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Paul Lazar and friends recite and move to (most of) Cage’s 90 one-minute stories from “Indeterminacy,” with serendipitous alignments between words and gestures.
The great Austrian artist Maria Lassnig (1919–2014) lived in Paris from 1960 to 1968, having moved there from Vienna in search of possibility: to find a place where a woman’s art would be given the same thought and attention as that of her male peers, and to steep herself in the ongoing exploits of an electrifying avant-garde. Whatever she encountered in the City of Light and whether despite or because of what and who surrounded her there those years heralded a hefty shift in her practice. Lassnig expanded the playing field of her paintings beyond the reactive, rebellious surfaces of art informel
This week, digital editorial director Jennifer Krasinski introduces Louise Bourgeois’s essay “Freud’s Toys” from the January 1990 issue of Artforum. The exhibition “Louise Bourgeois, Freud’s Daughter” is at the Jewish Museum in New York through September 12.On the occasion of a 1990 exhibition of antiquities from the personal collection of Sigmund Freud, Louise Bourgeois (1911–2010) wrote the essay “Freud’s Toys,” an interpretation of the possible function and meaning of these objects in the great doctor’s life and practice. “The collection is a document,” she declared but of what? Bourgeois
This week, Jennifer Krasinski, editorial director of Artforum
digital, introduces Jack Pierson’s “People’s Parties: Billy Sullivan / Marcelo Krasilcic” from 1994’s summer issue. Pierson’s Silver Jackie, 1991, is not only the subject of David Rimanelli’s essay “Stages of Grief,” which appears in this month’s issue, but is also featured on the cover.
Once upon a time, before he was a celebrated artist, Jack Pierson was a wide-eyed newbie in New York with visions of the glitz the city would bequeath him. “
I would step out of the limo in Times Square, pausing to offer my arm to my companion Jerry Hall,” he fantasized. “