Preview Winter 2003.
MODERN ART MUSEUM OF FORT WORTH
Over the past decade, the golden oldies of Abstract Expressionism have made a big comeback. For some time it looked as if successive tidal waves of Pop, Minimalism, Conceptualism, performance, video, and their extended family of neo-this-and-that descendants had swept Pollock, Rothko & Co. once and for all into the hinterland of art history, a distant pantheon of heroic gestures, sublime transcendence, and signature styles. Yet recently these figures have gotten major shows--starting with reassessments of Kline (1994) and Rothko (1996-97) organized by the Menil Collection; de Kooning at the National Gallery of Art; MOMA'S great Pollock retrospective; Rothko (yes, again) at the National Gallery and the Beyeler Foundation; and Still at the Hirshhorn the year before last. Now Michael Auping, chief curator of the Modern Art Museum of Fort Worth, is set to give Philip Guston--the most pungent imagist of the group--the works.
It's not that Guston is forgotten. He had a good miniretrospective at the Kunstmuseum Bonn three years ago and has received focus treatments such as "Philip Guston: A New Alphabet"--examining his late shift back to figuration--at Yale and Harvard in 2000. But what's needed is a grand summation, not seen since the SF MOMA show in 1980, that ties the threads together. With approximately 140 paintings and drawings, this should be it. Auping has spent five years in preparation, and his selection ought to leave no avenue of the artist's many directions untraveled. Guston's gamut ranged from a late-'30s idiom in which Piero della Francesca goes WPA, through If This Be Not I, 1945, in which a ghostly midwestern cityscape is animated by the carnivalesque shades of Beckmann, to the tremulous painterly mirages of the '50s that placed him in between the gesturalist and Color Field tendencies of the New York School. Then, of course, Guston took one step back and a great leap forward in the late '60s with his return to le gible motifs and narratives. These influenced an entire generation of New Image art. As if this weren't enough, Auping also promises to include "a number of surprises, even for people who feel they know Guston's work." Will these be rarely seen pictures or provocative configurations of familiar ones?
How will Guston rank against heavy hitters like Rothko, de Kooning, or even Joan Mitchell? He was never as much a petit maitre as Tomlin or Stamos. On the other hand, there's a sense in which he took longer to attain true originality than other nominal front-runners. Perhaps the catalogue--with essays by Auping, Michael Shapiro, Dore Ashton, and others--will help resolve these questions. And maybe Guston's extraordinarily heterodox universe--with its mingling of dreck and painterly delicacy, Beckettian despair and Yiddish humor, ironic abjection and iconic force--will establish him as the liveliest of Abstract Expressionists for the twenty-first century.
"Philip Guston" will be on view at the Modern Art Museum of Fort Worth, Mar. 30-June 8; San Francisco Museum of Modern Art, June 28-Sept. 28; Metropolitan Museum of Art, New York, Oct. 27-Jan. II, 2004; Royal Academy of Arts, London, Feb. 2004-May 2004.
DIA CENTER FOR THE ARTS
Robert Whitman is freshest in museumgoers' minds for his film of a woman projected into a running shower in the Whitney's traveling "Into the Light" exhibition. His first major retrospective gives a fuller view of the artist, who helped found Experiments in Art and Technology with Robert Rauschenberg during the '60s. Works with lasers, film, and performance appear alongside more traditional pieces, including 'Whitman's suite of "Dante Drawings." Accompanying publications are similarly multifaceted: A catalogue includes essays by David Joselit and curator Lynne Cooke on Whitman's multimedia and theatrical work, while George Baker and Ben Portis provide treatments of his drawings and films. A DVD by nonprofit organization Artpix features interviews and performance footage. Mar. 5-June 15.
Diller + Scofidio
WHITNEY MUSEUM OF AMERICAN ART
For twenty-five years now, Elizabeth Diller and Ricardo Scofidio have labored to import the possibilities of art into architecture. The pair's deliberate attempts--performance pieces, video, installations, exhibitions, and even a few buildings--have earned them an award from the James Beard Foundation, an Obie, and, in 1999 (cha-ching!), a MacArthur Foundation fellowship, a first for architects. With "Scanning: The Aberrant Architectures of Diller + Scofidio," these critical darlings are getting their much deserved retrospective, cocurated by Aaron Betsky and K. Michael Hays. There will be new work, old work, and interpretations of distant work, including their celebrated Blur building in Switzerland, which cloaks itself in a shroud of fog.
Mar. 1-June 1.
WHITNEY MUSEUM OF AMERICAN ART
If there were ever an artist whose work is tuxedo urbanity disguised as bib-overalls folkiness, it's Elie Nadelman (1882-1946). "Sophistication and primitivism collide," says the press notice accompanying this two-hundred-work show curated by the Whitney's Barbara Haskell. Primitivism, ha! There isn't a scintilla of it in Nadelman's deceptively simplified figures sculpted with right-on classical economy in wood, bronze, and plaster. Oh, sure, he went in for "vernacular" subject matter (there's a rooster-weather-vane, Uncle Sam-penny-bank vibe to his art), but he was nothing if not coolly cerebral. "I employ no other line than the curve, which possesses freshness and force," he said. "I compose these curves so as to bring them in accord or in opposition to one another."
Mar. 22-July 20.
