“The Object Comes Alive”: A Conversation with Claes Oldenburg* HAL FOSTER Hal Foster: Thanks so much for meeting, Claes. With your recent exhibition and book of writings in mind, I wanted to ask you a few questions about your early work. Claes Oldenburg: That all happened some time ago. HF: So don’t worry if you draw blanks! In your notes from 1959–60 you refer to

Zoonotic Undemocracy* ARNAUD GERSPACHER In 1967, the Brazilian artist Nelson Leirner balked at the confining of a large dead pig to a gestation crate in the fourth Modern Art Salon of Brasília. He called out the curators, Frederico Morais and Mário Pedrosa, in the press, questioning what possible criteria they had for admitting such a monstrosity. The work was titled The Pig (O porco, 1967)

Lawrence Weiner’s Materialism* TREVOR STARK I wrote this essay for the forthcoming catalogue of what turned out to be the final exhibition of Lawrence Weiner’s lifetime: CLOSE TO A RAINBOW, curated by Anders Gaardboe Jensen and held from June to October 2021 at the Holstebro Kunstmuseum in Denmark. It is published in this issue of October as an homage to the artist, who died on

Art Communities at Risk: On Ukraine SVITLANA BIEDARIEVA To focus attention on the amplified hostility around the world to the figure of the artist and artistic expression, as well as to attend to the conditions of specific instances of repression and specific tactics of resistance, we have commissioned an occasional series consisting of short contributions by and about artists, critics, and cultural professions at risk

Garrett Bradley. America. 2019. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 4 4 1 1 9 7 9 6 4 9 o c t o _ a _ 0 0 4 4 1 pd . / f b y g u e s t t o n

"Matar para mostrar": A Conversation with Julian Stallabrass MIGNON NIXON Mignon Nixon: Would you start us off by explaining what you mean by “killing for show,” the title of your new book (Killing for Show: Photography, War and the Media in Vietnam and Iraq)?1 Julian Stallabrass: It’s the move that those wielding weapons make to show their power publicly. The two wars that I examine

Lying in the Gallery* PAMELA L. LEE I On the topic of burnout, recent art, and working remotely under condi- tions of pandemic, I begin with a seemingly impolitic question: Why do we take things lying down? Perhaps to some this will sound like an academic nonstarter—a crude provocation, to say the least—but in posing the question I mean some- thing at once more literal

Lucia Moholy. Hands Peeling Potatoes. C. 1930. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 3 9 3 1 8 6 8 5 3 2 o c t o _ a _ 0 0 3 9 3 pd . / f b y g u e s t

Aaron Douglas. Aspects of Negro Life: From Slavery through Reconstruction (detail). 1934. © 2020 Heirs of Aaron Douglas. All Douglas images are licensed by VAGA at Artists Rights Society (ARS), Nueva York. Aaron Douglas and Aspects of Negro Life * LEAH DICKERMAN The murals look down on me and I can look up at them for relief and pleasure and support when any of the so-called

Stock photo of a woman touching her face. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 4 0 9 1 8 6 8 5 0 9 o c t o _ a _ 0 0 4 0 9 pd . / f b y g u e s

The texts in this contribution were written as part of the exhibition D37 at the Museum of Contemporary Art, Los Angeles, from October 14, 2018, to March 11, 2019. The accompanying images document the works included in the exhibition. D37 CAMERON ROWLAND “It has been through all the phases of decline and is now thoroughly blighted. Subversive racial ele- ments predominate; dilapidation and squalor are

Folds in the Fabric: Robert Morris in the 1980s* KEVIN LOTERY Nothing to do with a corpus: only some bodies. —Roland Barthes Artificer of the Uncreative By January of 1983, Robert Morris’s work had taken a decisive and shocking turn. In two concurrent exhibitions in New York, one at Leo Castelli Gallery and another at Sonnabend Gallery, Morris exhibited new large-scale, figurative reliefs and drawings