March 2006 in Artforum
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Can the art of building solve problems not created by nature alone but by the very ways in which we have historically tried to conquer its potent forces? And can architecture provide structures that are more logical, just, and useful than those seemingly ordained by the economic and political powers that be? –Aaron Betsky, Sites Unseen
Plus: Robert Rauschenberg at the Metropolitan Museum of Art in New York. Art historian Yve-Alain Bois and painter Carroll Dunham take a walk through the most comprehensive exhibition ever of Rauschenbergs Combines, in which intricate patchwork surfaces and avian appendages continue to pose baffling riddles more than a half century after their inception.
Rauschenberg declared that there is no fundamental difference between a collage element and a painted one. In his work, any atom–whether industrially, mechanically, or manually produced–is, as it were, in quotation marks. –Yve-Alain Bois
I hope the new tower will be as controversial as the old one was back then. Because, you know, indifference is almost worse than hostility. –Irving Petlin
Plus: Isabelle Graw on Jutta Koether, a cult figure and outsider all wrapped up in one; David Joselit on Thomas Hirschhorns confrontational exhibitions at the Institute of Contemporary Arts, Boston, and the Gladstone Gallery, New York; Michael Fried on the panoramic images of post-journalistic French photographer Luc Delahaye; Matthew Stadler on mercurial art group Red76; Barry Schwabsky on Daria Martin; Bruce Hainley on Liza Minnelli; Amy Taubin on Peter Watkinss Punishment Park; and David Antin on the early poetry of Vito Acconci.
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