TABLE OF CONTENTS

July/August 2020

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July/August 2020, Vol. 58, No. 10

columns features reviews

COLUMNS

Germano Celant, 1984. Photo: Robert Mapplethorpe.

passages

Ida Panicelli on Germano Celant

Stephen Prina and Germano Celant driving to California Institute of the Arts, Los Angeles, September 1979. Photo: Luciano Perna/Archives.

passages

Daniel Birnbaum on Germano Celant

Claire Fontaine, P.I.G.S., 2011, matchsticks, plaster wall, concealed corridor, HD-video projection (color, sound, 9 minutes 38 seconds). Installation view, ARTPLAY Design Center, Moscow, 2011. From the Fourth Moscow Biennale of Contemporary Art, 2011. Photo: Yackov Petchenin.

books

Tim Griffin on Hal Foster’s What Comes After Farce?

Tom Burr, Deep Purple, 2000, wood, steel, paint. Installation view, FRAC Champagne Ardenne, Reims, France. Photo: Aurélien Mole.

ON SITE

Alex Kitnick on the public art of Lower Manhattan

Saint Basil hand relic, ca. 379, Greek Orthodox Cathedral of St. George, Venice.

ON SITE

Celeste Olalquiaga on the value of relics

Charles Théodore Frère, Grand Pyramid de Gyzeh, n.d., oil on panel, 8 1⁄2 × 15 1⁄8".

slant

Nasser Rabbat on “Inspired by the East”

*Suzanne Treister, SURVIVOR (F)/One Million Years Before and After The Internet, 2016–19, oil on canvas, 83 7⁄8 × 59 7⁄8".

topten

Samuel R. Delany

columns features reviews

Protesters, Palais de Justice, Paris, June 2, 2020. Photo: Michel Euler/AP/Shutterstock.

ON THE VERGE

Paul B. Preciado on Revolution

Jamal Cyrus, Liberation Rotation (Ollie Towards a Metamorphosis), 2020, digital collage, dimensions variable.

PROJECT: JAMAL CYRUS

Ciarán Finlayson

LaToya Ruby Frazier, United Auto Workers and their families holding up Drive It Home campaign signs outside UAW Local 1112 Reuther Scandy, Alli union hall, Lordstown, OH, 2019, gelatin silver print, 45 × 60". From the series “The Last Cruze,” 2019.

CLOSE-UP: AMERICAN IDLE

Zack Hatfield on LaToya Ruby Frazier’s “The Last Cruze,” 2019

Ja’Tovia Gary, Citational Ethics (Saidiya Hartman, 2017), 2020, neon, glass, wire, metal, 47 × 47 × 6".

PROJECT: JA’TOVIA GARY

Ja’Tovia Gary

Jazmine Hayes, Which one of ’em hit you?! (Four Little Ladies), 2018, pen on paper, 22 × 30".

PROJECT: JAZMINE HAYES

Jazmine Hayes

Oroma Elewa, I’m Not Michelle Obama, 2019, digital C-print, 5 × 5". From the series “Area Babes and Ashawo Superstars,” 2019–.

PROJECT: OROMA ELEWA

Oroma Elewa

Eniola Dawodu, generation to generation, 2019, synthetic hair fibers, cotton thread, dimba wood, rocks, 11' 5“ × 7' 11” × 4'.

PROJECT: ENIOLA DAWODU

Eniola Dawodu

Texas Isaiah, IN THE WILL OF GOD, 2020, ink-jet print, 36 × 54". From left: Nikita Anastasia Pope, Fatima Jamal, Chanel Hudson.

PROJECT: FATIMA JAMAL

Fatima Jamal

Sydney Vernon, When We See Us, 2019, acetone transfer, charcoal, silk screen, magazine clipping, acrylic paint, and pastel on paper, 49 × 61".

PROJECT: SYDNEY VERNON

Sydney Vernon

Dawoud Bey, Untitled #14 (Site of John Brown’s Tannery), 2017, gelatin silver print, 44 × 55". From the series “Night Coming Tenderly, Black,” 2017.

CLOSE-UP: THE NIGHT SHIFT

Ciarán Finlayson on Dawoud Bey’s Untitled #14 (Site of John Brown’s Tannery), 2017

Cy Gavin, Untitled (Bald Eagle), 2020, acrylic, oil, and oil stick on canvas, 90 × 90". Installation view, Cy Gavin’s studio, upstate New York.

1000 WORDS: CY GAVIN

David Velasco

View of “Countryside, The Future,” 2020, Solomon R. Guggenheim Museum, New York. Photo: Stephen Bailey.

FUTURES MARKET

Felicity D. Scott on “Countryside, The Future”

Keith Haring, Safe Sex, 1985, acrylic on canvas tarp, 120 × 118". © Keith Haring Foundation. Used by permission.

CLOSE-UP: MUTUAL AID

Daniel Marcus on Keith Haring’s Once Upon a Time, 1989

columns features reviews

Wade Guyton, The Devil’s Hole, 1999, two C-prints mounted on wood, each 29 5⁄8 × 19 1⁄2 × 11 1⁄4".

Achim Hochdörfer on Wade Guyton

Eitarō Ishigaki, Soldiers of the People’s Front (The Zero Hour), ca. 1936–37, oil on canvas, 58 1⁄2 × 81 1⁄2".

