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Gustave Caillebotte, Rue de Paris, Temps de pluie (Paris Street, Rainy Day), 1877, oil on canvas. People walk along a wet cobblestone street holding umbrellas, with horse-drawn carts and buildings in the background under an overcast sky.
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On Gustave Caillebotte at the Musée d’Orsay, Paris
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On art museums and the rhetoric of relevance
Mel Bochner, All or Nothing (detail), 2012, oil and acrylic on canvas, two parts, 100 × 85".
Mel Bochner, All or Nothing (detail), 2012, oil and acrylic on canvas, two parts, 100 × 85″.
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Sonja Drimmer over Zoom for "Under the Cover."
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On the empty rhetoric that has been used to promote generative AI as an art-historical research tool
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Hiroshi Sugimoto
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Ngoc Nau, Virtual Reverie: Echoes of a Forgotten Utopia (2023)
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Hung Duong introduces multimedia artist Ngoc Nau’s experimental video Virtual Reverie: Echoes of a Forgotten Utopia, 2023
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February 1995
Tracey Emin Opens Up
“Tracey Emin: I Loved You Until the Morning,” currently on view at the Yale Center for British Art in New Haven, is the first major exhibition of the artist’s unflinchingly autobiographical work at a North American museum. This week, Artforum celebrates the exhibition by revisiting the February 1995 Openings feature in which Michael Corris introduced the magazine’s readers to Emin’s art.
 
“[Emin’s] subject matter may be her self, but because the problem her work repeatedly confronts is how the social is inextricably embedded in individual consciousness, the work never ends up being merely solipsistic,” Corris writes. “Instead, it is living proof that Hell is decidedly not other people.” —The editors
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ARTFORUM DOSSIER: CELLULOID 
“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
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