TABLE OF CONTENTS

April 2019

list view

Nicole Eisenman, Hook ‘Em Horns, 2019, stereogram, 10 × 10". Collaboration with Sam Roeck and eyeTricks 3D Stereograms.

April 2019, Vol. 57, No. 8

columns features reviews

COLUMNS

passages

Yve-Alain Bois on Robert Ryman

passages

Amy Baker Sandback on Robert Ryman

passages

Suzanne Hudson on Robert Ryman

passages

Rachel Kushner on Alex Brown

books

Polly Watson on Dreyer’s English

film

James Quandt on Claire Denis’s High Life

performance

Catherine Damman on Robert Ashley

ON SITE

Kaya Genç on the 23.5 Hrant Dink Site of Memory

top ten

Raf Simons

columns features reviews

OPENINGS: TRULEE HALL

Trinie Dalton on Trulee Hall

PERFECT CHAOS: VERA CHYTILOVÁ’S SEDMIKRÁSKY (DAISIES)

J. HOBERMAN ON VERA CHYTILOVÁ’S SEDMIKRÁSKY (DAISIES)

ROUTINE OF THE REAL

DIETER ROELSTRAETE ON THE ART OF EDI HILA

1000 WORDS: TRENTON DOYLE HANCOCK

TRENTON DOYLE HANCOCK TALKS ABOUT “MIND OF THE MOUND: CRITICAL MASS”

HUMANLY POSSIBLE

DAN NADEL ON THE ART OF WILLIAM T. WILEY

DRAFTS

STEFFANI JEMISON ON THE STROKE, THE GLYPH, AND THE MARK

WISE GUYS

JOHANNA FATEMAN ON THE ART OF NICOLE EISENMAN

columns features reviews

Andy Warhol’s T.V., 1980–83, still from a TV show on MSG Network and Manhattan Cable TV. Season 1, episode 18.

Jack Bankowsky on Andy Warhol

Oscar Howe, Dance of the Heyoka, ca. 1954, watercolor on paper, 20 1⁄4 × 26 1⁄4".

Chelsea Weathers on “Art for a New Understanding: Native Perspectives, 1950s to Now”

Participants in the second Salón Independiente on the esplanade of the Museo Nacional de Antropología, Mexico City, Summer 1969. Photo: Salón Independiente, Centro de Documentación Arkheia.

Daniel Quiles on “Un arte sin tutela: Salón Independiente en México, 1968–1971”

Federico Tosi, Ariel (Spirale) (Ariel [Spiral]), 2018, concrete, glue, 39 × 35 3⁄8 × 1 3⁄8".

Milan

Alessandra Pioselli on Federico Tosi

Josep Grau-Garriga, Nova imatge (New Image), 1973, wool, cotton, synthetic fibers, 32 1⁄4 × 31 1⁄2".

Brussels

Veronica Santi on Josep Grau-Garriga

Trisha Donnelly, Untitled, 2018, digital projection, 16' 8 3⁄4“ × 10' 4”.

Cologne

Noemi Smolik on Trisha Donnelly

Knut Ivar Aaser, Untitled (Bordskikk #2), 2019, drypoint and monotype print on paper, 31 7⁄8 × 24 3⁄8".

Vienna

David Misteli on Knut Ivar Aaser

Emma McMillan, Room 3, 2019, oil on linen, 71 5⁄8 × 47 1⁄2".

Paris

Mara Hoberman on Emma McMillan

Tao Hui, Pulsating Atom, 2019, HD video, color, sound, 14 minutes 12 seconds. Installation view. Photo: Kwan Sheung Chi.

Hong Kong

Stephanie Bailey on Tao Hui

Daniel Pflumm, Hallo TV—FFM, 2019, HD video, color, sound, 60 minutes 46 seconds.

Berlin

Beatrice Gibson, I Hope I’m Loud When I’m Dead, 2018, 16 mm, color, sound, 20 minutes 47 seconds.

