Double 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.
Also in this issue: Jasmine Sanders on the Black Romantic, Lucas Samaras, Hari Nef on Nash Glynn, Suzanne Hudson on the art of Deborah Remington,
Barry Schwabsky on Hayley Barker, Domenick Ammirati on ART CLUB2000, Molly Warnock on Moira Dryer, 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, Torrey Peters shares her Top Ten, and more than 35 exhibition reviews from around the globe.
Artforum is the leading
contemporary art magazine and holds the unique roles of institution, nexus, and foremost tastemaker of the art world. It delivers the highest level of critical discourse about contemporary visual culture to a diverse international audience and is often the first to identify artists whose work comes to define eras. Launched in California in 1962,
Artforum moved to New York in 1967, where it is still based.
