October 2013 in Artforum
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This month in Artforum:
· Hassan Khan: Trusted Sources. In an exclusive project for Artforum, the Cairo-based artist presents images and objects that hover between pop and politics, form and its undoing.
· Huey Copeland offers an unprecedented take on Theaster Gates, Ebony magazine, and black entrepreneurship:
“Gates is a business artist for the new millennium.”—Huey Copeland
· Louise Lawlerdebuts Portfolio (traced), a series of new drawings based on her iconic photographs, in anticipation of her large-scale exhibition at the Museum Ludwig in Cologne, opening this month.
· Renowned historian and philosopher Thierry de Duve presents the first in a series of new essays for Artforum on the invention of art—and the avant-garde—as we know it:
“Was art devoid of identity before Duchamp? Or did Duchamp single-handedly change the identity of art?”—Thierry de Duve
· J. Hoberman on the art and life of the elusive Ralston Farina:
“Like fellow performance pioneers Vito Acconci and Laurie Anderson, Ralston Farina was a self-produced character in the theater of downtown art.”—J. Hoberman
· And: Jeffrey Weiss takes a Close-Up of Erin Shirreff‘s Medardo Rosso, Madame X, 1896; Glenn O’Brien and Laura Owens go head-to-head on Paul McCarthy‘s WS; T. J. Demos exchanges 1000 Words with John Akomfrah; Claire Bishop sits in on the Manchester International Festival; Ross Lipman details the restoration of Bruce Conner‘s 1976 film Crossroads; and Victoria Camblin pensan Openings on Anne Imhof.
· Also: Hermann Nitsch and Malcolm Green remember Otto Mühl; Marc Siegel pays homage to Taylor Mead; Leland de la Durantaye reviews Peter Osborne‘s tract Anywhere or Not at All; James Quandt takes on Alain Guiraudie‘s Stranger by the Lake; Finn Brunton surveys the mother of all search engines, Shodan; and Matthew Higgs revisits Artforum, January 1983.
· Plus: Prudence Peiffer on Ken Price at the Metropolitan Museum of Art and the Drawing Center; Jan Tumlir on Urs Fischerat LA MoCA; Eric Michaud and Maria Stavrinaki on the Louvre’s “De l’Allemagne, 1800–1939“; Barry Schwabsky on Giorgio Morandiat the Centre for Fine Arts, Brussels; and poet Bernadette Mayer shares her Top Ten.
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