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From the archive
November 2016
This week, with images of White House renovations seared into our minds—the Lincoln Bathroom’s marble-and-gold overhaul, the “Presidential Walk of Fame,†new gilded ornamentation and signage, and, of course, the demolition of the East Wing—Artforum revisits Ian Volner’s essay “Fool’s Gold: The Architecture of Trump†from the November 2016 issue, which surveyed the good, the bad, and the ugly of the Trump Organization’s real estate endeavors.
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“The Trump Organization does not seem to be guided by any feeling for what it wants its buildings to look like, and obviously not (given the propensity of its projects to land in the red) by simple economic horse sense. Not only is there no there there, but the more theres they build, the less there there is,†writes Volner. “Emptiness is the leitmotif of the Trump Organization’s portfolio, and it is what makes all its buildings so horrible, so chilling, in a way that has little to do with their architecture.†After all, “capital makes liars of us all, as we know. But a lie is different from bullshit.â€
—The editors
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“The Trump Organization does not seem to be guided by any feeling for what it wants its buildings to look like, and obviously not (given the propensity of its projects to land in the red) by simple economic horse sense. Not only is there no there there, but the more theres they build, the less there there is,†writes Volner. “Emptiness is the leitmotif of the Trump Organization’s portfolio, and it is what makes all its buildings so horrible, so chilling, in a way that has little to do with their architecture.†After all, “capital makes liars of us all, as we know. But a lie is different from bullshit.â€
—The editors
Dossier
“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.â€
—Tina Rivers Ryan
—Tina Rivers Ryan
