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archive

2020s

  • 2022–2023 Vol. 61
  • 2021–2022 Vol. 60
  • 2020–2021 Vol. 59

2010s

  • 2019–2020 Vol. 58
  • 2018–2019 Vol. 57
  • 2017–2018 Vol. 56
  • 2016–2017 Vol. 55
  • 2015–2016 Vol. 54
  • 2014–2015 Vol. 53
  • 2013–2014 Vol. 52
  • 2012–2013 Vol. 51
  • 2011–2012 Vol. 50
  • 2010–2011 Vol. 49

2000s

  • 2009–2010 Vol. 48
  • 2008–2009 Vol. 47
  • 2007–2008 Vol. 46
  • 2006–2007 Vol. 45
  • 2005–2006 Vol. 44
  • 2004–2005 Vol. 43
  • 2003–2004 Vol. 42
  • 2002–2003 Vol. 41
  • 2001–2002 Vol. 40
  • 2000–2001 Vol. 39

1990s

  • 1999–2000 Vol. 38
  • 1998–1999 Vol. 37
  • 1997–1998 Vol. 36
  • 1996–1997 Vol. 35
  • 1995–1996 Vol. 34
  • 1994–1995 Vol. 33
  • 1993–1994 Vol. 32
  • 1992–1993 Vol. 31
  • 1991–1992 Vol. 30
  • 1990–1991 Vol. 29

1980s

  • 1989–1990 Vol. 28
  • 1988–1989 Vol. 27
  • 1987–1988 Vol. 26
  • 1986–1987 Vol. 25
  • 1985–1986 Vol. 24
  • 1984–1985 Vol. 23
  • 1983–1984 Vol. 22
  • 1982–1983 Vol. 21
  • 1981–1982 Vol. 20
  • 1980–1981 Vol. 19

1970s

  • 1979–1980 Vol. 18
  • 1978–1979 Vol. 17
  • 1977–1978 Vol. 16
  • 1976–1977 Vol. 15
  • 1975–1976 Vol. 14
  • 1974–1975 Vol. 13
  • 1973–1974 Vol. 12
  • 1972–1973 Vol. 11
  • 1971–1972 Vol. 10
  • 1970–1971 Vol. 9

1960s

  • 1969–1970 Vol. 8
  • 1968–1969 Vol. 7
  • 1967–1968 Vol. 6
  • 1966–1967 Vol. 5
  • 1965–1966 Vol. 4
  • 1964–1965 Vol. 3
  • 1963–1964 Vol. 2
  • 1962–1963 Vol. 1

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2019–2020

  • Sam McKinniss, Star Spangled Banner  (Whitney) (detail), 2017, oil and acrylic on canvas, 9 × 12".
    September 2019
    Vol. 58, No. 1
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  • October 2019
    Vol. 58, No. 2
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  • November 2019
    Vol. 58, No. 3
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  • December 2019
    Vol. 58, No. 4
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  • January 2020
    Vol. 58, No. 5
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  • February 2020
    Vol. 58, No. 6
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  • March 2020
    Vol. 58, No. 7
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  • John Baldessari, This Is Not to Be Looked At, 1966–68, photographic emulsion and acrylic on canvas, 59 × 45".
    April 2020
    Vol. 58, No. 8
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  • Tosh Basco, Untitled, 2020, digital photograph.
    May/June 2020
    Vol. 58, No. 9
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  • Cy Gavin, Untitled (Bald Eagle), 2020, acrylic, oil, and oil stick on canvas, 90 × 90".
    July/August 2020
    Vol. 58, No. 10
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2018–2019

  • Publicity image for Anna Halprin's Ceremony of Us, 1969, San Francisco, 1969. Photo: Susan Landor Keegin.
    September 2018
    Vol. 57, No. 1
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  • Anni Albers, With Verticals (detail), 1946, cotton, linen, 61 x 46 1/2".
    October 2018
    Vol. 57, No. 2
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  • Charles Gaines, untitled, 2018, digital stock photo montage, 10 × 10". Photos: viii/Adobe Stock and Alexander Glagolev/Adobe Stock. Special project for Artforum.
    November 2018
    Vol. 57, No. 3
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  • Gritty, mascot for the Philadelphia Flyers, Wells Fargo Center, Philadelphia, October 9, 2018. Photo: Len Redkoles/NHLI/Getty Images. (See page 178.)
    December 2018
    Vol. 57, No. 4
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  • Martine Gutierrez, Masking, Starpepper Mask (detail), 2018, C-print, dimensions variable. From Indigenous Woman, 2018.
    January 2019
    Vol. 57, No. 5
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  • Thomas Struth, Canyon, Anaheim (detail), 2013, C-print, 83 3⁄4 x 106 3⁄4".
    February 2019
    Vol. 57, No. 6
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  • Paul Mpagi Sepuya, Darkroom Mirror (_2070386) (detail), 2017, ink-jet print, 32 × 24". From the series “Darkroom Mirrors,” 2017–.
    March 2019
    Vol. 57, No. 7
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  • Nicole Eisenman, Hook ‘Em Horns, 2019, stereogram, 10 × 10". Collaboration with Sam Roeck and eyeTricks 3D Stereograms.
    April 2019
    Vol. 57, No. 8
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  • Cauleen Smith, Sojourner, 2018, digital video, color, sound, 22 minutes 41 seconds.
    May 2019
    Vol. 57, No. 9
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  • Thomas Lanigan-Schmidt, Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home), 1969, foil, plastic wrap, pipe cleaners, linoleum, glitter, acrylic paint, acrylic floor shine, food coloring, staples, wire, printed material, found objects, mixed-media, 12 × 7 × 4".
    Summer 2019
    Vol. 57, No. 10
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2017–2018

