Mike Kelley Talks with Artforum
Artforum
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occasion of the Stedelijk Museum exhibition “Eye Infection.” R. Crumb, whose grinning and griping “Erica” graces this month’s cover, is one of five artists (along with Kelley, Jim Nutt, Peter Saul, and H.C. Westermann) in this show of American eccentrics who, after decades of pulling up the art-historical rear, have finally “lurched into the passing lane,” as Robert Storr says in his introduction.
Six writers take stock of the celebrated if contentious career of Pauline Kael, the New Yorker’s film critic from 1968 to 1991, who died in early September. With all the predictable eulogizing behind us, we asked Gary Indiana, Annette Michelson, Geoffrey O’Brien, Paul Schrader, and Craig Seligman for the long view, and got it. In Schrader’s words: “Kael upset the applecart. She meant to. What she didn’t know was that there would be no one to put the apples back.” Plus, contributing editor Greil Marcus introduces Kael’s first published review (on Chaplin’s Limelight), which we reprint in its entirety.
Also in this issue: As Barnett Newman’s first US retrospective in thirty years goes on view at the Philadelphia Museum of Art, art historian and contributing editor Yve-Alain Bois examines the legacy of an artist whose oeuvre he considers the most difficult of the last century, placing him alongside Pollock as “one of the two most important painters of the postwar period.”
Plus, “A Thousand Words” from Bruce Nauman on Mapping the Studio (Fat Chance John Cage), his latest multimedia installation; James Rosenquist recalls his “First Break”; and the inside story on the Guggenheim’s “Brazil: Body and Soul.”
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