---------- Forwarded message ---------- From: e-Flux <[email protected]> Date: Sat, Jun 4, 2011 at 2:24 AM Subject: Summer 2011 in Artforum To: [email protected]
June 3, 2011 <http://www.e-flux.com> ** <http://artforum.com/inprint> *Summer 2011 in Artforum* <http://artforum.com/inprint/> artforum.com Share this announcement on: Facebook<http://www.facebook.com/share.php?u=http%3A%2F%2Fwww.e-flux.com%2Fshows%2Fview%2F9701&t=+%2F+Summer+2011+in+Artforum>| Delicious<http://delicious.com/save?v=5&noui&jump=close&title=+%2F+Summer+2011+in+Artforum&url=http%3A%2F%2Fwww.e-flux.com%2Fshows%2Fview%2F9701>| Twitter<http://twitter.com/home?status=Currently%20reading%20@e_flux%20announcement%20http%3A%2F%2Fwww.e-flux.com%2Fshows%2Fview%2F9701> *ACTING OUT: THE AB-EX EFFECT. * <http://www.artforum.com/inprint/id=28352>The world was supposed to end this past month, but we're still here. No Rapture, no Apocalypse. The same could be said of Abstract Expressionism: That dripping, demonstrative, unabashedly tactile practice has met its maker many times over. Yet its effects are everywhere to be seen today. This special section of *Artforum*'s summer issue considers the historical nuances and contemporary persistence of AbEx—and the ways in which artists are engaging its expanded notions of affect, material, and experience, but to vastly different ends. More than twenty critics, artists, scholars, and curators feel the heat. · Curator *Harry Cooper* reveals the roiling contradictions of Abstract Expressionism—the "band of selves," the "controlled accident"—that have shaped much art today. *"The AbExers devised various strategies to dislodge a picturesque relationship to the world—and yet, like a bad perfume, it hung around."* —Harry Cooper · Artist *Amy Sillman* <http://www.artforum.com/inprint/id=28354> isn't ashamed to like AbEx—and seeks to understand why its vulgarity, its virtuosity, and its campiness have been reclaimed by artists, not least women and queers, now. *"AbEx: Saw it? Loved it! Got the tote bag—and it came with a free Charlie Parker record!"* —Amy Sillman · *Terry Winters* talks with curator *John Elderfield* in anticipation of his blockbuster *"De Kooning: A Retrospective,"* opening this fall at MoMA. · *David Joselit* distinguishes between abstraction then and now, from the "passage" of signs in AbEx to the "broadcast medium" of contemporary painting. · And: *Daniel Marcus* traces the suppression and reappearance of the figure and the face in the paintings of *Jean Dubuffet, Cathy Wilkes*, and cover artist Josh Smith; conservator *Carol Mancusi-Ungaro* brings the preservation of the AbEx monochrome to the surface; and *Graham Bader* finds the painterly gesture both emptied and full in the circulation and transmission of *Roy Lichtenstein*'s Pop "brushstrokes." · Five *"Close-ups"* illuminate single projects that sit in the nexus—or the wake—of AbEx: · *Carroll Dunham* <http://www.artforum.com/inprint/id=28355> on *William Baziotes* <http://www.artforum.com/inprint/id=28355>'s odd *Dwarf*, 1947 · *Ann Temkin* <http://www.artforum.com/inprint/id=28357> on Cy Twombly<http://www.artforum.com/inprint/id=28357>'s transitional *Academy*, 1955 · *Jordan Kantor* on the cool hand of *Albert Oehlen*'s *"Fingermalerei,"*2008– · *Mark Godfrey* <http://www.artforum.com/inprint/id=28361> on *Christopher Wool* <http://www.artforum.com/inprint/id=28361>'s new work for the Venice Biennale · and *Molly Warnock* on *art informel* impresario *Georges Mathieu*'s frenzied *Battle of the Bouvines*, 1954 · Also: Fourteen artists—including *Richard Prince*<http://www.artforum.com/inprint/id=28363>, *Ei Arakawa* <http://www.artforum.com/inprint/id=28363>, *Nicole Eisenman*<http://www.artforum.com/inprint/id=28363>, *Scott Lyall* <http://www.artforum.com/inprint/id=28363>, and *Julian Schnabel* <http://www.artforum.com/inprint/id=28363>—offer their personal takes on AbEx. · Plus: *Cory Arcangel* <http://www.artforum.com/inprint/id=28338> takes * Euro-trance* <http://www.artforum.com/inprint/id=28338> seriously; curator *Achim Hochdörfer* introduces Austrian artist *Heimo Zobernig*'s "1000 Words"; with the rise of computational architecture, critic *Sean Keller calls for architects to look at painting again; Okwui Enwezor* considers the controversies surrounding *Ai Weiwei* and *Sharjah Biennial 10; James Meyer*casts his vote for the Whitney Museum of American Art's *"Glenn Ligon: AMERICA"*; *Ina Blom*<http://www.artforum.com/inprint/id=28347>plays the audience to *Jutta Koether* <http://www.artforum.com/inprint/id=28347>'s "The Thirst" at Moderna Museet, Stockholm; *Amy Taubin*<http://www.artforum.com/inprint/id=28342>contemplates Romanian filmmaker *Cristi Puiu* <http://www.artforum.com/inprint/id=28342>'s *Aurora*; and much more, as *Artforum* closes its forty-ninth season. Visit *Artforum* online at www.artforum.com To subscribe, visit www.artforum.com/subscribe Visit artguide—*Artforum*'s free directory of the international art world, listing art fairs, auctions, and current gallery and museum shows in more than 400 cities—at www.artforum.com/guide Become a fan on Facebook<http://www.facebook.com/pages/e-flux/54899149152>| Follow us on Twitter <http://twitter.com/e_flux> 41 Essex street New York, NY 10002, USA Contact us <http://www.e-flux.com/pages/contact> Subscribe <http://www.e-flux.com/pages/subscribe> Unsubscribe<http://www.e-flux.com/pages/[email protected]>
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