Tatiana Flores on “Vida Americana: Mexican Muralists Remake American Art, 1925–1945”

Julian Charrière, Towards No Earthly Pole, 2019, 4K video, color, sound, 104 minutes.

New York

Karen Seapker, The Sower, 2020, oil on canvas, 72 × 60".

Nashville

Emily Weiner on Karen Seapker

Torkwase Dyson, Way Over There Inside Me (Ocean as a Super Throughway #1–4), 2020, four panels, graphite, acrylic, charcoal, and ink on canvas, each 40 × 30". From the series “Black Compositional Thought: 15 Paintings for the Plantationocene,” 2020.

New Orleans

Erica Rawles on Torkwase Dyson

Maja Ruznic, Truth Seekers, 2019, oil on canvas, 70 × 60".

Dallas

Matthew Bourbon on Maja Ruznic

Gracie DeVito, Machiavelli Heart Break, 2019, oil on cotton, 15 1⁄2 × 14 1⁄4".

Los Angeles

Stephanie Temma Hier, Wonderful for Other People, 2020, oil on linen, glazed stoneware frame, 20 × 17 × 2 1⁄2".

Toronto

Gabrielle Moser on Stephanie Temma Hier

Santiago Díaz Escamilla, Clarão. That from Which Things Become Manifest, 2018, HD video, color, sound, 2 minutes 50 seconds.

Bogotá

Eugenio Viola on Liliana Sánchez and Santiago Díaz Escamilla

Joey Holder, Semelparous, 2020, still from the 7-minute, 47-second 4K video component of a mixed-media installation additionally comprising digital prints, wood, MDF, and paint.

London

Denzil Forrester, Itchin & Scratchin, 2019, oil on canvas, 107 7⁄8 × 81 1⁄8".

Nottingham

Andrew Hunt on Denzil Forrester

Mairead O’hEocha, Two Owls, 2020, oil on board, 24 3⁄4 × 33 1⁄8".

Dublin

Declan Long on Mairead O’hEocha

Zhenya Machneva, Totem, 2020, cotton, linen, and synthetic fibers, 73 5⁄8 × 75 5⁄8".

Paris

Mara Hoberman on Zhenya Machneva

Rosa Barba, Aggregate States of Matters, 2019, 35 mm, color, sound, 18 minutes.

Madrid

Ana Teixeira Pinto on Rosa Barba

Gabriel Abrantes, Les Extraordinaires Mésaventures de la Jeune Fille de Pierre (The Extraordinary Misadventures of the Stone Lady), 2019, 8K video, color, sound, 20 minutes.

Lisbon

Alexandre Melo on Gabriel Abrantes

View of “Dancing at the Edge of the World,” 2020.

Rome

Ida Panicelli on “Dancing at the Edge of the World”

View of “Milica Tomić,” 2020.

Vienna

Nuit Banai on Milica Tomić

View of “Marlene McCarty,” 2020. Background from left: “14” (2), 2014; “14” (4), 2014. Foreground: Into the Weeds, 2019.

Basel

Adam Jasper on Marlene McCarty

Bunny Rogers, Locker Room, 2020, mixed media. Installation view.

Bregenz

Brigitte Huck on Bunny Rogers

Akinbode Akinbiyi, Lagos Island, Lagos, 2004, ink-jet print, 23 5⁄8 × 23 5⁄8".

Berlin

Simon Fujiwara, SS Delirium, 2020, mixed media, 86 5⁄8 × 32 1⁄4 × 66 7⁄8".

Brussels

Amanda Sarroff on Simon Fujiwara

Carola Grahn, Fasad (Facade), 2020, wood, 13' 11⁄2“ × 13' 11⁄2” × 13' 11⁄2".

Gothenburg

Fredrik Svensk on Carola Grahn

Ahmed Cherkaoui, Autoportrait en larmes (Self-Portrait in Tears), 1961, oil on jute on canvas, 25 5⁄8 × 17 3⁄4".

Warsaw

Agata Pyzik on “Ahmed Cherkaoui in Warsaw: Polish-Moroccan Artistic Relations (1955–1980)”

Rund Alarabi, Mahjoub Sharif, 2019, HD video, color, sound, 2 minutes 24 seconds. From “Durational Portrait: A Brief Overview of Video Art in Saudi Arabia.”

Jeddah

Melissa Gronlund on “Durational Portrait: A Brief Overview of Video Art in Saudi Arabia”

Sujith SN, Untitled, 2019, watercolor on paper, 41 × 70".

New Delhi

Meera Menezes on Sujith SN

Lo Lai Lai Natalie, Talking Plant, 2019, HD video, color, sound, 3 minutes 23 seconds.

Hong Kong

Hera Chan on Lo Lai Lai Natalie

Sachiko Kazama, KUROBE GOLD, 2019, woodcut, 51 1⁄8 × 36".

Tokyo

Shinyoung Chung on Sachiko Kazama

Judy Freya Sibayan, Performing My Self-archive, My Other Body: An Autobiographical Installation Art Performance, An Institutional Critique, 2020. Performance view.

Manila

Carlos Quijon Jr. on Judy Freya Sibayan

View of “Apparel,” 2020.

Melbourne

Helen Hughes on “Apparel”