TABLE OF CONTENTS

Summer 2019

list view

Thomas Lanigan-Schmidt, Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home), 1969, foil, plastic wrap, pipe cleaners, linoleum, glitter, acrylic paint, acrylic floor shine, food coloring, staples, wire, printed material, found objects, mixed-media, 12 × 7 × 4".

Summer 2019, Vol. 57, No. 10

columns features reviews

COLUMNS

film

Melissa Anderson on Jack Hazan’s A Bigger Splash

ON SITE

Polly Watson on “Play It Loud” at the Met

ON SITE

Ayodeji Rotinwa on Emeka Ogboh

passages

Ara Osterweil on BARBARA HAMMER

passages

A. L. Steiner on BARBARA HAMMER

Agnès Varda, 2009. Photo: Charles Hopkinson/Camera Press/Redux.

passages

Amy Taubin on AGNÈS VARDA

performance

Jennifer Krasinski on Paul Swan

performance

Jonah Westerman on Anne Imhof

top ten

Anthony Korner

Letter from the Editor

David Velasco on GUTT FEELINGS

PHOTOGRAPHY

Mónica de la Torre on Graciela Iturbide

columns features reviews

OKWUI ENWEZOR (1963–2019)

OKWUI ENWEZOR

Katy Siegel

OKWUI ENWEZOR

Adrian Piper

OKWUI ENWEZOR

Tim Griffin

OKWUI ENWEZOR

Glenn Ligon

OKWUI ENWEZOR

Steve McQueen

CONFESSIONS ON THE DANCE FLOOR

Reveries From The Gay Bar

MINOR VARIATIONS

Chloe Wyma on Lincoln Kirstein and his circle

AGAINST NATURE

William E. Jones on the art of James Bidgood

LET’S GO, LESBIANS

Andrea Long Chu on Jill Johnston's separatism

PORTFOLIO: PHILIP VAN AVER

Alex Jovanovich

FEELINGS AREN’T FACTS

Lloyd Wise on the art of Jacqueline Humphries

CLOSE UP: FULL DISCLOSURE

Molly Warnock on Gilles Aillaud’s Rhinocéros, eau et rochers, 1969

OPENINGS: FIONA CONNOR

Michael Ned Holte on Fiona Connor

columns features reviews

View of “Cady Noland,” 2018–19. Foreground: Cady Noland, Dead Space, 1989. Background, from left: Kenneth C. Noland, Touch, 1963; Steven Parrino, Bent Painting, 1991. Photo: Axel Schneider.

Bruce Hainley on Cady Noland

Mira Schor, Bear Triptych (Part II), 1972, gouache on paper, 30 × 22". From the suite Bear Triptych, 1972–73.

Paige K. Bradley on Mira Schor

View of “Nora Turato,” 2019.

Vaduz

Adam Jasper on Nora Turato

Tracey Emin, You were still There, 2018, acrylic on canvas, 72 1⁄4 × 48".

London

Emma Hart, Give Way, 2018, ceramic, Perspex, steel, 71 1⁄4 × 59 × 42 1⁄2".

Bath, UK

Daniel Culpan on Emma Hart

Jessie Homer French, Funeral, 1978, oil on canvas, 24 × 29 7⁄8".

Dublin

Declan Long on Jessie Homer French

Ketuta Alexi-Meskhishvili, how are you from I love you, 2019, print on organic cotton and wooden frames, 8' 1⁄2“ × 12' 9” × 4' 4".

Paris

Lillian Davies on Ketuta Alexi-Meskhishvili

Niko Pirosmani, Bridge with Donkey, date unknown, oil on wax cloth, 36 5⁄8 × 46 1⁄2".

Arles

Pamela Kort on Niko Pirosmani

Anna Maria Maiolino, Untitled, 2014, acrylic ink on paper, 17 7⁄8 × 12". From the series “Filogenéticos” (Phylogenetics).

Milan

Francesca Pola on Anna Maria Maiolino

Torsten Andersson, Ljuskrona av trä (Chandelier of Wood), 1980–89, oil on canvas, 59 × 51 1⁄4".

Berlin

Nil Yalter, Untitled (Black Veil), 2018, ink-jet prints on Dibond, polyester fabric, 68 7⁄8 × 55 1⁄8".

Cologne

Noemi Smolik on Nil Yalter

Goutam Ghosh, Glycerin, 2018, kite paper, gouache, and cotton on plywood, 48 × 55 7⁄8".