  • Cover: Kerstin Brätsch, Unholdenfrau (zweite Dame) 2015, luster and enamel on antique glass, rolled glass shards, church-window bordering, heraldic escutcheon, agate slices, lead, 37 1/2 × 24 1/4". From the series “All Ready Maid Betwixt and Between,” 2012–16.
    September 2017
    Vol. 56, No. 1
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  • Cover: Georgy Rublev, Portrait of Joseph Stalin, ca. 1930, oil on canvas, 63 3/4 × 63 3/4". From “Revolution: Russian Art 1917–1932.”
    October 2017
    Vol. 56, No. 2
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  • Cover: Elizabeth Catlett, Black Unity, 1968, mahogany, 20 1/4 × 22 1/2 × 12 1/2".
    November 2017
    Vol. 56, No. 3
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  • Cover: Home flooded by Hurricane Harvey near Freeport, Texas, September 1, 2017. Photo: Charlie Riedel/AP/Shutterstock.
    December 2017
    Vol. 56, No. 4
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  • Cover: Kia LaBeija, untitled, 2017, ink-jet print, dimensions variable.
    January 2018
    Vol. 56, No. 5
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  • Christina Ramberg, Hand (detail), 1971, acrylic on Masonite, 9 3/8 × 7 3/8". © Estate of Christina Ramberg.
    February 2018
    Vol. 56, No. 6
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  • Cover: Jesse Darling, Prophylactics Charms & Placebos, 2017, various appropriations approaching betterment, Band-Aids. Special project for Artforum.
    March 2018
    Vol. 56, No. 7
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  • Cover: Barbara Hammer, Multiple Orgasm, 1976, 16 mm transferred to digital video, color, silent, 5 minutes 32 seconds.
    April 2018
    Vol. 56, No. 8
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  • Cover: Ellsworth Kelly, Austin, 2015, artist-designed building, stained-glass windows, marble panels, redwood totem. Installation view, Blanton Museum of Art, The University of Texas at Austin, 2018. Photo: Kate Russell. © Ellsworth Kelly Foundation.
    May 2018
    Vol. 56, No. 9
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  • Cover: David Wojnarowicz, Rimbaud mask, ca. 1978. © The Estate of David Wojnarowicz. Photo: Fales Library and Special Collections, NYU.
    Summer 2018
    Vol. 56, No. 10
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2016–2017

  • Cover: Bruce Conner, Crossroads, 1976, 35 mm, black-and-white, sound, 37 minutes. Still from the 2013 digital remastering. © Estate of Bruce Conner.
    September 2016
    Vol. 55, No. 1
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  • Cover: Slide for Lillian Schwartz’s Proxima Centauri, 1968. © Lillian F. Schwartz.
    October 2016
    Vol. 55, No. 2
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  • Cover: Dread Scott, Imagine a World Without America, 2007, silkscreen on canvas, 75 × 75".
    November 2016
    Vol. 55, No. 3
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  • Cover captions. Top row, from left: Francis Picabia, Idylle (detail), ca. 1925–27, oil and enamel on wood, 44 3/8 × 32 1/2“. © Artists Rights Society (ARS), New York/ADAGP, Paris. View of “Tears Shared: Marc Camille Chaimowicz featuring Bruno Pélassy,” 2016, Flat Time House, London. From left: John Latham, Time Base Roller with Graphic Score, 1987; John Latham, Proto Universe, 2003; Bruno Pélassy, Untitled, 1995. Photo: Plastiques Photography. Second row, from left: Lynette Yiadom-Boakye, Sermons for Heathens(detail), 2016, oil on linen, 51 1/8 × 78 3/4”. William Eggleston, Untitled (detail), ca. 1983–86, ink-jet print, 45 × 64 5/8“. From the series “The Democratic Forest,” ca. 1983–86. © Eggleston Artistic Trust. Zoe Leonard, Total Picture Control (I), 2016, thirty-eight books. Installation view, Hauser & Wirth, New York. Photo: Genevieve Hanson. Lorna Simpson, Detroit (Ode to G.) (detail), 2016, india ink, acrylic, and silk screen on Claybord, 108 × 96”. Jonathas de Andrade, O peixe (The Fish), 2016, 16 mm transferred to 2K video, color, sound, 37 minutes. David Hammons, In the Hood, 1993, athletic-sweatshirt hood, wire, 23 × 10 × 5“. View of “Kai Althoff: and then leave to the common swifts,” 2016–17, Museum of Modern Art, New York. Photo: Kai