PRINT January 2019


THE MUSEUM FÜR MODERNE KUNST (MMK) in Frankfurt is presenting a comprehensive survey of the work of Cady Noland through March 31. Curated by Susanne Pfeffer, the exhibition takes stock of how Noland’s work grapples over and over again with the American pathologies of capitalism, consumption, celebrity, and violence. Here, Artforum contributing editor Bruce Hainley considers how Noland’s art is also somewhat of a family affair.

Cady Noland, Towne Square, 1993–94, silk screen on aluminum. Installation view, Paula Cooper Gallery, New York, 1994. Photo: Geoffrey Clements.

CADY NOLAND’S infamous solo show at New York’s Paula Cooper Gallery, March 26–April 23, 1994. American AF I am thinking. Closed not much more than seven weeks before O. J. Simpson rode the white Bronco into our current consciousness. 24/7 entertainment news. Celebrity media glare. Kommencement of Kardashianness. Bros before hos. Domestic violence the star-spangled ethos I am thinking. She found forms for that frenetic consciousness. C.N. saying, “I make an issue of the way things are connected.” When she makes an issue (not long before the show opened) of the way things are connected, I am thinking she wasn’t only pointing to the way piping connects to couplings, various T’s, Y’s, or elbows, fastens into flanges, to the way flags are fisted into gaping holes, metal sheets leaned against walls, chain-link fencing on the floor, but sizing up, within a current context that makes the

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