Bernadette Mayer reads an excerpt from Memory (1971).

Miz Cracker visits artist Sam McKinniss at his studio in Brooklyn last fall to discuss his Artforum cover, Lorde, and how to treat iconic status.

Miz Cracker visits artist and drag pioneer Tabboo! at his apartment and laboratory in the East Village, New York, to talk about Mark Morrisroe, Nan Goldin, and the origins of punk-rock drag.

“The world will never be the same.” Weeks into quarantine, the lizards struggle to distinguish dream from reality.  

Written, Directed and Edited by Orian Barki and Meriem Bennani

Original Score : Flavien Berger

News Anchor Mouse voice : Maluca Mala

Painting in Lizard room : Dachi Cole

Miz Cracker visits celebrated painter Lisa Yuskavage at her studio in Gowanus, Brooklyn.

On September 17, Miz Cracker visited the celebrated poet and artist John Giorno (1936–2019) in his storied home on the Bowery to discuss Buddhism, inspiration, and his exhibition at Sperone Westwater Gallery.

“Ode to the West Wind” by Percy Bysshe Shelley. Artist: Helen Keller.

“Ode to the West Wind” by Percy Bysshe Shelley. Artist: Helen Keller.

Since the late 1980s, Pat Steir has slung her paint from a loaded brush, letting oils arc and flow in a signature gesture of both creation and sublime surrender. For her latest exhibition, at the Hirshhorn Museum and Sculpture Garden in Washington, DC, the American artist has filled the building’s rotunda with a new suite of thirty paintings that, together, form a color wheel—an art fundamental that dates back to the early eighteenth century. “What Goethe was really pursuing was not a physiological but a psychological theory of colors,” Wittgenstein once wrote. The same might be said of Steir’s

Miz Cracker Visits

Episode 1

Starring:

Miz Cracker

Raúl de Nieves

Directed by:

Ryan McNamara

Camera and Editing by:

Matthew Carlson

Titles:

Bevin McNamara

Travel Coordinator:

Liam O’Malley Davy

“Raúl de Nieves: As Far As UUU Take Me” runs through October 20, 2019 at Company Gallery

88 Eldridge Street, 5th Floor, New York, NY 10002

Maren Hassinger very nearly became a dancer. As it happened, two fortuitous turns in her education in the 1970s led her to create sculptures hewn of fibrous metal and knotted detritus. From her early work in Los Angeles—including the 1979 installation of twelve wire rope “trees” near the Mulholland Drive exit ramp—to her recent “mandala” of repurposed pages from the New York Times, questions of ecological and spiritual consciousness have long underscored Hassinger’s practice. She is known for works in a range of media as well as for her collaborative bent. Following last year’s retrospective at

Widely known and celebrated as a jazz musician, composer, and improviser, Jason Moran also produces drawings, sculptures, and installations, expanding the forms of his ongoing inquiries regarding the natures of sound and silence, history and presence. He is also a prolific collaborator, creating with, for, and alongside luminaries such as Glenn Ligon, Kara Walker, Joan Jonas, Lorna Simpson, Carrie Mae Weems. On the occasion of his first solo exhibition—which runs until January 5, 2020, at New York’s Whitney Museum of American Art and comprises both his works-do-date as well as live musical

David Lynch talks about his first love—painting—and his subsequent lifelong devotion to artmaking—from his student years at the Pennsylvania Academy of Fine Arts, to his move to Los Angeles to pursue cinema (“moving paintings,” per Lynch), to his discovery of Transcendental Meditation, which has been an important part of his life since 1973.

Carolyn Lazard, CRIP TIME, 2018, HD video, sound, color, 10 minutes. Artist-provided visual description: A one-take video shot from an overhead view over the surface of a table. On an embroidered tablecloth is a 7-day weekly pill organizer separated into daily compartments. The labels on the organizer have been partially worn off through repeated use. A set of brown hands with gold nail polish emerge from the top of the frame and begin to separate and open the compartments. The hands proceed to open various pill and supplement bottles and fill the different compartments with pills and supplements.

