COLUMNS

  • Slant

    Blood Meridian

    J. M. W. Turner in Texas

    TO VIEW A J. M. W. TURNER sunset in Texas, as I did recently in Fort Worth at the Kimbell Art Museum’s “Turner’s Modern World”—an exhibition making its stateside debut after premiering at Tate Britain in London—is to wish Turner might have had the opportunity to paint a Texas sunset. In fact, I came away from the show thinking that in a slightly altered universe, Turner could have been a Texan. The ferocious clouds the lifelong Londoner dangles above cowering people evoke the feeling, if not the geography, of Texas, and his canvases, like many things in the longhorn state, are applauded for the

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  • Slant

    Okay Cupid

    Reopening Vermeer’s love letter to contradiction

    IN DRESDEN, a city renowned for the picture-perfect restoration by which it looks the same and yet entirely strange, an old tale of love and deception is playing out. 

    Since Vermeer’s Girl Reading a Letter at an Open Window, c. 1657–59, arrived in the Saxon capital from Paris in 1742, a girl in a green dress has been intently studying a letter by pale daylight against a white wall. As other of the Dutch master’s pictures, and indeed many of those made by his contemporaries, tend to do, the unadorned interior offers no clue as to what she might be thinking. Instead, what long impressed viewers

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  • Slant

    Mayor Robber

    The pointless demolition of Manhattan’s East River Park

    DURING A NORMAL YEAR one hundred thousand people recreate and run through East River Park in Lower Manhattan. Nobody has the numbers from the worst of the pandemic but it’s probably double. Painter and former drag star Taboo! enjoyed working out there in that fenced-in gym off the running track I myself have made use of since 1978. I felt comfortable asking the editor here if I could write something about the park since I knew he and much of a portion of the art world were dancing at the amphitheater at Corlears Hook, which is at the southern end of the park, the night Biden got elected. And I

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  • Slant

    Mass Appeal

    Finding Andy Warhol’s religion

    ASKING WHETHER NYC needs another big Warhol show is a little like asking whether a university English department needs cheap wine and Costco cheese after a guest lecture: That’s just how we do things here. But “Andy Warhol: Revelation,” up now at the Brooklyn Museum after opening at the Andy Warhol Museum in Pittsburgh in 2019, has two great strengths. It has a fresh focus—the religious dimensions of his art—and curator José Carlos Diaz has dug deep into Warhol’s enormous archive to find rarely seen and lesser-known work (associate curator Carmen Hermo organized the presenation in Brooklyn).

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  • Slant

    Light Years

    The Met’s Afrofuturist period room thinks inside the box

    IN HIS INTRODUCTION to Period Rooms in the Metropolitan Museum of Art (1996), the longest-serving director of the New York museum, the now-retired Philippe de Montebello, notes the popularity of his subject. “Virtually everyone who visits the Museum’s American Wing finds there the opportunity to experience a sense of the way our forebears lived,” he writes. A period room is a museological device that combines architecture, furnishings, decorative art, and functional objects to represent an interior of a certain time, place, and style. A feature of many museums, the rooms purport to represent

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  • Slant

    Safe Harbor

    What story will Hong Kong’s M+ museum tell?

    AT A SPECIAL PREVIEW EVENING FOR M+, local artists and patrons—and some internationals who had abided Hong Kong’s rigorous quarantine measures—cautiously entered the Brutalist-style building, at 700,000 square feet one of the largest contemporary art museums in the world.

    The museum has weathered criticism from its inception, dating back to a 1998 proposal for a cultural district complete with sites dedicated to visual and performing arts. In the 2000s, Hong Kong was unfairly stuck with the label of “cultural desert” despite the presence of a robust modern art scene there since the 1960s, and

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  • Slant

    Cosmic Dancer

    Dan Beachy-Quick on Charles Ross’s Star Axis

    COSMOS IS A WORD UNIVERSAL IN SCOPE, but hidden inside it, like the intimate drawers of a jewelry box, other meanings are kept. Order: of stars, of world, of self. Pattern: macrocosm, microcosm. Form. Ornament. Adornment. The light-year dance of galaxies around one another is cosmic; so is the pearl-drop pendant hanging below the throat. Absolute zero and blood-heat braided together, as is that intimacy between self and universe entire—a fact somehow known before it’s learned, forgotten before it’s ever been grasped—may well be the fundamental discovery needed to put your foot on Star Axis’s

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  • Slant

    Up In Smoke

    Dodie Bellamy on Judy Chicago’s Forever de Young

    GIDDY FROM SIPPING FLUTES of the de Young Museum’s prosecco, my friend Karen and I quickly realized that from the VIP section, the view of Judy Chicago’s smoke sculpture, Forever de Young, was going to suck. Since we were standing to the side of the huge pyramid-shaped scaffolding that was holding the canisters of colored pigments that would be “released” into the air, we knew we would not be able to see the whole picture. We scanned for a better vantage point but were cordoned off, and the rest of the crowd formed a dense mass that looked impossible to insert ourselves into. So we hunkered down

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  • Slant

    Natural Causes

    Jayne Wilkinson on the Momenta Biennale de l’image

    QUESTIONS OF CARE and ecological entanglement have dominated art discourse for several years but seem to have grown in urgency of late, as the pandemic forced a renegotiation of relationships, and values, on a global scale. Using art to bridge the gulf in perception between humans and nonhuman species, the seventeenth edition of Montréal’s Momenta Biennale de l’Image—curated by Stefanie Hessler in collaboration with Camille Georgeson-Usher, Maude Johnson, and Himali Singh Soin, and on view until October 24—addresses the effects of sensing, and being sensed by, the natural world. The theme is

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  • Slant

    Portfolio: Arthur Tress

    Arthur Tress’s photographs of school life adjourned

    ARTHUR TRESS, PRESENT. At the onset of the US lockdown in March 2020, the San Francisco–based photographer Arthur Tress began to chronicle the closed buildings, deserted playgrounds, and overgrown yards of nearby schools in Northern California. Seventeen months later, the resulting series, introduced here and titled “In Recess,” consists of more than 15,000 black-and-white photographs of 125 elementary, middle, and high schools, from Bodega Bay to Pismo Beach. Devoid of children playing hopscotch, spreading gossip, and gobbling down snacks, his eerie pictures, oscillating in affect between the

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  • Slant

    Look, Look Again

    Critical encounters with Jasper Johns

    FOR ALMOST AS LONG as Artforum has been in circulation, its critics have wrestled with Jasper Johns’s startlingly inventive, thrillingly enigmatic body of work. This month, we have compiled a selection of those encounters—spanning generations and frames of reference—ranging from legendary curator Walter Hopps’s interview with the then-young artist coinciding with his survey at the Pasadena Art Museum in 1965 to Anne Wagner’s brilliant elucidation of the epochal Flag, 1954–55, written in the waning years of the Bush administration. Accompanying these pieces, too, is a rare text written by Johns

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  • Slant

    Loose Threads

    Meredith Martin on the “Nouvelles Indes” tapestries

    THIS SUMMER IN PARIS, two museums installed versions of the same artworks—eighteenth-century French tapestries from a royal series known as the “Nouvelles Indes” (New Indies)—to tell very different stories about European legacies of race, slavery, and colonialism. One version hangs in the lavish period rooms of the new Hôtel de la Marine in the Place de la Concorde, while another was part of an exhibition devoted to the forty-two-year-old Congolese artist Sammy Baloji at the École des Beaux-Arts. Despite the fact that both sets of hangings came from the Mobilier National and were on view only

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