Reviewing Artforum

Reviewing Artforum’s Advertisements: April 2014

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Artforum, April 2014

Hot stuff in this April issue of Artforum. Perhaps hottest of all? Christine Mehring on Sigmar Polke’s storied 1976 Düsseldorf retrospective, which was organized by none other than Benjamin H.D. Buchloh. (Polke made a rather unexpected intervention in the show.) Also cool: a Top 10 from Pauline Oliveros, J. Hoberman on the Philadelphia Museum of Art’s Michael Snow show and quite a bit more. Read More

Reviewing Artforum

Reviewing Artforum’s Advertisements: March 2014

11 Photos

Artforum, March 2014

Seriously solid stuff in this issue of Artforum: Daniel Birnbaum, on Arthur Danto, Griel Marcus on Inside Llewyn Davis and Alison M. Gingeras on Friedrich Kunath. Plus a conversation between George Lewis and the late, great Terry Adkins. Lots to enjoy. But it’s time now to discuss the advertisements. (Actually it was time for that a long Read More

Reviewing Artforum

Reviewing Artforum’s Advertisements: February 2014

9 Photos


February is the shortest month of the year, which means that you have to make your way through Artforum even more quickly than other months. (Except when it’s summer, of course.) Best start cracking now! You’ll want to look out for Jeffrey Weiss on Robert Morris, Manthia Diawara on Kader Attia and Hal Foster on Isa Genzken. Lots of good stuff. Read More

Reviewing Artforum

Reviewing Artforum’s Advertisements: November 2013

11 Photos

Artforum, November 2013

And we’re back. In the front of the book this month, Artforum has Michael Heizer and Jeffrey Weiss on Walter De Maria and Laurie Simmons on Sarah Charlesworth, Bob Nickas on its September 1969 issue and Charlotte Birnbaum on Mary Ann Caws’s Modern Art Cookbook. In the features section we get heavyweights sounding off on Thomas Hirschhorn’s Gramsci Monument and the work of the Italian architect Carlo Scarpa, plus the second part of Thierry de Duve’s serial treatise. In short, lots of strong, interest stuff. Read More


Really Advanced Art: Claire Bishop Examines the Towering Inferno of Spectatorship


It’s 1965 and you join a crowd of people being shepherded into a stadium in Montevideo as Bach’s “Mass in B Minor” blares from loudspeakers; once inside, you are girdled by motor bikes equipped with deafening sirens, confronted with fat ladies tumbling across the ground and couples strapped together with tape, bombarded with flour, lettuce and live chickens by a low-flying helicopter, and then, after eight minutes, set free. You take a train out of Moscow in 1981, stop at a provincial station, walk into a snow-covered field where nine other people are gathered around a flat wooden board festooned with balls of white thread, take an end and walk toward a distant stand of trees until, after 20 minutes, the thread runs out, at which point you decide to return to the board, where an artist gives you what he claims is a photograph of yourself emerging from the forest; you ponder the meaning of this experience for the rest of the day. You drive to the outskirts of Firminy, France, in 1993 and arrive at a dilapidated, half-empty housing estate designed by Le Corbusier and populated by pensioners and Algerian immigrants—just in time for the opening of an exhibition for which international artists have taken over uninhabited flats and are exhibiting statistical information about the residents and reports on the building’s poor acoustics. You attend a rally at Cooper Union in 2011 where a fashionable collective—made up of anonymous 20-something artists who operate a free, unaccredited art school—is launching a national road trip in a limousine painted as a school bus in order to ask educators, artists and students questions such as: “What are art schools for?” “What is the essence of art?” Read More

public art

Charles Long on ‘Pet Sounds’

Charles Long. 'Pet Sounds' (Courtesy Madison Square Park Conservancy)

Charles Long does not use public sculpture as an opportunity for critiquing mass consumerism. For Mr. Long—whose  installation in Madison Square Park, “Pet Sounds,” features blobs of colorful sculptures oozing out onto park benches and picnic tables that look like Play-Doh creations writ large—it’s the opposite. “What led me to the idea for “Pet Sounds,” he says in his piece “500 Words” for Artforum, “was in fact my connection to pop culture.” Read More


Artforum’s Artguide App: a Review

Artforum released a new app for iPhones on March 13, a sleek and somewhat flashy portal to its renowned Artguide, the interactive heart of the Artforum website. This app is sleek and nifty, costs $2.99, and like its magazine, is geared to art world professionals and industry insiders who regularly travel the globe following the ever-expanding circuit of art fairs, openings and auctions. Read More