Category Archives: BOOKS/PERIODICALS


A survey of Judy Chicago’s work from 1965 to 1972—made in Los Angeles and Fresno State College, where, in 1970, she developed the first feminist art program in the United States—is now on view at Jeffrey Deitch.

This [exhibition, JUDY CHICAGO—LOS ANGELES,] has enormous meaning to me because we’re not only doing a comprehensive show of different aspects of my early work—painting, sculpture, fireworks, installations—and all of that has never really been put together before, but you’re also doing it in a Frank Gehry-designed building. Gehry was my first landlord in Santa Monica, and his sister married my first gallerist. Frank was not particularly interested in women artists at that time—I don’t know if he ever was…

And, as you know, I had a really difficult time in the first two decades of my career. Some of the sculptures that are going to be in the show are being reconstructed because I had to destroy them: I just couldn’t afford to store that much work. I stored some early work, fortunately, which the Getty curators unearthed for Pacific Standard Time—that began the process of people looking at my early work…

Even though I had a really difficult time in the L.A. arts scene—which was very inhospitable to women—still, L.A. nurtured me, and I feel like the foundations of my work are in what I did in that first decade and a half of professional practice in California: the development of my formal language, my color systems, my approach to and interest in a wide variety of materials…

Also, doing this show is bringing a lot of memories back, some of which were simply too painful for me to deal with at the time. Had I really acknowledged them or dealt with them, I probably would have given up. I had such a hard time and faced so much rejection and misunderstanding. Still, when I went to auto-body school, I learned for the first time that making art involved making physical objects, and I learned a sense of craft that I never had—about how you do things. I had a teacher at the auto-body school who said to me: “Judy, there’s no such thing as perfection. There’s only the illusion of perfection, and I’m going to teach you how to achieve that.”Judy Chicago, interview with Jeffrey Deitch, Purple 32


Through November 2.

Jeffrey Deitch

925 North Orange Drive, Los Angeles.

Judy Chicago, from top: Immolation, 1972, from Women and Smoke, photograph by Donald WoodmanARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Birth Hood, 1965-2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, New York, ADAGP 2018; Trinity, 1965/2019, Matthews polyurethane paint on stainless steel; Orange Atmosphere, 1968, courtesy of Through the Flower Archives; Pale Green Domes with Solid Core, 1968, sprayed acrylic lacquer on successive formed clear acrylic domes, courtesy of Salon 94 Gallery and the Jessica Silverman Gallery, San Francisco, photograph by Woodman, ARS, New York; Sky Flesh, 1971, sprayed acrylic lacquer on acrylic; Pink Atmosphere, 1971, Cal State Fullerton, photograph by Woodman, ARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Pasadena Lifesavers Red Series #2, 1969–1970, sprayed acrylic lacquer on acrylic, photograph by Woodman, ARS, New York; Flight Hood, 1965/2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, ADAGP 2018. Images courtesy and © the artist, the photographers, the publishers, and Jeffrey Deitch, Los Angeles.


This weekend, join Daniel Birnbaum, Sven-Olov Wallenstein, Hans-Ulrich Obrist, and Koo Jeong A in conversation at Frieze London for the launch of Birnbaum and Wallenstein’s new Sternberg Press book SPACING PHILOSOPHY: LYOTARD AND THE IDEA OF THE EXHIBITION.

Birnbaum and Koo will also be in Berlin a week later.

“In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou in Paris. Though widely misunderstood at the time, the exhibition marked a ‘curatorial turn’ in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. SPACING PHILOSOPHY analyzes the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life’s work as well as a primer for the many thought-exhibitions produced in the following decades.”*


Friday, October 4, at 4 pm.

König Galerie Booth (B2), Frieze London

Regent’s Park, London.


Sunday, October 13, at 3 pm.

Julia Stoschek Collection

Leipziger Strasse 60, Berlin.

See “Ontologies of the Virtual,” an interview with Birnbaum and Wallenstein.

From top: Jean-François Lyotard; 1985 exhibition poster, designed by Grafibus, image courtesy and © Grafibus and Centre Pompidou; book cover image courtesy and © Sternberg Press.


Join Afterall directors Charles Esche and Mark Lewis, editor Ute Meta Bauer, and artist and contributing editor Charles Stankievech for a celebration of two decades of the journal’s publication and the launch of issue 48—Looking Back, Looking Forward: 20 Years of Afterall.


