Issue 85
September 2004

From this issue

Peter Eleey on the artist whose best known work was withdrawing from the art world

BY Peter Eleey |

Identity is something you perform – a performance restrained by norms and expectations

Imagine your state of mind if, up late one night in a halcyon Ecstasy haze, you channel-surfed between documentaries on Glam Rock, Stonewall and Studio 54

BY Christopher Miles |

Distribution, social movements and political activism are not just the content of Emma Hedditch’s art, but also its form

The real, the social and the surreal merge in sculptures that reference or employ what Ed Ruscha once described as the ‘unreported artefacts’ of the urban landscape

An interview with John Ashbery

BY Craig Burnett |

Bruce Hainley writes on Louise Lawler and her documentation of the life and power of images

Increased international interest in Polish art coincides with the country joining the European Union. How do the economic and social changes affect making and showing art, and Warsaw’s urban environment?

The artist explores themes of loss and conservation with archaic machines, extinct bird-songs, lost sounds, failed speeches, a stuffed bear, melting money, ticker tape machines, marching music and 86 car horns

Art doesn’t get much more provisional-looking than Saadane Afif’s Memory of Fire (2004)

Carsten Holler by Alex Farquharson

‘And it seems to me that it’s up to all of us to try to tell the truth, to say what we know, to say what we don’t know, and recognize that we’re dealing with people that are perfectly willing to lie to the world to attempt to further their case.’ Donald Rumsfeld

Georges Didi-Huberman’s new book examines the use of photography as evidence, and the way images of violence and trauma are understood

A recent exhibition at MoMA in New York included masterpieces of everyday design such as Post-It notes, tea-bags and the Chupa Chups lollipop wrapper created by Salvador Dalí; Paola Antonelli in conversation

As a recent retrospective made clear, the playful and visceral work of Dieter Roth is a vivid reminder of human fragility