Innholdsfortegnelse for Spring 2016 i ARTnews

RYAN McGINLEY Ryan McGinley photographed Mary Heilmann for this issue. “Mary is like my cool auntie. I like her vibe. She’s got that ’60s San Francisco attitude that puts you at ease. We’ve got a little crew of artists, like Marilyn Minter and Jack Pierson, that are close friends. I love the titles of Mary’s paintings; you can tell she’s into rock ‘n’ roll. Her color palette reminds me of The Simpsons. One of my favorite paintings of hers is called Two-Lane Blacktop, which is also one of my favorite road-trip movies. I bet she was inspired by the color of the primer-gray ’55 Chevy they drag race in the movie. Her paintings of oceans and horizons help me relax. I love the repetition and geometry of her work. I…

March 3 – 6, 2016 Spring Studios This year’s New York edition will feature over 40 international galleries and non-profit institutions Mitchell Algus Gallery, New York — The Approach, London — Artists Space, New York — The Box, Los Angeles — Gavin Brown’s enterprise, New York/Rome — Bureau, New York — CANADA, New York — Chapter NY, New York — C L E A R I N G, New York/Brussels — Paula Cooper Gallery, New York — Elizabeth Dee, New York — Delmes & Zander, Cologne — Thomas Erben, New York — Fleisher/Ollman Gallery, Philadelphia — Garth Greenan Gallery, New York — gb agency, Paris — Jay Gorney / Derek Eller Gallery, New York — Herald St, London — Hannah Hoffman, Los Angeles — JTT, New York — Karma, New…

Last December, my car left the apartment complex on North Hayworth Avenue where, in 1940, F. Scott Fitzgerald suffered a heart attack and died. My driver took me up past Sunset Boulevard to Hollywood Boulevard, heading east, traversing the same road that, when it was just dirt, hosted horseback races between Douglas Fairbanks and Charlie Chaplin. The loser would pick up the tab at the Musso & Frank Grill, where I was headed. When I arrived, I asked the man at the front desk about a reservation for Kenneth Anger and his face went white. Anger walked in 20 minutes later, and the waiters swiveled to see him—the whole room did. He was scowling, eyes glaring, and wearing a track jacket emblazoned on the back with the word “LUCIFER.” A…

In a talk he gave at the Museum of Contemporary Art Chicago five years ago, Kerry James Marshall displayed a photograph of his studio—a place, he told his audience, his wife calls “the playhouse.” It’s “where I like to go,” he said, “and I like to go there every day, because there is nothing more satisfying, really, than solving the problem of: how do you get more work that has the black figure in it into museums around the world?” Most artists want to make history. Marshall wants to change it. For the past quarter century, primarily with his paintings but also, as a recent exhibition title put it, “other stuff,” like photographs, videos, sculptures, and installations, he has been getting black figures onto museum walls. In his paintings, the…

MARCEL BROODTHAERS, FRIDERICIANUM, KASSEL, GERMANY JULY 17 - NOVEMBER 15, 2015 HANNE DARBOVEN, HAUS DER KUNST, MUNICH SEPTEMBER 18, 2015 - FEBRUARY 14, 2016 The pairing of Marcel Broodthaers and Hanne Darboven in a single text would seem to favor the former’s methods, which lampooned and utilized the idiosyncrasies and serendipities of surface and contingency that brought about such a pairing in the first place—which is to say the occurrence of two contemporaneous exhibitions in two major German institutions by two artists who dealt with issues of archive, text-as-image, and art-as-work just as these tropes have re-emerged as the historically available “next-big-thing.” Be that as it may, we will go along with these politics of surface and proceed by looking into a few themes that both artists’ works touch upon.…

Spying and lying are intimate partners with motivations ranging from the personal to the political, as elaborated in “Laura Poitras: Astro Noise” at the Whitney (through May 1), and in the ARTnews archives. We look back to 1919 and war posters in Brazil (even nursemaids were suspected of spying), and to 1939, when we protested “the lying ideologies of National Socialism and National Communism.” By 1974 abstract art itself was being viewed as an ideological threat in Russia. More recently, espionage in the art world has turned conceptual. In 1993 Sophie Calle sought emotional connection by following and photographing strangers, while in 2014 Jill Magid infiltrated systems of power through technology. —THE EDITORS MAY 31, 1919 Brazil’s chief trouble was spies, and its prize poster had to do with them.…

A few months ago, on the heels of a merger with BMP Media Holdings, we at ARTnews announced that our magazine would become a quarterly. To many of our readers this understandably may have come as a surprise. After all, ARTnews began life in 1902 as a weekly and went on to become a monthly—and one of the most authoritative (and award-winning) voices in international art journalism. If you are reading this letter, you have cracked open our first quarterly, and we think you will agree with us that we are continuing along that venerable path. We’ve migrated breaking news to our website, ARTnews.com, so that, in print, we can bring you absorbing features and thoughtful critical essays. For our first quarterly, we settled on the theme of Icons, extending…

