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This month in Artforum:
Art Is Medicine: Helen Molesworth on the work of Simone Leigh
“I’ve come to see Leigh’s ceramic female figures as sentinels holding space for a culture that is very much in the making, a culture in which whiteness is neither the center nor the frame.”
—Helen Molesworth
Project: Jesse Darling, introduced by Martin Herbert
“Darling’s approach to representation gravitates toward deliberate weakness, manifest damage, and evocations of mutual aid, as if to anticipate and then repudiate a context of toxic masculinity and wrathful white heteronormativity.”
—Martin Herbert
“I liked that these batik fabrics from my childhood, this hybrid material, seemed to be a metaphor for contemporary identity.”
—Yinka Shonibare MBE
Hatchet Job: Sam McKinniss on Grant Wood’s Parson Weems’ Fable
“Grant purposefully misleads his audience because lies are disguises and disguises are illusions and illusions are magical.”
—Sam McKinniss
And: Kaelen Wilson-Goldie on the art of Ahmed Morsi, Jacques Herzog talks with Julian Rose, Maria Stavrinaki on Art and Prehistory, Julie Ault on Tim Rollins, J. Hoberman on Tuli Kupferberg’s Yeah, Amy Taubin on Rainer Werner Fassbinder’s Eight Hours Don’t Make a Day, and Saul Anton on Hito Steyerl’s Duty Free Art.
Plus: Rachel Churner on Hans Richter’s Dada: Art and Anti-Art, Melissa Anderson on Ken Russell’s Women in Love, Cristoph Cox on Milford Graves, Catherine Damman on Richard Maxwell’s Paradiso, Mira Dayal on Fictions, Laura McLean-Ferris on Jason Rhoades, Claire Bishop on Ilya and Emilia Kabakov, and Yaeji shares her Top Ten.
