TABLE OF CONTENTS

January 2020

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January 2020, Vol. 58, No. 5

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COLUMNS

Huang Yong Ping, 2012.

passages

Philip Tinari on HUANG YONG PING

Xiamen Dada event, outside the Cultural Palace of Xiamen, Fujian, China, November 24, 1986. Photo: Wu Yi Ming.

passages

Fei Dawei on HUANG YONG PING

Jessye Norman performing in Leoš Janáček’s 1925 The Makropulos Case, Metropolitan Opera, New York, January 1996. Photo: Johan Elbers/The LIFE Images Collection via Getty.

passages

Wayne Koestenbaum

Look from Adidas Originals × Jeremy Scott Fall/Winter 2013 collection. Installation view, University of Westminster, London, 2019.

FASHION

Rebecca Bell on THEY HIDE WITH THEIR BOOTS ON

Nicolas Moufarrege, Narcissix of One and Nick’s of the Other, 1983, thread, pigment, glitter, beads, minerals, and adhesive on needlepointed canvas, 18 × 84".

ON SITE

Alexandro Segade on “Nicolas Moufarrege: Recognize My Sign”

100 gecs promotional image. Digital rendering: Mikey Joyce.

music

Paige K. Bradley on 100 gecs

Noura Erakat, 2018. Photo: Ike Edeani.

topten

JOEY LA NEVE DEFRANCESCO

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Spring 2019 Exhibitions

Steve McQueen, Ashes (detail), 2002–15, still from the HD video component (8 mm and 16 mm transferred to two-channel HD video, color, sound, 20 minutes 31 seconds) of a mixed-media installation additionally comprising a two-sided screen and posters.

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STEVE McQUEEN

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THE NEW MoMA

James Ensor, Masks Confronting Death, 1888, oil on canvas, 32 × 39 1⁄2".

THE KIDS ARE ALWAYS RIGHT

HELEN MOLESWORTH ON THE REINSTALLATION OF MOMA’S PERMANENT COLLECTION

View of “Henri Matisse,” 2019–, Museum of Modern Art, New York. From left: Henri Matisse, The Red Studio, 1911; Alma Thomas, Fiery Sunset, 1973. Photo: Jonathan Muzikar.

CLOSE ENCOUNTERS

KERRY JAMES MARSHALL ON PABLO PICASSO, FAITH RINGGOLD, HENRI MATISSE, AND ALMA THOMAS AT MOMA

Margarete Schütte-Lihotzky, Frankfurt Kitchen from the Ginnheim-Höhenblick Housing Estate, Frankfurt am Main, Germany, 1926–27, mixed media, 8' 9“ × 12' 10” × 6' 10". Photo, above: Heidi Bohnenkamp.

SO DIFFERENT, SO APPEALING

JOHANNA FATEMAN ON MARGARETE SCHÜTTE-LIHOTZKY’S FRANKFURT KITCHEN

Ilya Lipkin, Native Traditions, 2019, digital C-print, 19 3⁄4 × 19 3⁄4". From the series “Prodromes,” 2019.

Artist Project: Ilya Lipkin

The New MoMA

Arthur Jafa, APEX, 2013, HD video, color, sound, 8 minutes 22 seconds. Installation view, Museum of Modern Art, New York, 2019. Photo: Denis Doorly.

THEY LOST IT AT THE MOVIES

AMY TAUBIN ON THE MOVING IMAGE AT MOMA

Jacques Tati, Playtime, 1967, 70 mm transferred to 4K video, color, sound, 124 minutes.

THE HERE AND NOW

TIM GRIFFIN ON THE STUDIO AT THE MUSEUM OF MODERN ART

Wu Tsang, We hold where study, 2017, two-channel HD video, color, sound, 18 minutes 56 seconds. Installation view, Museum of Modern Art, New York, 2019. Photo: John Wronn.

DANCE DANCE REVOLUTION

CATHERINE DAMMAN ON WU TSANG'S WE HOLD WHERE STUDY

Michele Abeles, Nipple Clamps, 2019, offset print, dimensions variable.

Artist Project: Michele Abeles

The New MoMA

Rachel Harrison, Untitled, 2012, colored pencil on paper, 19 × 24".

SMART OBJECTS

HAL FOSTER ON THE ART OF RACHEL HARRISON

Lari Pittman, Untitled #30 (A Decorated Chronology of Insistence and Resignation), 1994, acrylic, enamel, and glitter on wood, two panels, overall 6' 11“ × 13' 4”.

MUCH TOO MUCH

MICHAEL NED HOLTE ON THE ART OF LARI PITTMAN

Hana Miletić, Materials, 2019, handwoven raw wool and metal yarn, 9 × 7 1⁄2”. From the series “Materials,” 2015–.

OPENINGS: HANA MILETIĆ

Kate Sutton on Hana Miletić

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Ed Emshwiller, Disintegration of a Field-Force, cover art for the Magazine of Fantasy and Science Fiction (February 1957). © Estate of Ed Emshwiller/Dream Dance: The Art of Ed Emshwiller (Anthology Editions, 2019).

A. S. Hamrah on Ed Emshwiller

Cinthia Marcelle, Não existe mais lugar neste lugar (There Is No More Place in This Place), 2019, dropped ceiling, fluorescent bulbs, carpet. Installation view. Photo: Ian Reeves.

