February 2007 in Artforum
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While there is a growing sense that Sillman is an avatar of a new order of painting, the language needed to describe this new order has yet to be formulated. Linda Norden
And: Architecture-Eye. As part of his continuing series of essays on architecture and modernity, Hal Foster looks at Diller Scofidio Renfro, the architectural firm behind Bostons recently opened Institute of Contemporary Art building as well as the upcoming renovations to New Yorks Lincoln Center for the Performing Arts and the repurposing of the High Line on Manhattans West Side.
The fusion of architecture with art was the distinctive move made by DS R during its first two decades. Whereas architects like Koolhaas and Hadid pursued a neo-avant-garde strategy … DS R followed a postmodernist strategy, whereby design was to be complicated by a lateral turn to contemporary practices mostly in art. Hal Foster
Also in February: Stars and starlets, has-beens and never-weres, tough-talking gumshoes and crooked politicos, media moguls and murder victims? J. Hoberman traces the history of Sunshine Noir, as he has dubbed the subset of film noir that takes Los Angeles and movie history as its subject and whose numbers range from Billy Wilders Sunset Boulevard to Robert Altmans Long Goodbye and David Lynchs Inland Empire.
Late afternoon of the studio system: Wilders exercise in gothic neorealism is pure magic hour, satirizing yet attesting to the power of motion pictures to reanimate the past and raise the dead. Hollywood is less dream factory than dream dump. J. Hoberman
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