Althoff. Third row, from left: Samuel Fosso, Self-Portrait, 1976, gelatin silver print, 20 × 20”. From the series “Self-Portraits from the ’70s,” 1975–77. B. Wurtz, Untitled (fetish), 2013, marble, wood, acrylic paint, wire, thread, ribbon, brass, buttons, 13 × 4 × 2“. Anne Imhof, Angst II, 2016. Rehearsal view, Hamburger Bahnhof—Museum für Gegenwart, Berlin, September 12, 2016. Eliza Douglas. Photo: Nadine Franczkowski. Wallace Berman, Untitled (Multi-color Shuffle, A-4 Neil Young) (detail), 1969, color verifax collage, wood frame, metal screws, 13 × 14”. Fourth row, from left: Isa Genzken, Nofretete, 2014, seven Nefertiti busts with sunglasses, seven wooden plinths on casters, four steel panels. Installation view, Stedelijk Museum, Amsterdam, 2015–16. Photo: Gert Jan van Rooij. Bhupen Khakhar, Blind Babubhai, 2001, watercolor on paper, 43 3/4 × 43 1/4“. Ken Price, Rhodia, 1988, acrylic on fired ceramic, 10 3/4 × 10 1/4 × 15 1/4”. Carmen Herrera, Untitled (detail), 1952, acrylic on canvas with painted frame, four panels, overall 25 × 60“. Hanne Darboven, Kulturgeschichte 1880–1983 (Cultural History 1880–1983), 1980–83. Installation view, Haus der Kunst, Munich, 2015–16. Photo: Maximilian Geuter. Peter Fischli and David Weiss, Car, 1988, plaster, 19 × 59 × 26”. From the series “Cars,” 1988. Fifth row, from left: Marcel Broodthaers, Le problème noir en Belgique(The Black Problem in Belgium) (detail), 1963–64, painted plaster eggs on newspaper, mounted on a portfolio, 19 3/4 × 16 1/8 × 4 3/4“. © The Estate of Marcel Broodthaers/Artists Rights Society (ARS), New York/SABAM, Brussels. Laura Owens, Untitled, 2016, acrylic, oil, vinyl paint, silk-screen ink, charcoal, pastel pencil, graphite, and sand on wallpaper. Installation view, CCA Wattis Institute for Contemporary Arts, San Francisco. Photo: Johnna Arnold. Kerry James Marshall, Untitled (Painter) (detail), 2009, acrylic on PVC, 44 5/8 × 43 1/8”. Sixth row, from left: Bruce Nauman, Contrapposto Studies, i through vii (detail), 2015–16, seven-channel HD video projection, color, sound, indefinite duration. Study vii, 62 minutes 19 seconds, loop. © Bruce Nauman/Artists Rights Society (ARS), New York. Agnes Martin, On a Clear Day (detail), 1973, thirty screen prints, each 12 × 12“. © Agnes Martin/Artists Rights Society (ARS), New York. Takashi Murakami, The 500 Arhats (detail), 2012, four parts, acrylic on canvas mounted on board, overall 9' 10 7/8” × 328' 1“. Jordan Wolfson, Colored Sculpture, 2016, mixed media. Installation view, David Zwirner,  New York. Photo: Dan Bradica. Mary Heilmann, The Thief of Baghdad (detail), 1983, oil on canvas, 60 × 42”. Lee Mullican, Untitled (detail), 1960, terra-cotta, 24 × 40". View of “Philippe Parreno: Anywhen,” 2016, Tate Modern, London. Photo: Kirsty Wigglesworth/AP.
    December 2016
    Vol. 55, No. 4
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  • Cover: Kerry James Marshall, Untitled (detail), 2008, acrylic on PVC panel, 72 3/4 × 61 1/4".
    January 2017
    Vol. 55, No. 5
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  • Cover: Zhang Peili, Portraits of 2012, HD video, color, sound, 22 minutes 9 seconds.
    February 2017
    Vol. 55, No. 6
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  • Cover: Wolfgang Tillmans, Black Lives Matter Protest, Union Square, b (detail), 2014, ink-jet print, dimensions variable.
    March 2017
    Vol. 55, No. 7
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  • Cover: Michael Williams, Vertical Composition (detail), 2017, oil, acrylic, and ink-jet print on canvas, 10' 2“ × 7' 4”.
    April 2017
    Vol. 55, No. 8
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  • Cover: Allora & Calzadilla, Puerto Rican Light (Cueva Vientos), 2015, solar-powered batteries and charger, plywood crate, Dan Flavin’s Puerto Rican light (to Jeanie Blake) 2, 1965. Installation view, El Convento Natural Protected Area, Puerto Rico, 2015–17. Photo: Allora & Calzadilla.
    May 2017
    Vol. 55, No. 9
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  • Cover: Jonathan Olshefski, Quest, 2017, digital video, color, sound, 105 minutes.
    Summer 2017
    Vol. 55, No. 10
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2015–2016

