November 2016

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Benjamin Patterson, Paper Piece, 1960. Performance view, Hypokriterion Theater, Amsterdam, June 23, 1963.

Benjamin Patterson

By George E. Lewis

Madison Square on election night, New York, November 6, 1888 (Harper’s Weekly, November 17, 1888).

Charles Musser’s Politicking and Emergent Media

By Geoffrey Winthrop-Young

Peter Eisenman and Matt Roman’s diagram of Andrea Palladio’s Villa Rotonda (1566), 2015.

Peter Eisenman’s Palladio Virtuel

By Daniel Sherer

Page from Brian Chippendale’s Puke Force (Drawn & Quarterly, 2015).

Brian Chippendale’s Puke Force

By Nicole Rudick

Richard Prince, Self-Portrait with a Spade, 1973–74, gelatin silver print, offset print and ink on board, 12 × 18".

“Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)”

By Bruce Hainley

Weiss/Manfredi, Novartis Office Building, 2012, East Hanover, NJ. Photo: Paul Warchol.

the staircase in contemporary architecture

By Alex Kitnick

Paul Meyer, Déjà s’envole la fleur maigre (From the Branches Drops the Withered Blossom), 1960, 35 mm, black-and-white, sound, 83 minutes.

Paul Meyer’s Déjà s’envole la fleur maigre

By James Quandt

Paul Verhoeven, Elle, 2016, video, color, sound, 131 minutes. Patrick (Laurent Lafitte) and Michèle Leblanc (Isabelle Huppert).

Paul Verhoeven’s Elle

By Johanna Fateman

Jacolby Satterwhite’s cover artwork for Jacolby Satterwhite, Patricia Satterwhite, and Nick Weiss’s Anthem: Patricia (Vinyl Factory, 2016).

Total Freedom’s Anthem

By Kevin Lozano

Still from GentleWhispering’s 2014 YouTube video ~ Relaxing Fluffy Towels Folds ~, 26 minutes 14 seconds.

autonomous sensory meridian response

By Julia Bryan-Wilson

November 2016

ARTISTS ON POLITICS

Zoe Leonard, I want a president, 1992, typewriting on paper, 11 × 8 1/2".

November 2016

November 2016

By Eileen Myles

Fatima White and her grandmother, Charlesetta Wicks, with Black Women Artists for Black Lives Matter, New Museum, New York, September 1, 2016. Photo: Madeleine Hunt-Erhlich.

By Simone Leigh

November 2016

Wolfgang Tillmans

By Wolfgang Tillmans

Arias Serna Saravia, Trump Ocean Club International Hotel & Tower, 2011, Panama City. Rendering.

FOOL’S GOLD: THE ARCHITECTURE OF TRUMP

Still from a live video feed showing the Million Dollar Theatre marquee during Daniel Joseph Martinez’s Ignore the Dents: A Micro Urban Opera, Los Angeles, September 1990.

CHANGE AGENT: THE ART OF DANIEL JOSEPH MARTINEZ

By Michael Ned Holte

Pierre Bismuth, Following the Right Hand of Audrey Hepburn in “Breakfast at Tiffany’s”, 2007, marker on Plexiglas over C-print, 32 × 49". From the series “Following the Right Hand of,” 2007–.

PORTFOLIO: SOUNDSCAPING

By Joseph Grigely

Maya Deren, At Land, 1944, 16 mm, black-and-white, silent, 15 minutes. Maya Deren.

CLOSE-UP: PSYCHOLOGICAL PROJECTIONS

Tony Pipolo on Maya Deren’s Meshes of the Afternoon (1943) and At Land (1944)

View of “Timothée Calame: Spring 2016,” Weiss Falk, Basel, 2016. Top left: Kino Süd (Cinema South), 2016. Window: Faut-il vraiment sauver l’Allemagne (Shall We Really Save Germany), 2016. Photo: Gina Folly.

OPENINGS: TIMOTHÉE CALAME

Lucas Samaras, AutoPolaroid, 1970, ink on Polaroid, 3 3/8 × 4 1/4". From the series “AutoPolaroids,” 1969–71.

MORGAN LIBRARY & MUSEUM/CRAIG F. STARR GALLERY, NEW YORK

By Robert Pincus-Witten

Rochelle Feinstein, I Made a Terrible Mistake, 2002–2005, mixed media. Installation view.

Rochelle Feinstein

Lenbachhaus Munich

By Daniela Stöppel

Carol Rama, Autorattristatrice n. 9, 1969, glass eye, spray paint, mixed media on canvas, 39 3/8 × 31 1/2". © Archivio Carol Rama, Torino.

Fergus McCaffrey

By Johanna Fateman

Andrea Rosen Gallery

By Jeffrey Kastner

Perrotin | New York

Whitney Museum of American Art

By Prudence Peiffer

Bortolami Gallery

By Annie Godfrey Larmon

Paula Cooper Gallery | 521 West 21st Street

By Phyllis Tuchman

The Frick Collection

By David Frankel

“The Female Gaze, Part Two: Women Look at Men”

By Kaitlin Phillips

Jennie C. Jones

Sikkema Jenkins & Co.

