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  • Cover: Torbjørn Rødland, Baby (detail), 2007, C-print, 23 5/8 × 29 7/8".
    September 2015
    Vol. 54, No. 1
    TABLE OF CONTENTS PURCHASE
  • Cover: Andrei Koschmieder, Untitled #02, Untitled #03, Untitled #04, Untitled #05, Untitled #06 (detail), 2014, paper, spray paint, epoxy resin, ink-jet dye, dimensions variable.
    October 2015
    Vol. 54, No. 2
    TABLE OF CONTENTS PURCHASE
  • Cover: Susan Cianciolo, Four-Page Advert for Dune Magazine #3 (detail), 1998, C-prints, collage, newsprint, and tape on gelatin silver print, 14 x 11".
    November 2015
    Vol. 54, No. 3
    TABLE OF CONTENTS PURCHASE
  • Cover captions. Top row, from left: Greer Lankton, Sissy in Pieces (detail), 1985, C-print, 4 × 6“. John Chamberlain, Rainier Falls (detail), 1977, painted and chromium-plated steel, 86 × 36 × 28”. © 2015 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Jannis Kounellis, Untitled (12 Horses), 1969/2015, twelve horses. Installation view, Gavin Brown’s Enterprise, New York, 2015. Photo: Brian Buckley. Pablo Picasso, Bull (detail), ca. 1958, plywood, tree branch, nails, screws, 46 1/8 × 56 3/4 × 4 1/8“. © Estate of Pablo Picasso/Artists Rights Society (ARS), New York. Francis Alÿs, Don’t Cross the Bridge Before You Get to the River, 2008, two-channel HD-video projection, color, sound, 7 minutes. Production still. View of “James ‘Son Ford’ Thomas: The Devil and His Blues,” 2015, 80WSE Gallery, New York. Photo: Jeffrey Sturges. Second row, from left: Wolfgang Tillmans, Simon, Sebastian Street (detail), 2013, ink-jet print, 83 3/4 × 57 1/4”. Agnes Martin, Friendship (detail), 1963, gold leaf and gesso on canvas, 75 × 75“. © Estate of Agnes Martin/Artists Rights Society (ARS), New York. Charles Ray, Huck and Jim (detail), 2014, pattern, 107 3/4 × 53 1/4 × 48 3/4”. Chris Ofili, Confession (Lady Chancellor) (detail), 2007, oil on linen, 110 3/4 × 77“. Peter Doig, House of Flowers (See You There) (detail), 2007–2009, oil on canvas, 119 1/8 × 78 3/4”. Third row, from left: Dominique Gonzalez-Foerster, Untitled (MM) (detail), 2015, one of eight digital slides. © Dominique Gonzalez-Foerster/Artists Rights Society (ARS), New York/ADAGP, Paris. Kerry James Marshall, Untitled (Beach Towel) (detail), 2014, acrylic on PVC panel, 60 7/8 × 72 5/8“. Shomei Tomatsu, Protest 1 (detail), 1969/1980, gelatin silver print, 8 3/8 × 12 5/8”. From the series “Oh! Shinjuku,” 1963–69. From “For a New World to Come: Experiments in Japanese Art and Photography, 1968–1979.” Michael Krebber, MK.300 (detail), 2015, acrylic on canvas, 78 3/4 × 59 18“. Rachel Harrison, Untitled (detail), 2012, colored pencil on paper, 22 3/8 × 27 7/8”. Noah Purifoy, Earth Piece (detail), 1999, mixed media. Installation view, Outdoor Desert Art Museum, Joshua Tree, CA, 2015. © Noah Purifoy Foundation. Photo: Channone Arif/Flickr. Fourth row, from left: Karl Wirsum, Show Girl I, 1969, acrylic on canvas, 34 × 24“. From “What Nerve! Alternative Figures in American Art, 1960 to the Present.” Giorgio Griffa, Obliquo Rosa (Diagonal Pink) (detail), 1973, acrylic on canvas, 46 × 64 1/4”. © Artists Rights Society (ARS), New York/SIAE, Rome. Albert Oehlen, I 17 (detail), 2010, paper on canvas, 67 × 90 1/2“. Hedi Slimane, Ariel’s Living room, Ariel Pink, Echo Park/Los Angeles October (detail), 2011, gelatin silver print, 22 1/4 × 26”. Stanley Whitney, Untitled  (detail), 2014, gouache on paper, 21 7/8 × 30 3/8".
    December 2015
    Vol. 54, No. 4
    TABLE OF CONTENTS PURCHASE
  • Cover: Alberto Burri, Rosso plastica (Red Plastic) (detail), 1961, PVC plastic, acrylic, and combustion on PE plastic and black fabric, 55 7/8 × 60 1/4". © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artist Rights Society (ARS), New York/SIAE, Rome.
    January 2016
    Vol. 54, No. 5
    TABLE OF CONTENTS PURCHASE
  • Cover: Robert Rauschenberg and Susan Weil, Sue, ca. 1949, exposed blueprint paper, 69 3/4 × 41 5/8". © Susan Weil and Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY
    February 2016
    Vol. 54, No. 6
    TABLE OF CONTENTS PURCHASE
  • Cameron Rowland, Insurance (detail), 2016, container-lashing bars, Lloyd’s Register certificates, 102 × 96 × 11 1/2".
Lloyd’s of London monopolized the marine insurance of the slave trade by the early 18th century. Lloyd’s Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd’s Register and other classification societies continue to survey and certify shipping vessels and their equipment. Lashing equipment physically secures goods to the deck of the ship, while its certification is established to insure the value of the goods regardless of their potential loss.
    March 2016
    Vol. 54, No. 7
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  • Cover: Monika Baer, on hold (detail), 2015, acrylic, ink, mirror, and oil on canvas, 72 5/8 × 53 1/8".
    April 2016
    Vol. 54, No. 8
    TABLE OF CONTENTS PURCHASE
  • Cover: Heji Shin, m- (detail), 2016, triptych, C-print, each 15 1/2 × 11".
    May 2016
    Vol. 54, No. 9
    TABLE OF CONTENTS PURCHASE
  • Cover: Barbara Kruger, special project for Artforum, 2016.
    Summer 2016
    Vol. 54, No. 10
    TABLE OF CONTENTS PURCHASE
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