TABLE OF CONTENTS

March 2020

list view

March 2020, Vol. 58, No. 7

columns features reviews

COLUMNS

May Stevens in her studio, New York, 1974. Photo: Joyce Ravid. © The Estate of May Stevens.

passages

Lucy R. Lippard on MAY STEVENS

May Stevens, A Life, 1984, acrylic on canvas, 78 × 120". From the series “Ordinary/Extraordinary,” 1976–84. © The Estate of May Stevens.

passages

Tom Burr on MAY STEVENS

Peter Wollen, August 1984.

passages

Lynne Tillman on PETER WOLLEN

Still from James Whitney’s Lapis, 1966, 16 mm, color, sound, 10 minutes. © Whitney Editions™, Los Angeles, CA.

books

Thomas Beard on Gene Youngblood’s Expanded Cinema

Corneliu Porumboiu, The Whistlers, 2019, 3.2K video, color, sound, 97 minutes. Center: Cristi (Vlad Ivanov) and Carlito (Cristóbal Pinto). Production still. Photo: Vlad Cioplea.

film

J. Hoberman on Corneliu Porumboiu’s The Whistlers

Kent Monkman, Resurgence of the People, 2019, acrylic on canvas, 11 × 22'.

ON SITE

Todd Porterfield on Kent Monkman at the Met

Kazimir Malevich, Arkhitekton A11 à Manhattan, no 1, 1926, collage. From Praesens, June 1926.

architecture

Anna Kats on “Building a new New World”

Miss Piggy and Alice Cooper on the set of Jim Henson’s The Muppet Show, 1978. Photo: David Dagley/Shutterstock.

topten

Jaimie Warren

columns features reviews

Agnes Pelton, The Fountains, 1926, oil on canvas, 36 × 31 1⁄2". Collection of Georgia and Michael de Havenon.

DIVINE REALITY

CHLOE WYMA ON THE ART OF AGNES PELTON

Jos de Gruyter and Harald Thys, The Rat Woman, 2019, mixed media. Installation view, Belgian pavilion, Venice. From the 58th Venice Biennale. Photo: Nick Ash.

PRO TOOLS

DIETER ROELSTRAETE ON JOS DE GRUYTER AND HARALD THYS’S POSTHUMAN HUSBANDRY

Daniel Köhler with Chen Chen, Genmao Li, Zixuan Wang, Project WanderYards—Segregative Section, 2017. Rendering.

RISE OF THE MACHINES

MARIO CARPO ON ROBOTIC CONSTRUCTION

View of “John Boskovich: Psycho Salon,” 2019–20, O-Town House, Los Angeles. Photo: Riccardo Banfi.

CLOSE-UP: INSIDE OUT

ANDREW BERARDINI ON JOHN BOSKOVICH’S BOSKOSTUDIO, 1996–2006

Chason Matthams, Rainbow Balloon 3 (red) with Thomas Moran’s “Rainbow over the Grand Canyon of the Yellowstone”, 2018, acrylic on linen over panel, 16 × 20".

PORTFOLIO: CHASON MATTHAMS

Alex Jovanovich

Kandis Williams, Nathan, 2017, sublimated prints on cotton paper, copper wire, plastic, glass, organic potting soil, 15 × 12 × 9".

OPENINGS: KANDIS WILLIAMS

Hannah Black on Kandis Williams

columns features reviews

Hans Haacke, Blue Sail, 1964–65, chiffon, oscillating fan, thread, fishing weights. Installation view, New Museum, New York, 2019. Photo: Dario Lasagni. © Hans Haacke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

James Meyer on Hans Haacke

View of “Cecilia Vicuña: About to Happen,” 2019–20. Background: Burnt Quipus, 2018. Foreground: Balsa Snake Raft to Escape the Flood, 2017. Photo: Daniel Bock.

Monica Uszerowicz on Cecilia Vicuña

Len Lye with his Fountain, 1959. © Len Lye Foundation Archive.

Adam Jasper on Len Lye

Katsura Funakoshi, The Book of Azure (detail), 2017, painted camphorwood, marble, tin, stainless steel, glass, 71 7⁄8 × 18 3⁄4 × 15 3⁄4".

New York

View of “Pat Steir,” 2020. From left: Eleven, 2018–19; Twelve, 2018–19; Thirteen, 2018–19; Fourteen, 2018–19.

Washington, DC

Ida Panicelli on Pat Steir

Sylvia Fein, Kite Eye (or Eye Kite), 2006, egg tempera on board, 5 × 7".

