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- The cover of our March 2013 issue featured Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84". Inside the issue, Owens spoke with Sarah Lehrer-Graiwer about gesture in her painting: "The oversize impastoed gesture marks are made up of large paint strokes and then given drop shadows. They are overdetermined but also undeniably physical. I wanted to emphatically try to inhabit the gesture. The gesture is simultaneously the mark inside the painting, the act of painting, and the decision to rent the space and make the exhibition. I had asked myself, in a depressed mood: Is it even possible for a woman artist to be the one who marks? At the same time, in 2013, does anyone at all have this ability, or is it an antiquated and sentimental idea? Isn’t it interesting that a male orgasm has a DNA imprint that will replicate itself over and over again, reinforcing itself the way language or naming might, but the female orgasm has no use, no mark, no locatability? It can’t even be located in time. There’s no moment when ejaculate comes out, really. I want to think about how that can be the model for a new gesture." Tomorrow, the exhibition "Laura Owens," curated by @scott_rothkopf with Jessica Man, opens @whitneymuseum of American Art, NY, through February 4, 2018. Swipe left for a work in the show, Untitled, 2013, acrylic , oil, and vinyl paint on canvas. #tbt #artforumarchive #lauraowens #whitneymuseum #nyshows #artforum
- The cover of our March 2013 issue featured Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84". Inside the issue, Owens spoke with Sarah Lehrer-Graiwer about gesture in her painting: "The oversize impastoed gesture marks are made up of large paint strokes and then given drop shadows. They are overdetermined but also undeniably physical. I wanted to emphatically try to inhabit the gesture. The gesture is simultaneously the mark inside the painting, the act of painting, and the decision to rent the space and make the exhibition. I had asked myself, in a depressed mood: Is it even possible for a woman artist to be the one who marks? At the same time, in 2013, does anyone at all have this ability, or is it an antiquated and sentimental idea? Isn’t it interesting that a male orgasm has a DNA imprint that will replicate itself over and over again, reinforcing itself the way language or naming might, but the female orgasm has no use, no mark, no locatability? It can’t even be located in time. There’s no moment when ejaculate comes out, really. I want to think about how that can be the model for a new gesture." Tomorrow, the exhibition "Laura Owens," curated by @scott_rothkopf with Jessica Man, opens @whitneymuseum of American Art, NY, through February 4, 2018. Swipe left for a work in the show, Untitled, 2013, acrylic , oil, and vinyl paint on canvas. #tbt #artforumarchive #lauraowens #whitneymuseum #nyshows #artforum
- The cover of our March 2013 issue featured Laura Owens, Untitled (detail), 2012, oil, acrylic, Flashe paint, resin, collage and pumice on canvas, 108 x 84". Inside the issue, Owens spoke with Sarah Lehrer-Graiwer about gesture in her painting: "The oversize impastoed gesture marks are made up of large paint strokes and then given drop shadows. They are overdetermined but also undeniably physical. I wanted to emphatically try to inhabit the gesture. The gesture is simultaneously the mark inside the painting, the act of painting, and the decision to rent the space and make the exhibition. I had asked myself, in a depressed mood: Is it even possible for a woman artist to be the one who marks? At the same time, in 2013, does anyone at all have this ability, or is it an antiquated and sentimental idea? Isn’t it interesting that a male orgasm has a DNA imprint that will replicate itself over and over again, reinforcing itself the way language or naming might, but the female orgasm has no use, no mark, no locatability? It can’t even be located in time. There’s no moment when ejaculate comes out, really. I want to think about how that can be the model for a new gesture." Tomorrow, the exhibition "Laura Owens," curated by @scott_rothkopf with Jessica Man, opens @whitneymuseum of American Art, NY, through February 4, 2018. Swipe left for a work in the show, Untitled, 2013, acrylic , oil, and vinyl paint on canvas. #tbt #artforumarchive #lauraowens #whitneymuseum #nyshows #artforum
- Sarah Meyohas, Cloud of Petals, 2017, VR video, color, sound, indefinite duration. Our November issue features a special section on Virtual Reality, a term first coined in the 1980s. Over the past decade, the technology—and the dream—has returned in full force. Artforum invited thinkers and artists at the forefront of VR, including Douglas Coupland, Daniel Birnbaum, Jordan Wolfson, Rindon Johnson, Rachel Rossin, Jon Rafman, Alyssa K. Loh, and Meyohas, to examine the technology and the questions it raises about artifice and resemblance, perception and truth, omnipresence and repression, alienation and existence. Meyohas discusses the making of this work: "Sixteen workers photographed a hundred thousand individual rose petals. Next, a machine-learning algorithm generated new, purely digital petals based on this data set. I then worked with producer Tyler Pridgen and developer Nate Turley alongside VR studio Superbright to create a virtual environment in which 3-D models, derived from both the AI-generated and original photographic petals, become particles in simulated systems, floating in space like a cloud." To read more, visit artforum.com, or subscribe and get the issue for free (we'll start your subscription with our December Best of 2017 issue). #Sarahmeyohas #virtualreality #VR #artforumnovemberissue #artforuminprint
- Sarah Meyohas, Cloud of Petals, 2017, VR video, color, sound, indefinite duration. Our November issue features a special section on Virtual Reality, a term first coined in the 1980s. Over the past decade, the technology—and the dream—has returned in full force. Artforum invited thinkers and artists at the forefront of VR, including Douglas Coupland, Daniel Birnbaum, Jordan Wolfson, Rindon Johnson, Rachel Rossin, Jon Rafman, Alyssa K. Loh, and Meyohas, to examine the technology and the questions it raises about artifice and resemblance, perception and truth, omnipresence and repression, alienation and existence. Meyohas discusses the making of this work: "Sixteen workers photographed a hundred thousand individual rose petals. Next, a machine-learning algorithm generated new, purely digital petals based on this data set. I then worked with producer Tyler Pridgen and developer Nate Turley alongside VR studio Superbright to create a virtual environment in which 3-D models, derived from both the AI-generated and original photographic petals, become particles in simulated systems, floating in space like a cloud." To read more, visit artforum.com, or subscribe and get the issue for free (we& #39;ll start your subscription with our December Best of 2017 issue). #Sarahmeyohas #virtualreality #VR #artforumnovemberissue #artforuminprint
- Sarah Meyohas, Cloud of Petals, 2017, VR video, color, sound, indefinite duration. Our November issue features a special section on Virtual Reality, a term first coined in the 1980s. Over the past decade, the technology—and the dream—has returned in full force. Artforum invited thinkers and artists at the forefront of VR, including Douglas Coupland, Daniel Birnbaum, Jordan Wolfson, Rindon Johnson, Rachel Rossin, Jon Rafman, Alyssa K. Loh, and Meyohas, to examine the technology and the questions it raises about artifice and resemblance, perception and truth, omnipresence and repression, alienation and existence. Meyohas discusses the making of this work: "Sixteen workers photographed a hundred thousand individual rose petals. Next, a machine-learning algorithm generated new, purely digital petals based on this data set. I then worked with producer Tyler Pridgen and developer Nate Turley alongside VR studio Superbright to create a virtual environment in which 3-D models, derived from both the AI-generated and original photographic petals, become particles in simulated systems, floating in space like a cloud." To read more, visit artforum.com, or subscribe and get the issue for free (we'll start your subscription with our December Best of 2017 issue). #Sarahmeyohas #virtualreality #VR #artforumnovemberissue #artforuminprint

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