March 2021

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Pauline Boty posing with her painting Celia Birtwell Surrounded by her Heroes, 1963, London, October 29, 1963. Photo: Michael Ward.

Alex Kitnick on Thomas Crow’s The Hidden Mod in Modern Art: London, 1957–1969

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James Benning, PLACE (detail), 2020, still from the HD video component (color, sound, 84 minutes) of a mixed-media installation additionally comprising a letterpress book and seven paintings on plywood, canvas, and paper.

The Lives of Others

Erika Balsom on James Benning’s PLACE

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Veneno, 2020, still from a TV show on HBO Max. Season 1, episode 4. Cristina “La Veneno” Ortiz Rodríguez (Daniela Santiago).

Hari Nef on Veneno

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Ulrike Müller, The Conference of the Animals (A Mural), 2020, latex paint. Installation view, Queens Museum, New York. Photo: Hai Zhang.

It’s a Small World (After All)

Gregg Bordowitz on “The Conference of the Animals”

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Lisa Reihana, Ihi—The Separation of Rangi and Papa, 2020, two-channel HD video, color, sound, 12 minutes.

Anthony Byrt on “Toi Tū Toi Ora: Contemporary Māori Art”

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Stan Burnside, Visionary Princess with Matissian Hands: You Gotta See What it is Yer Lookin’ At, 2019, acrylic on canvas, 60 × 40".

Tavares Strachan

By Tavares Strachan

Lorraine O’Grady, Landscape (Western Hemisphere), 2010/2011, HD video, black-and-white, sound, 18 minutes 4 seconds. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

Lorraine O’Grady

Catherine Damman, Mira Dayal, and David Velasco reflect on O’Grady’s art

Lorraine O’Grady, The Clearing: or Cortés and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, 1991/2019, diptych, ink-jet prints, each 40 × 50". From Body Is the Ground of My Experience, 1991/2019. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

Risk Everything

Catherine Damman on the art of Lorraine O’Grady

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Top row, left: Lorraine O’Grady, Miscegenated Family Album (Sisters IV), L: Devonia’s sister, Lorraine; R: Nefertiti’s sister, Mutnedjmet, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994. Top row, right: Lorraine O’Grady, Miscegenated Family Album (Sibling Rivalry), L: Nefertiti; R: Nefertiti’s sister, Mutnedjmet, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994. Center row, left: Lorraine O’Grady, Miscegenated Family Album (Sisters II), L: Nefertiti’s daughter, Merytaten; R: Devonia’s daughter, Candace, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994. Center row, right: Lorraine O’Grady, Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s youngest daughter, Kimberley, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994. Bottom row, left: Lorraine O’Grady, Miscegenated Family Album (Hero Worship), L: Devonia, age 14; and Lorraine, age 3; R: Devonia, age 24; and Lorraine, age 13, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994. Bottom row, right: Lorraine O’Grady, Miscegenated Family Album (Progress of Queens), L: Devonia, age 36; R: Nefertiti, age 36, 1980/1994, diptych, Cibachrome prints, overall 26 × 37". From Miscegenated Family Album, 1980/1994.

Close-Up: Theory of Relativity

Mira Dayal on Lorraine O’Grady’s Miscegenated Family Album, 1980/1994

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Lorraine O’Grady, Announcement Card 1 (Banana-Palm with Lance), 2020, digital C-print, 50 × 33 3⁄8". From Announcement of a New Persona (Performances to Come!), 2020. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

1000 Words: Lorraine O’Grady

Lorraine O’Grady talks about Announcement Of A New Persona (Performances To Come!)

By David Velasco, Lorraine O’Grady

Cecilia Vicuña, María Sabina, 1986, oil on canvas, 59 3⁄4 × 49 1⁄2".

Portfolio: Cecilia VicuÑa

Cecilia Vicuña shares a portfolio featuring works from the beginning of her career

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Leonilson, Ninguém (Nobody), 1992, thread on embroidered cotton pillowcase, cotton fabric, pillow, 9 1⁄4 × 18 1⁄8 × 2".