Bruce Baillie, All My Life, 1966, 16 mm, color, sound, 2 minutes 45 seconds.

Petra Cortright, Capture_20111215_4, 2011, YouTube video, color, sound, 35 seconds.

Trailer for Leslie Thornton’s Ground, 2020, HD video, color, sound, 12 minutes 30 seconds.

Trailer for Leslie Thornton’s Peggy and Fred in Hell: Folding, 2016, 16 mm, sound, 95 minutes.

Olia Lialina, Hosted, 2020, network performance (screen capture).

Artforum is pleased to host this Instagram video by Orian Barki and Meriem Bennani, made while self-isolating because of COVID-19.

Beautiful moment of communion through sound waves in Brooklyn despite social distancing—the virus's protective membrane is very sensitive to soap and heat but also bass. These two lizards are lucky they work from home and can afford to stay inside. This is the first collaboration between Yani and me; we made it over the weekend to take a break from editing and animating for work. —Meriem Bennani

For the thirtieth annual Day With(out) Art on December 1, 2019, Visual AIDS presented STILL BEGINNING, a program of seven newly commissioned videos responding to the ongoing HIV/AIDS epidemic by Shanti Avirgan, Nguyen Tan Hoang, Carl George, Viva Ruiz, Iman Shervington, Jack Waters/Victor F.M. Torres, and Derrick Woods-Morrow. Recalling Gregg Bordowitz’s reminder that “THE AIDS CRISIS IS STILL BEGINNING,” the video program resists narratives of resolution or conclusion, considering the continued urgency of HIV/AIDS in the contemporary moment while revisiting resonant cultural histories from the

For the thirtieth annual Day With(out) Art on December 1, 2019, Visual AIDS presented STILL BEGINNING, a program of seven newly commissioned videos responding to the ongoing HIV/AIDS epidemic by Shanti Avirgan, Nguyen Tan Hoang, Carl George, Viva Ruiz, Iman Shervington, Jack Waters/Victor F.M. Torres, and Derrick Woods-Morrow. Recalling Gregg Bordowitz’s reminder that “THE AIDS CRISIS IS STILL BEGINNING,” the video program resists narratives of resolution or conclusion, considering the continued urgency of HIV/AIDS in the contemporary moment while revisiting resonant cultural histories from the

For the thirtieth annual Day With(out) Art on December 1, 2019, Visual AIDS presented STILL BEGINNING, a program of seven newly commissioned videos responding to the ongoing HIV/AIDS epidemic by Shanti Avirgan, Nguyen Tan Hoang, Carl George, Viva Ruiz, Iman Shervington, Jack Waters/Victor F.M. Torres, and Derrick Woods-Morrow. Recalling Gregg Bordowitz’s reminder that “THE AIDS CRISIS IS STILL BEGINNING,” the video program resists narratives of resolution or conclusion, considering the continued urgency of HIV/AIDS in the contemporary moment while revisiting resonant cultural histories from the

For the thirtieth annual Day With(out) Art on December 1, 2019, Visual AIDS presented STILL BEGINNING, a program of seven newly commissioned videos responding to the ongoing HIV/AIDS epidemic by Shanti Avirgan, Nguyen Tan Hoang, Carl George, Viva Ruiz, Iman Shervington, Jack Waters/Victor F.M. Torres, and Derrick Woods-Morrow. Recalling Gregg Bordowitz’s reminder that “THE AIDS CRISIS IS STILL BEGINNING,” the video program resists narratives of resolution or conclusion, considering the continued urgency of HIV/AIDS in the contemporary moment while revisiting resonant cultural histories from the

For the thirtieth annual Day With(out) Art on December 1, 2019, Visual AIDS presented STILL BEGINNING, a program of seven newly commissioned videos responding to the ongoing HIV/AIDS epidemic by Shanti Avirgan, Nguyen Tan Hoang, Carl George, Viva Ruiz, Iman Shervington, Jack Waters/Victor F.M. Torres, and Derrick Woods-Morrow. Recalling Gregg Bordowitz’s reminder that “THE AIDS CRISIS IS STILL BEGINNING,” the video program resists narratives of resolution or conclusion, considering the continued urgency of HIV/AIDS in the contemporary moment while revisiting resonant cultural histories from the

Bookforum presents “Fool that I Am,” a Valentine’s Day reading featuring Lexi Freiman, Amitava Kumar, Sam Lipsyte, Minna Zallman Proctor, and Jess Row, at the New Museum in New York, 2019.