  • Cover: Torbjørn Rødland, Baby (detail), 2007, C-print, 23 5/8 × 29 7/8".
    September 2015
    Vol. 54, No. 1
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • Cover: Heji Shin, m- (detail), 2016, triptych, C-print, each 15 1/2 × 11".
    May 2016
    Vol. 54, No. 9
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  • Cover: Barbara Kruger, special project for Artforum, 2016.
    Summer 2016
    Vol. 54, No. 10
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2014–2015

  • Cover: Jeff Koons, Saint John the Baptist, 1988, porcelain, 56 1/2 × 30 × 24 1/2". From the series “Banality,” 1988.
    September 2014
    Vol. 53, No. 1
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  • Cover: Cameron Jamie, BB, 1998–2000, Super 8 transferred to 35 mm, black-and-white, sound, 18 minutes 20 seconds.
    October 2014
    Vol. 53, No. 2
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  • Cover: Guthrie Lonergan, Lonely Los Angeles (detail), 2005, website screen capture.
    November 2014
    Vol. 53, No. 3
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  • Cover. Left to right, top to bottom: Robert Gober, Untitled (detail), 2003–2005, plaster, fir, wool, linen, photolithograph on paper, oil paint, enamel paint, watercolor, pastel, graphite, bronze, cast plastic, polyethylene, lead crystal, fiberglass, nickel-plated bronze, wood, water, recycling pumps, stoneware, urethane, rubber, cement, feather re-creation of American robin, blown glass, Flashe paint, aluminum, pewter, beeswax, human hair, pigment, socks, shoes, dimensions variable. Christopher Williams, Bouquet for Bas Jan Ader and Christopher D’Arcangelo (detail), 1991, archival corrugated board, archival photo corners, compound, four-ply Conservamat, eight-ply Conservamat, drywall, dye transfer print, glass, lacquer-based finish, linen tape, nails, Northern maple, plastic setback strips, primer, screws, seaming tape, paint, and wood, 10' × 15' × 6 3/4“. Lygia Clark, Relógio de sol (Sundial), 1960, aluminum with gold patina, approx. 20 7/8 × 23 × 18 1/8”. Kerry James Marshall, Black (detail), 2012, acrylic on canvas, 8' × 17' 10“. From the series “Who’s Afraid of Red, Black and Green,” 2011–12. Mark Leckey, Felix the Cat, 2013, fabric, fan. Installation view, Wiels Contemporary Art Centre, Brussels, 2014. Lucio Fontana, Concetto spaziale (Spatial Concept) (detail), 1962, oil on canvas, 31 7/8 × 25 1/2”. © Artists Rights Society (ARS), New York/SIAE, Rome. Trisha Donnelly, Untitled, 2014, digital video, color, silent, 4 minutes. Jutta Koether, Luise (detail), 2013, polyethylene, clear resin, 37 3/8 × 37 3/8 × 33 7/8“. Julian Schnabel, Untitled (detail), 1990, resin and gesso on burlap, 120 × 108”. © Julian Schnabel/Artists Rights Society (ARS), New York. Garry Winogrand, Los Angeles, California (detail), 1969, gelatin silver print, 16 × 20“. Jana Euler, Untitled (detail), 2013, oil on canvas, 55 1/8 × 78 3/4”. Anicka Yi, It Only Takes 20 Minutes to Shift the Blame, 2013, chromed sphere, glycerin soap, resin, nylon string, acrylic paint, vinyl tubing, steel, brass, acrylic rod, limestone, 15 3/4 × 16 1/2 × 9 3/8“. Pierre Huyghe, L’Expédition scintillante, Acte 2 (The Sparkling Expedition, Act 2), 2002, wood, steel, lighting system, smoke system, electronics, sound. Installation view, Centre Pompidou, Paris, 2014. © Pierre Huyghe/Artists Rights Society (ARS), New York/ADAGP, Paris. Hannah Höch, Untitled (detail), 1929, photomontage and collage, 19 1/4 × 12 3/4”. From the series “Aus einem ethnographischen Museum” (From an Ethnographic Museum), 1924–30. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Collier Schorr, Boots, Chair, Hair (detail), 1998–2014, gelatin silver print, 60 × 45 3/4".
    December 2014
    Vol. 53, No. 4
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  • Cover: On Kawara, MAY 8, 1967, 1967, acrylic on canvas, 10 x 13". From the series “Today,” 1966–2013.
    January 2015
    Vol. 53, No. 5
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  • Cover: William Pope.L, Foraging (Asphyxia Version) (detail), 1993–95/2008, digital C-print, 19 1/8 × 18 1/2". From the series “Black Domestic Project,” 1993–95.
    February 2015
    Vol. 53, No. 6
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  • Cover: Petri dish containing bacteria cultures from a work in progress by Anicka Yi, 2015. Photo: Joerg Lohse.
    March 2015
    Vol. 53, No. 7
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  • Cover: Mishka Henner, Wrangler Feedyard, Tulia, Texas (detail), 2013, ink-jet print, 59 × 73 1/4". From the series “Feedlots,” 2012–13.
    April 2015
    Vol. 53, No. 8
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  • Cover: Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013, HD video projection (color, sound, 14 minutes), architectural environment, dimensions variable.
    May 2015
    Vol. 53, No. 9
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  • Cover: Joan Jonas, Organic Honey’s Visual Telepathy, 1972, video, black-and-white, sound, 17 minutes 24 seconds. Photo: Electronic Arts Intermix (EAI), New York.
    Summer 2015
    Vol. 53, No. 10
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2013–2014

