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In Artforum’s latest issue:
This past September, the directors of four institutions issued an unprecedented statement postponing Philip Guston Now, a major traveling retrospective that had been years in the making. The outrage and debate that followed only reinforced Guston’s status as an artist whose work cuts to the heart of issues that continue to animate the art world today. On the occasion of this show-that-isn’t, Artforum invited a group of contributors—Dan Nadel, Robert Slifkin, Sarah K. Rich, Chris Ofili, and Trenton Doyle Hancock—to consider Guston’s oeuvre.
“Guston was a tortured aesthete, someone who felt torn between his commitment to artistic freedom and social justice—a position, I’d venture, that is shared by many artists and critics today.”
—Robert Slifkin
Image Conscious: Jasmine Sanders on the Black Romantic
“Whereas American museums and cultural institutions maintained inimical relations with black people, network television again provided an accessible mass arts education.”
—Jasmine Sanders
“Samaras has created one of the great projects of quarantine: hundreds of empyreal images of a rapidly expanding universe of outlanders.”
—David Velasco
Openings: Hari Nef on Nash Glynn
“Glynn rejects trans and cis narratives at once—‘speaking for herself’—throwing her body like a wrench into the machine of gender politics.”
—Hari Nef
And: Suzanne Hudson on the art of Deborah Remington, Barry Schwabsky on Hayley Barker, Domenick Ammirati on ART CLUB2000, Molly Warnock on Moira Dryer, and more than 35 exhibition reviews from around the globe.
Plus: Benjamin H. D. Buchloh on Herman Daled, J. Hoberman on Shuzo Azuchi Gulliver’s Cinematic Illumination, Lizzie Homersham on Michael Clark, Amanda Sarroff on “Risquons-Tout,” Alex Kitnick on the discontent with museums, and Torrey Peters shares her Top Ten.
