March 2012

Read Next: Franz Wilhelm Seiwert’s Wandbild Für Einen Fotografen (Mural For A Photographer), 1925

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Detail of the apse mosaic, Basilica Papale di San Paolo fuori le Mura, thirteenth century, Rome. Photo: Luca Marchi. Cover illustration of Giorgio Agamben’s The Kingdom and the Glory (2011).

Giorgio Agamben’s The Kingdom and the Glory

By

Jerome Hiler, Words of Mercury, 2011, still from a color film in 16 mm, 25 minutes.

Jerome Hiler’s Words of Mercury

By

Jafar Panahi and Mojtaba Mirtahmasb, This Is Not a Film, 2011, still from a color video, 75 minutes.

Jafar Panahi’s This Is Not a Film

By

Pablo Larraín, Post Mortem, 2010, still from a color film in 16 mm transferred to 35 mm, 98 minutes. Mario Cornejo (Alfredo Castro).

Pablo Larraín’s Post Mortem

By

Safdie Architects, Crystal Bridges Museum of American Art, 2011, Bentonville, AR. Photo: Timothy Hursley.

The Crystal Bridges Museum of American Art

By

Reverse of fragment of silk damask weaving, Spain or Italy, ca. 1600, 20 7/8 x 20".

Collecting Textiles, Introduction by Lauren O’Neill-Butler

By Seth Siegelaub

Artie Vierkant, Image Object Saturday 9 July 2011 5:47 PM, version Wednesday 4 January 2012 5:49 PM, 2012, digital image, dimensions variable.

By

March 2012

Loretta Fahrenholz

By

Sturtevant, Study for Yvonne Rainer’s “Three Seascapes”, 1967. Performance view, 222 Bowery, New York, May 16, 1967. Photo: Peter Moore/VAGA.

FIRST POSITION: THE EARLY PERFORMANCE WORK OF STURTEVANT

By

John Chamberlain, Hano, 1970, mineral-coated polymer resin, 30 x 37 x 34".

PERFECT FIT: JOHN CHAMBERLAIN REMEMBERED

By Lynne Cooke, Larry Bell

Dan Graham, Likes (A Computer-Astrological Dating-Placement Service), 1967–69, printed material, dimensions variable.

PANDORA’S BLACK BOX: ALGORITHMS OF TASTE

By

Konrad Klapheck, Die Macht des Vergessens (The Power of Oblivion), 1968, oil on canvas, 61 x 43 1/4".

L’HOMME MACHINE: THE ART OF KONRAD KLAPHECK

By

Boris Charmatz, héâtreélévision, 2002. Performance view, Hayward Gallery, Southbank Centre, London, 2011.

1000 WORDS: BORIS CHARMATZ

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Abel Gance, Napoléon, 1927/2000, still from a silent black-and-white and hand-tinted film in 35 mm, 332 minutes. Napoléon (Albert Dieudonné).

CLOSE-UP: RESTORED TO POWER

Tony Pipolo on Abel Gance’s Napoléon

By

Rey Akdogan, AWC, 2011, poster, paper, scenic paint, cotton string, lighting gel, tape, 94 1/2 x 26 x 7".

OPENINGS: REY AKDOGAN

By

Alighiero Boetti, Mappa (Map), 1971–72, embroidery on linen, 57 7/8 x 89 3/4".

Alighiero Boetti

By

View of “De Kooning: A Retrospective,” 2011–12. From left: Untitled XI, 1975; Seated Woman on a Bench, 1972; . . . Whose Name Was Writ in Water, 1975; Untitled I, 1977; Screams of Children Come from Seagulls (Untitled XX), 1975; Untitled, 1977.

Willem de Kooning

By

View of “Sherrie Levine: Mayhem,” 2011–12. Foreground: Bachelors (After Marcel Duchamp), 1991, six-part suite. Photo: Sheldan Collins.

