HURVIN ANDERSON’S “BARBERSHOP” series belongs to a long tradition of painterly fascination with the spaces of social interaction that reflect both the physical realities and ideological aspirations of society at large. Anderson’s exhibition “Salon Paintings” at England’s Hastings Contemporary, organized in collaboration with the Hepworth Wakefield, also in England, and Kistefos Museum in Jevnaker, Norway, brings together a body of work he produced between 2006 and 2023 that portrays, albeit in the loosest sense of the word, men’s hair salons.
View of “Time Travel: Italian Masters Through a Contemporary Lens,” 2023–24. From left: Ross Bleckner, Day and Night, Hour by Hour, 2023; Josephine Halvorson, Smiley Face, 2023. Photo: Jason Mandella.
“Time Travel: Italian Masters Through a Contemporary Lens,” a group exhibition that featured a selection of Renaissance paintings alongside works created by present-day artists, was a type of paragone, except that the debate was not whether painting or sculpture is the superior art form, but whether these historical pieces—executed at a time when grand themes and exquisite craft, among other criteria, determined their value—are better or worse than objects made by artists now, when such antiquated metrics seem well beside the point.
Artforum Magazine (December 5, 2023) – The latest issue features Fifteen Artists reflect on 2023, “Manet/Degas” at the Metropolitan Museum of Art in NYC, The Top Museum Exhibitions of 2023, The top ten art exhibitions of 2023, and more…
“MANET/DEGAS,” the fall blockbuster at the Metropolitan Museum of Art, New York, begins with an unabashed, double-barreled bang: Édouard Manet’s last great self-portrait, paired up alongside one of Edgar Degas’s first. The juxtaposition provides a thrilling object lesson in the stolid compare-and-contrast curatorial methodology that defines the exhibition, but if it’s meant to show the two artists on an equal footing, it doesn’t stage a fair fight. Forty-six years old when he executed Portrait of the Artist (Manet with a Palette), ca. 1878–79, Manet is at the height of his painterly power, looking backward and forward at once.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I), 2022, glass-fiber reinforced concrete. Installation view, Metropolitan Museum of Art, New York, 2023. Photo: Hyla Skopitz.
To take stock of the past year, Artforum asked an international group of artists to select a single exhibition or event that most memorably caught their attention in 2023.
KENTURAH DAVIS Lauren Halsey (Metropolitan Museum of Art, New York) Emerging onto the Met’s rooftop, I’m greeted by sphinxes with faces carved in the likeness of the artist’s loved ones. These figures surround and protect a large architectural monument, its surfaces engraved with coded inscriptions that pay homage to the people and energy of South Central Los Angeles. The structure forgoes the exuberant color I’ve come to expect in Halsey’s work, making me think about the ways Egyptian art and architecture have changed over time—once colorfully embellished, and now animated purely by shadows. In this way, Halsey’s sanctuary suggests that it’s been standing there for millennia, transformed by the sun and communing with the cosmos.
Annette Frick, Ein Augenblick im Niemandsland (A Moment in No Man’s Land), 2010, twenty-one gelatin silver prints, each 15 3⁄4 × 11 3⁄4″.
VAGINAL DAVIS Annette Frick (MARTa Herford, Germany) You can easily get royally preggers if you stand too close to the hairy eyeball of Annette Frick. For more than forty years, the Berlin-based photographer-filmmaker and consummate artiste has been known mainly for her captivating chronicles of underground queer scenes. At her retrospectacle “A Moment in No Man’s Land,” was enchanted by her sensual large-format self-portraits and stunning nude cycle “Aus dem Wasser” (Out of the Water), 2007–2008, referring to mythological figures such as Ondine and Lilith. I had never seen her architecture-portrait hybrids and was mesmerized, wondering just what else she has hidden in her voluptuous archive.
Saâdane Afif, The King Coal Laments, 2023, coal sculptures by miners, UV prints on aluminum, wood, aluminum trusses. Installation view, Wilhelm Hallen, Berlin. Photo: Andrea Rossetti.
ANRI SALA Saâdane Afif (Wilhelm Hallen, Berlin) It’s difficult to express the poetry and poignancy of Saâdane Afif’s exhibition “The Coalman,” part of the artist’s larger endeavor to give form to a heptahedron. Here, the artist installs his personal collection of coal sculptures handcrafted by miners in their spare time alongside Is it possible that you have no coal left?, 2023, a facsimile of a letter from French composer Claude Debussy to his coal merchant, penned during the particularly severe winter of 1916–17. The repurposed missive serves as a coda to the exhibition as a whole, posing a question that resonates in manifold ways in the present (perhaps even applying to a shortage of new forms).
Ken Kiff, Man and Blue Mask, ca. 1975, oil on panel, 31 7⁄8 × 24″.
Boomers Daily 