This month in Artforum: Carl Andre‘s abstract sculptures of the 1960s have become canonical, yet his equally monumental oeuvre of poetry remains obscure. Curator Gavin Delahunty introduces an exclusive selection of twelve poems by Andre—published here for the first time—in which tense order, seriality, and recursion confront literary reference and semantic experiment.
“Andre’s poems are infused with complex historical, political, and personal narratives, in great contrast to Minimalism’s often stoic remove.”
· As the J. Paul Getty Museum’s Pacific Standard Time Presents: Modern Architecture in L.A. continues this summer, David Gissen reflects on the built environment and ecology particular to postwar Los Angeles, considering the city’s response to the “subnatural”—those forms of nature deemed unhygienic and uncontrollable, from dust to garbage, smog to overgrowth.
“The subnatural lurks below even the most immaculate facades of LA: It is everywhere to be found if one wants to look.”
· Rirkrit Tiravanija talks with Sarah Sze about her installation at the US pavilion in Venice.
“I was thinking about the rotunda as a kind of compass, and the interior pieces refer to this as well: They ask how you might use sculpture to locate yourself within a plethora of information.”
· With an introduction by writer and filmmaker Michael Almereyda, Artforum presents a suite of never-before-published images taken in the 1950s and ’60s by the New York School pioneer of color photography Saul Leiter.
“The sense of dislocation in a Leiter image accounts for the way his pictures seem to jump forward in time, appearing more contemporary than they happen to be.”
· In “1000 Words,” New York–based artists Antonio Blair, Marie Karlberg, and Stewart Uoo talk about their recent collaborations in styling and stimulation alike.
“Every persona, every branding mechanism, has so many precedents, and yet we’re over that precedence—we’ve accepted it, we celebrate it.”
· And: Michael Sanchez offers screenshots of the aesthetic effects of the iPhone and the image aggregator; J. Hoberman reconsiders the futurism of the ’60s, focusing on that era’s confluence of Pop, underground film, and science fiction as embodied in Mike Kuchar‘s cult Sins of the Fleshapoids (1965); Dieter Roelstraete tests Michael Rakowitz‘s recipes for geopolitical provocation; and Alex Kitnick reconstructs Stephen Prina‘s As He Remembered It at the Los Angeles County Museum of Art.
· Also: Ed Ruscha and Steven Holl recall their first encounters with the work of Richard Artschwager; Marina Abramović and David Frankel remember critic and art historian Thomas McEvilley; and Okwui Enwezor commemorates the life of Nigerian novelist Chinua Achebe.
· Plus: “Summer Reading”: Seven artists, critics, and curators—Elizabeth Peyton, John Waters, Thelma Golden, Greil Marcus, Diedrich Diederichsen, Ed Atkins, and Jane Freilicher—pick the book they’ll be packing for the plane ride; Briony Fer starts at the beginning with MoMA’s Inventing Abstraction, 1910–1925; Isabelle Graw toasts Martin Kippenberger at Hamburger Bahnhof—Museum für Gegenwart in Berlin; James Quandt faces Indonesian war criminals in Joshua Oppenheimer‘s documentary The Act of Killing; novelist Joseph McElroy captures the street photography of Garry Winogrand at the San Francisco Museum of Modern Art; Maria Stavrinaki visits the Centre Pompidou to appraise the life and designs of Eileen Gray; Johanna Fateman tunes in to Spectacle: The Music Video at the Museum of the Moving Image; Martin Herbert pens an “Openings” on London-based artist Alistair Frost; and Sadie Benning tallies her Top Ten.
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