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National Museum of Contemporary Art (EMST) curator Ioli Tzanetaki with EMST director Katerina Gregos and artist Penny Siopis. All photos: Linda Yablonsky.
Dispatch from Athens and Hydra
Man smiling in an art gallery with another person riding on his back. A painting of a clown is visible in the background.
Dispatch from Javier Milei’s Argentina
The photo shows the National Gallery in London, specifically its Sainsbury Wing. The building is lit up beautifully during twilight, with a mix of classical architecture and modern glass design.
On Selldorf Architects’ remodel of the London National Gallery’s Sainsbury Wing
View of Malgorzata Mirga Tas's exhibition, with colorful tapestries hanging from the ceiling and sculptures of bears.
On Małgorzata Mirga-Tas
R. Crumb's WALKIN' THE STREETS
On R. Crumb’s WALKIN’ THE STREETS
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Current Issue
Carmen Winant, The last safe abortion (detail), 2024, ink-jet prints, 10′ 6″ × 24′ 6″.
Videos
Alicja Kwade in Artforum's studio.
On Jack Whitten, Gordon Matta-Clark, Rebecca Horn, Robert Smithson and more
David Salle in Artforum's studio.
Under the Influence
On the importance of his childhood teacher Betty Dickerson, his relationship to midcentury abstraction, and the enduring allure of Manet’s Olympia
R. Crumb's WALKIN' THE STREETS
Interpretations
On R. Crumb’s WALKIN’ THE STREETS
Columns
Jennie C. Jones, Ensemble, 2025, powder-coated aluminum, stainless steel strings, instrument pins, concrete cast travertine tiles. Installation view, Metropolitan Museum of Art, New York. Photo: Hyla Skopitz.
talks about Ensemble, 2025, her commission for the Roof Garden of the Metropolitan Museum of Art, New York
A person stands holding a glass of wine in a dimly lit living room with yellow curtains, candles, plants, and a seated person on a cushioned surface. Subtitles overlay with the words "I'm the lubricant of Dutch society."
On Keeping It Real Art Critics
From the archive
SUMMER HOMEPAGE
January 2022
Reviewing “Vivian Suter: Disco” at Lisbon’s Museum of Art, Architecture and Technology (MAAT) in Artforum’s Summer issue, Joshua Decter described the show—comprising more than five hundred paintings made by the Panajachel, Guatemala–based artist over the past decade—as “a striking agglomeration, what might be described as an all-painting Gesamtkunstwerk.” After closing at MAAT in April, “Disco” traveled to Paris’s Palais de Tokyo, where it is currently on view through September 7.
 
Alongside Decter’s review, Artforum celebrates the exhibition this week by revisiting Daniel Birnbaum’s essay on Suter’s 2021–22 exhibition at Museo Nacional Centro de Arte Reina Sofía, Madrid, published in the magazine’s January 2022 issue.
 
“I have no clue what Mick Jagger is trying to communicate in ‘Jumpin’ Jack Flash,’ but I always liked the explosive opening line: ‘I was born in a cross-fire hurricane,’” writes Daniel Birnbaum. “In front of Vivian Suter’s rough canvases at the Museo Reina Sofía in Madrid, the lyrics suddenly make sense. These works were born in thunderstorms. Rain, wind, and muddy waters are factors as important as the intentionality and craftsmanship of the artist.”
—The editors
Dossier
SUMMER HOMEPAGE
“In this Artforum Dossier, we have gathered texts that focus on artistic practices that reflexively engage with the specific materiality of celluloid—the transparent plastic that served as the most common substrate for moving images before the advent of analog and digital video. These practices typically focus less on storytelling than on the aesthetic possibilities of directly manipulating celluloid film stock, creating sequences of celluloid film frames, or running celluloid film strips through projectors. The results usually emphasize our perceptual experience of light, color, sound, pattern, movement, and space—that is, those elements that provide the language of all moving-image experiences.”
Tina Rivers Ryan
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