Close-Up: Negative Capability

Irene V. Small on Leonilson’s Ninguém, 1992

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Arnold J. Kemp, Mr. Kemp: Yellowing, Drying, Scorching, 2020, vinyl chair, vinyl seat cushions, thermometer, forty hardcover and paperback copies of Arnold Kemp’s 1972 Eat of Me: I Am the Savior, 31 × 41 × 32".

1000 Words: Arnold J. Kemp

Arnold J. Kemp talks about “False Hydras”

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Joan Mitchell in her studio, 60 Saint Marks Place, New York, 1957. Photo: Joan Mitchell and Rudy Burckhardt. © Estate of Joan Mitchell.

Molly Warnock and Elise Archias illuminate Mitchell’s oeuvre

Joan Mitchell, Cross Section of a Bridge, 1951, oil on canvas, 79 3⁄4 × 119 3⁄4". © Estate of Joan Mitchell.

Motion Pictures

Molly Warnock on the art of Joan Mitchell

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Joan Mitchell, George Went Swimming at Barnes Hole, but It Got Too Cold, 1957, oil on canvas, 87 3⁄4 × 78 1⁄4". © Estate of Joan Mitchell.

Volume Judgement

Elise Archias on the art of Joan Mitchell

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Louis Fratino, Waking up first, hard morning light, 2020, oil on canvas, 90 × 70".

Openings: Louis Fratino

Durga Chew-Bose on the art of Louis Fratino

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Madeline Hollander, Ouroboros: Gs, 2019. Performance view, Whitney Museum of American Art, New York, September 19, 2019. From left: Lauren Newman, Asami Tomida. Photos: Charles Roussel.

Openings: Madeline Hollander

Charles Aubin on the art of Madeline Hollander

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Otobong Nkanga, The Weight of Scars, 2015, polyester, linen, mohair, cotton, viscose, ink-jet prints on ten Forex plates, 8' 3 5⁄8" × 20' 1".

Karlsruhe, Germany

“Critical Zones”

Diedrich Diederichsen on “Critical Zones”

ZKM | Center for Art and Media

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Jo Baer, Snow-Laden Primeval (Meditations, on Log Phase and Decline Rampant with Flatulent Cows and Carbon Cars), 2020, oil on canvas, 67 5/8 × 60 1/4".

By Luigi Ghirri

Matthew Marks Gallery

By José Parlá

Bronx Museum of the Arts

By Luisa Rabbia

Peter Blum Gallery

By Eleonore Koch

Mendes Wood DM | New York

By Jean Katambayi Mukendi

By Joseph Holtzman

By Craig Kalpakjian

By Leopold Strobl

Ricco / Maresca Gallery

By Dietmar Busse

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Karen Kilimnik, Christmas service for the forest pets, 2008, oil on canvas, 16 × 16".

By

Mary Heilmann, Long Line, 2020, acrylic on panel, 24 × 96".

Southampton, NY

Hauser & Wirth | Southampton

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An-My Lê, Fragment I: Film Set (Free State of Jones), Battle of Corinth, Bush, Louisiana, 2015, ink-jet print, 40 × 56 1/2".

Carnegie Museum of Art

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Mathew Cerletty, Ottoman, 2020, oil on linen, 48 × 70".

Mathew Cerletty

The Power Station

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Peggy Ahwesh, The Star Eaters, 2003, video, color, sound, 24 minutes.

By Caroline Kent

Michael Kohn Gallery

By Bri Williams

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Howie Tsui, Joyride, 2018, lenticular print in light box, 25 × 37 × 2 1/2".

The Power Plant

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Cildo Meireles, Tiradentes: Totem-Monumento ao preso politico (Tiradentes: Totem-Monument to the Political Prisoner), 1970, wooden pole, white cloth, thermometer, live chickens, gasoline, fire. Performance view, Parque Municipal de Belo Horizonte, Brazil, 1970. Photo: Luiz Alphonsus. From “The Missing Circle.”