Thursday, October 3, from 6 pm to 8 pm.

Central Saint Martins, Granary Building

1 Granary Square, King’s Cross, London.

Afterall, from top: Issue 48; 47; 41; and 45. Images courtesy and © Afterall.


I say Accolay. Located in Vermenton on RN6, the roadside store was also a gas station with a painted and diagonal concrete design. The display units would fold back, securely storing the ceramics. The production was carried out in the village of Accolay, a few minutes away. It was rich and multi-style, ranging from Africanist inspirations or naïve art à la Peynet to loosely geometric compositions. The surface treatment would use chamotte (grog clay), or have a rugged matte blue finish, like the famous “Gauloise” style vases… This production is fascinating in that the blend of styles, various borrowings, and clever lack of culture, gives it post-modern value and positioning.

I say Le Vaucour. I don’t know much about this type of Vallauris pottery. I’m solely interested in it for a type of piece, which through an unspeakable shortcut managed to sneak its way into the local secular culinary pottery, with its numerous Suprematist spatial compositions. A repulsively speckled sur-face adorned with diagonal red and black surfaces. Ashtrays, cups, jugs… 

I don’t need to say more than propose these two paths to situate Sylvie Auvray’s work in the millenary litany of glazed fired clay that molds human civilization into a single inexorable model of survival. After that, history made things more complex and produced various narratives. But this is outside our purview.Franck Gautherot, “Wood Oven, Pizzeria, & Majolica, ” in Sylvie Auvray, Les Cambuses, 2019).

Sylvie has admitted to me that she decided to create brooms after looking out the window of a small shop in the desert, where she thought she’d caught a glimpse of a garage (for manufacture and repair) for witches’ brooms. The broom being also, of course, the preferred attribute of witches, whose demonization led to the persecution of several thousands of women from the Middle Ages onwards. And if the alleged witches were so disturbing, it is perhaps primarily because they appeared to be free and liberated women, since the witch might be the woman who escaped her husband’s clutches up the chimney, with her broom, to be ravished by the sky literally. And this is how the witch became the great feminist-identified figure, with her forbidden and scandalous sex toy, just like the bicycle seat later on, in the late nineteenth and early twentieth century, which was criticized for its masturbatory potential and therefore seen as detrimental to public health and morals.Anne Dressen, “Kurious Kat,” in Sylvie Auvray, Les Cambuses, 2019.

Sylvie’s sculptures are always about to do something, though you can never really tell what. They seem impatient and static at the same time. Like dogs or cute things, they will have you coo in an indecent way, making sounds that reduce language to onomatopoeia. When you look at them, you distort yourself, becoming a caricature of yourself, a comic book character. They itch, like “the brick,” in George Herriman’s comic, Krazy Kat. In one of the sketches, all we see is the brick, just lying there, but already a tension exists in anticipation of the next panel. Inevitably, it will move from the hands of the mouse to the head of the cat.  — Sarah Holveck, “Slapstick,” in Sylvie Auvray, Les Cambuses, 2019.


Through October 19.

Galerie Laurent Godin

36 bis, rue Eugène Oudiné, 13th, Paris.

Excerpts from the monograph SYLVIE AUVRAY—LES CAMBUSES, 2019, Is-Land Édition.


Tuesday, October 1, from 6 pm to 8 pm.

Ofr Librairie

20 Rue Dupetit-Thouars, 3rd, Paris.

Sylvie Auvray, Les Cambuses, Galerie Laurent Godin, 2019. Artwork images courtesy and © the artist and Galerie Laurent Godin. Book cover image courtesy and © the artist and Is-Land Édition.


Join Irmgard Emmelhainz and Soyoung Yoon for an e-flux launch and conversation about Emmelhainz’s new book JEAN-LUC GODARD’S POLITICAL FILMMAKING.

The book “offers an examination of the political dimensions of a number of Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba.

“Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.”*



Wednesday, September 25, at 7 pm.


311 East Broadway, New York City.

Jean-Luc Godard, from top: Film Socialisme (2010), still; portrait of Godard by Philippe R. Doumic, circa 1960; book cover image Palgrave Macmillan; Anna Karina and Michel Subor in Le Petit soldat, shot in 1960, released in 1963, still; Adieu au langage (2014), still. Images courtesy and © the filmmaker, the actors, the producers, and the publishers.