Eva Díaz on “Soft Power”

View of “In Poetry and Silence: The Work and Studio of Lenore Tawney,” 2019–20. From left: Waterfall, 1974; Waters Above the Firmament, 1976; In Fields of Light, 1975.

Michelle Grabner on Lenore Tawney

Jacolby Satterwhite, Blessed Avenue, 2018, disco balls, lights, potted plants, HD video (color, sound, 19 minutes 19 seconds). Installation view.

New York

Jonathan Berger, Untitled (Tina Beebe, Barbara Fahs Charles, Robert Staples, and Michael Wiener, with Matthew Brannon) (detail), 2019, tin, nickel, dimensions variable.

Boston

Abraham Adams on Jonathan Berger

Nicholas Galanin and Merritt Johnson, Creation and her children, 2017, mixed media, 62 × 84 × 74".

Saint Paul, Minnesota

Christina Schmid on Nicholas Galanin

Lutz Bacher, Moskva (Moscow), 2019, 96 ink-jet prints, each 61 3⁄4 × 44".

Irvine, California

Andrew Berardini on Lutz Bacher

Tatiana Trouvé, The Shaman, 2018, patinated bronze, marble, granite, concrete, steel, sand, water. Installation view.

Los Angeles

Janet Werner, Untitled (Curtain), 2016, oil on canvas, 74 × 60 1⁄4".

Montréal

Ara Osterweil on Janet Werner

François Bucher, A celestial event, no words, they should have sent a poet, 2017, cyanotype, 8 1⁄4 × 11 3⁄4".

Mexico City

Fabiola Iza on François Bucher

Cildo Meireles, Olvido (Oblivion) (detail), 1987–89, mixed media, 16' 8 3⁄4“ × 27' 6 3⁄4” × 27' 6 3⁄4".

São Paulo

Ela Bittencour on Cildo Meireles

Andrea Büttner, Deutsche Bundesbank Dining Room, 2019, cardboard, book-binding linen, 8 1⁄4 × 29 3⁄4 × 20 7⁄8".

London

Elizabeth Price, KOHL, 2018, four-channel video projection, color, sound, 6 minutes.

Manchester

Andrew Hunt on Elizabeth Price

Louis Fratino, Coming back from the beach, 2019, manganese oxide on terra-cotta, 15 3⁄4 × 13 3⁄8 × 2 3⁄4".

Paris

Mara Hoberman on Louis Fratino

View of “Ettore Spalletti,” 2019. Background: Dittico, oro 9 (Diptych, Gold 9), 2019. From left: Vado di sole (I Go For the Sun), 2018; Ma, sì, azzurro (But, Yes, Blue), 2018.

Monaco

Francesca Pola on Ettore Spalletti

View of “André Romão,” 2019. From left: Pierna izquierda (Left Leg), 2019; Cabeza (el hambre del monstruo) (Head [The Monster’s Hunger]), 2019.

Madrid

Joaquín Jesús Sánchez on André Romão

Flavio Favelli, Afgacolor, 2019, neon, 21 5⁄8 × 65 × 4".

Milan

Francesca Pola on Flavio Favelli

View of “Cesare Pietroiusti,” 2019–20.

Bologna

Giorgio Verzotti on Cesare Pietroiusti

Thomas Locher, Lumpenalphabet (Z), 2019, silk screen on acrylic glass, 18 7⁄8 × 18 7⁄8 × 2". From the series “Lumpenalphabet,” 2019.

Vienna

Yuki Higashino on Thomas Locher and Willem de Rooij

Ryan Mosley, Evening interval, 2019, oil on canvas, 59 × 47 1⁄4".

Berlin

View of “Edith Dekyndt,” 2019.

Düsseldorf

Noemi Smolik on Edith Dekyndt

Zhang Enli, Watercolour on the Wall, 2019, watercolor. Installation view.

Brussels

Adam Jasper on Zhang Enli

View of “I’m About to Go Berserk,” 2019. From Left: Zuzanna Janin, Monkey (Femmage a Maria Anto), 2018; Maria Anto, Blue-Eyed, 1975.

Warsaw

Agata Pyzik on “I’m About to Go Berserk”

Edith Karlson, Short Story, 2019, mixed media, dimensions variable. From “When You Say We Belong to the Light We Belong to the Thunder.”

Tallinn

Mike Watson on “When You Say We Belong to the Light We Belong to the Thunder”

View of “Dina Shenhav,” 2019. From left: Merkava (Chariot), 2019; Soldier #3, 2018.

Tel Aviv

Nuit Banai on Dina Shenhav

Farah Al Qasimi, Um Al Naar (Mother of Fire), 2019, HD video, color, sound, 42 minutes 7 seconds.

Dubai

Murtaza Vali on Farah Al Qasimi

Rana Begum, No. 881 Floats, 2019, marble, metal, 45 1⁄4 × 23 5⁄8 × 23 5⁄8".

Mumbai

Zeenat Nagree on Rana Begum

Xiao Lu, Polar–2, 2016, giclée print, 47 1⁄4 × 31 1⁄2".

Hong Kong

Hera Chan on Xiao Lu

Agnes Arellano, Carcass-Cornucopia, 1987, mixed media, 72 × 51 1⁄8 × 31 1⁄2". Installation view.

Manila

Carlos Quijon Jr. on Agnes Arellano

Ramesh Mario Nithiyendran, Blue Standing Figure, 2019, mixed media, 78 3⁄8 × 39 3⁄8 × 33 1⁄2".

Sydney

Toni Ross on Ramesh Mario Nithiyendran