  • Cover: Camille Henrot, Grosse Fatigue (detail), 2013, video, color, sound, 13 minutes.
    September 2013
    Vol. 52, No. 1
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  • Cover: Hassan Khan, THIS IS A DREAM (detail), 2013, pencil on notebook paper, commissioned from commercial artist, 8 1/2 x 6 1/2". Provided by Hassan Khan.
    October 2013
    Vol. 52, No. 2
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  • Cover: Amateur Architecture Studio (Wang Shu and Lu Wenyu), Ningbo History Museum, 2008, Zhejiang, China. Photo: Clément Guillaume.
    November 2013
    Vol. 52, No. 3
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  • Cover: 1. View of “Lutz Bacher: Black Beauty,” 2013, Institute of Contemporary Arts, London. Foreground: Black Beauty (detail), 2012. Background: Puck, 2012. Photo: Mark Blower. 2. Ron Nagle, Unabana, 2013, mixed media, 3 x 61⁄4 x 21⁄2“. From “Grapevine~,” 2013. 3. Laura Owens, Untitled (detail), 2013, acrylic, oil, and Flashe paint on canvas, 11' 5 1/2” x 10'. 4. Llyn Foulkes, The Last Outpost (detail), 1983, mixed media assemblage, 81 x 108 x 5“. 5. Pádraig Timoney, Consider the Lillies of the Field, 2009, lamp, sweater, 51 1/8 x 19 3/4”. 6. Nobuaki Kojima, Untitled (Body), 1964–66, lacquer on polyester. Installation view, Museum of Modern Art, New York, 2013. From “Tokyo 1955–1970: A New Avant-Garde.” Photo: Thomas Griesel. 7. Detail of a bison carving from Zaraysk, Russia, ca. 18,000 BC, mammoth ivory, approx. 1 5/8 x approx. 6 3/4“. From “Ice Age Art: Arrival of the Modern Mind.” 8. Jay DeFeo, Untitled (detail), 1977, synthetic polymer, charcoal, ink, grease pencil, and graphite on paper, 15 x 20”. From the series “Water Goggles,” 1977. © The Jay DeFeo Trust/Artists Rights Society (ARS), New York. 9. Harmony Korine, Spring Breakers, 2012, 35 mm, color, sound, 92 minutes. From left: Brit (Ashley Benson), Alien (James Franco), Candy (Vanessa Hudgens). 10. View of “Rosemarie Trockel: A Cosmos,” 2012–13, New Museum, New York. From left: Replace Me, 2011; Untitled, 2012. © Rosemarie Trockel/Artist Rights Society (ARS), New York. Photo: Benoit Pailley. 11. Mike Brodie, #0915 (detail), 2006–2009, C-print. From the series “A Period of Juvenile Prosperity,” 2006–2009. 12. Steve McQueen, Charlotte, 2004, 16 mm, color, silent, 5 minutes 42 seconds. 13. Paul McCarthy, WS, 2013, production still from the seven-hour, color, four-channel, digital-video component of a mixed-media installation staged at Park Avenue Armory, New York. Photo: Joshua White. 14. Jack Goldstein, The Jump, 1978, 16 mm, color, silent, 26 seconds. 15. Jason Rhoades, The Creation Myth, 1998, mixed media. Installation view, Institute of Contemporary Art, Pennsylvania. Photo: Aaron Igler. 16. Zanele Muholi, Ntobza Mkhwanazi, BB Section, Umlazi Township, Durban (detail), 2012, gelatin silver print, 30 x 20“. 17. Hilma af Klint, Sjustjärnan (The Seven Pointed Stars), No. 2, Group V (detail), 1908, tempera, gouache, and graphite on paper mounted on canvas, 29 3/4 x 24 3/8”. From the series “WUS/Sjustjärnan,” 1908. 18. Meschac Gaba, Game Room (detail), 1997–2002, acrylic, bicycle wheel, wooden roulette wheel, game tables, puzzles, chess board, dimensions variable. From the work Museum of Contemporary African Art, 1997–2002, mixed media, dimensions variable. 19. Sister Corita Kent, mary does laugh (detail), 1964, silk screen on paper, 29 x 39“. From “Tell It To My Heart: Collected by Julie Ault,” 2013. 20. Lizzie Fitch and Ryan Trecartin, Not yet titled (detail), 2013, four-channel HD video projection, color, sound, mixed media. Installation view, Arsenale, Venice. From the 55th Venice Biennale. Photo: Kate Lacey. 21. Balthus, The Cat of La Méditerranée (detail), 1949, oil on canvas, 50 x 72 7/8”. 22. View of the 2013 Carnegie International, Carnegie Museum of Art, Pittsburgh. From left: Wade Guyton, Untitled, 2013; Wade Guyton, Untitled, 2013; Wade Guyton, Untitled, 2013. Photo: Tom Little. 23. Beauford Delaney, Portrait of a Young Musician (detail), n.d., acrylic on canvas, 51 x 38“. From “Blues for Smoke.” 24. Robert Irwin, Scrim Veil–Black Rectangle–Natural Light, Whitney Museum of American Art, New York (detail), 1977, cloth, metal, wood. Installation view, Whitney Museum of American Art, New York, 2013. © Robert Irwin/Artists Rights Society (ARS), New York. Photo: Philipp Scholz Rittermann. 25. Sharon Lockhart, Five Dances and Nine Wall Carpets by Noa Eshkol, 2011, five-channel video installation, color, sound, continuous loop. Production still. 26. View of “David Bowie Is,” 2013, Victoria and Albert Museum, London. 27. Ken Price, Untitled Cup (Geometric Cube Cup and Object), 1974, painted and glazed ceramic, cup: 4 x 6 1/2 x 4 1/2”; object: 2 x 3 1/4 x 1 1/2“. 28. View of “Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp,” 2012–13, Philadelphia Museum of Art, 2013. Photo: Constance Mensch. 29. Moe Satt, F n’ F (Face and Fingers) (detail), 2009, eight gelatin silver prints, text, each 15 3/4 x 15 3/4”. From “A Journal of the Plague Year. Fear, Ghosts, Rebels. SARS, Leslie and the Hong Kong Story.” 30. Ragnar Kjartansson, The Visitors, 2012, nine-channel HD video projection, color, sound, 64 minutes.
    December 2013
    Vol. 52, No. 4
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  • Cover: Sarah Michelson, Daylight (for Minneapolis), 2005. Performance view, Walker Art Center, Minneapolis, September 15, 2005. Bethany DeLine. Photo: Gene Pittman.
    January 2014
    Vol. 52, No. 5
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  • Cover: Michael Hansmeyer, Hexahedron IV, 2008. Rendering. From the series “Platonic Solids,” 2008.
    February 2014
    Vol. 52, No. 6
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  • Cover: Terry Adkins, Muffled Drums (detail), 2003–13, eleven found bass drums, mufflers, steel, 30' 3“ x 3' 1/2” x 1' 7".
    March 2014
    Vol. 52, No. 7
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  • Cover: Michael Snow, In Medias Res (detail), 1998, C-print on Lexan, 8' 7“ x 11' 7 5/8”.
    April 2014
    Vol. 52, No. 8
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  • Cover: Cildo Meireles, Inserções em circuitos ideológicos 2: Projeto cédula (Insertions into Ideological Circuits 2: Banknote Project) (detail), 1970/2014, ink on banknotes, dimensions variable.
    May 2014
    Vol. 52, No. 9
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  • Cover: Julien Ceccaldi, I Am My Goals (detail), 2014. Comic made for Artforum.
    Summer 2014
    Vol. 52, No. 10
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2012–2013

