TABLE OF CONTENTS

May 2019

list view

Cauleen Smith, Sojourner, 2018, digital video, color, sound, 22 minutes 41 seconds.

May 2019, Vol. 57, No. 9

columns previews features reviews

COLUMNS

passages

Branden W. Joseph on CAROLEE SCHNEEMANN

passages

Judith Bernstein on CAROLEE SCHNEEMANN

passages

Sabine Breitwieser on CAROLEE SCHNEEMANN

books

Michael Ned Holte on Norman M. Klein’s Tales of the Floating Class

performance

Catherine Damman on Jackie Sibblies Drury’s Marys Seacole

film

James Quandt on Olivier Assayas’s Non-Fiction

film

Melissa Anderson on Gabriel Abrantes and Daniel Schmidt’s Diamantino

slant

Ivana Bago on Sanja Ivekovic’s Whether We Were Brave

top ten

Ottessa Moshfegh

columns previews features reviews

featured previews

Summer 2019 Exhibitions

featured previews

DOUBLE VISION

featured previews

WHITNEY BIENNIAL 2019

columns previews features reviews

BE AT THE HAND OF MIGHT

DISSIDENT BODIES

Julia Bryan-Wilson in conversation with Miguel A. López

DUE PROCESSES

Joan Kee on Law By Art

GROUP MATERIAL

Catherine Taft on the art of Suzanne Lacy

ABOUT TIME

Huey Copeland in conversation with Meg Onli

WAKING LIFE

Siddhartha Mitter on the art of Cauleen Smith

BE SO BIG THAT SKY WILL LEARN SKY

1000 WORDS: TIONA NEKKIA McCLODDEN

TIONA NEKKIA McCLODDEN TALKS ABOUT I PRAYED TO THE WRONG GOD FOR YOU

PAGE TURNERS

Sara Marcus on Heresies

THE ENDANGERED UNRULY

Dodie Bellamy on the art of Mary Beth Edelson

CASE STUDY

Catherine G. Wagley on Boyle Heights

OPENINGS: IMANI JACQUELINE BROWN

Yxta Maya Murray on Imani Jacqueline Brown

CASE STUDY

Juliana Engberg on the 2014 Biennale of Sydney

CASE STUDY

Christopher Glazek on Nan Goldin and the Sacklers

NOTES ON POLITICAL TIMING SPECIFICITY

Tania Bruguera

RISE TO THE OCCASION

Claire Bishop on the art of political timing

SIT AT THE FEET OF ACTION

ART’S UPRISINGS: ACTIVISM NOW

David Velasco

columns previews features reviews

Arpita Singh, Munna Apa’s Garden, 1989, oil on canvas, 62 1⁄4 × 68 1⁄4".

Meera Menezes on Arpita Singh

Gretchen Bender, People in Pain (detail), 1988/2014, silkscreen on paint and heat-set vinyl, neon, transformers, 7' × 46' 8“ × 11”. © The Gretchen Bender Estate and OSMOS

Lane Relyea on Gretchen Bender

Reece Auguiste, Twilight City, 1989, 16 mm transferred to digital video, color, sound, 52 minutes.

Kashif Sharma-Patel on Grace Wales Bonner

Annie Ratti, White Bird’s Hat, 2018, fabric, styrene rubber, metal mesh, wooden block, metal stand, 81 1⁄8 × 29 1⁄8 × 9 7⁄8".

London

View of “Annie Leibovitz,” 2019.

Los Angeles

View of “Stephen McKenna,” 2019.

Carlow

Declan Long on Stephen McKenna

Gina Pane, Acqua alta/Pali/Venezia (High Water/Piles/Venice), 1968–70/2019, twelve Duralinox pillars, metal tray, muddy water, painted lettering. Installation view.

Paris

Lillian Davies on Gina Pane

Henrike Naumann, Ostalgie (Urgesellschaft) (Ostalgie [Primal Society]), 2019, mixed media. Installation view.

Berlin

Marguerite Humeau, Venus of Frasassi, a 10-year-old female human has ingested a rabbit’s brain, 2018, Portland stone, sound, 31 1⁄2 × 12 3⁄4 × 11".

Hamburg

Jens Asthoff on Marguerite Humeau

Mladen Stilinović, Artist at Work, 1978, eight C-prints, each 11 × 15 1⁄8".

