PRIMARY INFORMATION
155 FREEMAN ST., GROUND FLOOR
BROOKLYN, NY 11222

PRESS RELEASE

Top Ten: 2008–2018
February, 2019

Top Ten: 2008–2018 is the second volume in James Hoff’s Top Ten series.

In almost every issue since April 1998, Artforum has asked an individual from the art world to compile a top ten list of their favorite recent exhibitions (or concerts, television programs, books, events, etc.). In 2008, Hoff compiled the first ten years of this column into a new publication, with all of the articles’ accompanying images redacted, rendering the pictorial layout and design as a single graphic plane of black squares and occasional ovals. By reducing the column to its graphic skeleton, the artist forces the reader’s attention to the text, as well as to the strategies used for constructing it.

Like its predecessor, Top Ten: 2008–2018 collects all the columns within a ten-year timespan, offering a parallel, perhaps even casual, reading of art-making during this period, while capturing a who’s who of cultural critics and producers, as chosen by the magazine.
PRIMARY INFORMATION
155 FREEMAN ST., GROUND FLOOR
BROOKLYN, NY 11222

PRESS RELEASE

Top Ten: 2008–2018
February, 2019

Top Ten: 2008–2018 is the second volume in James Hoff’s Top Ten series.

In almost every issue since April 1998, Artforum has asked an individual from the art world to compile a top ten list of their favorite recent exhibitions (or concerts, television programs, books, events, etc.). In 2008, Hoff compiled the first ten years of this column into a new publication, with all of the articles’ accompanying images redacted, rendering the pictorial layout and design as a single graphic plane of black squares and occasional ovals. By reducing the column to its graphic skeleton, the artist forces the reader’s attention to the text, as well as to the strategies used for constructing it.

Like its predecessor, Top Ten: 2008–2018 collects all the columns within a ten-year timespan, offering a parallel, perhaps even casual, reading of art-making during this period, while capturing a who’s who of cultural critics and producers, as chosen by the magazine.

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