  • Cover: Lawrence Weiner, Language + The Materials Referred To, 2012, project for Artforum.
    September 2012
    Vol. 51, No. 1
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  • Cover: Hilary Lloyd, Tower Block (detail), 2011, JVC LCD 42" monitor, Western Digital HD media player, Unicol VS1000 trolley.
    October 2012
    Vol. 51, No. 2
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  • Cover: David Weiss, untitled (detail), 1977, ink on paper, 6 7/8 x 4 3/8". From the sketchbook “Frauen” (Women), 1977.
    November 2012
    Vol. 51, No. 3
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  • Cover: 1. Nicole Eisenman, Untitled (detail), 2011, monotype on paper, 25 x 20“. From the 76th Whitney Biennial. 2. Hassan Khan, DOM-TAK-TAK-DOM-TAK, 2005, mixed media. Installation view, SALT Beyolu, Istanbul, 2012. Photo: Serkan Taycan. 3. David Lamelas, Limit of a Projection I, 1967, theater spotlight in darkened room. Installation view. Photo: Julio Grinblatt. 4. Leonilson, Paulistano está com síndrome de linha cruzada (São Paulo Inhabitants Have the Crossed-Line Syndrome) (detail), 1991, ink on paper, 9 x 7 1/2”. 5. Keith Arnatt, Liverpool Beach Burial (detail), 1968, gelatin silver print, 10 1/4 x 7 1/8“. From “Ends of the Earth: Land Art to 1974.” 6. William Leavitt, The Particles (of White Naugahyde), 1979. Rehearsal view, Margo Levin Gallery, Los Angeles, January 25, 2012. Kristopher Logan. 7. View of “Sharon Hayes: There’s so much I want to say to you,” 2012, Whitney Museum of American Art, New York. Photo: Sheldan Collins. 8. Sarah Lucas with Loungers, 2011, during her “Artist in Bed” residency, St. John Hotel, London, October 11, 2012. Photo: Ola Grochowska. 9. Ei Arakawa and Nikolas Gambaroff, Two Alphabet Monograms, 2009–10, mixed media. Installation view, Museum of Modern Art, New York. Photo: Thomas Girschkowsky. 10. Josiah McElheny, Collection of Glass Concerning the Search for Infinity (detail), 1998–11, hand-blown glass plate, linotypes, photographs, brass hardware, silk, wood, 104 1/4 x 42 3/4 x 3”. 11. Jumpsuit from Pam Hogg’s “Save Our Souls” spring/summer 2013 collection. Photo: Alejandro Cavallo. 12. Jeff Koons, New Hoover Convertible, 1980, vacuum cleaner, acrylic, fluorescent lights, 56 x 22 1/2 x 22 1/2“.13. Cindy Sherman, Untitled (detail), 2010, pigment print on PhotoTex adhesive fabric. Installation view, Museum of Modern Art, New York, 2012. Photo: Thomas Griesel. 14. Richard Phillips, Sasha II (detail), 2012, oil on canvas, 7' x 12' 6 3/8”. 15. Frank Ocean performing at Coachella, Indio, CA, April 13, 2012. Photo: David Hwang/Wikicommons. 16. Nick Relph, Raining Room, 2012, car wheels, 2' 1“ x 5' 9 1/4” x 10' 6 1/4“. 17. Mary Weatherford, Chinatown (detail), 2012, Flashe paint and neon on linen, 93 x 79”. 18. Nöel Burch and Allan Sekula, Reagan Tape, 1981, video, color and black-and-white, sound, 10 minutes. From “Under the Big Black Sun: California Art 1974–1981.” 19. Laura Owens, Untitled, 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84 x 1 5/8“. 20. Jeff Wall, Boxing (detail), 2011, color photograph, 87 3/4 x 119 1/2”. 21. Alina Szapocznikow, Souvenirs (detail), 1967, polyester resin, photographs, 11 3/4 x 8 5/8 x 3 1/2“. 22. Pierre Huyghe, Untilled (detail), 2011–12, gardener/beekeeper, plants, animals, minerals. Installation view, Karlsaue Park, Kassel. From Documenta 13. Photo: Nils Klinger. 23. Eric Bell and Kristoffer Frick, Hunting in Heaven, 2012, HD video, color, sound, 17 minutes. 24. Merce Cunningham, Park Avenue Armory Events, 2011. Performance view, Wade Thompson Drill Hall, Park Avenue Armory, New York, December 29, 2011. Photo: Stephanie Berger. 25. View of “Bernadette Corporation: 2000 Wasted Years,” 2012, Artists Space, New York. Photo: Daniel Perez. 26. Philip Guston, The Canvas, 1973, oil on canvas. Installation view, Inverleith House, Royal Botanic Garden, Edinburgh, 2012. Photo: Michael Wolchover. 27. Thomas Eggerer, ABM I (detail), 2012, acrylic and oil on canvas, 42 x 58”. 28. Nobuo Sekine, Phase—Mother Earth (detail), 1968/2012, earth, cement. Installation view, Blum & Poe, Los Angeles, 2012. From “Requiem for the Sun: The Art of Mono-ha,” 2012. Photo: Joshua White. 29. View of “Wade Guyton OS,” 2012–13, Whitney Museum of American Art, New York, 2012. Wall: Untitled, 2007. Floor: Untitled Action Sculpture (Five Enron Chairs), 2007. 30. Klara Liden, S.A.D. (detail), 2012, found Christmas trees, grow lights, buckets, plywood, safety-blue paint. Installation view, Reena Spaulings Fine Art, New York. 31. Claes Oldenburg, Mouse Museum (detail), 1965–77, wood, corrugated aluminum, and Plexiglas display cases with 385 objects, sound, 8' 7 1/2“ x 31' 2” x 33' 5 1/2“. 32. Karen Kilimnik, Hail to the Guardians of the North (detail), 2012, mixed media. Installation view, Brant Foundation Art Study Center, Greenwich, CT. Photo: Farzad Owrang. 33. View of “Lucio Fontana: Ambienti Spaziali,” 2012, Gagosian Gallery, New York. Shown: detail of “Environment 48-49 A 2”. Photo: Robert McKeever. 34. View of “On Kawara: Date Painting(s) in New York and 136 Other Cities,” 2012, David Zwirner, New York. 35. View of “To the Moon via the Beach,” 2012, Arles Amphitheater, France. Shown: Rirkrit Tiravanija, (the big big bang), 2012. Photo: Lionel Roux. 36. Angela Bulloch, Anarchy (detail), 2004, gouache wall painting, dimensions variable. 37. Sarah Goffman, Occupy Sydney (detail), 2011–12, permanent marker on cardboard. Installation view, Artspace, Sydney, 2012. From “Everything Falls Apart, Part 1.” Photo: Silversalt Photography. 38. Lutz Bacher, The Book of Sand, 2010–12, twenty-five tons of sand. Installation view, Alex Zachary Peter Currie, New York, 2012. Photo: Tom Powel. 39. Christopher Wool, Untitled (detail), 2001, silk-screen ink on linen, 90 x 60”. 40. Icaro Zorbar, Ensayos con un recuerdo, levantar la mirada y la posibilidad de caer (Essays with a Remembrance, Raising One’s Gaze and the Possibility of Falling Down) (detail), 2011, cardboard, wood, lamps, wire, motors, plastic ties, music boxes, sensor, timer, packing tape, sound. Installation view, Museo de Arte Moderno de Medellín, Colombia. Photo: Julián Roldán.
    December 2012
    Vol. 51, No. 4
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  • Cover: Pier Paolo Pasolini, Accattone (detail), 1961, 35 mm, black-and-white, sound, 117 minutes.
    January 2013
    Vol. 51, No. 5
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  • Cover: Tsuruko Yamazaki, Work, 2009, dye, lacquer, and vinyl thinner on tin, 18 3/4 x 18 3/4".
    February 2013
    Vol. 51, No. 6
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  • Cover: Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84".
    March 2013
    Vol. 51, No. 7
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  • Cover: Luigi Ghirri, Marina di Ravenna (detail), 1986, C-print, 12 1/2 x 18 1/2". From the series “Paesaggio Italiano” (Italian Landscape), 1980–92.
    April 2013
    Vol. 51, No. 8
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  • Cover: Monica Majoli, Black Mirror (Kate) (detail), 2010, oil on panel, 16 x 20 1/8". From the diptych Black Mirror (Kate), 2010–12.
    May 2013
    Vol. 51, No. 9
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  • Cover: Carl Andre, intimate (detail), 1963, typewriter ink on paper, rubber cemented to backing page, 10 3/4 x 8". © Carl Andre/Licensed by VAGA, New York, NY.
    Summer 2013
    Vol. 51, No. 10
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2011–2012

