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Current Issue
On a Copernican Revolution in the Art World
On the art of Mohammed Al-Hawajri
Museu de Arte de São Paulo
Sofía Córdova, Green is A Solace, 
A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood, 
dimensions variable.
Sofía Córdova, Green is A Solace, A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood. Installation view, JOAN, Los Angeles, 2024. Photo: Evan Walsh.
Videos
DECEMBER HOMEPAGE
The artist talks about reading James Baldwin, learning from David Hammons, becoming an artist, and more
Tracey Emin on Zoom.
On her art and life with Tina Rivers Ryan
From the archive
DECEMBER HOMEPAGE
Summer 2006
“Tableaux vivants, circus motifs, and references to the occult as well as theater and dance pervade [Ulla] von Brandenburg’s work.” So wrote Dia Art Foundation director Jessica Morgan in a profile of the German-born, Paris-based artist in Artforum’s Summer 2006 issue. Published as von Brandenburg was first gaining international attention, Morgan’s essay surveys the artist’s ambiguous, destabilizing meditations on the intersection of gender, performance, and traditionally feminine craft. 

As the art world converges on Miami’s South Beach, where von Brandenburg’s work is currently on view at the city’s Bass Museum of Art, Artforum here revisits Morgan’s essay.  
—The editors
Dossier
Rosa Barba, Boundaries of Consumption, 2012, 16-mm film, modified projector, film canisters, metal spheres. Installation view, Kunsthaus Zürich. Photo: Jenny Ekholm.
“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