Bookforum presents “False Starts,” a Valentine’s Day reading featuring William Finnegan, Marlon James, Ed Park, Lynne Tillman, and Joy Williams, at the New Museum in New York.

Bookforum presents “Trial & Error,” featuring readings by Mary Gaitskill, Vivian Gornick, Patricia Marx, A. O. Scott, and Christopher Sorrentino, at the New Museum, New York, on February 12, 2016.

Bookforum presents “The Night We Called It a Day,” readings by David Byrne, Rivka Galchen, Ed Park, Zadie Smith, and Colm Tóibín, held at the New Museum, New York, on February 12, 2014.

LGM Television presents an excerpt from Trisha Brown, Newark (Niweweorce), 1987 at l'Opéra de Lyon.

Trisha Brown, Newark (Niweweorce), 1987. (Excerpt)

A fragment from Ryan McNamara's MEƎM: A Story Ballet About the Internet, performed November 8–12, 2013, at the Connelly Theater in New York. Commissioned by Performa for Performa13. This clip features Jason Collins.

Winner of the 2013 Malcolm McLaren Award.

A fragment from Ryan McNamara, MEƎM: A Story Ballet About the Internet, 2013.

Excerpt from Eleanor Bauer’s Midday & Eternity (the time piece) (2013).

Flora Yukhnovich discusses how Tiepolo, Casanova, and Vivaldi inspired the works in her new XR exhibition at Victoria Miro, “The Venice Paintings,” created during a residency in the city with the gallery last year.

Flora Yukhnovich: The Venice Paintings

May 19 – June 20, 2020

Meet Fabrizio (Fab) Moretti, visual artist and drummer for The Strokes. Then, meet Fabrizio Moretti, art dealer and proprietor of the London-based Galleria Moretti. At Sotheby’s New York headquarters, these two Fabrizios introduce “Fabrizio Moretti x Fabrizio Moretti In Passing|,” an auction and exhibition of Old Master paintings and sculptures. This sale features a rare selection of twenty-four works curated by Fabrizio Moretti and showcased in a series of installations designed by Fab Moretti. These two men share more than just a name, and although they each bring a distinctive vision, their

Sue Williamson’s Messages from the Atlantic Passage (2017), on view here at Basel Unlimited 2017.

Bali-based artist Ashley Bickerton discusses his first U.S. Survey, which is comprised of his works from the 1980s to the present. The exhibition is on view at the FLAG Art Foundation from September 23–December 16, 2017.

Group exhibition at Georg Kargl Fine Arts in Vienna featuring Andreas Fogarasi, Björn Kämmerer, Manuel Knapp, David Maljkovic, Wolfgang Plöger and Tobias Putrih. Curated by Fiona Liewehr.

Alex Prager’s short film La Grande Sortie (2016). The work was commissioned by the Paris Opera Ballet and scored by Radiohead’s Nigel Godrich. Prager’s film accompanies production stills in “La Grande Sortie”, opening at Lehmann Maupin on September 7, 2016.

Undiscovered Territory (2016), featuring Ed Ruscha; a segment from Doug Aitken’s Station to Station, a feature film comprising sixty-two one-minute films, now available on iTunes.

The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programming as an “incubator for innovative thinking on the photographic image.”

In part 4 of The Invisible Photograph, learn how Berlin-based artist Joachim Schmid's “anti-museum” of found and discarded imagery challenges us to reconsider our assumptions of photographic worth.

Watch other parts of The Invisible Photograph series.

