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Feb 1, 2024 | 
artforum.com | Michelle Grabner |Jeff Gibson |Thierry de Duve |Barry Schwabsky
Michelle Grabner introduces a portfolio by Marjorie WelishPOET, CRITIC, AND ARTIST Marjorie Welish is a demandingly reflexive and independent conceptualist who has been striving to outwit her own restless intellect since the late 1970s.
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Feb 1, 2024 | 
artforum.com | Barry Schwabsky |Sophie Fox |Jeff Gibson |Thierry de Duve |Abraham Adams
The painter turns to assemblage at Artists SpaceI’VE ALWAYS BEEN CHARMED by the brag attributed to Picasso: “I don’t seek, I find.” It feels true, in his case, but also reminds me of those fellow students who used to say, “Oh, I never study for the exam”: Probably they were secretly cramming after convincing everyone else there was no need to do so. Still, ever since I met Andy Robert a couple of years ago, I’ve seen him as an artist who probably finds more than he seeks.
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Feb 1, 2024 | 
artforum.com | Molly Warnock |Jeff Gibson |Thierry de Duve |Barry Schwabsky
The art of Gilles AillaudIN MAY 1967, the French painter Gilles Aillaud showed a selection of recent works at the Galleria Il Fante di Spade, in Rome. Of the eight reproduced in the accompanying catalogue, all present animals inside various enclosures: crocodiles corralled into side-by-side pens; tapirs nosing a concrete dais; snakes coiled and stretched out in cells. As is typical of the artist’s zoo paintings generally, none include human figures.
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Feb 1, 2024 | 
artforum.com | Carol Armstrong |Jeff Gibson |Thierry de Duve |Barry Schwabsky
The art of Ellen GallagherONCE UPON A TIME, you entered Amsterdam’s Stedelijk Museum to visit its world-class collection of early-twentieth-century abstract art, and then climbed a grand staircase to arrive at its Hall of Honor on the first floor. And once upon a time, that first-floor space held the work of the Big Boys of the New York School, thereby functioning as a triumphant climax to the museum’s telos of abstraction. But that was when the museum consisted only of its original 1895 building.
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Jan 1, 2024 | 
newsbreak.com | Thierry de Duve
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Jan 1, 2024 | 
artforum.com | Abraham Adams |Jeff Gibson |Thierry de Duve |Barry Schwabsky
FRANCESCA HUMMLER’S simple lapidary gestures (green logs in a bathtub, a toy house burning on a stovetop) are, as Robert Frost wrote poems ought to be, “as different as possible” from one another. Like those of Douglas Huebler and Hiroshi Sugimoto, her procedural poetics contrasts with the more clinical and scientific spirit of typology that often dominates conceptual photography (a legacy of August Sander, among others), tapping into a Teutonic deadpan humor à la Peter Fischli and David Weiss.
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Jan 1, 2024 | 
artforum.com | Thierry de Duve |Barry Schwabsky |Kaelen Wilson-Goldie |Julia Bryan-Wilson
THE FOLLOWING CONVERSATION, which took place at Kerri Scharlin’s “salon” in New York on November 5, 2023, is published on the occasion of the tenth anniversary of the series of six articles that Michelle Kuo, then chief editor of Artforum, commissioned from Thierry de Duve and published in 2013–14. They are the basis for “Don’t Shoot the Messenger,” the main section of de Duve’s new book, Duchamp’s Telegram: From Beaux-Arts to Art-in-General (Reaktion Books, 2023).
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Jan 1, 2024 | 
artforum.com | Teri Henderson |Jeff Gibson |Thierry de Duve |Barry Schwabsky
Practically all great artists accept the influence of others. But . . . the artist with vision sees his material, chooses, changes, and by integrating what he has learned with his own experiences, finally molds something distinctly personal. —Romare BeardenBLACK COLLAGISTS are stewards and storytellers. The pages of this curated portfolio—featuring work by Yannick Lowery (Philadelphia), Jessica Whittingham (Nassau, Bahamas), Isaiah Winters (New York), Anthony R. Grant (Richmond, CA), and Khaleelah I. L.
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Sep 26, 2023 | 
artforum.com | Lucy R Lippard |Jeff Gibson |Thierry de Duve |Barry Schwabsky
I. YOU’VE BEEN SHOWING YOUR WORK for about 11 years now, but there’s never been an article on it, so let’s start from scratch.
OK. When I first started my professional life, in 1963, I was making these very biomorphic paintings and sculptures; I went to auto-body school, because I wanted to learn to spray paint, and because it seemed another way to prove my “seriousness” to the male art world.