By Rachel Churner

By Colby Chamberlain

Derek Eller Gallery

By Michael Wilson

Knockdown Center

By Maya Harakawa

Victor Vasarely

Davidson Gallery

By Donald Kuspit

View of “Bettina Pousttchi: Double Monuments,” 2016. From left: Double Monument for Flavin and Tatlin VII, 2010; Double Monument for Flavin and Tatlin IX, 2013.

Bettina Pousttchi

The Phillips Collection

By Jordan Amirkhani

Josh Kline, RAID Drives, 2015–16, plaster, ink-jet ink, cyanoacrylate, handcuffs, commercial shelving, LED lights, 37 × 27 1/2 × 15". From “The Politics of Portraiture.”

“The Politics of Portraiture”

Jessica Silverman

By Sarah M. Miller

View of “Eau de Cologne,” 2016. Floor: Four works by Jenny Holzer. Wall: Louise Lawler, (Bunny) Sculpture and Painting (adjusted to fit), 1999/2015. Photo: Joshua White.

“Eau de Cologne”

Sprüth Magers | Los Angeles

By Nicolas Linnert

Blum & Poe | Los Angeles

By Andy Campbell

GAVLAK | Los Angeles

By Suzanne Hudson

Ragnar Kjartansson, Take Me Here by the Dishwasher: Memorial for Marriage, 2011/2014. Performance view.

Ragnar Kjartansson

Barbican Art Gallery

By Himali Singh Soin

PEER/Large Glass

View of “Puppies Puppies,” 2016. Photo: Aurélien Mole.

Puppies Puppies

Balice Hertling | 47 bis Rue Ramponeau

Galerie Zürcher | Paris

By Riccardo Venturi

Ernst Wilhelm Nay, Augen (Eyes), 1963, oil on canvas, 78 3/4 × 63". From the series “Augenbilder” (Eye Paintings), 1963–64.

Ernst Wilhelm Nay

Aurel Scheibler

By Jurriaan Benschop

Stanisław Fijałkowski

Galerie Isabella Czarnowska

By Barry Schwabsky

View of “Gerry Bibby and Henrik Olesen,” 2016. From left: Costumes, 4, Black on Red, 2016; Costumes, 3, White and Pink on Black, 2016; Costumes, 1, Red on White, 2016.

Gerry Bibby and Henrik Olesen

Deborah Schamoni

By Daniela Stöppel

Georg Baselitz, The Modern Painter, 1965, oil on canvas, 63 3/4 × 51 1/4".

By Jurriaan Benschop

View of “David Smith,” 2016. From left: 7 Hours, 1963; Untitled (Chock Full O’Nuts), 1960.

Hauser & Wirth | Zurich, Limmatstrasse

By Paola Nicolin

By Javier Hontoria

Bethan Huws, Frog, 2011, wig stand, fur hat, toy frog, 17 × 11 × 11 3/4".

Galerie Tschudi | Zuoz

By Hans Rudolf Reust

View of “Igor Eškinja,” 2016. Foreground: Screenscapes, 2016. Wall: Histogram of a City, 2016. Photo: Antonio Maniscalco.

By Giorgio Verzotti

Primo Marella Gallery

By Marco Meneguzzo

Enrico Castellani, Robert Mangold, Robert Morris, and Kenneth Noland

Galleria Fumagalli

By Francesca Pola

View of “Zoë Paul: Solitude and Village,” 2016. From left: , 2016; au, 2016; Untitled, 2016.

By Cathryn Drake

View of “The Uncertain, or the Shelved . . . ,” 2016.

“The Uncertain, or the Shelved . . .”

ShanghART Gallery | 香格纳画廊

By Arthur Solway

Inga Meldere, Students Painting Some of the Remarkable Scenery in the Park, 2016, ink-jet print, acrylic, and oil on canvas, 43 1/4 × 25 1/2".

Temnikova & Kasela Gallery

By Neringa Černiauskaitė

Hamed Ewais, Le Gardien de la Vie (The Protector of Life), 1967–68, oil on canvas, 52 × 39 1/2". From “The Short Century.”

“The Short Century”

Sharjah Art Museum

By Melissa Gronlund

Ram Kumar, Benares, 2015, oil on canvas, 36 × 24".

Aakriti Art Gallery

Reproduction of a poster by L. Mendoza for the film Macario, 1960, written by B. Traven.

Museo de Arte Moderno Mexico

By Magali Arriola

Contact sheet by Afonso Ropperto showing performance of Xerox Action, 1980, by Hudinilson Jr.

Centro Cultural Banco do Brasil | São Paulo

View of “Francis Upritchard: Jealous Saboteurs,” 2016. Center: Mandrake, 2011. Photo: Mark Tantrum.

Francis Upritchard

City Gallery Wellington

By Anthony Byrt

Cover: Dread Scott, Imagine a World Without America, 2007, silkscreen on canvas, 75 × 75". — Cover: Dread Scott, Imagine a World Without America, 2007, silkscreen on canvas, 75 × 75".

November 2016

VOL. 55, NO. 3

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