OCT 2022 – The Brooklyn Rail

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Publisher's Message

Dear Friends and Readers,
– By Phong Bui

Editor's Message

First Encounters with Marcel Duchamp
– By Francis M. Naumann

Art

ArtSeen

Jorge Galindo: Verbena
– By Amanda Millet-Sorsa
Julie Curtiss: Somnambules
– By Jason Rosenfeld
Alix Le Méléder: LES GRANDES ROUGES
– By Joe Fyfe
Yuri Yuan: Dark Dreams
– By Vani Anandam
Peter Sacks: Above Our Lands
– By Jonathan Goodman
Sharon Butler: NEXT MOVES
– By Adam Simon
Here We Are: Young, Black, and Indigenous Women in the Art World
– By William Corwin
Leland Bell: Paint, Precision, and Placement. A Centennial Exhibition
– By John Goodrich
Enrique Martínez Celaya: The Foreigner’s Song
– By Irene Lyla Lee
Robert Zehnder: Ageless Machine
– By Clare Gemima
Cora Cohen: Works from the 1980’s
– By Alfred Mac Adam
Can’t Stop Won’t Stop: Meditations on Resilience
– By Amanda Millet-Sorsa
Jamie Earnest: Good Mourning
– By David Carrier
Juan Sánchez: Ricanstructions condiciones que existen
– By Emireth Herrera Valdés
Stolen Sun
– By Thyrza Nichols Goodeve
New York Food Exhibitions
– By Mary Ann Caws
Mala Iqbal: Shape Shifting in the Outer Boroughs and Its Effects on the Traveler’s Perception of the Midnight Sky
– By Andrew Paul Woolbright
Aubrey Levinthal: Neighbors, Strangers, Gazers, Bathers
– By Andrew L. Shea
Will Ryman: New York, New York
– By Jillian Russo
Merrill Wagner
– By Robert C. Morgan
Aubrey Beardsley, 150 Years Young
– By Ann McCoy
Julian Schnabel: Predominately Natural Forms, Mexico, 2022
– By Alfred Mac Adam
Fernanda Gomes
– By Barbara A. MacAdam
Allie McGhee: Parallax
– By D. Dominick Lombardi
Carolee Schneemann: Body Politics
– By Brittany Rosemary Jones
Eric Fischl: Towards the End of an Astonishing Beauty: An Elegy to Sag Harbor, and thus America
– By Alfred Mac Adam
Robert Janitz at the Anahuacalli
– By Suzanne Hudson
Mad Women
– By William Corwin
John Coplans: La Vie des Formes
– By Joe Fyfe
Hank Willis Thomas & For Freedoms: Another Justice: US is Them
– By Joyce Beckenstein
Stressed World
– By Lenore Malen
Masaomi Yasunaga: Looking Afar / 遠くを見る
– By Cassie Packard
Astrid Terrazas: La Jardinera
– By Elizabeth Buhe
Lorna Simpson: 1985–92
– By Maddie Hampton
Guston/Morandi/Scully
– By Tom McGlynn
Mark Laver: Within
– By Andrew Paul Woolbright
Paul McCarthy: A&E
– By Donatien Grau
Painting in New York: 1971-83
– By Ksenia Soboleva
Regeneration: Black Cinema 1898-1971
– By Phyllis Tuchman

Critics Page

Three Encounters with Marcel Duchamp
– By Carroll Janis
Meeting Duchamp
– By Calvin Tomkins
1968: Before and After
– By Dawn Ades
No Endgame in Sight
– By Bradley Bailey
Infinite Encounter
– By Lars Blunck
Why Fountain Matters as Never Before
– By Thierry de Duve
From Manuport to Readymade
– By Pablo Echaurren
Étant donnés
– By Elena Filipovic
Bitten
– By Paul B. Franklin
Nothing Literary in the Accepted Sense
– By Andre Gervais
Intrusions into the Enchanter’s Domain
– By Thomas Girst
Discovering Duchamp through the “Fourth Dimension” in 1971
– By Linda Dalrymple Henderson
Carambolage
– By Rudolf Herz
Looking Back
– By Herbert Molderings
In Advance of the Broken Arm
– By Molly Nesbit
Seeing Duchamp’s Coffee Mill at the Tate: First Encounter of a Lasting Kind
– By Michael Taylor
Readymade Statements
– By Mike Bidlo

