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7/19/2016 Summer 2003 artforum.com / in print
https://artforum.com/inprint/issue=200306 1/2
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ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版
DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT
IN PRINT
P U R C H A S E
S U B S C R I B E
recent issuesSummer 2016May 2016April 2016March 2016February 2016January 2016December 2015Archive to 1962
Summer 2003TABLE OF CONTENTS
COLUMNS
LETTERS
PASSAGESGary Indiana, Richard Prince,Andrea Fraser, Jack Pierson,Mary Heilmann, and John Waterson Colin de Land
BOOKSAnthony Vidler on Gordon MattaClark
ENTRIESDavid Rimanelli
NEWSDaniel Birnbaum on theSchaulager
HOTLISTNick Crowe
FILMAmy Taubin on AmericanSplendor
Harvey Pekar on the making ofAmerican Splendor
TOP TENDave Muller
10·20·30·40Years Ago in Artforum
HOTLISTNick Crowe
Rachel Greene on Open Books
Rachel Greene on Open Books
FEATURES
LOCUS FOCUS:“HYPERREALISMS”JeanPierre Criqui talks withJeanClaude Lebensztejn
1000 WORDS: JENNIFERPASTOR Jan Tumlir
PURPLE MAJESTYJames Quandt talks with GuyMaddin
THE FOX: ONE YEAR UNDERTHE MASTAlexander Alberro
PORTFOLIO: CHRISTOPHERWILLIAMSDavid Rimanelli
CAMERA LIBIDO: THEPHOTOGRAPHY OF WALTERPFEIFFERBob Nickas
OPENINGS: KEVIN HANLEYChristopher Miles
REVIEWS
Linda Nochlin on ChristianSchad
Scott Rothkopf on Diller +Scofidio
YveAlain Bois on Tony Smith
Saul Anton on Paul Sietsema
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9/17/2016 Dave Muller artforum.com / in print
https://artforum.com/inprint/issue=200306&id=4911 1/2
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ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版
DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT
IN PRINT
P U R C H A S E
A R C H I V E
September 2016Summer 2016May 2016April 2016March 2016February 2016January 2016All back issues
SUMMER 2003
TOP TEN
Dave MullerDave Muller is a Los Angeles–based artist and the operator of Three Day Weekend, an artistrun nomadicproject space. His drawings will be on view this fall in the Biennale de Lyon and at The Approach inLondon.
1 WILD SUBURBAN PARROTS Before you see them, you hear their manic squawks. Then, upin the sky, these boisterous clowns appear. Unleashed from captivity, pet parrots havecongregated, reproduced, and flourished all around Los Angeles. A pack has been hangingout in South Pasadena, so I’ve been eating my lunches outside there, hoping to sneak apeek. They are nice to visit, but I’m glad they’re not my noisy neighbors. I mean, come on, doyou really think all these parrots got away on their own?
2 HOW TO DRAW A BUNNY (PALM PICTURES, 2002) John Walter’s brilliantly edited film tellsthe story of Ray Johnson’s enigmatic life (and death), piecing together fragments—anecdotes, documents, and artworks—in an attempt to illuminate the elusive father of mailart. Among the highlights: Describing his method for remembering names that escape him,Johnson rattles off a dazzlingly quick memoryjogging list—alphabet, brown, Canada, dog,English, French, German, Hitler, Indians, July, Kansas, Louisiana . . . Once, trying to recall aparticular famous singer, he got all the way to z, he says, and still couldn’t remember it. Sohe started again with a, and there it was: “Al Green. The name I was trying to remember wasAl Green.” Just one glimpse of a beautiful mind at work.
Ray Johnson, New York, mid1950s.From How to Draw a Bunny.© Photo: Norman Solomon.
3 BARBARA BESTOR The architecture of Los Angeles–based Barbara Bestor revels inmateriality without being fetishistic. It’s all in the details. In her own house, a twobyfourextends horizontally past the surface of the wall where it should have been cut—a bit like aline on an architectural drawing that went too far but wasn’t erased. A plywood shear wall leftuncovered save a coat of varnish reveals its structural function and also makes for a beautifulwall covering. Another Bestor home contains a twosided bookcase that runs through threefloors, doubling as a multicolored striped supergraphic. These are machines I’d like to live in.
