TABLE OF CONTENTS

March 2018

list view

Cover: Jesse Darling, Prophylactics Charms & Placebos, 2017, various appropriations approaching betterment, Band-Aids. Special project for Artforum.

March 2018, Vol. 56, No. 7

columns features reviews

COLUMNS

PASSAGES

Julie Ault on Tim Rollins (1955–2017)

BOOKS

J. Hoberman on Tuli Kupferberg’s Yeah

BOOKS

Rachel Churner on Hans Richter’s Dada: Art and Anti-Art

BOOKS

Saul Anton on Hito Steyerl’s Duty Free Art

FILM

Amy Taubin on Rainer Fassbinder’s Eight Hours Don’t Make a Day

FILM

Melissa Anderson on Ken Russell’s Women in Love

MUSIC

Christoph Cox on Milford Graves

PERFORMANCE

Catherine Damman on Richard Maxwell’s Paradiso

top ten

Yaeji

columns features reviews

CLOSE UP: HATCHET JOB

Sam McKinniss on Grant Wood’s Parson Weems’ Fable, 1939

ART IS MEDICINE

Helen Molesworth on the work of Simone Leigh

PROJECT: JESSE DARLING

Martin Herbert

YINKA SHONIBARE MBE

Talks About Wind Sculpture (SG) I, His Forthcoming Project With The Public Art Fund in New York

DISTANT SHORES

Kaelen Wilson-Goldie on the art of Ahmed Morsi

SIGNIFICANT DIFFERENCE

Jacques Herzog talks with Julian Rose

ALL THE TIME IN THE WORLD

Maria Stavrinaki on art and prehistory

columns features reviews

Paul Stephen Benjamin, God Bless America, 2016, forty-six monitors with three-channel video (color, sound, indefinite duration). Installation view, 2017. Photo: Adam Reich.

Mira Dayal on “Fictions”

Jason Rhoades, My Brother/Brancuzi, 1995, carpet, wood, steel, small gasoline engines, tools, plastic, doughnut machine, mixed media. Installation view, 2017–18. Photo: Laura Wilson. © The Estate of Jason Rhoades.

Laura McLean-Ferris on Jason Rhoades

Ilya Kabakov’s concept drawing for Three Nights, 1989.

Claire Bishop on Ilya and Emilia Kabakov

Kathe Burkhart, Mindfuck: from the Liz Taylor Series (The VIPs), 1988, acrylic and mixed media on canvas, 82 x 96".

New York

Katie Stout, Shelfish, 2017, metal, wood, resin, papier-mâché, 71 x 47 x 14".

Miami

Elizaveta Shneyderman on Katie Stout

Rebecca Shore, Untitled (17-05), 2017, acrylic on linen, 24 × 20".

Chicago

Lina Kavaliunas on Rebecca Shore

View of “Future Shock,” 2017. Andrea Zittel, “Panel Dress Series,” 1995–98. Photo: Eric Swanson.

Santa Fe, New Mexico

Chelsea Weathers on “Future Shock”

Henry Flynt, Tritone Monochord, 1987, dulcimer tuning pin, brackets, screws, violin bridge, guitar string, permanent marker, wood, 48 x 40 1/2".

Los Angeles

Phillip King, Colour on Fire, 2017, waterbased polyurethane paint on polyurethane, polycarbonate sheet, 7' 6 1/2“ x 15' 11” x 4' 11". Photo: Luke A. Walker.

London

Eithne Jordan, Dining Hall II, 2016, oil on linen, 19 5/8 x 25 1/2".

Dublin

Declan Long on Eithne Jordan

Pauline Boudry and Renate Lorenz, Silent, 2016, HD video, color, sound, 7 minutes.

Paris

Cyrill Lachauer, The Adventures of a White Middle Class Man (from Black Hawk to Mother Leafy Anderson), No. 12, 2016–17, C-print, 31 1/2 x 25 5/8".

Berlin

Lucio Fontana, Fonti di energia (Energy Sources), 1961/2017, neon. Installation view. Photo: Agostino Osio. © Fondazione Lucio Fontana.

Milan

Elizabeth Mangini on Lucio Fontana

Giuseppe Chiari, Metodo per suonare: la sedia (Method for Playing: The Chair), 1969, gelatin silver print, 6 7/8 x 9 1/2".

Florence/Prato, Italy

Francesca Pola on Giuseppe Chiari

Romina Bassu, Intervallo (Interval), 2017, acrylic on canvas, 39 3/8 x 31 1/2".

Rome

Ida Panicelli on Romina Bassu

View of “Dan Flavin, to Lucie Rie and Hans Coper, master potters,” 2017. From left: untitled (to Lucie Rie, master potter) 1w, 1990; untitled (to Lucie Rie, master potter) 1fff, 1990. Photo: Stefan Altenburger. © Stephen Flavin/Artists Rights Society (ARS), New York.

St. Moritz, Switzerland

Elisa Schaar on “Dan Flavin, to Lucie Rie and Hans Coper, master potters”

Vibeke Tandberg, Candypool (detail), 2017, plaster, slate, wood, felt, dimensions variable. From Lorck Schive Kunstpris.

Trondheim, Norway

Cathryn Drake on Lorck Schive Kunstpris

Magali Reus, Sentinel (Waterfall Plot), 2017, sprayed fiberglass and polyester resin, air-brushed aluminum embroidered custom weave viscose, polyester, cotton, sand-cast bronze, laser engraved leather, cotton twine, powder-coated steel, aluminum, dimensions variable.

Bergen, Norway

Caoimhín Mac Giolla Léith on Magali Reus

Pieter Vermeersch, Untitled, 2017, acrylic on stone, 47 1/2 x 81 1/2".

Barcelona

Javier Hontoria on Pieter Vermeersch

Tarek Al-Ghoussein, Al Sawaber 3672, 2015–17, ink-jet print, 39 3/8 x 59".

Dubai

Murtaza Vali on Tarek Al-Ghoussein

Emiliano Di Cavalcanti, Bordel (Brothel), ca. 1930, oil on canvas, 31 3/4 x 39 3/8".

São Paulo

Tobi Maier on Emiliano Di Cavalcanti

L. N. Tallur, HaloX Body—Two, 2017, bronze, concrete, iron, 64 x 20 5/8 x 36".

Mumbai

Roshan Kumar Mogali on L. N. Tallur

Hu Xiaoyuan, Grass Thorn IV, 2017, wood, ink, raw silk, silk thread, nails, marble, steel, 40 1/8 x 21 5/8 x 12 1/2".

Beijing

Fiona He on Hu Xiaoyuan

Lee Woosung, Four of Us Gathered by Chance, and We Had Drinks, 2017, acrylic gouache and gesso on fabric, 86 5/8 x 86 5/8".

Seoul

Shinyoung Chung on Lee Woosung

Gerhard Richter, Birkenau, 2014, oil on canvas, 102 3/8 x 78 3/4".

Brisbane

Wes Hill on Gerhard Richter

Athi-Patra Ruga, Lizalis Indinga Lakho/Autistik Imperium (Manifest Destiny/Autistic Empire), 2017, wool and thread on canvas, 16' 4 3/4“ x 13' 1 1/2”.

Cape Town

Sean O’Toole on Athi-Patra Ruga