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Max Hooper Schneider.
The Los Angeles artist’s mythic, bio-poetic sculptures take over UCCA Dune, China, with “Carnival of Gestation”
Vista Theater, Los Angeles.
On Quentin Tarantino’s Video Archives Cinema Club
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Christoph Büchel at Fondazione Prada, Venice
Presentations of textile art in Washington, DC;  New York; and Chicago
Wael Shawky, Drama 1882, 2024, 4K video, color, sound, 45 minutes.
Film
Tsai Ming-liang, The Hole, 1998.
On the hyperreal cinema of Tsai Ming-liang
Megalopolis.
Odes to cinema abound at the Seventy-Seventh Cannes Film Festival
Working Girl (1988)
Re-viewing Mike Nichols at the Cinémathèque française
From the archive
SEPTEMBER HOMEPAGE
May 2003
In Artforum’s May 2003 issue, Stephen Shore unveiled a portfolio of six never-before-published photographs from the 1970s that would later be collected in the book “Uncommon Places: The Complete Works” (Aperture, 2004). Introducing these works, artist and writer Walead Beshty contextualized Shore’s employment of the large-plate view camera with his nineteenth-century forebears William Henry Jackson and Timothy O’Sullivan, who used the same instrument to document the American West as a sort of uninhabited sublime. “Shore’s use is in part homage,” Beshty noted, “but an homage complicated.” The “wild west” of the 1970s, after all, was one crowded with urban sprawl and the detritus of car culture—a markedly different American Dream from that which might have been conjured a century prior.
 
This summer, the Fondation Cartier-Bresson is putting on the first retrospective of Stephen Shore’s work in Paris in nineteen years. The exhibition takes an extensive look at Shore’s oeuvre, including a number of works from his seminal vehicular photography from the 1970s, of which the “Uncommon Places” series is the most representative.
—The editors