Part 1 (Underground): click here.

Part 2 (Trapped): click here.

Part 3 (Extraterrestrial): click here.

Part 5 (Subatomic): click here.

The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programming as an “incubator for innovative thinking on the photographic image.”

Part 5 of The Invisible Photograph, investigates how photographic technologies are being used to visualize the subatomic world at CERN, the largest particle physics laboratory in the world—where photography and the world’s most physics research collide.

Watch other parts of The Invisible Photograph series.

Part 1 (Underground): click here.

Part 2 (Trapped): click here.

Part 3 (Extraterrestrial): click here.

Part 4 (Discarded):

Lyle Ashton Harris' Selections from the Ektachrome Archive is a snapshot from 1986–1996, chronicling the moments—now memories—of this charged decade, featuring over one hundred images taken by Harris.

The work was commissioned by Visual AIDS as part of “Alternate Endings,” a video program launching December 1, 2014, to celebrate the twenty-fifth anniversary of Day With(out) Art—a national day of action and mourning in response to the AIDS crisis.

Lyle Ashton Harris, Selections from the Ektachrome Archive, 2014

The jazz pianist Jason Moran reflects on his collaborative experiences with legendary performance artist Joan Jonas. Video is excerpted from Grammar - A Documentary Film about Jazz through Jason Moran and co-directed by Radiclani Clytus, Gregg Conde, Anthony Gannon, and Joseph Paul Alvarado.

The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”

In Part III of The Invisible Photograph, see how the “techno archaeologists” of the Lunar Orbiter Image Recovery Project digitally recovered the first photographs of the moon taken by a set of unmanned space probes in the 1960s.

Watch other parts of The Invisible Photograph series.

Part 1 (Underground): click here.

Part 2 (Trapped): click here.

Part 4 (Discarded): click here.

Part 5 (Subatomic): click here.

Preview for Jennifer West’s Arrid Extra Dry 1965 TV Commercial Film (2013), 16mm film print painted with birth control pills, writing inks and sweat and transferred to HD.

The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”

Part II of The Invisible Photograph follows a team of computer scientists, archivists, artists, and curators, including Corey Arcangel, as they unearth Andy Warhol’s lost digital works.

Watch other parts of The Invisible Photograph series.

Part 1 (Underground): click here.

Part 3 (Extraterrestrial): click here.

Part 4 (Discarded): click here.

Part 5 (Subatomic): click here.

The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”

Here, a safe haven for thousands of images is explored hundreds of feet below ground in a repurposed limestone mine.

Watch other parts of The Invisible Photograph series.

Part 2 (Trapped): click here.

Part 3 (Extraterrestrial): click here.

Part 4 (Discarded): click here.

Part 5 (Subatomic): click here.

An excerpt from Andrei Tarkovsky’s Stalker (1979). To read Andrew Hultkrans’s review of the film, click here.

Grayson Perry discusses his new exhibition at Victoria Miro Mayfair, “Super Rich Interior Decoration,” casting an anthropological eye on the heady collision of art, money, power, and desire.

Adam Pendleton discusses his work within the context of his exhibition “Who We Are” at Galerie Max Hetzler, Berlin. Pendleton’s first exhibition with the gallery includes the latest examples of his spray-painted and silkscreened canvases, works on Mylar, System of Display, and video portraits, as well as a monumental wall intervention. The new work, much of which incorporates language from the composer Julius Eastman, demonstrates Pendleton’s layered, archival approach to creation as he inquires into the relationship between representation and abstraction, history, and notions of “blackness”.

In this video, designer David Korins reveals how he chose to display “Treasures From Chatsworth,” a rare and intimate presentation of works from the Devonshire Collection. Free of charge and open to the public, the exhibition will be on view from June 28 to September 18, 2019, in Sotheby’s renovated New York galleries at 1334 York Avenue.

Howardena Pindell’s first solo exhibition in the UK includes abstract paintings and collages drawn from two distinct periods in the artist’s career: large-scale spray paintings from the early 1970s and smaller wall-mounted three-dimensional works completed since 2007.

