Reviewing Artforum’s Advertisements: November 2011 Edition

Everyone loves a flip-off photo, but a quick call to the gallery confirmed our suspicions about just how terrific this photograph actually is. The picture is estimated to be from 1965, when Ms. Cooper was director at Park Place gallery and three years before she’d open her own space. The photograph was taken at a workspace in the Williamsburg/Greenpoint area of Brooklyn, and the said flipper is, of course, Mr. di Suvero himself. And who do you suppose is walking over to him on his work like it’s a gymnast’s balance beam? Ms. Cooper herself. Stellar! - Dan Duray
When you spent your time studying in France--and, Gallerist reader, don't try to deny it, we know you did--you may have noticed that the most popular notebook brand by far is Claire Fontaine. It's their Moleskine meets black-and-white "composition book." This is where the France-based art collective gets its name. The ad depicts a nouveau readymade that they produced in which they asked their galleries around the world to write them blank checks and accept on faith that they would not cash them. - D.D.
Five people dressed in ridiculously retro drag are staring out at you from the page in this ad for the photographer's upcoming show. What's so great about Ms. Opie's work is how she'll do things like focus on the falseness of the fake mustaches on her subjects' faces. - Michael H. Miller
This poignant and sad image by Ugo Rondinone is a big departure from his affirmative exclamations like the "Hell, Yes!" that was installed on the facade of The New Museum in 2007. The image is a sad and subtle work of realism that reveals ominous imperfections only when inspected closely. The somber face is so appealing, you hardly notice the significant gap where the arm connects with the rest of the body. - M.M.
Pretty much any ad featuring a Francis Picabia painting would make us swoon, but Michael Werner Gallery has outdone itself here, giving us two works wildly different works that the indefinable onetime Dadaist painted late in his career, in the 1940s. In the darkness of winter, Picabia and Werner promise to bring us to the beach. - Andrew Russeth
Robert Miller Gallery pays tribute to its legendary founder, who died in June at the age of 72, with this portrait by Robert Mapplethorpe, an artist the dealer long supported. As far as we can recall, the opening page of Artforum has never looked more handsome or more dignified. - A.R.

There is much in November’s Artforum to fill us with excitement, like a vicious restaurant review by artist Ken Okiishi, a special section paying tribute to the late Cy Twombly (with essays by Robert Morris, Rosalind Krauss and Arthur Danto, among others) and an essay on photographer Michele Abeles.

However, we are here, as we are every month, to discuss this issue’s advertisements, those early cries for the coming months’ shows. There are a few beauties in this issue. At the slideshow at left, we pick our favorites.

Must Reads

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