“The Missing Circle”

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Ana Mazzei, Romana (Roman Woman) (detail), 2020, wood, pigmented wax painting, iron, engine, 4' 1 1/4" × 15' 4 1/2" × 15' 4 1/2".

Galeria Jaqueline Martins | São Paulo

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Erin O’Keefe, Circle, Circle, 2020, ink-jet print, 32 × 40".

By Umar Rashid (Frohawk Two Feathers)

Tiwani Contemporary

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Walter Price, Florida man, 2019, acrylic, gesso, and encaustic on wood, 18 × 24".

The Modern Institute | Aird’s Lane

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Oscar Murillo, manifestation, 2019–20, oil, oil stick, cotton thread, and graphite on velvet, canvas, and linen, 8' 6 3/8" × 10' 3" . From the series “manifestation,” 2018–.

David Zwirner | Paris

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Gerda Wegener, Lili med fjerkost (Lili with a Feather Duster), 1920, oil on canvas, 31 1/8 × 23 1/4". From “Moral Dis/Order: Art and Sexuality in Europe Between the Wars.”

Valencia, Spain

“Moral Dis/Order”

Instituto Valenciano de Arte Moderno (IVAM)

By

Domenico Bianchi, Untitled, 2020, oil and wax on fiberglass, 55 × 43 1/2".

Domenico Bianchi

Galleria Lorcan O'Neill

By

Florian Germann, Untitled, 2020, bio resin dyed with fuel pigments, ferrite magnets, steel, 66 1/8 × 44 7/8 × 18 1/2".

Florian Germann

By

Klára Hosnedlová, Untitled (from the series Nest), 2020, cotton thread, stainless steel, 21 1/4 × 16 7/8".

Klára Hosnedlová

Kraupa-Tuskany Zeidler

By Esteban Jefferson

By

Jill Mulleady, Sade en Prison, 2020, oil on linen, 61 × 70 7/8".

Gladstone Gallery | Brussels

By

Revital Cohen & Tuur Van Balen, Sterile, 2014, goldfish, dimensions variable.

Revital Cohen & Tuur Van Balen

Z33 House for Contemporary Art, Design & Architecture

By

Joanna Piotrowska, Untitled, 2014, gelatin silver print, 16 1/8 × 20".

Joanna Piotrowska

Zachęta National Gallery of Art

Zehra Doğan, Hey soldier; you can’t make strip search. I’m already naked, 2018, ballpoint pen and hair on underwear, two parts, 8 3/4 × 28 3/8" and 10 1/4 × 11 3/4".

Zarina Bhimji, I Will Always Be Here (detail), 1992, mixed media, dimensions variable.

Sharjah Art Foundation

Tonia Nneji, Far from Here, 2020, oil on canvas, 34 × 24".

Ghislaine Leung, Shrooms (detail), 2016, night-lights, plug adapters, dimensions variable. From “More, More, More.” Photo: Xianhe D. Kong.

“More, More, More”

TANK Shanghai 上海油罐艺术中心

Koki Tanaka, Vulnerable Histories (A Road Movie), 2019, 4K video, color, sound, 78 minutes.

Art Sonje Center

Elizabeth Newman, Untitled, 1989, oil on canvas, 30 × 35 3/4".

Elizabeth Newman

Griffith University Art Museum

Lorraine O’Grady, Art Is . . . (Troupe Front), 1983/2009, C-print, 16 × 20". From Art Is . . . , 1983/2009. © Lorraine O’Grady/Artists Rights Society (ARS), New York. — Lorraine O’Grady, Art Is . . . (Troupe Front), 1983/2009, C-print, 16 × 20". From Art Is . . . , 1983/2009. © Lorraine O’Grady/Artists Rights Society (ARS), New York.

March 2021

VOL. 59, NO. 5

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