By

Richard Pousette-Dart, Angel Forms, 1952–53, oil on linen, 44 x 62 1/2"

Richard Pousette-Dart

Luhring Augustine | Chelsea

By “The Wedding (The Walker Evans Polaroid Project)”

Andrea Rosen Gallery

By Donald Baechler

Fisher Landau Center for Art

Tibor De Nagy Gallery

By Günther Förg

Greene Naftali Gallery

Edward Thorp Gallery

David Zwirner | West 19th Street

By Edwin Dickinson

Driscoll Babcock Galleries

By Zefrey Throwell Klemens

Tanja Grunert Gallery

By Greg Parma Smith

Balice Hertling at the Film Center | New York

By Matthew Brannon

By Robert Bourdeau

Edwynn Houk Gallery | New York

By Matthew Picton

Christopher Henry Gallery

By Sanja Iveković

MoMA - The Museum of Modern Art

By

View of “Katharina Grosse,” 2011.

North Adams, MA

Katharina Grosse

Massachusetts Museum of Contemporary Art (MASS MoCA)

By

Charline von Heyl, untitled (detail), 2003, photocopy, collage, and ink on paper, fifteen elements, each 24 x 19".

Charline von Heyl

Institute of Contemporary Art, University of Pennsylvania

By

Jillian Conrad, Flag (detail), 2011, slide projector, opal shards in resin, Plexiglas, wood, brass clamp, dimensions variable.

Devin Borden Gallery

By

Taryn Simon, Charles Irvin Fain, scene of the crime, the Snake River, Melba, Idaho, served 18 years of a death sentence for murder, rape and kidnapping, 2002, color photograph, 48 x 62". From the series “The Innocents,” 2002.

Milwaukee Art Museum

By

Barbara Kasten, Construct PC/I-A, 1981, Polaroid photograph, 24 x 20".

Gallery Luisotti

The Museum of Contemporary Art | MOCA Grand Avenue

By Farrah Karapetian

By

View of “Donald Judd,” 2012.

Sprüth Magers | London

Gagosian Gallery

By Jon Thompson

Anthony Reynolds Gallery

By

Mark Geffriaud, The light that moves against the wind, 2011, blown-glass lenses filled with water, light, paper, shelves. Installation view.

By Stéphane Bordarier

Galerie Jean Fournier

By

João Penalva, Petit Verre (Small Glass), 2007, shadow theater, wood, fabric, and PVC (music commissioned from Zhuomin Chan), 63 x 24 1/4 x 24 3/4".

João Penalva Galerie

Galerie Thomas Schulte

By Andrea Winkler

GERHARDSEN GERNER | Berlin

Autocenter Contemporary Art Berlin

By

View of “Jon Shelton,” 2011. Floor: Study for Brisk Tea, 2011. Wall: Brisk Tea / Dick Armey, 2011. Back room: Start Packin’ Granny, 2011.

krupic kersting

By

View of “Diango Hernández,” 2011.

Diango Hernández

Nicolas Krupp Contemporary Art

By

Flavio Favelli, Sandokan (Garage), 2011, enamel on iron garage door, 98 x 76".

Atelier Van Lieshout, The Farm, 2011, foam, Japanese rice paper, fiberglass, approx. 65 x 59 x 58".

Atelier Van Lieshout

View of “Vincent Vulsma,” 2011.

Stedelijk Museum Bureau Amsterdam (SMBA)

Dirk Braeckman, Prague # 1b / 2011, black-and-white photograph, 47 1/4 x 70 7/8". Zeno X Gallery.

Leuven/Antwerp, Belgium

M – Museum Leuven/Zeno X Gallery

View of “Markus Schinwald,” 2011–12.

Markus Schinwald

Lentos Kunstmuseum Linz

View of “Esther Stocker and Jan Šerých,” 2011–12.

Esther Stocker and Jan Šerých

Vladimir Grig, London Calling, Moscow Speaks, 2010–11, acrylic on canvas, LED light, 63 x 70 7/8".

Saint Petersburg, Russia

Carla Filipe, Instalação Rorschach (Rorschach Installation) (detail), 2011, books with bookworm damage, Plexiglas shelves, seven elements, overall 17 3/4 x 118 1/8 x 1 3/8".

Galeria Graça Brandão

Fernando Bryce, El mundo en Llamas (The World in Flames), 2010–11, ink on paper, ninety-five elements, eighty-three measuring 27 1/2 x 19 5/8", twelve measuring 39 3/8 x 27 1/2".

Museo de Arte de Lima - MALI

Cover: Sturtevant, Trilogy of Transgression, 2004, still from a three-channel color video, 1 minute 40 seconds. — 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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