Jean-Luc Godard. Breathless. 1960. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 3 5 9 1 7 5 4 4 8 6 o c t o _ a _ 0 0 3 5 9 pd . / f b y g u e s t t o n

The Age of “Amok” joSePH voGL In the early hours of August 1, 1966, after murdering his wife and mother, Charles Whitman began to assemble equipment for further action: a transistor radio, bottles of water and gasoline, a flashlight, a compass, an ax, a lighter, a hunting knife, deodorant, food, toilet paper, adhesive tape, gloves, as well as sever- al handguns, a carbine, and a

The other “Sch,” or When Damisch Met Schapiro* JÉRÉMIE KoERIng for Teri 1. Vermont S[chapiro] alleges that our discussions are so inter- esting for him because, after the death of Panofsky, he no longer has anyone to talk with who is both an art historian and a philosopher. Hubert Damisch wrote these lines in his black bound notebook immediately after spending two days (September 9th

On The Burning Child: A Conversation with Joseph Koerner BENJAMIN H. D. BUCHLOH B.B.: Thank you for agreeing to talk about your new—and first major—film, The Burning Child, made in 2014–17 and only now, almost by accident, ready for release, exactly eighty years after the infamous Anschluss, on March 12, 1938, the annexation of Austria by German Nazi military forces, an event wel- comed by

Banners unfurled at the Beaux-Arts Court of the Brooklyn Museum during action by Decolonize This Place, Avril 29, 2018. Photographs by Decolonize This Place and collaborators. l D o w n o a d e d f r o m h t t p : / / direct . m i t . / / e d u o c

Toppled head of monument to Aleksandr III, Moscow, 1918. F / d o i / / / . 1 0 1 1 6 2 o c t o _ a _ 0 0 3 2 8 1 7 5 4 2 0 0 o c t o _ a _ 0 0 3 2 8 pd . / f b y g u e

Afrotropes: A Conversation with Huey Copeland and Krista Thompson LEAH DICKERMAN, DAVID JoSELIT, MIgNoN NIxoN David Joselit: Would you define what you mean by an afrotrope, and specifically how it allows a kind of analysis that links the delays, accelerations, erasures, and hyper-saturation that images associated with experiences of blackness may experience through their circulation? Huey Copeland and Krista Thompson: We coined the term afrotropes—not

Make It Old: Hollis Frampton contra Ezra Pound GEORGE DERK I visited Pound nearly every day during this time, while he was finishing the part of his Cantos called Section: Rock-Drill, commencing work on Thrones—and had undertaken, for the benefit of his visitors, to read aloud . . . and to annotate, oral- ly, the entirety of the epic poem. Thus I became privy to

Philanthropy and Plutocracy In response to Donald Trump’s presidency, and the broader conditions that enabled it to happen, October has begun publishing historical and contemporary documents related to cultural activism aimed at creating spaces of progressive resistance to threats of authoritarianism and plutocracy (voir, par exemple, state- ments related to the J20 Art Strike in October 159). The texts that follow demonstrate how theory can

The modern Invention of Barbarians: Ethnicity and the Transmission of Form* ERIC mICHAUD The writing of history has always been one of the major tools of power. It shares with art not only the capacity to depict something that never existed but also the capacity to bring about the new simply by describing it. Just as there was no London smog before Turner painted it,

Death Work in Venice In memoriam Khadija Saye MIGNON NIXON A man sits down in the seat across from me in the Underground train and begins to cry. I look up from my book, J.-B. Pontalis’s Frontiers in Psychoanalysis: Between the Dream and Psychic Pain (1981), chapter fourteen, “On Death-Work,” the week’s assigned text for my reading group in the Psychoanalysis Unit at University College

What’s So Funny? Laughter and Anger in the Time of the Assassins* YVONNE RAINER During a recent rehearsal with my dance group, I asked one of the dancers to read aloud an item from the “Shouts and Murmurs” page of The New Yorker, which read as follows: The President whammed his fist on the table. The Cabinet Room went silent. “This isn’t some goddam B

Rachel Harrison. More News: A Situation. 2016. Installation view at Greene Naftali, New York, Avril 2016. Courtesy of the artist and Greene Naftali, New York. Photograph by Jason Mandella. l D o w n o a d e d f r o m h t t p : / / direct . m i t . / / e d

MIGNON NIXON In its search for a leader the group finds a paranoid schizophrenic or malignant hysteric if possible; failing either of these, a psychopathic personality with delin- quent trends will do; failing a psychopathic personality it will pick on the verbally facile high-grade defective. —W. R.. Bion, Experiences in Groups (1961) An anxious group will typically select its maddest member as its leader. Ici

Père Trump* HAL FOSTER When I hear the word Trump, I reach for my . . . critical glossary? That is pathetic—as if the right term could be a silver bullet. And yet, like so many oth- ers, I have struggled to find language for our predicament. The problem is, the old concepts seem inadequate in the face of Trumpism, voided not only by the

Photography as Model?* MATTHEW S. WITKOVSKY It has been said that the switch from analog to digital might spell the death of photography as a distinct creative form. If that is true, it will not be owing to the loss of material supports such as film rolls or the negative-positive process, but rather on account of continuing inadequacies in the art-historical treatment of past and

A Conversation with Jutta Koether Benjamin Buchloh: I’ve seen you enact your work in public a few times, in perfor- mances at Harvard (Avril 2013) and in Berlin (Novembre 2010), and the events have led me to wonder how you link painting and performance. The public performance of the act of painting had previously acquired impor- tance only in the misguided European reception of the

Tending-toward-Blackness* HUEY COPELAND It comes as no surprise that the heterogeneous humanistic and social-scientific writings often lumped together under the heading “new materialisms” have been embraced by a wide swath of Euro-American academics, artistes, critics, and curators. In their focus on the internal and external entanglements of matter with both seen and unseen forces, agents, and atmospheres, these supposed theoretical innovations not only echo the