London

Valérie Blass, L’homme réparé (Repaired Man), 2019, stainless steel, denim shorts, epoxy resin, acrylic paint, 41 × 89 × 12". Photo: Laura Findlay.

Oakville

Dan Adler on Valérie Blass

Erkan Özgen, Wonderland, 2016, HD video, color, sound, 3 minutes 54 seconds.

Barcelona

Travis Jeppesen on Erkan Özgen

Poul Gernes, Untitled, 1966, enamel on sixteen Masonite panels, each 48 × 48".

Copenhagen

Kristian Vistrup Madsen on Poul Gernes

Victoria Morton, Broken Waveform, 2019, oil on canvas, 98 3⁄8 × 90 5⁄8".

Glasgow

Calum Sutherland on Victoria Morton

Vlatka Horvat, Bent Double, 2018, concrete, metal and PVC pipes, foam and PVC tubes, insulation tape. Installation view. Photo: Miluta Flueras.

Bucharest

Daria Ghiu on Vlatka Horvat

Julijonas Urbonas, A Planet of People (detail), 2018, 3-D human scanner, custom electronics and software, astrophysics simulation, PVC curtain, sandblasted stainless steel. Installation view. Photo: Aistė Valiūtė

Vilnius

Neringa Cerniauskaitè on Julijonas Urbonas

Leylâ Gediz, Cocoon, 2009, oil on canvas, 39 3⁄8 × 39 3⁄8". From “Positive Space.”

Kaya Genç on “Positive Space”

Pedro Gómez-Egaña, Sleipnir, 2018, wood, metal, steel bearings, electromagnets, sound. Installation view. Photo: Pat Verbruggen.

Baku

Himali Singh Soin on Pedro Gómez-Egaña

Navjot Altaf, Lacuna in Testimony, 2003, mirrors, three-channel video (color, sound, 9 minutes 26 seconds). Installation view.

Mumbai

Zeenat Nagree on Navjot Altaf

Jane Dickson, Peep VII, 1992–96, oil and pumice on canvas, 57 × 40".

New York

Zheng Bo, Pteridophilia 2, 2018, 4K video, color, sound, 20 minutes 30 seconds. From the Taipei Biennial.

Taipei

Travis Jeppesen on Taipei Biennial 2018

Paulo Roberto Leal, Armadura (Armature), 1978, canvas on canvas, 46 5⁄8 × 46 5⁄8".

São Paulo

Felipe Scovino on Paulo Roberto Leal

Pablo Suárez, Narciso de Mataderos (Narcissus of Mataderos), 1984–85 /1994, oil and enamel paint on plaster, dresser, mirror. Installation view. Photo: Gustavo Sosa Pinilla.

Buenos Aires

Kerry Doran on Pablo Suárez

Dale Hickey, Untitled 6, 2018, acrylic on board, 47 1⁄4 × 35 3⁄8".

Melbourne

Helen Hughes on Dale Hickey

View of “Corita Kent and Matt Keegan,” 2019. Top row: Matt Keegan, “Cutouts (c is for Corita),” 2019; Bottom row: Corita Kent, “International Signal Code Alphabet,” 1968.

Los Angeles

Xylor Jane, Magic Square for Finding Lost People, 2014, oil on panel, 24 × 24".

Amherst

Zachary Fine on Xylor Jane

Daniel G. Baird, Vessel (Left), 2019, patinated cast bronze, 12 × 7 × 5".

Chicago

Michelle Grabner on Daniel G. Baird

Jordan Casteel, Marcus and Jace, 2015, oil on canvas, 72 × 54".

Denver

Chelsea Weathers on Jordan Casteel

Rosha Yaghmai, Hair (detail), 2019, pipe, Hydrocal, epoxy resin, limestone, Miracle-Gro, mud mask, graphite, rust, glass, earth pigments, found materials, 2' 10“ × 17' × 3' 9”. Photo: Johanna Arnold.

San Francisco

Lauren Mackler on Rosha Yaghmai