly-putty, epoxy primer, spray paint, silk-screen ink, 52 3/8 × 48 1/4 × 6 5/8".

Shanghai

Arthur Solway on Shi Yong

Dubai

Murtaza Vali on Raja’a Khalid

Yvonne Rainer, Hand Movie, 1966, 8-mm film transferred to video, black-and-white, silent, 8 minutes. From the 4th Ural Industrial Biennial of Contemporary Art.

Yekaterinburg, Russia

Kate Sutton on the 4th Ural Industrial Biennial

Mikala Dwyer, The Additions and the Subtractions, 2017, mixed media. Installation view. Photo: Mim Stirling. From the series “The Additions and Subtractions,” 2007–.

Sydney

Toni Ross on Mikala Dwyer