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Apr 1, 2024 | 
artforum.com | Lola Kramer |Rachel Wetzler |Jan Tumlir |Clifford Owens
JAMIAN JULIANO-VILLANI THE REASON I DO WHAT I DO is because I love art and I love ideas. I’m trying to make the most of the time that I have. Seeing Ashley [Bickerton] go through physical decline, knowing that his time was limited, and watching him prepare his last show changed my entire perspective. He was stuck in a wheelchair, looking at the future, knowing that his next show would happen without him.
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Apr 1, 2024 | 
artforum.com | Rachel Wetzler |Jan Tumlir |Clifford Owens |Paul Pagk
A reflection on the art of Mark RothkoWALKING THROUGH “MARK ROTHKO” at Paris’s Fondation Louis Vuitton this past October, I felt in body, mind, and surely soul the magical embrace of his paintings, their physical presence, their frontal pictoriality letting me into their depths, and a powerful affirmation of the horizon between heaven and earth. Rothko’s color defines shapes, his shapes define boundaries, and these boundaries are rarely hard.
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Apr 1, 2024 | 
artforum.com | Rachel Wetzler |Jan Tumlir |Clifford Owens |Ouattara Watts
A reflection on the art of Mark RothkoTHE FIRST ROTHKO PAINTING I saw in person was in the 1970s, while I was an art student at Beaux-Arts de Paris. It was one painting, hanging in the Centre Pompidou. Not a Rothko show, just a single painting, and it floored me. His work spoke to me immediately, and it still does, as it does to so many artists and so many people. The universality of Rothko’s work is very powerful, and this is what resonates most for me.
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Apr 1, 2024 | 
artforum.com | James Quandt |Rachel Wetzler |Jan Tumlir |Clifford Owens
Pier Paolo Pasolini’s Mamma Roma (1962) and the tradition of the musca depictaAN ODDITY IN THE OPENING CREDITS for Pier Paolo Pasolini’s Mamma Roma (1962) has gone largely unremarked, probably because it is so cursory.
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Apr 1, 2024 | 
artforum.com | Harmon Siegel |Rachel Wetzler |Jan Tumlir |Clifford Owens
Impressionism’s contested legacyI WAS ONCE AT THE YALE CLUB, visiting my childhood best friend, who has since become a MAGA podcast host. As was his custom, he ordered us some martinis and led me to a tufted-leather couch. Seated beneath a smiling portrait of George W. Bush, he noticed the copy of Robert L. Herbert’s 1988 book Impressionism emerging from my bookbag. “Impressionism!” he exclaimed. “The last real art.”His comment reflects a larger worldview, one with defined aesthetic commitments.
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Apr 1, 2024 | 
artforum.com | Molly Warnock |Rachel Wetzler |Jan Tumlir |Clifford Owens
The decisive role of Mark Rothko’s early watercolors“ROTHKO IS A WATERCOLORIST.” The typewritten note in Clyfford Still’s unpublished diary, undated but recorded no earlier than 1961, appears as if graven into a largely blank page.1 It is clearly meant as a condemnation: Still had long come to despise his former close friend. No explanation follows, and the painter doubtless believed none was necessary.
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Mar 1, 2024 | 
artforum.com | Alex Jovanovich |Rachel Wetzler |Jan Tumlir |Clifford Owens
Alex Jovanovich introduces a portfolio by Sal SalandraTHERE IS NOTHING MORE EXHILARATING than being a pervert. The seventy-eight-year-old leather daddy and lapsed Catholic Sal Salandra understands this very well. The self-taught artist’s mesmerizing embroideries, which he refers to as “thread paintings,” are gleeful concoctions of pop culture, autobiography, and sadomasochistic gay sex. His Bernini–cum–Gene Bilbrew mise-en-scènes, fastidiously and libidinously conceived, are divinely inspired.
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Mar 1, 2024 | 
artforum.com | Clifford Owens |Rachel Wetzler |Jan Tumlir |Bryan Barcena
Encounters with a transformative artist1998I first met Pope.L in New Brunswick, New Jersey, in 1998. I was a first-year graduate student at Rutgers, and he had returned to his alma mater to deliver a visiting-artist lecture. We were introduced by his longtime friend Lydia Grey, a fellow student of mine. I was in awe of him, as we briefly became acquainted on the street outside the famed Court Tavern.
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Mar 1, 2024 | 
artforum.com | Jan Tumlir |Rachel Wetzler |Clifford Owens |Bryan Barcena
THE FIRST WORK ONE SEES upon descending the stairs toward the entrance gallery of Paul Pfeiffer’s retrospective in the Geffen building of MoCA LA is the 2000 video John 3:16. It plays on a mini-monitor that juts out from the wall on a metal rod, as if in greeting.
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Sep 26, 2023 | 
artforum.com | Rosalind Krauss |Rachel Wetzler |Jan Tumlir |Clifford Owens
IN 1920 LEV KULESHOV SCREENED a series of now famous “experiments” for his film class in Moscow: experiments which isolated and revealed the cut as the magical interstice in which the mysteries of cinematic illusion were somehow contained. To Pudovkin, and to Kuleshov’s other students, what these experiments disclosed was that the cut was an index of difference or separateness within a prevailing matrix of sameness.