Berkeley

Suzanne Hudson on Sylvia Fein

Jónsi, Hvítblinda (Whiteout), 2019, twelve-channel sound installation (20 minutes), ten speakers, two subwoofers, aluminum, LED lighting, ozone scent. Installation view.

Los Angeles

Laurie Kang, Bloom, 2019, mesh fruit bags, polymer clay, paint cans, reflective sheeting, Cordyceps. Installation view.

Oakville

Dan Adler on Laurie Kang

Charles Atlas, Butchers’ Vogue, 1990, video, color, sound, 4 minutes 50 seconds. From “Elements of Vogue.”

Mexico City

Gaby Cepeda on “Elements of Vogue”

Solange Escosteguy, Liberdade (Freedom), 2019, acrylic on canvas, 39 3⁄8 × 39 3⁄8".

Rio de Janeiro

Felipe Scovino on Solange Escosteguy

Ad Minoliti, Untitled, 2017, ink-jet print on canvas, 59 × 39 3⁄8". From the series “Play C,” 2017.

Buenos Aires

Kerry Doran on Ad Minoliti

Caroline Coon, A Sweet Lob from 25 Yards, 2009, oil on canvas, 60 1⁄4 × 48".

London

Kiki Smith, Cathedral, 2012, jacquard tapestry, 116 1⁄8 × 75 5⁄8".

Oxford

Rachel Withers on Kiki Smith

Thu Van Tran, Penetrable—Rainforest #2, 2019, pigment and rubber on canvas, 70 7⁄8 × 59 1⁄8". From the series “Penetrable Rainforest,” 2018–.

Paris

Lillian Davies on Thu Van Tran

Ludovica Carbotta, Severe UD 01, 2019, wood, iron, paint, plastic. Installation view.

Madrid

Joaquín Jesús Sánchez on Ludovica Carbotta

Fiamma Montezemolo and José Parral, Project Perucatti (detail), 2018, mixed media, 61 × 52 3⁄8 × 66 7⁄8".

Rome

Ida Panicelli on Fiamma Montezemolo

Chiara Dynys, Aurora, 2019, mixed media, 49 5⁄8 × 70 7⁄8 × 32 5⁄8".

Milan

Marco Meneguzzo on Chiara Dynys

Maria Loboda, Metal Hurlant (Heavy Metal) (detail), 2019, mixed media, dimensions variable.

Berlin

Martin Herbert on Maria Loboda

A.K. Burns, Leave No Trace (Negative Space 000), 2019, Still from the 28-minute, 15 second five-channel HD color video component of a mixed-media installation additionally comprising a 48 × 48 × 85 1⁄4" cube, speakers, a plastic skull, used tires, and ratchet straps. Clara López Menéndez.

Düsseldorf

Louisa Elderton on A.K. Burns

Sofia Hultén, Ok Ok Ok Ok Ok, 2019, mixed media, 80 3⁄4 × 48 3⁄8 × 48 7⁄8".

Stockholm

Fredrik Svensk on Sofia Hultén

Olga Rozanova, Non-objective Composition, 1916, oil on canvas, 28 × 26". From “The Museum of Pictorial Culture: To the 100th Anniversary of the First Museum of Contemporary Art.”

Moscow

Alexander Burenkov on “The Museum of Pictorial Culture”

Neriman Polat, Barikat 1 (Barricade 1), 2015, ink-jet print, 39 3⁄8 × 78 3⁄4". From the series “Barikat” (Barricade), 2015.

Istanbul

Kaya Genç on Neriman Polat

El Anatsui, Black Block, 2010, aluminum, copper wire, 17' 2 3⁄4“ × 11' 1⁄2”.

Doha

Rahel Aima on El Anatsui

Abir Karmakar, Here everything is fine I, 2019, double-sided painting, oil and gesso on canvas, 107 7⁄8 × 102 3⁄8 × 15 3⁄8".

New Delhi

Meera Menezes on Abir Karmakar

Zhang Ding, High-Speed Forms #4 (detail), 2019, copper, gold, stainless steel, 90 1⁄2 × 22 7⁄8 × 37 3⁄4".

Shanghai

Travis Jeppesen on Zhang Ding

Chu Yun, A Realistic Circle, 2018–19, paint on wall. Installation view, 2019.

Guangzhou

Bao Dong on Chu Yun

Truong Tan, Ablaze, 2019, mixed media on wood, 31 1⁄2 × 47 1⁄4".

Ho Chi Minh City

Wong Bing Hao on Truong Tan

Angki Purbandono, Open Diary, 2019, mixed media. Installation view. From the Biennale Jogja XV.

Yogyakarta

Carlos Quijon Jr. on Biennale Jogja XV