Books

Christine Sneed with Blake Sanz
Jill Bialosky’s The Deceptions
– By Carissa Chesanek
Tuhin Das’s Exile Poems: In the Labyrinth of Homesickness
– By Tony Leuzzi
Jennifer Otter Bickerdike’s You are Beautiful and You are Alone: The Biography of Nico
– By Ed Hamilton
Hua Hsu’s Stay True: A Memoir
– By Elizabeth Lothian
Rene Ricard’s God with Revolver
– By Terese Coe

Music

Notes From Aboveground
– By George Grella
This Forsythia Bush
– By Adolf Alzuphar
Green Man Festival
– By Martin Longley
Wassulu Empress
– By Scott Gutterman

Dance

HOLDTIGHT: when the blossom passes, what remains?
– By Hallie Chametzky
Theaters of the Body: K.J. HOLMES with Tess Michaelson
– By Tess Michaelson
PAGEANT: Move What Cannot Be Said
– By Anya Bernstein and Angelina Hoffman

Film

Third Horizon Film Festival 2022
– By Marius Hrdy
Rithy Panh’s Everything Will Be Ok and Irradiés
– By Farah Abdessamad
P.S. Vinothraj’s Pebbles
– By Arun A.K.
Kiro Russo’s El Gran Movimiento
– By Alonso Aguilar
Joanna Hogg’s The Souvenir
– By Anandi Mishra

Theater

A Riff Gone Too Far: Jess and Tom
– By Daphne Always
The American Dream Becomes a Queer, Coming-of-Age Videogame in american (tele)visions
– By Alexi Chacon
Walter Corwin’s A Short History of Now
– By Allison Green

Fiction

The Widow
– By Annell López
The Love of Joey’s Life
– By Zack Graham

Poetry

three
– By Jake Marmer
six
– By Violet Spurlock
four
– By Will Alexander
five
– By Ariel Resnikoff
two
– By Patricia Spears Jones
three
– By Daisy Fried
four
– By Chris Tysh

Art Books

The Return of Printed Matter’s New York Art Book Fair—IRL
– By Nick Bennett
Carla Zaccagnini’s Cuentos de Cuentas
– By Lyle Rexer
Jordan Weitzman’s Participation
– By Zach Ritter
Tamy Ben-Tor and Miki Carmi’s Archive
– By Judith Lenglart
John Ashbery’s Something Close to Music: Late Art Writings, Poems, and Playlists
– By Candice Chu

In Memoriam

A Tribute to Peter Lamborn Wilson
–

ArTonic

The Guston Foundation: The Maintenance of Philip Guston’s Legacy
– By Jonathan Goodman

Field Notes

The Knife At Your Throat
– By Phil A. Neel
States of Incarceration: Zhandarka Kurti and Jarrod Shanahan with Tobi Haslett
– By Tobi Haslett
“Non Ti Schiantare”—On the Road to Rome and Fascism
– By Serge Quadruppani

The Miraculous

21. 1954-1963, Los Angeles
– By Raphael Rubinstein
22. 1947-2006, Texas, Mostly
– By Raphael Rubinstein
23. 1950-1992, Spain
– By Raphael Rubinstein
24. 1947-1948, New York
– By Raphael Rubinstein
25. 20th Century; Havana, Cuba
– By Raphael Rubinstein

Art and Technology

Glitching Time and Time-Based Media
– By Charlotte Kent

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OCT 2022