In this video, Pindell responds to seeing her work installed at Victoria Miro’s Mayfair gallery. The exhibition continues through July 27, 2019.

The Devonshire Collection has been passed down through sixteen generations of the Cavendish Family and encompasses fine art, design, and jewelry from the past five centuries. Forty-five masterworks from the collection will be on view in “Treasures from Chatsworth” at Sotheby’s newly expanded and reimagined New York galleries, from June 29 to September 18. In this video, the 12th Duke of Devonshire previews the works coming to New York, from Rembrandt van Rijn to Lucian Freud.

Chris Levine works with light to create expanded states of perception and awareness. At his London studio, Levine explains how a childhood fascination with holography informed his future career, and traces how his personal struggles eventually led to his unusual approach to portraiture—including his portrayal of Queen Elizabeth II in Lightness of Being, 2004.

Daniel Arsham takes a near-scientific approach to art in order to transform ordinary objects—cameras, cassette tapes, mobile phones—into archaeological discoveries from a future, dystopian world. In this studio visit, the artist tracks his development from early forays in photography and painting to a formative collaboration with Merce Cunningham, through to his work today and his vision of the world in 3019.

Jasper Sharp, curator of the Kunsthistorisches Museum’s current Mark Rothko retrospective, and Sotheby’s Contemporary Art specialist Saara Pritchard examine one of the most important periods of the artist’s career.

In the 1960s, Rothko abandoned the bright colors that characterize his work of the early 1950s in favor of deep reds and burgundies. Untitled, 1960, a highlight of Sotheby’s Contemporary Art Evening Auction on May 16, illuminates this profound shift. “Seen close up and in a penumbra, as these paintings are meant to be seen, they absorb, they envelop the viewer,” wrote Peter Selz,

Artist Jonas Wood reflects on his move to Los Angeles, the importance of the Hammer Museum, and his singular approach to creating art. Wood and his wife, artist and studio mate Shio Kusaka, have donated their works Shio Butterfly Still Life (2019) and (Line 65) (2017) as part of Artists for the Hammer Museum—a collection of pieces given by over forty leading contemporary artists to help establish a new Artist Fund at the Hammer Museum. This fund directly supports the museum’s pioneering exhibition program and work with emerging artists. The full collection of donated works will be offered across

Lee Krasner’s resilient spirit and groundbreaking talent is captured in her large-scale masterpiece The Eye is the First Circle, offered as a highlight of Sotheby’s Contemporary Art Evening Auction (May 16th, New York). Contemporary art specialist Saara Pritchard joins Eleanor Naire, curator at the Barbican Art Gallery and organizer of the upcoming exhibition “Lee Krasner: Living Colour,” in an exploration of how The Eye is the First Circle exemplifies Krasner's iconic vision. Painted in 1960 following the death of her husband, Jackson Pollock, this immense canvas is the embodiment of Krasner’s

The Metropolitan Museum of Art presents “The Artist Project,” a video series in which artists respond to the Met’s collection of art. Here, Nan Goldin talks about the work of Julia Margaret Cameron.

The Metropolitan Museum of Art presents “The Artist Project,” a video series in which artists respond to the Met’s collection of art. Here, Carolee Schneemann talks about Cycladic female figures.

“Interpretation is the revenge of the intellectual upon art,” Susan Sontag, one of America’s most astute interpreters of art, once wrote—surely with a touch of irony. But is critical thinking really an enemy of the creative spirit? Or is it precisely this friction that makes for a richer, more dynamic cultural landscape? This conversation addresses the necessity, and the limits, of both art and criticism, and how the relationship between artist and critic has evolved over time.

Moderator: Jennifer Krasinski, Senior Editor, Artforum.

Participants: Rhonda Lieberman, Writer and Artist, Contributing

An excerpt from a lecture by critic J. Hoberman on Jack Smith’s Flaming Creatures (1963) and No President (1968) at the Filmmakers Cooperative in New York, November 3, 2018. A full transcript of the lecture is available to read here.

