TABLE OF CONTENTS

March 2021

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Lorraine O’Grady, Art Is . . . (Troupe Front), 1983/2009, C-print, 16 × 20". From Art Is . . . , 1983/2009. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

March 2021, Vol. 59, No. 5

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COLUMNS

Pauline Boty posing with her painting Celia Birtwell Surrounded by her Heroes, 1963, London, October 29, 1963. Photo: Michael Ward.

books

Alex Kitnick on Thomas Crow’s The Hidden Mod in Modern Art: London, 1957–1969

James Benning, PLACE (detail), 2020, still from the HD video component (color, sound, 84 minutes) of a mixed-media installation additionally comprising a letterpress book and seven paintings on plywood, canvas, and paper.

film

Erika Balsom on James Benning’s PLACE

Veneno, 2020, still from a TV show on HBO Max. Season 1, episode 4. Cristina “La Veneno” Ortiz Rodríguez (Daniela Santiago).

television

Hari Nef on Veneno

Ulrike Müller, The Conference of the Animals (A Mural), 2020, latex paint. Installation view, Queens Museum, New York. Photo: Hai Zhang.

On Site

Gregg Bordowitz on “The Conference of the Animals”

Lisa Reihana, Ihi—The Separation of Rangi and Papa, 2020, two-channel HD video, color, sound, 12 minutes.

on site

Anthony Byrt on “Toi Tū Toi Ora: Contemporary Māori Art”

Stan Burnside, Visionary Princess with Matissian Hands: You Gotta See What it is Yer Lookin’ At, 2019, acrylic on canvas, 60 × 40".

top ten

Tavares Strachan

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Lorraine O’Grady, Landscape (Western Hemisphere), 2010/2011, HD video, black-and-white, sound, 18 minutes 4 seconds. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

Lorraine O’Grady

Catherine Damman, Mira Dayal, and David Velasco reflect on O’Grady’s art

Lorraine O’Grady, The Clearing: or Cortés and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, 1991/2019, diptych, ink-jet prints, each 40 × 50". From Body Is the Ground of My Experience, 1991/2019. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

Risk Everything

Catherine Damman on the art of Lorraine O’Grady

Top row, left: Lorraine O’Grady, Miscegenated Family Album (Sisters IV), L: Devonia’s sister, Lorraine; R: Nefertiti’s sister, Mutnedjmet, 1980/1994, diptych, Cibachrome prints, overall 26 × 37“. From Miscegenated Family Album, 1980/1994. Top row, right: Lorraine O’Grady, Miscegenated Family Album (Sibling Rivalry), L: Nefertiti; R: Nefertiti’s sister, Mutnedjmet, 1980/1994, diptych, Cibachrome prints, overall 26 × 37”. From Miscegenated Family Album, 1980/1994. Center row, left: Lorraine O’Grady, Miscegenated Family Album (Sisters II), L: Nefertiti’s daughter, Merytaten; R: Devonia’s daughter, Candace, 1980/1994, diptych, Cibachrome prints, overall 26 × 37“. From Miscegenated Family Album, 1980/1994. Center row, right: Lorraine O’Grady, Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s youngest daughter, Kimberley, 1980/1994, diptych, Cibachrome prints, overall 26 × 37”. From Miscegenated Family Album, 1980/1994. Bottom row, left: Lorraine O’Grady, Miscegenated Family Album (Hero Worship), L: Devonia, age 14; and Lorraine, age 3; R: Devonia, age 24; and Lorraine, age 13, 1980/1994, diptych, Cibachrome prints, overall 26 × 37“. From Miscegenated Family Album, 1980/1994. Bottom row, right: Lorraine O’Grady, Miscegenated Family Album (Progress of Queens), L: Devonia, age 36; R: Nefertiti, age 36, 1980/1994, diptych, Cibachrome prints, overall 26 × 37”. From Miscegenated Family Album, 1980/1994.

Close-Up: Theory of Relativity

Mira Dayal on Lorraine O’Grady’s Miscegenated Family Album, 1980/1994

Lorraine O’Grady, Announcement Card 1 (Banana-Palm with Lance), 2020, digital C-print, 50 × 33 3⁄8". From Announcement of a New Persona (Performances to Come!), 2020. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

1000 Words: Lorraine O’Grady

Lorraine O’Grady talks about Announcement Of A New Persona (Performances To Come!)

Cecilia Vicuña, María Sabina, 1986, oil on canvas, 59 3⁄4 × 49 1⁄2".

Portfolio: Cecilia Vicuña

Cecilia Vicuña shares a portfolio featuring works from the beginning of her career

Leonilson, Ninguém (Nobody), 1992, thread on embroidered cotton pillowcase, cotton fabric, pillow, 9 1⁄4 × 18 1⁄8 × 2".

Close-Up: Negative Capability

Irene V. Small on Leonilson’s Ninguém, 1992

Arnold J. Kemp, Mr. Kemp: Yellowing, Drying, Scorching, 2020, vinyl chair, vinyl seat cushions, thermometer, forty hardcover and paperback copies of Arnold Kemp’s 1972 Eat of Me: I Am the Savior, 31 × 41 × 32".

1000 Words: Arnold J. Kemp

Arnold J. Kemp talks about “False Hydras”

Joan Mitchell in her studio, 60 Saint Marks Place, New York, 1957. Photo: Joan Mitchell and Rudy Burckhardt. © Estate of Joan Mitchell.

Joan Mitchell

Molly Warnock and Elise Archias illuminate Mitchell’s oeuvre

Joan Mitchell, Cross Section of a Bridge, 1951, oil on canvas, 79 3⁄4 × 119 3⁄4". © Estate of Joan Mitchell.

