 11/01/04 Artforum
November 2004 in Artforum This month in Artforum: The Tuymans Effect. On the occasion of the Belgian painter's retrospective now on view in Dusseldorf, artist and curator Jordan Kantor explores Luc Tuymans's pervasive influence on contemporary European painting, focusing on younger talents Wilhelm Sasnal, Eberhard Havekost, and Magnus von Plessen. "These days one can hardly walk into a gallery or art fair with an eye peeled for painting without seeing the 'Tuymans effect' --the profound, if sometimes ineffable, way in which the look, subjects, and even fundamental painterly approach of Tuymans's work has saturated a large and increasingly significant territory." --Jordan Kantor Also in November: Hal Foster takes on the under-known work of German filmmaker Harun Farocki, whose Eye/Machine trilogy, a poemlike montage of images appropriated from the industrial-military complex, made its debut last month at the Carnegie International in Pittsburgh. Farocki also joins Artforum editor Tim Griffin in an interview to discuss the imaging of the second Gulf War and cinema in the Internet Age. "Farocki applies Warholian means to Brechtian ends: He 'annexes' found images--that is, both cancels and subsumes them--in order to insist on a new relation to seeing and imaging alike." --Hal Foster And: "Isamu Noguchi: Two Views." Why Noguchi now? To mark the centennial of the artist's birth, the Noguchi Museum in Long Island City reopens in tandem with a sculpture retrospective at the Whitney Museum of American Art. Artforum writers provide two essays for the occasion: Anne M. Wagner reconsiders the political implications of the modern artist's work in the '30s and '40s, finding new relevance in his lost 1939 carving 1,000 Horsepower Heart. In "Useful Noguchi," artist Josiah McElheny looks to Noguchi's intersection of art and design, seeing him as a forerunner to contemporaries Jorge Pardo, Dominique Gonzalez-Foerster, and Andrea Zittel. "In his manufactured works for Knoll, Noguchi saw that he could make a lamp into a sculpture, a sculpture that by its very nature was about light." --Josiah McElheny Plus: Mark Dion discusses Rescue Archaeology, a major project commissioned by the Museum of Modern Art in New York for the opening of its new building this month; Dave Hickey gives a checkered review of "Beyond Geometry: Experiments in Form, 1940s-70s" at the Los Angeles County Museum of Art; David Rimanelli looks for the grotesque in Robert Storr's SITE Santa Fe Biennial; Hans-Ulrich Obrist reintroduces David Robbins, whose genre-defying Ice Cream Social gives Relational Aesthetes a new flavor; Doug Aitken goes nonlinear in a project made exclusively for Artforum; P. Adams Sitney attends the premiere of the first installment of Gregory J. Markopoulos's eighty-hour Eniaios cycle, the "most demanding film ever made [and also] one of the most rewarding"; and Gerald Marzorati pays tribute to Leon Golub. Visit Artforum online at http://www.artforum.com To subscribe, visit http://www.artforum.com/subscribe Visit our free online directory of international museums at http://www.artforum.com/museumfinder |
