September 2016 in Artforum

September 2016 in Artforum


September 1, 2016
September 2016 in Artforum
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This month in Artforum:

FALL PREVIEW: 45 shows worldwide—Postwar: Art Between the Pacific and the Atlantic, 1945–1965, Carmen Herrera, Mierle Laderman Ukeles, Roe Ethridge, Robert Rauschenberg, the 32nd Bienal de São Paulo, Betye Saar, and more

Amy Taubin on the delirious darkness of Bruce Conner:

“It may be because Conner’s greatest strength lies in his moving-image work, or because my expertise lies in the moving image, or because MoMA’s installation is so intelligent and controlled that I saw these works in ways I hadn’t before.”

DISPATCH: ART IN DAKAR—six distinguished curators and artists reflect on the extraordinary cultural production in the West African capital:

“Across Africa, the broken promises of independence engendered a consciousness that is reorganizing the landscape of artistic and cultural action.”
—Koyo Kouoh

Daniel Birnbaum on the art of Willem De Rooij:

“What De Rooij’s vivid and gorgeous flowers remind us of is this: beauty works. It wreaks its effects on us whether we want it to or not.”

Hannah Black on the 9th Berlin Biennale:

“The works on view express the despairing atomization of a postbourgeois creative class hovering on the brink of its own obsolescence.”

1000 Words: Jill Magid talks about The Proposal:

“I have always seen the owner’s possession of the archive as erotic. She has treated it with care, perhaps even love.”

Julian Rose on the new Tate Modern:

“Tate Modern has transformed the museum from a center of display to a center of production.”

Branden W. Joseph, Lee Ranaldo, Jennifer West, and John Miller on Tony Conrad:

“Conrad always proved alert to the fact that there was an outside: to every medium or genre, to every artistic or political orthodoxy, to every delineated public or audience, to every institutional framework, and even to his own tastes.”
—Branden W. Joseph

Kerstin Stakemeier on Anne Imhof:

“The performers’ sly poise and familiarity with one another heightened the sense that we were witnessing the public actions of a secret society.”

Erika Balsom on the cinema of Pere Portabella:

“Portabella points to a different notion of committed cinema, one grounded in the lived experience of activism yet adamant in its refusal to endorse a single viewpoint.”

And: Kerry James Marshall on Marvel’s Black Panther, Ian Volner on the Venice Architecture Biennale, J. Hoberman on Steve McQueen, and Alan Licht on Martin Creed’s The Back Door

Plus: Christopher P. Heuer on Hercules Segers, Kevin McGarry on Manifesta 11, J. Hoberman on the Wooster Group’s Town Hall Affair, and Carsten Nicolai shares his Top Ten

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