TABLE OF CONTENTS

September 2021

list view

Volunteers boxing produce at Summaeverythang Community Center, Los Angeles, July 2020, an initiative by the artist Lauren Halsey. From left: Lauren Halsey, Anthony Creeden, Summer Humes, Josie Macias, Angel Xotlanihua, Pedro Martinez, and Chris Gibbs. Photo: Allen Chen/SLH Studio.

September 2021, Vol. 60, No. 1

columns features reviews

COLUMNS

Janet Malcolm, New York, 1981. Photo: Nancy Crampton.

passages

David Salle on Janet Malcolm

Daïchi Saïto, earthearthearth, 2021, 35 mm, color, sound, 30 minutes.

film

Ara Osterweil on Daïchi Saïto’s earthearthearth

Young bike riders carry Michelle Lopez’s 2020 Keep Their Heads Ringin’ sound installation, Philadelphia Museum of Art, August 29, 2020.

slant

Kate Sutton on Protocinema’s “A Few In Many Places”

Sopé Bahké performing at Shanzhai Lyric’s Canal Street Research Association, New York, December 6, 2020. Photo: Constanza Valenzuela.

on site

Jay Sanders on the Canal Street Research Association

Olafur Eliasson, Life (detail), 2021, water, uranine, UV lights, wood, plastic sheet, cameras, kaleidoscopes, common duckweed, dwarf water lilies, European frogbit, European water clover, floating fern, red root floater, shellflower, South American frogbit, water caltrop. Installation view, Fondation Beyeler, Basel. Photo: Pati Grabowicz.

on site

Adam Jasper on Olafur Eliasson at the Fondation Beyeler

Still from Normani featuring Cardi B’s 2021 video Wild Side, directed by Tanu Muino.

top ten

Moses Sumney’s Top Ten

columns features reviews

Mahmoud Khaled, Proposal for a House Museum of an Unknown Crying Man (detail), 2017, mixed media.

THE MUSEUM NOW, PART II

Artforum turns to efforts by artists, historians, and curators to rethink the underpinnings of these vaunted institutions

Nadia Belerique, HOLDINGS (Ongoing), 2020, plastic barrels, metal frame, stained glass, lead, copper tape, fabrics, photographs, rainwater, paint, various objects. Installation view, Kunstverein Braunschweig, Germany, 2020–21. Photo: Stefan Stark. From the 2021 Triennial: “Soft Water Hard Stone.”

FALL MUSEUM SHOWS

Opening of the Studio Museum in Harlem, New York, 1968. From left: Eleanor Holmes Norton, Carter Burden, Charles Inniss, Campbell Wylly, Betty Blayton-Taylor, Frank Donnelly. Photo: Jill Krementz.

STREET, STOOP, STAGE, SANCTUARY

A Studio Museum Roundtable

Giuseppe Panza’s unauthorized and decommissioned 1988 fabrication of Donald Judd’s copper untitled, 1974, Sala Luigi di Pietro, Milan, 1988. © Judd Foundation/Artists Rights Society (ARS).

GETTING REAL

Christine Mehring on the Panza Collection Initiative

Mahmoud Khaled, Proposal for a House Museum of an Unknown Crying Man (detail), 2017, mixed media. Installation view, Ark Kültür, Istanbul.

IMPERMANENT COLLECTIONS

Julia Bryan-Wilson on Queer and Trans Artists’ Museums

Hilma af Klint at the Royal Academy of Fine Arts, Stockholm, 1885. © The Hilma af Klint Foundation.

LUCID DREAMING

Daniel Birnbaum on Hilma af Klint’s institutional imagination

Ouattara Watts, Vertigo #2, 2011, acrylic, paper pulp, fabric, and fur on canvas, 9' 10 1⁄4" × 13' 9 1⁄2" × 33⁄4".

MAXIMUM IMPACT

Kaelen Wilson-Goldie on the art of Ouattara Watts

Yuji Agematsu, zip: 02.15.20, mixed media in cigarette-pack cellophane wrapper, 2 1⁄2 × 2 1⁄8 × 1".

CLOSE-UP: DAY AFTER DAY

Yuki Higashino on Yuji Agematsu’s zip: 01.01.2020 . . . 12.31.2020

Shuang Li, Marry Me for Chinese Citizenship, 2015, ink-jet print, 15 3⁄4 × 23 5⁄8".

OPENINGS: SHUANG LI

Travis Jeppesen on Shuang Li

columns features reviews

Cameron Rowland, 7.5', 2015, exit height strip, 36 × 1". Installation view, 2021. The height strip allows for identification. Typically it is used at the door of gas stations and convenience stores. Photo: Dario Lasagni.

Ciarán Finlayson on “Grief and Grievance: Art and Mourning in America”

Paul Cézanne, Étude d’arbre (Study of a Tree), 1885–90, watercolor on paper, 14 1⁄4 × 11 1⁄8".

Paul Galvez on “Cézanne Drawing”

Ming Smith, Sun Ra Space II (New York), 1978, ink-jet print, 40 × 60".

