ArtReview March 2017

Truth, Justice, and The New American Way – featuring: a survey of the legacy of 'social sculpture' in the US; Lee Lozano; art and cynicism; Doh Ho Suh; the politics of contemporary portraiture and more!


In this issue

Culture Clash – Sam Korman looks at the legacy of Joseph Beuys's 'social sculpture' in North America

Lee Lozano – Two decades after the artist turned her 'dropping out' of the artworld into her final art project, Karen Di Franco looks at how Lozano's work speaks to the anxieties of the present

Let's Get Cynical – Chris Fite-Wassilak looks at how a generation of American artists is using cynicism as a form of resistance to mass and corporate culture

Power to the People – Jonathan Griffin looks at how contemporary portraiture in the US captures the increasingly pressing politics of representation – and more specifically race – in the post-election context

Do Ho Suh – Mark Rappolt on the contradiction between intimacy and anonymity underlying the Korean artist's work

Martin Herbert rounds up ten shows to see this month, from St. Ives to Hong Kong, via Zurich and Antarctica (and points in between), though not necessarily in that order

Our columnists have their say…

Jonathan T.D. Neil considers whether Bruno Latour can help with fake news; J.J. Charlesworth gets tired and emotional about emotionalism in art and politics; Maria Lind reports on the state of art-making in a tense and anxious Egypt; Christian Viveros-Fauné considers the legacy of art interventionists General Idea; and, thinking about dead language, Heather Phillipson wants to wake up in a time and place that's not yet written

Reviews from around the world including...

Robert Rauschenberg at Tate Modern, London, by Ben Street
Leigh Ledare at Office Baroque, Brussels, by Sam Steverlynck
Jean-Luc Moulène at Chantal Crousel, Paris, by Violaine Boutet de Monvel
Dan Attoe at Peres Projects, Berlin, by John Quin
Candida Höfer at Neuer Berliner Kunstverein, Berlin, by Siona Wilson
Reinhard Mucha at Galleria Lia Rumma, Milan, by Barbara Casavecchia
Fabio Mauri at Madre, Naples, by Mike Watson
Natascha Sadr Haghighian at Tensta Konsthall, Stockholm, by Stefanie Hessler
Jos Näpflin at Counter Space, Zürich, by Aoife Rosenmeyer
Marion Verboom at The Pill, Istanbul, by Nicole O’Rourke
Mustafa Hulusi at Dirimart, Istanbul, by J.J. Charlesworth
Monica Bonvicini at Baltic, Gateshead, by Laura Smith
Gillian Lowndes at The Sunday Painter, London, by Chris Fite-Wassilak
Huma Bhabha at Stephen Friedman Gallery, London, by Oliver Basciano
Bruce McLean at Bernard Jacobson Gallery, London, by Mark Prince
Ken Price at Hauser and Wirth, London, by Kiki Mazzucchelli
Thomas Struth at High Museum of Art, Atlanta, by David Everitt Howe
Ciprian Muresan at Nicodim Gallery, Los Angeles, by Ciara Moloney
Fred Eversley at Art + Practice, Los Angeles, by Jennifer Li
Mosquitoes, Dusts, and Thieves at 47 Canal, New York, by Owen Duffy
Dineo Seshee Bopape at Art in General, New York, by Owen Duffy
peter campus, circa 1987 at Cristin Tierney, New York, by Joshua Mack
Jimmy Wright at Fierman, New York, by Ashton Cooper
Johan Grimonprez at Sean Kelly, New York, Jonathan T.D. Neil
SANGREE at Sala de Arte Público Siqueiros, Mexico City, by Kim Córdova
Pablo Accinelli at Galeria Luisa Strina, São Paulo, by Claire Rigby
The Universe and Art at Mori Art Museum, Tokyo, by Adeline Chia


Age of Anger: A History of the Present, by Pankaj Mishra; Ramblings of a Wannabe Painter, by Paul Gauguin; Who’s Afraid of Contemporary Art?, by Kyung An and Jessica Cerasi; and Particular Cases, by Boris Groys


Bridget McCarthy heads to New York for the next in our series of city-based reviews marathons, to find a worried metropolis full of images of bodies, 'assertive or elusive, fragmented or whole'


A new strip by Finnish comics artist Matti Hagelberg blends sci-fi and creation myth, while ArtReview’s white, male columnist I Kurator channels Yves Klein in an incident on the Women's march