Artist Zachary Cahill speaks with critic Jan Verwoert about Cahill’s exhibition “USSA Love Chapel” at Regina Rex Gallery, May 21–June 25, 2017.

Actress Fiona Shaw and philosopher Simon Critchley discuss the tragedy of Medea in this walk through of “A World of Emotions: Ancient Greece, 700BC–200AD,” on view at the Onassis Cultural Center in New York until June 24, 2017.

Philosopher Simon Critchley speaks about collaborative relationships at the Guggenheim Museum as part of “It Takes Two,” a symposia presented on the occasion of the retrospective “Peter Fischli David Weiss: How to Work Better,” on April 23–24, 2016.

Artist John Knight speaks with art historian Bettina Funcke about his site-specific works that engage institutional critique. This video is part of Artists Space’s “Dialogues” series, in which Funcke speaks with an influential member of the art world about their life and work.

Tony Conrad talks about rhythm, being an artist, his influences and his filmmaking process at Doug Aitken’s “MIRROR HAPPENING” in Seattle, 2013.

A panel on the exhibition “Language of the Birds: Occult and Art,” moderated by curator Pam Grossman, with Professor Susan L. Aberth, artist Jesse Bransford, and musician William Breeze, on February 10, 2016 at 80WSE Gallery in New York.

A roundtable on a digital approach to poetics with panelists Dennis Tenen, Karla Nielsen, Taeyoon Choi, Kendra Sullivan, Iris Cushing, and moderated by Mary Catherine Kinniburgh at the CUNY Graduate Center on February 5, 2016.

Artists Juan Betancurth and Benjamin Frederickson speak with artist Allen Frame about “Nydia,” Betancurth and Frederickson’s newest collaborative body of work at Daniel Cooney Fine Art in New York on February 6, 2016.

Mourning dove bird song.

Kim Gordon’s “Earthquake.”

Dino Saluzzi’s Bandoneón Tierra Adentro.

our sense of the verb “to remember” comes from the latin recordari, literally to pass through the heart.

The “Eye of Sauron” on the Salesforce Tower light display at night as seen from Pine Street and Mason Street in the Nob Hill neighborhood of San Francisco on Wednesday, October 31, 2018. 

“Eye of Sauron” on Salesforce Tower in San Francisco, Halloween, 2018.

Ariana Reines, May 15, 2018.

Ariana Reines, January 12, 2018, 2018, video, color, sound, 11 seconds.

Ariana Reines, January 12, 2018, 2018, video, color, sound, 11 seconds.

I swear I didn’t do anything to my phone except mentally recite the phrase “warmest sunrise of the year” as I hit record.

I swear I didn’t do anything to my phone except mentally recite the phrase “warmest sunrise of the year” as I hit record.

Donny Hathaway, “For All We Know.”

Terry Riley’s “Shri Camel: Morning Corona,” part one.

Terry Riley and Don Cherry ‎perform “Köln,” February 23, 1975.

03 Greedo’s “Shittin (Lately),” 2017. 

Christian Fennesz’s “Don't Talk (put your head on my shoulder)” (Editions Mego, 1998).

Fennesz, “Don't Talk (Put Your Head On My Shoulder),” 1998.

The third track on Christian Fennesz’s Agora, his latest solo album (Touch Records, 2019). 

Fennesz, “Agora,” 2019.

In We Have Always Been on Fire, artist Morgan Bassichis sings about the abysmal political present and the long histories of burning that we come from. A spell is cast conjuring Fire Island's queer ghosts into the contemporary moment. The film blends material shot in Cherry Grove during the summer of 2017 with found footage shot in the same location during fourth of July weekend in 1976.

The music video for “Portfolio” by Penis (2016).

Martin Creed’s Understanding (2016). To read Alan Licht’s piece on Martin Creed’s “The Back Door,” pick up the September 2016 issue of Artforum, or read it online.