April 20 – 23, 2016 Vanderborght Building The inaugural Brussels edition will feature over 60 international galleries and non-profit institutions (list in formation) 1857, Oslo • Air de Paris, Paris • Christian Andersen, Copenhagen • Andrehn-Schiptjenko, Stockholm • The Approach, London • Michael Benevento, Los Angeles • Gavin Brown’s enterprise, New York/Rome • Ellen de Bruijne Projects, Amsterdam • Cahn International, Basel • CANADA, New York • Carlier Gebauer, Berlin • Carlos/Ishikawa, London • Mehdi Chouakri, Berlin • C L E A R I N G, New York/Brussels • Chantal Crousel, Paris • Elizabeth Dee, New York • Delmes & Zander, Cologne/Berlin • Dürst Britt & Mayhew, The Hague • Marc Foxx, Los Angeles • Gavlak, Los Angeles/Palm Beach • gb agency, Paris • Gladstone Gallery, New York/Brussels • Green…

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BILL POWERS: HOW DO YOU SEE THE “GAZING BALL” PAINTINGS AS BEING ON A CONTINUUM WITH THE “GAZING BALL” SCULPTURES? Jeff Koons: With the sculpture, you feel a constant polarity between the biological and Platonism. The sculpture also places an emphasis on form. With the paintings, you have a more ancient dialogue. You think of going through the Lascaux caves, where a bison painted on the contour of a rock formation emphasizes the three-dimensional quality of the drawing. Or if you think about antique sculpture— everything was painted, so the two-dimensional and the threedimensional were brought together. The “Gazing Ball” paintings have that same confrontation. There’s a dialogue taking place about the humanism of art and how important connectivity is in our lives. I wanted to make work that would…

“ROBERT IRWIN: ALL THE RULES WILL CHANGE” HIRSHHORN MUSEUM AND SCULPTURE GARDEN, WASHINGTON, D.C. APRIL 7 - SEPTEMBER 5 Robert Irwin’s work about perception can be more challenging than art made by his Californian colleagues—his installations are neither as colorful as James Turrell’s nor as transcendent as Douglas Wheeler’s. This may account for why, despite critical acclaim, Irwin hasn’t received a major survey outside California in 40 years. This show, which focuses on the Light and Space artist’s work between 1958 and 1970, moves from his lo-fiwall sculptures through his aluminum discs, culminating in a new, site-specific installation made of scrim. Robert Irwin, Bed of Roses, 1962. “ROBERT MAPPLETHORPE: THE PERFECT MEDIUM” GETTY CENTER AND LOS ANGELES COUNTY MUSEUM OF ART, LOS ANGELES MARCH 15 - JULY 31; MARCH 20…

Some little girls want to be movie stars, some long to be prima ballerinas. Not Mary Heilmann. As a child, she prayed for sainthood. “I used to dream that I was thrown to lions in the Coliseum,” said the artist. “Then I’d get to fly up to heaven to hang out with God, while all these people were cheering.” Over the last five decades, Heilmann has been thrown to art-world lions—and rattled their cages as well—without having to suffer the depredations of a martyr. If canonization still eludes Heilmann, who is now 76, she is nonetheless a hero to younger artists, like Laura Owens, Jessica Stockholder, and even Martin Creed, for whom she embodies the rewards of going your own way, whatever the odds. And she can feel cheered by…

For what seems like ages, New York’s galleries have been awash in abstract painting of the bland and derivative variety. But the past few years have seen the emergence of a batch of exciting young figurative painters who, though their concerns are varied, share a number of intriguing characteristics: they are attuned to humor (slapstick looms large), fixated on the body, rapacious in their mining of both art history and the broader culture (from TV to Internet memes), and most of all, determined to impart pleasure. Lately it has felt like this particular mode of representation— slick, punchy, and outré—is cresting over into something like a movement, or at least a moment. “Flatlands” at the Whitney Museum ( January 14–April 17) brings together five closely watched painters working in diverse,…

THE COLLAPSE OF THE SOVIET UNION MARKS THE END OF THE COLD WAR 1991 MAY1993 Oddly, [Sophie Calle] found direction through her feelings of disorientation. “When I came back from traveling I felt lost in my own city,” she explains. “I had forgotten everything about Paris. I had no habits. I didn’t know anyone. I had no place to go, so I just decided to follow people—anybody. For the pleasure of following them, not because they particularly interested me. I allowed them to determine my route. Eventually, I became attached to these people, so I took a camera. I photographed them without their knowledge, took note of their movements, then finally lost sight of them.”… Next Calle decided to ask strangers to sleep in her bed— “in order to take…