TABLE OF CONTENTS

February 2019

list view

Thomas Struth, Canyon, Anaheim (detail), 2013, C-print, 83 3⁄4 x 106 3⁄4".

February 2019, Vol. 57, No. 6

columns features reviews

COLUMNS

passages

Carolee Schneemann on Robert Morris

passages

Simone Forti on Robert Morris

passages

Jeffrey Weiss on Robert Morris

film

Thomas Beard on Andy Milligan

film

Amy Taubin on Steven Soderbergh’s High Flying Bird

books

Canada Choate on the writings of Catherine Christer Hennix

slant

Celeste Olalquiaga on Paul Virilio’s Bunker Archaeology

top ten

Precious Okoyomon

columns features reviews

CLOSE-UP: HELD STILL

MYCHAL DENZEL SMITH ON JORDAN CASTEEL’S MOM HAND, 2014

IN THE WAY OF STARS

WAYNE KOESTENBAUM ON THE ART OF DAVID GILBERT

RETURN TO SENDER

DAVID TEH ON ART IN THAILAND

FORCES OF NATURE

GRAHAM BADER ON THE ART OF THOMAS STRUTH

THE INVISIBLE VILLAGE

SASHA FRERE-JONES ON THE MUSIC OF JOHN ZORN

LABOR OF LOVE

LAUREN O’NEILL-BUTLER ON THE ART OF FIERCE PUSSY

columns features reviews

View of “Hairy Who? 1966–1969,” 2018–19. Center: Jim Nutt, Miss E. Knows, 1967.

Dan Nadel on “Hairy Who? 1966–1969”

View of “Raoul De Keyser: oeuvre,” 2018–19, SMAK, Ghent, Belgium. From left: Oefeningen met eerste linnen doos (Exercises with First Linen Box ), 1967; Linnen doos II (Linen Box II), 1966–67; Gampelaere-omgeving (Gampelaere Surroundings), 1967. Photo: Dirk Pauwels.

Barry Schwabsky on Raoul de Keyser

Hsu Che-Yu, Lacuna, 2018, HD video, color, sound, 40 minutes 45 seconds.

Du Keke on 12th Shanghai Biennale

Marie Shannon, The Rat in the Lounge, 1985, gelatin silver print, 18 1⁄8 × 33 7⁄8".

Christchurch

Anthony Byrt on Marie Shannon

Clarissa Tossin, Ch’u Mayaa (Maya Blue), 2017, HD video, color, sound, 17 minutes 56 seconds.

São Paulo

Camila Belchior on Clarissa Tossin

Ouattara Watts, OTÉ-FÊ, 2018, mixed media, 9' 1“ × 10' 5 1⁄4”.

Abidjan, Ivory Coast

Mara Hoberman on Ouattara Watts

Ana Mazzei, Us and Them, 2018, eleven puppets composed of iron, wood, unﬁred clay, felt, linen, fabric, and painted ceramics, dimensions variable.

Dubai

Gökcan Demirkazik on Ana Mazzei

View of Lee Kit, 2018

Tokyo

Paige K. Bradley on Lee Kit

View of “Zhao Yao,” 2018. Foreground: Signals from Heaven—Why I love a country that once betrayed me, 2018. Background: Signals from Heaven—How my mind came back to life and no one knew, 2018. Photo: Yang Chao Studio.

Beijing

Iepe Rubingh, Chessboxing, 2003–18. Performance view, Esperia Palace Hotel, Athens, October 2018. From the 6th Athens Biennale.

Athens

Cathryn Drake on 6th Athens Biennale

View of “Juan Araujo,” 2018–19. From left: Il ettelaP, 2018; Mickey, 2018; II yekciM 2018; Palette II, 2009.

Lisbon

Alexandre Melo on Juan Araujo

Jakub Jansa, Club of Opportunities Ep.5: Keeping in Line, 2018, two-channel 4K video, color, sound, 17 minutes 6 seconds. Installation view. Photo: Tomáš Souček.

Prague

Noemi Smolik on Jakub Jansa

Lisa Yuskavage, Golden Couple, 2018, oil on linen, 77 1⁄8 × 70".

New York

Trevor Paglen, Gold Artifact, 2013, etched gold-plated disk, 4 7⁄8 × 4 7⁄8 × 3⁄8".

Washington, DC

Tina Rivers Ryan on Trevor Paglen

Robert Lostutter, Kyōsei 1 Deep Night Garden, 2018, graphite on paper, 18 × 17 1⁄4".

Chicago

José María Cruxent, Sans erotisme il n’y aurait pas d’amour (Without Eroticism There Would Be No Love), 1965, mixed media on canvas, 54 3⁄4 × 62 5⁄8". From “Contesting Modernity: Informalism in Venezuela, 1955–1975.”

Houston

Kaira M. Cabañas on “Contesting Modernity: Informalism in Venezuela, 1955–1975”

Andrea Bowers, Families Belong Together, 2018, cardboard, LED lights, 59 × 110 × 6". From “After Posada: Revolution.”

El Paso

Chelsea Weathers on “After Posada: Revolution”

Mary Reid Kelley and Patrick Kelley, In the Body of the Sturgeon, 2017, HD video projection, black-and-white, sound, 12 minutes 15 seconds.

Los Angeles

Shannon Bool, Oued Ouchaia, 2018, jacquard tapestry, embroidery, 6' 10“ × 10' 8”.

Toronto

Dan Adler on Shannon Bool

Lucy Dodd, Miss Mars, 2018, squid ink, hematite, onion skins, liquid smoke, avocado, phosphorescent pigment, and acrylic on canvas, 10' 2“ × 15' 2”.

London

Lucia Laguna, Estúdio no. 52 (Studio no. 52), 2018, acrylic and oil on canvas, 70 7⁄8 × 55 1⁄8".

Paris

Louise Bonnet, In Bed, 2018, oil on linen, 7' × 10' 1⁄8".

Berlin

Ulla von Brandenburg, Elisabeth Dmitrieff, 2018, watercolor on assembled paper, 39 3⁄8 × 31 1⁄2".

Hamburg

Jens Asthoff on Ulla von Brandenburg

View of “Raphaela Vogel,” 2018.

Zurich

Adam Jasper on Raphaela Vogel

Elger Esser, Shivta Israel, 2015, C-print, 72 1⁄2 × 90".

Rome

Francesca Pola on Elger Esser

Francesco Vezzoli, C-CUT-Homo Ab Homine Natus (C-CUT-Man from Man Born), 2018, concrete sculpture, bronze, marble head, alabastrine chalk, egg tempera, microcrystalline wax. Installation view. Photo: Sebastiano Pellion di Persano.

Turin

Giorgio Verzotti on Francesco Vezzoli

Wendelien van Oldenborgh, Future Footnotes (detail), 2018, mixed media. Installation view. Photo: Manuel Carreon Lopez.

Vienna

Yuki Higashino on Wendelien van Oldenborgh