4 TROPICAL TRUTH: A STORY OF MUSIC & REVOLUTION IN BRAZIL (KNOPF, 2002)Caetano Veloso’s memoir, written in 1997 and now translated into English, sent me on a wildbuying spree—gobbling up countless albums by the great Brazilian musician as well as byGilberto Gil, Gal Costa, Jorge Ben, Tom Zé, Os Mutantes, Chico Buarque, and LucianoPerrone. But of course it’s not just about the music, it’s about the entire intellectual/avantgarde climate of postcoup Brazil. Veloso recounts competing in a 1968 national contest (à laAmerican Idol) and introducing Jimi Hendrix–style electric guitar into the Tropicalismo mix.Like Dylan at the Newport Folk Festival three years earlier, Veloso was booed. But heresisted, eloquently berating the crowds: “If you’re the same in politics as you are in music,we’re done for.”
5 MY MP3 At the risk of sounding like an infomercial . . . I listen to music constantly, andvariety is important. When traveling, I used to drag along hundreds of CDs in those clumsybinder cases. Now I carry 3,500 songs on an mp3 player—and there’s room for more. Smallhard drives like the iPod function as personal radio stations. In the playall/shuffle mode,
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9/17/2016 Dave Muller artforum.com / in print
https://artforum.com/inprint/issue=200306&id=4911 2/2
mine will go for roughly 18,500 minutes before I hear a single song repeat. (That’s almostthirteen days!)
6 “LOSING MY EDGE” Among the mostplayed of those 3,500 songs is this one by LCDSoundsystem. Mocking all our oldster fears to a trendy electroclash beat, James Murphywhines, “I’m losing my edge, to the kids, from France and from London.” His lyrics emulatethe moreknowledgeablethanthou pretension of musicfan boys—perhaps a little too well.When he claims, “I was there” about every breakthrough moment in the history of rock (whenCaptain Beefheart started his first band, the first soundclash in Jamaica), I get a littleskeptical. You just can’t be that übercool forever: “I’m losing my edge, to better looking kids,with more ideas and more talent.” But here’s the surprise: “they’re actually really, really, reallynice.”
7 STEVEN SHEARER, GUITAR #4 Vancouver artist Steven Shearer’s wallsize inkjet printgangs together more than 1,200 found (most on the Internet) and family photos depictingguitars and their owners. It’s a patchwork quilt of the rock ’n’ roll dream, a monument to allthe axgrinding legends who went nowhere save in their own minds. This is art that remindsyou of every time you just had to scream, “Queen of the Ryche!!!”
8 LUMIPHOS The Italian firm Abet Laminati produces a stunningly sophisticated selection oflaminates (what most of us call Formica), of which my favorite is glowinthedark Lumiphos.Charged by ordinary daylight, this stuff gets to work when the lights go out, retaining its glowfor about thirty minutes. Anything that sat on the surface while it was charging leaves avisible “shadow” when moved, converting your tabletop into a photogram. In its day modeLumiphos mimics the color of a lemon Mento.
9 LAURA OWENS Owens’s current show at the Los Angeles Museum of Contemporary Art isfull of invention and affection. At yet another panel on painting a few years ago, Owensresponded to a question about what direction the medium might take by quoting KRSOne,who responded to a similar question, “Where is hiphop going?” with “You all are hiphop.Where are you going?” In Owens’s case I’m happy to follow, just to see what’s going tohappen.
10 FOAMTIME BUILDING BLOCKS My wife, Ann Faison, brought home a set of small foambuilding blocks for our sixmonthold daughter, Grace. Ann, Yoli (the babysitter), and I are alladdicted. For me, it’s a chance to exercise my inner architect: These red, yellow, blue, andgreen blocks can make what looks like a bastard brother to Memphisgroup designs from theearly ’80s. Grace loves to wipe them out, creating a vast Pollockesque scatter. Her favoritesare the smallest semicircular ones, because they fit best in her mouth.
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DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版
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