Hamburg, Germany

Jens Asthoff on Goutam Ghosh

John Isaacs, Sleepwalking into the Anthropocene, 2019, clay, steel, epoxy resin, paper, 27 1⁄2 × 32 1⁄4 × 14 1⁄8".

Madrid

Javier Montes on John Isaacs

Meiro Koizumi, We Mourn The Dead of the Future, 2019, five-channel video installation, color, sound, 49 minutes 51 seconds. Installation view.

Amsterdam

Huib Haye van der Werf on Meiro Koizumi

Jennifer Nelson, Democracy is a party, 2019, HD video, color, sound, 10 minutes 53 seconds. From “Anatomy of Political Melancholy.”

Athens, Greece

Cathryn Drake on “Anatomy of Political Melancholy”

Zeyno Pekünlü, Yıpranan Yer (Worn Part), 2019, video, black-and-white, sound, 3 minutes 18 seconds.

Istanbul

Kaya Genç on Zeyno Pekünlü

Genti Korini, Notes from the Upperground no. 3, 2019, ink-jet print, 35 3⁄8 × 23 5⁄8".

Tirana

Nuit Banai on Genti Korini

Stéphanie Saadé, The Encounter of the First and Last Particles of Dust, 2019, carpet, embroidery, 11' 1⁄8“ × 11' 1⁄2”.

Dubai

Murtaza Vali on Stéphanie Saadé

Abul Hisham, Hidden Obstacles (19th Trap), 2018, soft pastel on paper, 60 × 75".

Mumbai

Rahel Aima on Abul Hisham

Wang Xingwei, Shenyang Night, 2018, oil on canvas, 9' 10 1⁄8“ × 16' 3”.

Beijing

Fiona He on Wang Xingwei

Zhou Tao, North of the Mountains, 2019, 4K video, color, sound, 89 minutes.

Guangzhou

Travis Jeppesen on Zhou Tao

Helen Escobedo, Eclipse, 1968, lacquered wood, 79 1⁄8 × 29 7⁄8 × 28 3⁄4".

Mexico City

Fabiola Iza on Helen Escobedo

View of “Regina Parra,” 2019. From left: Bacante I (Bacchante I), 2019; Bacante II, 2019; Bacante III, 2019.

São Paulo

Camila Belchior on Regina Parra

Lauren Burrow, Temper (detail), 2019, tempered glass, eucalyptus resin, 12' 9 1⁄2“ × 18' 3 5⁄8”.

Melbourne, Australia

Helen Hughes on Lauren Burrow

View of “Arakawa,” 2019. From left: A Couple, 1966–67; Untitled (Webster Dictionary A & B), 1965; The Communicating Vases, 1964–65. Photo: Rob McKeever.

New York

View of “Thierry Mugler: Couturissime,” 2019. Foreground: Zumanity stage costume, 2003. Background: The Wyld stage costume, 2014.

Montréal

Derek McCormack on Thierry Mugler

View of “Huma Bhabha,” 2019. Photo: Charles Mayer Photography.

Boston

Dan Adler on Huma Bhabha

Tabor Robak, Guts, 2019, aluminum extrusion, expanded aluminum sheet, LED neon, UV-printed brushed aluminum frame, hardware, cables, 96 × 84 × 3 1⁄2". Photo: Johnny Fogg.

Washington, D.C.

Kriston Capps on Tabor Robak

Ursula von Rydingsvard, SCRATCH II, 2015, cedar and graphite, 10' 1“ × 6' 3” × 4' 11".

Washington, DC

Zachary Fine on Ursula von Rydingsvard

Theaster Gates, Mama’s Milk, 2018, metal, neon, 114 × 116 × 12 3⁄4".

Chicago

Michelle Grabner on Theaster Gates

Willie Stewart, TOTAL youth, 2019, ink and color pencil on cotton board, pigmented ink-jet print and acrylic on polystyrene board, and acrylic on canvas over panel, 60 1⁄4 × 40 × 8".

Los Angeles

Mary Mariq Kuutsiq, At the Fishing Weir, 1994, wool duffel, felt, embroidery floss, 37 × 55 1⁄2". From “Nivinngajuliaat from Baker Lake.”

Winnipeg

Tod Lippy on “Nivinngajuliaat from Baker Lake”