The music video for Anohni’s “Drone Bomb Me,” 2016, directed by filmmaker Nabil and featuring supermodel Naomi Campbell. “Drone Bomb Me” is the opening track on ANOHNI’S debut solo album Hopelessness, co-produced by Hudson Mohawke and Oneohtrix Point Never.

Music video for Anohni's “Drone Bomb Me,” 2016.

Kim Gordon as Kim Gordon

Directed by Mariko Munro

Cinematography by Milena Pastreich

Concept by Elaine Kahn and Mariko Munro

Production Design by Francis Cardinale

Wardrobe by Andrea Longacre White

Color by Kaitlyn Bastelli

Kim Gordon.

On February 13, San Antonio’s Department of Arts & Culture removed Xandra Ibarra’s Spictacle II: La Tortillera, 2014, from the opening of a group exhibition at the Centro de Artes. The four-minute video, deemed “obscene” by the city, presents the artist in character La Chica Boom as she performs one of her “spictacles”—Ibarra’s coinage for “camp spectacles of Mexican and Mexican-American myths that render the colonial gaze laughable.” The decision to remove the work has been criticized by artists, supporters, and groups including the National Coalition Against Censorship.

Spictacle II: La Tortillera

Jean Paul Gaultier’s last show

In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.

In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.

In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.

Christoph Cox discusses his new book Sonic Flux: Sound, Art, and Metaphysics (University of Chicago Press) with artist Aura Satz. The performance also includes solo sets by Maria Chavez (turntables) and Jake Meginsky (electronics). 

In this performative lecture at the Whitney Museum of American Art, Hammer shares guidelines and film clips from her long-term art-making practice, October 10, 2018. 

Barbara Hammer at the Whitney Museum of American Art, 2018. Courtesy of One Glass Video.

A short video of Papo Colo's Procesión-Migración, January 7, 2017 in Puerto Rico.

Papo Colo, Procesión-Migración, January 7, 2017.

Sandra Bernhard performs with Thomas Bartlett at Justin Vivian Bond—Trans/Art/Family: The Vivification of NYC, September 11, 2016.

Sandra Bernhard and Thomas Bartlett at Trans/Art/Family: The Vivification of NYC. September 11, 2016.

Young Jean Lee visits the Performing Garage in early rehearsals for The Wooster Group’s The Town Hall Affair (2016). To read J. Hoberman’s Performance piece on The Wooster Group, pick up the September 2016 issue of Artforum, or read it online at Artforum.com here.

Bookforum presents “Fool that I Am,” a Valentine’s Day reading featuring Lexi Freiman, Amitava Kumar, Sam Lipsyte, Minna Zallman Proctor, and Jess Row, at the New Museum in New York, 2019.

Anthropologist Michael Taussig talks about Jean Rouch’s Les Maîtres Fous and Juan Downey’s The Laughing Alligator at Artists Space Books & Talks, December 2015.

Excerpt from Marthe Ramm Fortun’s I hate Old poetmen (February 2nd, 2012).

As Marc Jacobs relocates from his West Village townhouse to the Frank Lloyd Wright–designed Max Hoffman House in Rye, New York, the iconic designer explores his eclectic collection of contemporary art—and its focus on figuration including artists such as Mike Kelley, John Currin, and Urs Fischer—with Sotheby’s chairman Amy Cappellazzo.

This November, Sotheby’s will offer an exceptional selection of works from Jacobs’ collection in their Contemporary Art Evening and Day sales.

A look inside “Return to the Real,” an exhibition of new works by Doug Aitken now on view at Victoria Miro London. Conceived as a unified composition of sound, light, form and movement, the show explores our rapidly changing relationships to one another and the world around us in an age dominated by technology. 

On New Year’s Day, 2018, Chantal Joffe set herself the challenge of working on a self-portrait every day for the coming year. This daily practice has resulted in a series of characteristically unflinching works. On the opening of her solo presentation at Victoria Miro in London, the artist walks through her studio and process.

This body of work will be on view at Victoria Miro from 11 April to 18 May, 2019.

Whose stories do tattoos tell?