Motion Pictures

Molly Warnock on the art of Joan Mitchell

Joan Mitchell, George Went Swimming at Barnes Hole, but It Got Too Cold, 1957, oil on canvas, 87 3⁄4 × 78 1⁄4". © Estate of Joan Mitchell.

Volume Judgement

Elise Archias on the art of Joan Mitchell

Louis Fratino, Waking up first, hard morning light, 2020, oil on canvas, 90 × 70".

Openings: Louis Fratino

Durga Chew-Bose on the art of Louis Fratino

Madeline Hollander, Ouroboros: Gs, 2019. Performance view, Whitney Museum of American Art, New York, September 19, 2019. From left: Lauren Newman, Asami Tomida. Photos: Charles Roussel.

Openings: Madeline Hollander

Charles Aubin on the art of Madeline Hollander

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Otobong Nkanga, The Weight of Scars, 2015, polyester, linen, mohair, cotton, viscose, ink-jet prints on ten Forex plates, 8' 3 5⁄8“ × 20' 1”.

Diedrich Diederichsen on “Critical Zones”

Luigi Ghirri, Modena, 1979, C-print, 10 1/4 × 15".

New York

Karen Kilimnik, Christmas service for the forest pets, 2008, oil on canvas, 16 × 16".

Montauk

Barry Schwabsky on Karen Kilimnik

Mary Heilmann, Long Line, 2020, acrylic on panel, 24 × 96".

Southampton, NY

Phyllis Tuchman on Mary Heilmann

An-My Lê, Fragment I: Film Set (Free State of Jones), Battle of Corinth, Bush, Louisiana, 2015, ink-jet print, 40 × 56 1/2".

Pittsburgh

Giampaolo Bianconi on An-My Lê

Mathew Cerletty, Ottoman, 2020, oil on linen, 48 × 70".

Dallas

Matthew Bourbon on Mathew Cerletty

Bri Williams, Precipice, 2020, metal, soap, curtain rod, 45 × 45 1/2 × 46 1/2".

Los Angeles

Howie Tsui, Joyride, 2018, lenticular print in light box, 25 × 37 × 2 1/2".

Toronto

Charlene K. Lau on Howie Tsui

Cildo Meireles, Tiradentes: Totem-Monumento ao preso politico (Tiradentes: Totem-Monument to the Political Prisoner), 1970, wooden pole, white cloth, thermometer, live chickens, gasoline, fire. Performance view, Parque Municipal de Belo Horizonte, Brazil, 1970. Photo: Luiz Alphonsus. From “The Missing Circle.”

Puebla

Gaby Cepeda on “The Missing Circle”

Ana Mazzei, Romana (Roman Woman) (detail), 2020, wood, pigmented wax painting, iron, engine, 4' 1 1/4" × 15' 4 1/2" × 15' 4 1/2".

São Paulo

Ela Bittencourt on Ana Mazzei

Erin O’Keefe, Circle, Circle, 2020, ink-jet print, 32 × 40".

London

Walter Price, Florida man, 2019, acrylic, gesso, and encaustic on wood, 18 × 24".

Glasgow

Calum Sutherland on Walter Price

Oscar Murillo, manifestation, 2019–20, oil, oil stick, cotton thread, and graphite on velvet, canvas, and linen, 8' 6 3/8" × 10' 3" . From the series “manifestation,” 2018–.

Paris

Mara Hoberman on Oscar Murillo

Gerda Wegener, Lili med fjerkost (Lili with a Feather Duster), 1920, oil on canvas, 31 1/8 × 23 1/4". From “Moral Dis/Order: Art and Sexuality in Europe Between the Wars.”

Valencia

Javier Montes on “Moral Dis/Order”

Domenico Bianchi, Untitled, 2020, oil and wax on fiberglass, 55 × 43 1/2".

Rome

Ida Panicelli on Domenico Bianchi

Florian Germann, Untitled, 2020, bio resin dyed with fuel pigments, ferrite magnets, steel, 66 1/8 × 44 7/8 × 18 1/2".

Zurich

Adam Jasper on Florian Germann

Klára Hosnedlová, Untitled (from the series Nest), 2020, cotton thread, stainless steel, 21 1/4 × 16 7/8".

Berlin

Jill Mulleady, Sade en Prison, 2020, oil on linen, 61 × 70 7/8".

Brussels

Camila McHugh on Jill Mulleady

Revital Cohen & Tuur Van Balen, Sterile, 2014, goldfish, dimensions variable.

Hasselt

Huib Haye van der Werf on Revital Cohen & Tuur Van Balen

Joanna Piotrowska, Untitled, 2014, gelatin silver print, 16 1/8 × 20".

Warsaw

Magdalena Ziolkowska on Joanna Piotrowska

Zehra Doğan, Hey soldier; you can’t make strip search. I’m already naked, 2018, ballpoint pen and hair on underwear, two parts, 8 3/4 × 28 3/8" and 10 1/4 × 11 3/4".

Istanbul

Kaya Genç on Zehra Doğan

Zarina Bhimji, I Will Always Be Here (detail), 1992, mixed media, dimensions variable.

Sharjah

Rahel Aima on Zarina Bhimji

Tonia Nneji, Far from Here, 2020, oil on canvas, 34 × 24".

Lagos

Ayodeji Rotinwa on Tonia Nneji

Ghislaine Leung, Shrooms (detail), 2016, night-lights, plug adapters, dimensions variable. From “More, More, More.” Photo: Xianhe D. Kong.

Shanghai

Yang Yang on “More, More, More”

Koki Tanaka, Vulnerable Histories (A Road Movie), 2019, 4K video, color, sound, 78 minutes.

Seoul

Harry C. H. Choi on Koki Tanaka

Elizabeth Newman, Untitled, 1989, oil on canvas, 30 × 35 3/4".

Brisbane

Wes Hill on Elizabeth Newman