  • Cover: R. H. Quaytman, Cherchez Holopherne, Chapter 21, 2011, oil, silk-screen ink, and gesso on wood, 20 x 20".
    September 2011
    Vol. 50, No. 1
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  • Cover: Asco, Decoy Gang War Victim, 1974, color photograph, 16 x 20".
    October 2011
    Vol. 50, No. 2
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  • Cover: Cast polyester resin forms produced by Alina Szapocznikow, ca. 1966. Photo: Fabrice Gousset, 2011.
    November 2011
    Vol. 50, No. 3
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  • Cover: 1. Christian Marclay, The Clock, 2010, still from a color video, 24 hours. 2. Gerhard Richter, Abstraktes Bild (Abstract Painting) (detail), 1990, oil on canvas, 36 1/4 x 49 5/8“. 3. Florian Pumhösl, Expressive Rhythm, 2010–11, color film in 35 mm, 28 minutes. Installation view, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, 2011. 4. View of “Paul Thek: Diver, a Retrospective,” 2011, Hammer Museum, Los Angeles. From left: Earth Flint, 1980; Jesus in the Arms of Krishna, 1979–80; Untitled (Eighty-Six), ca. 1979–80; Pink Cross with Green Buds, 1979–80. Photo: Brian Forrest. 5. Alexis Smith, Isadora, 1980–81, mixed media, 10 x 12'.6. Merlin Carpenter, 1990 Repainted 1 (detail), 2010, oil on linen, 39 1/2 x 27 1/2”. 7. Boris Mikhailov, Black Archive (detail), 1968–79, one of 152 black-and-white photographs, colored pencil, dimensions variable. 8. James Turrell, Yukaloo, 2011, L.E.D. light, etched glass, aperture: 4' 7“ x 10' x 9 3/4”. 9. David Hammons, Untitled (detail), 2010, mixed media, 92 x 72“. 10. Peter Zumthor, Serpentine Gallery Pavilion, 2011, London. Interior courtyard. Photo: John Offenbach. 11. View of “September 11,” 2011, MoMA PS1, New York. Background: George Segal, Woman on a Park Bench, 1998. On floor: Roger Hiorns, Untitled, 2008. Photo: Matthew Septimus. 12. Tony Tasset, Judy, 1998, still from a color film in 35 mm, 6 seconds. Installation view, Leo Koenig, Inc., Projekte, New York, 2011. 13. The Mike Todd diamond tiara, from the collection of Elizabeth Taylor, to be auctioned at Christie’s on December 13, 2011. Photo: Krista Kennell/AP. 14. Blinky Palermo, Times of the Day III, 1975, acrylic on aluminum, four parts, each 22 3/8 x 20 1/2”. Installation view, Dia:Beacon, Beacon, NY, 2011. Photo: Bill Jacobson. 15. Noah Purifoy, Unknown, 1967, mixed media, 43 x 43“. From “Now Dig This! Art and Black Los Angeles 1960–1980.” 16. Henrik Olesen, 17” PowerBook G4 (detail), 2010, disassembled laptop mounted on Plexiglas, two parts, each 39 3/8 x 78 3/4”. From the series “I Do Not Go to Work Today. I Don’t Think I Go Tomorrow,” 2010. 17. Louise Lawler, Marie (adjusted to fit) (detail), 2010–11, adhesive wall vinyl. Installation view, Metro Pictures, New York, 2011. 18. Pedro Almódovar, La piel que habito (The Skin I Live In), 2011, still from a color film in 35 mm, 117 minutes. Zeca (Roberto Álamo). 19. View of “Yohji Yamamoto,” 2011, Victoria and Albert Museum, London. 20. Vija Celmins, Starfield, 2010, mezzotint on paper, 26 1/2 x 35 3/4“. 21. Fred Lonidier, GAF Snapshirts (detail), 1976, one of thirty-two printed T-shirts, dimensions variable. 22. Katharina Fritsch, Figurengruppe, 2006–2008, bronze, copper, stainless steel, lacquer. Installation view, Museum of Modern Art, New York, 2011. 23. Andy Warhol, Shadows, 1978–79, silk-screened and handpainted acrylic on canvas. Installation view, Hirshhorn Museum and Sculpture Garden, Washington, DC, 2011. Photo: Cathy Carver. 24. Walter De Maria, Bel Air Trilogy: Circle Rod, 2000–11, stainless-steel rod, 1955 Chevrolet Bel Air, 5 x 6 x 16'. Photo: Robert McKeever. 25. Frances Stark, My Best Thing, 2011, color video, 100 minutes. Installation view, Arsenale, Venice. From the 54th Venice Biennale. Photo: Francesco Galli. 26. Mark Leckey, GreenScreenRefrigerator Action, 2010–11, color video, green-screen infinity cove, refrigerator. Installation view, Serpentine Gallery, London, 2011. Photo: Mark Blower. 27. Willem de Kooning, Woman (detail), 1951, charcoal and pastel on paper, 21 1/2 x 16”. 28. Glenn Ligon, Mirror (detail), 2002, coal dust, ink, glue, gesso, and graphite on canvas, 82 5/8 x 55 1/8“. 29. MadeIn Company, Physique of Consciousness (Exercise 3), 2011. Performance view, Long March Space, Beijing, April 15, 2011. 30. Dana Schutz, Guitar Girl (detail), 2009, oil and acrylic on canvas with black velvet, 60 x 48”.
    December 2011
    Vol. 50, No. 4
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  • Cover: Claes Oldenburg, Street Head I (“Big Head,” “Gong”), 1959, chicken wire, newspaper, glue, paint, 60 1/4 x 63 x 14".
    January 2012
    Vol. 50, No. 5
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  • Cover: Jack Whitten, Pink Psyche Queen (detail), 1973, acrylic on canvas, 71 x 60".
    February 2012
    Vol. 50, No. 6
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  • Cover: Sturtevant, Trilogy of Transgression, 2004, still from a three-channel color video, 1 minute 40 seconds.
    March 2012
    Vol. 50, No. 7
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  • Cover: Josephine Pryde, Scale I (detail), 2012, color photograph, 41 3/4 x 31 7/8". From the series “Scale,” 2012.
    April 2012
    Vol. 50, No. 8
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  • Cover: Mike Kelley, Liberal Paganism, 1995, acrylic on board, 63 3/4 x 46 7/8".
    May 2012
    Vol. 50, No. 9
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  • Daan van Golden, Goa (detail), 1991, color photograph, 36 1/4 x 26 3/8".
    Summer 2012
    Vol. 50, No. 10
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2010–2011