In 2018, at the height of the Black Panther motion picture excitement, Doreen Garner hosts Invisible Man Tattoo, a pop-up tattoo shop in Brooklyn's Recess art space. A noted sculptor and licensed tattoo artist, Garner swaps sculpture for skin, and inks iconic Black American heroes and imagery on those who identify as being of the African Diaspora.

Doreen Garner (b. 1986, Philadelphia, PA, USA) lives and works in Brooklyn, New York. Learn more about the artist at: art21.org/artist/doreen-garner/

Does the past have a sound? Celebrated for his material-oriented practice, Kevin Beasley juxtaposes sound, silence, and sculpture to examine the legacy of cotton in the American South. Set to the beat of his improvised drumming, the film shows Beasley at work in his Queens studio finishing his multipart exhibition, “A view of a landscape,” at the Whitney Museum of American Art—his most ambitious work to date.

Kevin Beasley (b. 1985, Lynchburg, Virginia, USA) lives and works in Queens, New York. Learn more about the artist at: art21.org/artist/kevin-beasley/

Artist Sean Raspet discusses his interest in the chemical structure of flavors, scents, and how molecular analysis presents new ways of thinking about art objects and their relationship to audiences.

This video is part of Swiss Institute’s “SI: VISIONS” video series, in collaboration with UBS.

Artist Christina Forrer discusses her process of using online videos of fights with animals and people, as well as scenes of everyday conflict from life, as inspiration in her weavings.

This video is part of Swiss Institute’s “SI: VISIONS” video series, in collaboration with UBS.

Charlie Ahearn’s video portrait of artist Martin Wong and his autobiographical Chinatown series based on his youth in San Francisco and New York.

Watch a teaser of Isaac Julien’s new nine-screen installation, which meditates on the work and legacy of Lina Bo Bardi, the visionary architect and designer. The US premiere of Julien’s Lina Bo Bardi – A Marvellous Entanglement will take place December 5–8 at Art Basel Miami Beach for Meridians, a new sector that will launch at the eighteenth edition of the show.

Part political satire, eco-horror and road movie, TERROR NULLIUS is a political revenge fable which offers an unwriting of Australian national mythologies. Binding together a documentary impulse with the bent plotlines of Australian film texts, Soda_Jerk’s revisionist history opens a willful narrative space where cinema fictions and historical facts permeate each other in new ways. The apocalyptic desert camps of Mad Max 2 become the site of refugee detention, feminist motorcycle gangs rule the highways, and flesh-eating sheep are recast as anti-colonial insurgents.

The official trailer for Soda

ALTERNATE ENDINGS, ACTIVIST RISINGS highlights the impact of art in AIDS activism and advocacy today by commissioning compelling short videos from six inspiring community organizations and collectives—ACT UP NY, Positive Women’s Network, Sero Project, The SPOT, Tacoma Action Collective, and VOCAL NY. The program represents a wide range of organizational strategies, from direct action to grassroots service providers to nation-wide movement building, while considering the role of creative practices in activist responses to the ongoing AIDS crisis.

A promo for Josephine Halvorson’s Measures, 2016, three new works presented as part of the annual “Outlooks” exhibition series at Storm King Art Center in upstate New York, which is on view May 14 to November 13, 2016.

Musician Herb Alpert and various winners of the Herb Alpert Award in the Arts talk about the award as well as the importance of the arts in our society. This video was created by Wondros, and directed by Jesse Dylan.

The official trailer for Kathryn Karwat and George Pitts’s Ann Liv Young / I Don’t Exist If You Don’t (2016), a documentary on the many characters of performance artist Ann Liv Young that combines video of her performances with in-depth interviews on her life and art.

The trailer for Maggie Lee’s Mommy (2015), a portrait of the artist’s mother before and after her unexpected death. To read Maggie Lee’s 1000 Words piece where she discusses her film, pick up the April 2016 issue of Artforum, or click here.

Trailer for Cecil B. Evans’ Hyperlinks or It Didn't Happen (2014). Part of the New York Film Festival Projections series.