New York

Adrian Aguilera and Betelhem Makonnen, Untitled (a flag for John Lewis or a green screen placeholder for an America that is yet to be), 2020, nylon, 11' 8" × 20'. Installation view. From “From the Limitations of Now.” Photo: Melissa Lukenbaugh.

Tulsa

Jessica Baran on “From the Limitations of Now”

Deborah Roberts, What if?, 2021, panel, acrylic, felt, ink, mirror, linen, form lining, metal rods, metal rings, metal feet, bench, 84 × 96 × 48". Photo: Colin Doyle.

Austin

Amarie Gipson on Deborah Roberts

Jen Bervin, Close Reading 169 “Grasped by God –”, 2021, cotton batting, muslin, thread, 2 1⁄2 × 9 3⁄4".

San Francisco

Dan Beachy-Quick on Jen Bervin

Star Montana, Large East LA Landscape, 2015, ink-jet print, 25 1⁄2 × 32".

Los Angeles

Georgia Dickie, Maquette for Dream Home, 2021, cardboard box, found objects, glue, hi-hat cymbals and stand, found metal base, dimensions variable.

Toronto

Dan Adler on Georgia Dickie

View of “ASMA and Jorge Satorre,” 2021. Photo: Ramiro Chaves.

Mexico City

Gaby Cepeda on ASMA and Jorge Satorre

Alejandra Seeber, We Were So Modern, 2000, oil on canvas, 45 5⁄8 × 69 1⁄4".

Buenos Aires

Karen Grimson on Leda Catunda and Alejandra Seeber

Chantal Joffe, My Mother in a Blue Shawl in her Doorway, 2020, oil on board, 72 × 47 1⁄4".

London

View of “Emma Talbot,” 2021. Foreground: Mirrored Landscape, 2020. Background, right: Weeping Willow, 2020. Photo: Ruth Clark.

Dundee

Catherine Spencer on Emma Talbot

Alain Jacquet, La danse (The Dance), 1995, digital print and acrylic on canvas, 5' 6 7⁄8" × 11' 5".

Paris

Mara Hoberman on Alain Jacquet

Slavs and Tatars, Afteur Pasteur (Nice), 2020, acrylic on gelatin silver print, 10 5⁄8 × 8 5⁄8". Installation view. Photo: François Fernandez.

Nice

Anya Harrison on Slavs and Tatars

View of “Stop Painting,” 2021. Left wall, from left: Michael Krebber, MK.163, 2011; Asger Jorn, La Dolce Vita II, 1962. Foreground: Marcel Broodthaers, Dix-neuf petits tableaux en pile (Nineteen Small Paintings in a Pile), 1973. Far right: Kurt Schwitters, Still Life with Brass Pot, Bottle, and Dead Magpie, 1915. Photo: Marco Cappelletti.

Venice

Pia Capelli on “Stop Painting”

Ibrahim Mahama, Africa I, 2020–21, photo cutouts and archival materials on paper, 37 3⁄4 × 29 1⁄8".

Brescia

Veronica Santi on Ibrahim Mahama

Rudolf Maeglin, Jüngling (Youngster), 1959, oil on board, 14 5⁄8 × 6 1⁄4".

Basel

Camila McHugh on Rudolf Maeglin

Hugo Canoilas, Pleiades, 2020, glass, 7 7⁄8 × 10 1⁄4 × 10 1⁄4".

Vienna

Brigitte Huck on Hugo Canoilas

Emily Wardill, Night for Day, 2020, HD video, color, sound, 48 minutes.

Berlin

Ana Teixeira Pinto on Emily Wardill

View of “Elif Saydam,” 2021. From left: The Drone I, The Drone II, The Producer II, The Producer I, all 2021. Photo: Fred Dott.

Hamburg

Jens Asthoff on Elif Saydam

Jesper Just, Seminarium (detail), 2021, LED screens, plants, handmade glass vases, water, pump, hoses, cables, aluminum, switchboards. Installation view. Photo: David Stjernholm.

Holte, Denmark

Milena Hoegsberg on Jesper Just

Honkasalo-Niemi-Virtanen, Lazarus (detail), 2021, mixed media. Installation view. From the Helsinki Biennial. Photo: Maija Toivanen.

Helsinki, Finland

Sini Mononen on Helsinki Biennial

Maitha Abdalla, Allure, 2020, ink-jet print, 31 1⁄2 × 29 3⁄8".

Dubai

Rahel Aima on Maitha Abdalla

Cao Fei, Nova, 2019, HD video, color, sound, 109 minutes 53 seconds.

Beijing

Qing Zhang on Cao Fei

Park Hyunki, Untitled, 1988/2021, monitors, stones, video (color, silent, 30 minutes 52 seconds). From the series “TV Stone Tower,” 1979–96. Installation view. Photo: Lee Young Min.

Seoul

Andrew Russeth on Park Hyunki

Ryan Villamael, Terrain, After, 2019, sand, paper cutout. Installation view. Photo: Gian Carlo Delgado.

Manila

Carlos Quijon Jr. on Nontawat Numbenchapol and Ryan Villamael

Christina Pataialii, Proximity and Distance, 2021, acrylic and house paint on canvas drop cloths and wall. Installation view. Photo: Sam Hartnett.

Tauranga

Lucinda Bennett on Christina Pataialii