Winter 2012 SELECTED CONTENT FROM THIS ISSUE AVAILABLE BELOW.
Gerhard Richter, from Elbe, 1957, linocut ink on paper. Kunstmuseum Winterthur, Switzerland, longterm loan from a private collection (artwork © 2012 Gerhard Richter; photographs provided by Kunstmuseum Winterthur).
Life is not an idea, but ideas are part of life. Thinking is the only way out of our enmities and miseries. Vision—seeing better and more freshly, with less habit and personal bias—awakens us to life. The point of waking … READ MORE
Shaping the Glass
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Tomma Abts, untitled, 2012, project for Art Journal (artwork © Tomma Abts; photographs by Cathy Carver)
Untitled
Gerhard Richter, Konstruktion (Construction, Werkübersicht 389), 1976, oil on canvas, 8 ft. 2½ in. x 9 ft. 10⅛ in. (250 x 300 cm). Staatliches Museum für Kunst und Design, Nuremberg, Germany (artwork © 2012 Gerhard Richter; photograph provided by Atelier Gerhard Richter, Cologne, Germany)
There was no other choice for me, I have to go through work through [sic] that which is. And that which is—is exclusively nonobjective—is a wide big monstrous matter. I wouldn’t say that I’ll always remain nonobjective, for now I … READ MORE
Richter’s Willkür
Louise Fishman, Zero at the Bone, 2010, oil on linen, 70 x 60 in. (177.8 x 152.4 cm). Private collection (artwork © Louise Fishman; photograph provided by Cheim and Read, New York)
Carrie Moyer: Can you give me a little background on your new paintings? Louise Fishman: This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid … READ MORE
Zero at the Bone: Louise Fishman Speaks with Carrie Moyer
Ugo Mulas, Studio of Lee Bontecou, 1964, photographs (photographs © Ugo Mulas Heirs; all rights reserved)
In 1958 Lee Bontecou began experimenting with a technique for making sculpture based on binding fabric to thin steel frames or armatures. Executed first on a small scale that oscillated between the form of the model and the form of … READ MORE
The Terms of Craft and Other Means of Making: Lee Bontecou’s Hybrid Trajectory
The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)
Five gravestones—a family named Wilmott—are mounted side by side facing east in a cemetery south of London.[1] Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone. I try to … READ MORE
Shame: The One That Got Away
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Cosima von Bonin, Bubbles (Loop #4), 2010, wool, cotton, 66⅞ x 55⅛ in. (170 x 140 cm) (artwork © Cosima von Bonin; photography provided by Petzel, New York)
Crisis of Containment During the past decade a steady flow of critical writing on contemporary painting has appeared, much of it seeking to define changes to the practice that have taken place since 1990. In several often-cited essays, a shared … READ MORE
Ground Control: Painting in the Work of Cosima von Bonin
Fabian Marcaccio, Paintant Stories, 2000, pigment inks, oil, acrylic, silicone, and polymer on vinyl, wood, and metal structure, approx. 13 ft. 1½ in. x 328 ft. (4 x 100 m). Collection Davos Latin-America, Zurich (artwork © Fabian Marcaccio)
Copied from a small and fuzzy photograph clipped from a newspaper in 2003, Gerhard Richter’s Silikat paintings depict a honeycomb array of silicate particles, modeled on the structure of a butterfly wing. In an effort to discern the reason for … READ MORE
Pigment vs. Pixel: Painting in an Era of Light-Based Images
Hal Foster. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton: Princeton University Press, 2012. 338 pp., 77 color ill., 80 b/w. $29.95 Anyone seeking a crisp argument for the importance … READ MORE
We Are Pop People
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Ends of the Earth: Land Art to 1974. Exhibition organized by Philipp Kaiser and Miwon Kwon. Museum of Contemporary Art, Los Angeles, May 27–September 3, 2012; Haus der Kunst, Munich, October 11, 2012–January 20, 2013 Philipp Kaiser and Miwon Kwon, … READ MORE
This Land Is Their Land
Eva Badura-Triska, Hubert Klocker, editors. Vienna Actionism: Art and Upheaval in 1960s Vienna. Cologne: Walther König, 2012. 416 pp., 1,400 color and b/w ills. $95 Should we judge a book by its cover? The image on the front of the … READ MORE
Lights, Camera, Action!
John Roberts. The Necessity of Errors. London: Verso, 2011. 256 pp., $27.95 paper John Roberts is one of the more original and independent thinkers among contemporary art historians, and his wide-ranging reflections often take him well outside the boundaries of … READ MORE