Artforum‘s summer issue is a star-studded affair, complete with a conversation between Taryn Simon and Brian De Palma, an essay by Richard Aldrich on Daan van Golden (who nabs the coveted cover spot with a very summery image) and a top-10 list from Patterson Beckwith: he’s into Los Angeles art shop Ooga Booga, RuPaul’s Drag Race and Mindy Vale. But for this feature, the ads are the biggest stars of all. In the slide show at left, we offer our eight favorites. The summer issue covers June, July and August, so savor this issue until September, ladies and gentlemen.
If there's one thing we like more than art—and trust us, there is—it's macarons. Mr. Gander, we don't care what the rest of your show is like. You had us at "tiny detailed wooden sculpture of a macaron."
This spare and elegant piece advertises Elad Lassry's September show and performances at the Kitchen. The space's director, Tim Griffin, said via e-mail that Mr. Lassry "created the entire composition (it's an expanded work, really), with the eye imagery taken from manuals on perception, which is the underlying subject of his upcoming piece—mediation and presence being intertwined." Mr. Lassry was also kind enough to chime in with an e-mail, writing, "The relationship between the drawings and photograph reflect upon my attempt to consider perception of presentations and representations." It's a stunner, a rare gem in the typically bland section devoted to ads from nonprofits in Artforum. —Andrew Russeth
This upcoming show at Boesky's a big one, and will take over both the gallery's uptown and downtown locations. Curated by Dr. Dieter Buchhart, most recently of the terrific Georges Braque show at Acquavella Gallery, this ad seems to indicate that we're in for some infinite jest and most excellent fancy. —Dan Duray
This ad had us craving a good summer cocktail. So, what better way to celebrate summer shows than with a drink as well-traveled as the crowd at Art Basel, who will be taking in Fredrik Vaerslev at Standard (Oslo), booth 05. We have a drink that was a standard at the Pegu Club and beloved by Rudyard Kipling and Paul Theroux.
Pegu Club Cocktail (from Harry Craddock's Savoy Cocktail Book)
1 Dash Angostura Bitters.
1 Dash Orange Bitters. (Angostura Orange Bitters)
1 Teaspoonful Lime Juice. (1 teaspoon Fresh Lime Juice)
1/3 Curacao. (3/4 oz Bols Dry Orange Curacao)
2/3 Dry Gin. (1 1/2 oz Plymouth Gin)
Shake well and strain into cocktail glass.
The lemons on this woman’s sweater made us think of cocktails as well, a muddled fruit cocktail, in particular. Hence, the “smash” seems like an appropriate interpretation of this chaotic and lusty painting by Ella Kruglyanskaya.
DeGroff Whiskey Smash
2 lemon pieces
2 to 3 mint leaves
3/4 oz Simple Syrup
1 1/2 oz Maker’s Mark Bourbon
1 oz of water
Sprig of fresh mint
Muddle the lemon, mint leaves, water, and Simple Syrup in the bottle of a mixing glass. Add the bourbon and shake. Strain into an old-fashioned glass filled with crushed ice. Garnish with the mint sprig.
In the first chapter of the first volume of Das Kapital, Karl Marx writes: "The utility of a thing makes it a use value. But this utility is not a thing of air. Being limited by the physical properties of the commodity, it has no existence apart from that commodity." We're here to tell you that that message will probably only be a subliminal one at best in Jacob and Jens Hoffmann's Marxism show, which puts the Marx brothers in relation to contemporary artists. They were funnier than papa Karl anyway. (Also, note how the ad takes a swipe at Artforum's competitors October by stealing the other publication's typeface).
That is a close-up photograph of smooth, refreshing Emmentaler cheese, the perfect appetizer to whet appetites for Art Basel. Though it looks a bit like something Mr. Stingel would make, it is not his work, according to the gallery. But it is a beauty. —A.R.
Sarah Sze's art is hard to describe when you haven't seen it in person—descriptions can seem overly theoretical or sterile. This photograph succeeds in reproducing the experience of the work along with the work itself. It's actually something like the history of visual art, this photograph. Ooo, this photograph! —D.D.