Vienna

Brigitte Huck on Mladen Stilinovic

Cuoghi Corsello, Uncino (Hook), 2018, neon, transformers, cables, 5' 6 7⁄8“ × 12' 11 7⁄8”.

Rome

Ida Panicelli on Cuoghi Corsello

Giovanni Ozzola, Light Blue Wall, 2018, silicone, paint, wire mesh, 84 5⁄8 × 84 5⁄8".

San Gimignano

Giorgio Verzotti on Giovanni Ozzola

Rosella Biscotti, The Undercover Man, 2008, 16 mm transferred to video, black-and-white, sound, 30 minutes.

Valletta, Malta

Cathryn Drake on Rossella Biscotti

Patricia Kaersenhout, Objects of Love and Desire: Solange Fitte-Duval, 2019, digitally printed cotton, beads, African fabrics, wooden dowel, 74 3⁄4 × 54 3⁄4".

Rotterdam

Huib Haye van der Werf on Patricia Kaersenhout

Kim Hiorthøy, Too Old Too Fast, 2019, acrylic on canvas, 67 × 55".

Oslo

Maria Horvei on Kim Hiorthøy

Olli Lyytikäinen, Untitled, 1970, mixed media on paper, 10 5⁄8 × 7 7⁄8".

Helsinki

Mike Watson on Olli Lyytikäinen

Monira Al Qadiri, OR-BIT 1, 2016, 3-D-printed plastic, automotive paint, levitation module, 11 3⁄4 × 7 7⁄8 × 7 7⁄8". From “Crude.”

Dubai

Douglas Coupland on “Crude”

Simryn Gill, Naga Doodles #31–1, 2017, ink on paper, 29 1⁄2 × 55". From the series “Naga Doodles,” 2017.

Mumbai

Roshan Kumar Mogali on Simryn Gill

Zahoor ul Akhlaq, Radio Photo of Objects Unidentified, 1983, etching, 19 7⁄8 × 15 3⁄4”.

Lahore, Pakistan

Zehra Jumabhoy on Zahoor ul Akhlaq

Cyrus Kabiru, Macho Nne: Another Mask, 2017, digital C-print, 59 × 47 1⁄4". From “Material Insanity.”

Marrakech

Himali Singh Soin on “Material Insanity”

Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.

Hong Kong

Stephanie Bailey on Ellen Pau

Venuri Perera, I dance for , 2019. Performance view, B52 at the Grand Oriental Hotel, Colombo, Sri Lanka, January 25, 2019. From left: Rebeka Dilrukshi, Hasanthi Niriella, Venuri Perera, Kanchana M. Shani. Photo: Ruvin de Silva. From Colomboscope.

Colombo, Sri Lanka

Jyoti Dhar on Colomboscope

Héctor Zamora, Movimientos emisores de existencia (Existence-Emitting Movements), 2019. Performance view, Labor, Mexico City, February 5, 2019. Photo: Ramiro Chaves.

Mexico City

Gaby Cepeda on Héctor Zamora

Karla Dickens, Never Forget (detail), 2019, mixed media (panels, clockwise, from top left: Bottom Feeders III, II, IV, and I, all 2018, acrylic and collage on board, each 23 5⁄8 × 18 7⁄8"). From “Just Not Australian.”

Sydney

Toni Ross on “Just Not Australian”

Carol Rama, Appassionata (Marta e i marchettoni) (Passionate [Marta and the Rent Boys]), 1939, mixed media on paper, 13 × 11".

New York

Liz Magor, Closet (fur) (detail), 2018, polyester film, paper, cardboard, fur coats, stuffed animal, 30 × 33 1⁄4 × 51 3⁄4".

Boston

Mira Dayal on Liz Magor

N. Dash, Untitled, 2018, adobe and silk-screen ink on jute, 80 × 54".

Ridgefield

Michael Wilson on N. Dash

Nathaniel Robinson, Untitled, 2016, oil on canvas, 15 × 22".

Chicago

Michelle Grabner on Nathaniel Robinson

Kate Newby, I screamed “i was there!!” (detail), 2019, glass panels in window frames, 9' 3⁄4“ × 47' 9 3⁄4”.

Portland

Jon Raymond on Kate Newby