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This month in Artforum:
“Minor Threat“: Branden W. Joseph on desire and terror in the art of Cameron Jamie:
“If Jamie is a ‘backyard anthropologist,’ his backyard in some sense remains the San Fernando Valley, where he grew up—which he calls ‘horrible,’ ‘a very small and dead world.’”
—Branden W. Joseph
Richard Tuttle unveils a portfolio of his work and textiles, alongside the artist’s own account of the working process for his major installation in Tate Modern’s Turbine Hall and a retrospective survey at the Whitechapel Gallery, both debuting in London this month.
Beau Rutland on the collaborative work of Gaylen Gerber:
“Gerber’s ‘cooperative’ practice can be seen as an act of either generosity or megalomania.”
—Beau Rutland
Neïl Beloufa pens 1000 words about his current show, “Counting on People”:
“I wanted to be the interface, to be their iPhone, to play their robot.”
—Neïl Beloufa
Tom McCarthy and Simon Critchley present the International Necronautical Society‘s “Declaration on Digital Capitalism”:
“What we see in literature and art is the description and celebration of psychical disintegration. We are dividuals, divided against ourselves, at war with ourselves, undoing ourselves, endlessly inauthentic.”
—The International Necronautical Society
Daniel Birnbaum surveys Lygia Clark‘s MoMA retrospective:
“Clark’s therapeutic workshops were too expansive in their emancipatory ambitions to be defined as art. Instead, they belong to the tradition of healing. But from what, exactly, were her participant-patients suffering?”
—Daniel Birnbaum
Julian Rose talks with pioneering structural engineer and designer Cecil Balmond:
“Data is a raw material for me, and I think it’s probably the most important new material we have today.”
—Cecil Balmond
· And: Hans Ulrich Obrist and Paul McCarthy remember Maria Lassnig, with excerpts from an exclusive interview with the late artist; James Quandt reevaluates the acclaimed cinematic realism of Jean-Pierre and Luc Dardenne; Svetlana Alpers peruses Walker Evans: The Magazine Work; Thomas Lawson visits Made in L.A. 2014; Negar Azimi examines “Unedited History: Iran 1960–2014″ in Paris; Bibiana Obler reflects on the Neue Galerie’s “Degenerate Art”; and Chika Okeke-Agulu reports on Dak’Art 2014.
· Plus: Andrei Pop on Charles Ray; Christian Rattemeyer on the 8th Berlin Biennale; Suzanne Hudson on Alex Olson; Amy Taubin on David Cronenberg‘s new novel and latest film; Melissa Anderson on Michael Roemer; Jacob R. Moore on “Beyond the Supersquare”; and Jessie Stead counts down her Top Ten.
