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International Collection of Modern Art, the J. and K. Bartoszewicz Municipal Museum of History and Art, Lodz, Poland, 1932. Photo: Włodzimierz Pfeiffer.
curation
PALACE COUP
Rachel Haidu on Muzeum Sztuki
Mickalene Thomas, Resist #2, 2021, acrylic, oil stick, rhinestones, and glitter on canvas mounted on panel, 84 × 108".
curation
PIECES DE RÉSISTANCE
Ciarán Finlayson on “Guarding the Art”
Alison Knowles, Proposition #2: Make a Salad, 1962. Performance view, Festival of Misfits, Institute of Contemporary Arts, London, October 24, 1962. Center: Alison Knowles.
Slant
FOOD FOR THOUGHT
Colby Chamberlain on Alison Knowles
A family in Indianapolis, ca. 1915. Photo: J.C. Patton.
On Site
STITCH IN TIME
Jasmine Sanders on “Black Dolls”
Breyer P-Orridge, Untitled (In Thee Beginning), 2004, marker on paper, sheet size 24 × 18".
On Site
JOURNEY THROUGH A BODY
Canada Choate on Breyer P-Orridge
Eli Osheyack, Shanghai, 2022. Photo: Dre Romero.
Music
PUBLIC RECORD
Travis Jeppesen on Osheyack’s Intimate Publics
Simone Leigh, Brick House, 2019, bronze. Installation view, Arsenale, Venice, 2022. From “The Milk of Dreams.” Photo: Roberto Marossi.
Features
CHIMERICAL ROMANCE
Chloe Wyma on “The Milk of Dreams”
Nadja, C’est moi, c’est encore moi (It’s Me, It’s Me Again), 1926, lipstick and pencil on paper, 3 5⁄8 × 4 5⁄8". From “The Witch’s Cradle.”
Features
SAY IT WITH—BOLTS!
Daniel Birnbaum on “The Milk of Dreams”
Santiago Ramón y Cajal, Pyramidal cell of the human motor cortex, 1899, ink and pencil on paper, 8 5⁄8 × 6 7⁄8".
Features
THOUGHT EXPERIMENT
Ken Okiishi on “Human Brains: It Begins with an Idea” at Fondazione Prada
David Cronenberg, Crimes of the Future, 2022, 2K video, color, sound, 108 minutes. Saul Tenser (Viggo Mortensen) and Caprice (Léa Seydoux).
Features
GROSS CLINIC
Amy Taubin talks with David Cronenberg about Crimes of the Future
Lydia Ourahmane, Finitude, 2018, ash, chalk, steel, inductor base stereo system. Installation view, New Museum, New York. From the 2018 Triennial. Photo: Maris Hutchinson/EPW Studio.
Features
A LANGUAGE OF ONE’S OWN
Negar Azimi on the art of Lydia Ourahmane
Igshaan Adams, Langa, 2021, paint on wood, plastic beads, glass beads, stone beads, bone beads, polyester rope, nylon rope, cotton fabric, chain, wire, cotton twine, 7' 10 1⁄2" × 10' 2 7⁄8".
Features
WORKLINES
Michael Dango on the art of Igshaan Adams
Sonia Delaunay, fabric design study, 1924, gouache on paper, 12 1⁄4 × 9 1⁄4". © PRACUSA S.A.; Louisiana Museum of Modern Art, Humlebæk.
Features
MIGHTY BRAVE
Lynne Cooke on the art of Sonia Delaunay
Andrew Wyeth, Snow Hill, 1989, tempera on panel, 48 × 72". © Andrew Wyeth/Artists Rights Society (ARS); Collection of the Wyeth Foundation for American Art.
Features
CLOSE-UP: EXQUISITE CORPSE
Zack Hatfield on Andrew Wyeth’s Funeral Group drawings, ca. 1991–94
Whitney Biennial 2022
Hilton Als on the Whitney Biennial 2022
Whitney Museum of American Art
View of “rīvus,” 2022, the Cutaway at Barangaroo, Sydney. Center: Jessie French, The Myth of Nature – agaG1, 2021–22. Photo: Document Photography.
Sydney
23rd Biennale of Sydney
Helen Hughes on the 23rd Biennale of Sydney
Various Venues
Coco Fusco, Your Eyes Will Be an Empty Word, 2021, HD video, color, sound, 12 minutes. From the Whitney Biennial 2022: “Quiet as It’s Kept.”
Coco Fusco, Your Eyes Will Be an Empty Word, 2021, HD video, color, sound, 12 minutes. From the Whitney Biennial 2022: “Quiet as It’s Kept.”
Summer 2022
VOL. 60, NO. 10
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