  • Cover: Tauba Auerbach, 0–9 (detail), 2005, gouache on paper, 30 x 22".
    September 2010
    Vol. 49, No. 1
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  • Cover: Giuseppe Penone, Alpi Marittime—Continuerà a crescere tranne che in quel punto (Maritime Alps—It Will Continue to Grow Except at That Point), 1968/2003, tree, bronze; arm, 15 3/4 x 4 x 5 1/8. Installation view, Maritime Alps, near San Raffaele Cimena, Italy, 2008. © Archivo Penone.
    October 2010
    Vol. 49, No. 2
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  • Cover: Ryan Gander, Suggesting Everything, 2010, postcard, the 4th Baron of Egerton’s 16 Plumed Bird of Paradise, Illustration by Joseph Smit, 1892, 4 x 6".
    November 2010
    Vol. 49, No. 3
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  • Cover: 1. Lucio Fontana, Concetto spaziale (Spatial Map) (detail), 1961, print on silk, 7' 10 1/2“ x 12' 1 5/8”. From “Mehr Teppich, More Carpets.” 2. Vincent Fecteau, Untitled (detail), 2010, acrylic on papier-mâché, 27 x 44 x 12 1/2“. 3. Ai Weiwei, Sunflower Seeds, 2010, porcelain. Installation view, Turbine Hall, Tate Modern, London. 4. Yayoi Kusama, My Flower Bed, 1962, bedsprings, cotton gloves, paint. Installation view, Centre Pompidou, Paris, 2010. From “elles@centrepompidou.” Photo: Georges Meguerditchian. 5. Jean-Léon Gérôme, Working in Marble, or the Artist Sculpting Tanagra (detail), 1890, oil on canvas, 19 7/8 x 15 1/2”. 6. Brion Gysin, Untitled (Dreamachine) (detail), 1963, colored ink and airbrush on paper, 26 x 40  3/8“. 7. Sturtevant, Elastic Tango (detail), 2010, nine-monitor video installation, 11 minutes. 8. Rivane Neuenschwander, At a Certain Distance (Public Barriers), 2010, wood, wire, cement. Installation view, Malmö Konsthall, Sweden. Photo: Helene Toresdotter. 9. Trisha Brown, Sticks, 1973. Performance view, Musée d’Art Contemporain de Lyon, France, 2010. Photo: Blaise Adilon. 10. Charles Burchfield, Sun and Rocks (detail), 1918–50, watercolor and gouache on paper, 40 x 56”. 11. Markus Schinwald, Untitled (legs) #15, 2009, wood, 55 1/8 x 31 1/2 x 31 1/2“. 12. Rirkrit Tiravanija, Untitled 1994 (from Barajas to Paracuellos de Jarama to Torrejon de Ardoz de San Fernando or Coscada to Reina Sofía), bicycle, aluminum table, cooking utensils, cups, plates, cutlery, video equipment, folding chairs, dimensions variable. Photo: Philip Ottendörfer. 13. Tatiana Trouvé, Untitled, 2010, concrete, metal. Concrete element: 9 7/8 x 13 x 14 5/8”. Metal column: 118 x 2 x 2“. Installation view, Gagosian Gallery, New York. 14. Hollis Frampton, Hapax Legomena: Critical Mass, 1971, still from a black-and- white film in 16 mm, 25 minutes 30 seconds. Barbara DiBenedetto and Frank Albetta. 15. Dominique Gonzalez-Foerster, Desert Park, 2010, mixed media. Installation view, Inhotim, Brumadinho, Brazil. Photo: Eugênio Sávio. 16. Grand défilé of the Paris Opera Ballet and School, Palais Garnier, Paris, September 24, 2010. Clairemarie Osta. Photo: Peter M. Koppers. 17. Apichatpong Weerasethakul, Uncle Boonmee Who Can Recall His Past Lives, 2010, still from a color film in 35 mm, 113 minutes. Boonmee (Thanapat Saisaymar) and Huay (Natthakarn Aphaiwonk). 18. Sophie Calle, Attendez-moi (Wait for Me) (detail), 2010, black-and-white photograph mounted on aluminum with text. Photograph: 63 x 35 3/8”. Text panel: 15 3/4 x 15 3/4“. 19. Mike Kelley, Day Is Done Judson Church Dance, 2009. Performance view, Judson Memorial Church, New York, November 17, 2009. Peforma 09. Photo: Paula Court. 20. Alice Neel, Andy Warhol (detail), 1970, oil on canvas, 60 x 40”. 21. Suzanne Valadon, La Chambre bleue (The Blue Room) (detail), 1923, oil on canvas, 35 3/8 x 45 5/8“. From “elles@centrepompidou,” Centre Georges Pompidou, Paris. 22. Henri Cartier-Bresson, World’s Fair, Brussels, Belgium (detail), 1958, black-and-white photograph, 12 x 8 1/8”. © Henri Cartier- Bresson/Magnum. 23. El Anatsui, Ozone Layer and Yam Mound(s), 2010, mixed media. Installation view, Alte Nationalgalerie, Berlin. From “Who Knows Tomorrow.” Photo: Jens Ziehe. 24. Wang Wei, Historic Residence, 2009, mixed media. Installation view, Space Station, Beijing.
    December 2010
    Vol. 49, No. 4
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  • Cover: Trisha Brown, Spanish Dance, 1973. Performance view, Tate Modern, London, October 18, 2010. Leah Morrison, Tamara Riewe, Megan Armishaw, Laurel Tentindo, Virginia Scudeletti.
    January 2011
    Vol. 49, No. 5
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  • Cover: Participants in Paweł Althamer’s Common Task, 2008–10 at the Zaventem Airport, Brussels, June 4, 2009.
    February 2011
    Vol. 49, No. 6
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  • Cover: Klara Lidén, Untitled (detail), 2010, posters and paper, approx. 35 1/2 x 24 1/2 x 5 1/2". From the series “Poster Paintings,” 2007–2010.
    March 2011
    Vol. 49, No. 7
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  • John Armleder, E Hoi E, 2001, neon, 59 x 59". Photo: Jean Brasille.
    April 2011
    Vol. 49, No. 8
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  • Cover: Trevor Paglen, Untitled (Reaper Drone) (detail), 2010, color photograph, 48 x 60".
    May 2011
    Vol. 49, No. 9
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  • Cover: Josh Smith, Untitled (detail), 2011, mixed media on panel, eight parts, overall 10' x 15' 8".
    Summer 2011
    Vol. 49, No. 10
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