Molly Warnock

Jun 1, 2024 | artforum.com | Molly Warnock

Verena Loewensberg (1912–1986) remains largely unknown outside her native Switzerland. Trained initially in the applied arts and design, she also studied dance with Trudi Schoop and taught herself to paint in the 1930s. The only female member of the Zurich group of Concrete artists, which included Max Bill, Camille Graeser, and Richard Paul Lohse, she was further distinguished by her openness to broader postwar developments, from Color Field and Pop through Minimalism.

May 1, 2024 | artforum.com | Vaginal Davis |Rick Owens |Lola Kramer |Molly Warnock

RICK OWENS: Do you remember the first time we met? VAGINAL DAVIS: Oh, yes, I do. You were doing work with this band called, I think, Red Wedding? Do you remember them? RO: I do. VD: I forgot exactly if you were making costumes for them or designing something for their stage shows. RO: I wasn’t. I was fucking the singer. VD: Ha! That’s how we first met, through Red Wedding. I think it was at one of their shows, and I was wearing an outfit where I was sort of copying one of my mother’s looks.

Apr 1, 2024 | artforum.com | J. HOBERMAN |Lola Kramer |Molly Warnock |Paul Pagk

Bill Griffith’s Three Rocks and the cult of NancyUNIVERSALIZING HISTORIANS have given the newspaper comic strip a distinguished pedigree as the twentieth-century descendant of sacred Egyptian hieroglyphics. True or not, no classic strip was better suited to embellish the inner sanctum of Pharaoh Tut’s tomb than Ernie Bushmiller’s long-running tot saga Nancy. For one thing, Bushmiller’s reductive, repeatedly iterated forms established their own pictography.

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 The typewritten note in Clyfford Still’s unpublished diary, undated but recorded no earlier than 1961, appears as if graven into a largely blank page.1 It is clearly meant as a condemnation: Still had long come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.

Mar 1, 2024 | artforum.com | Rachel Wetzler |Carol Armstrong |Molly Warnock |Michelle Grabner

Thomas Hirschhorn’s Fake It, Fake It – till you Fake It., 2023 THOMAS HIRSCHHORN’S Fake it, Fake it – till you Fake it., 2023, opens with a subtle intervention—perhaps the only subtle part of this characteristically chaotic display (the artist abhors the term installation): a length of cardboard partly blocking the threshold between the vestibule of Gladstone Gallery’s Twenty-First Street location in New York and the cavernous main exhibition space, narrowing the entryway and, in turn,...