Living Inside the Grid
NEW MUSEUM OF CONTEMPORARY ART
Is there any setting more appropriate than Manhattan for a look at how artists newly enchanted by the intersection of their own practice and that of the urban planner are reconsidering that ubiquitous modernist template, the grid? This exhibition organized by senior curator Dan Cameron, ropes in painting, sculpture, video, digital work, and newly commissioned installations by twenty-three international artists, including Paul Noble, Tomoko Takahashi, Danica Phelps, the Danish collective N55, and the late Mark Lombardi. The grid has long been symbolic shorthand for both the possibilities and the restrictions of new technology. Cameron's show plots our shifting coordinates within it-and suggests some alternative routes.
Feb. 2-June 15.
The Challenge of the Modern: African-American Artists 1925-1945
STUDIO MUSEUM IN HARLEM
Despite the rich traditions of African-American art, its best-known rubric probably remains the Harlem Renaissance of the '20s and '30s. "The Challenge of the Modern" should broaden our view of those years. "I wanted to look at African Americans' contribution to the vanguard," says museum director Lowery Sims, who is leading the show's five-curator team. The continuities with African and folk art, the migration to northern cities, the spiritual resonances with both the black church and the modernist, AbEx strain of religiosity-"The show is ambitious," says Sims. "I hope people argue with it; but if they think about what African Americans are doing a little more, that in itself will be exciting."
Jan. 23-Mar. 30.
AMERICAN FOLK ART MUSEUM
There's a requisite scene in monsters-from-outer-space movies in which frantic folks desperately trying to cope with the terrifying extraterres-trials suddenly confront the alien Big Mama, the ur-being ten times more frightening than her minions. Turn from the outsider-art fantasies of the Chicago recluse Henry Darger to those of the schizopherenic Swiss artist Adolf Wolfli (1864-1930) and there's a similar exponential increase in weirdness-not to mention beauty, profundity, and just plain greatness. We're talking twenty-five thousand pages of autobiography, prescriptions for a new world order, poetry, and songs. Then, of course, there are Wolfli's inimitable drawings, which swirl and glow like illuminated manuscripts ... from Mars.
Feb. 25-May 18; Milwaukee Museum of Art, Sept. 18, 2004-Dec. 11, 2004. --PP
WADSWORTH ATHENEUM MUSEUM OF ART
It's too bad this retrospective of Hartley's paintings is confined to US venues. Like other early-twentieth-century Americans (Sheeler, Demuth), he should be better known beyond his own shores. A restless, brooding, but also childlike sensibility informs all of his stylistic wanderings, culminating in the late grand paintings of mountainous landscapes and of the fishermen of Nova Scotia (portraits tense with Hartley's sexual longing). Curated by Elizabeth Mankin Kornhauser of the Atheneum, the show brings together eighty-five paintings and twenty drawings and features a multiauthor scholarly catalogue. Jan. 17-Apr. 20; Phillips Collection, Washington, DC, June 7-Sept. 7; Nelson-Atkins Museum of Art, Kansas City, MO, Oct. 11Jan. 11, 2004.
NATIONAL GALLERY OF ART
In 1954 Fairfield Porter wrote of Edouard Vuillard, "We have not yet caught up with the extreme sophistication of his successes." This exhibition of some zoo works, coupled with the simultaneous publishing of a catalogue raisonne by Antoine Salomon and Guy Cogeval of the Montreal Musee des Beaux-Arts, should at the very least aid us in gaining ground on the great intimiste (Cogeval, along with a team of National Gallery curators, is responsible for the selection here). In addition to paintings and mural decorations, there are prints, drawings, and photographs (as museumgoers should discover, Vuillard was a master of the Kodak). Jan. 19-A Pr. 20; Musee des Beaux-Arts, Montreal, May 15-Aug. 24; Galeries Nationales du Grand Palais, Paris, Sept. 23-Jan. 4, 2004; Royal Academy of Arts, London, Jan. 31, 2004-Apr. 18, 2004.
Ernst Ludwig Kirchner
NATIONAL GALLERY OF ART
The most haunting and seductive of the German Expressionists, Kirchner was a founder of the Dresden-based Die Brucke in 1905 and the group's most ardent apologist. With thirty-five paintings, five sculptures, and eighty-plus works on paper, this retrospective curated by Jill Lloyd, Magdalena Moeller, Andrew Robison, and Norman Rosenthal will be the artist's first in the US since 1968 and the first in Britain ever. Look for naturist bacchanals, primitivist totems, out-there bohemian studio scenes, scarecrow-chic Berlin women, grim self-portraits as a soldier, and eerie Alpine snowscapes. Having lived to see the Nazis destroy his art, Kirchner committed suicide at age fifty-eight in Switzerland--an incalculable loss for modern art. Mar. 2-June 1; Royal Academy of Arts, London, June 28-Sept. 21.
"I want to become famous, and I want to become wealthy," wrote Margaret Bourke-White in a 1927 diary entry. Within a decade, she was both. Bourke-White was the first foreigner authorized to shoot scenes of industrialization in the USSR and one of Life magazine's "Founding Four" photographers. In this show organized by curator Stephen Bennett Phillips, some 140 photos taken during the formative period of 1927-36 trace the evolution of Bourke-White's signature style, from her earliest industrial subjects and stylized corporate commissions to her apotheosis as a photojournalist--the cover story she shot for Life's 1936 debut issue. Feb. 15-May 11.
MUSEUM OF CONTEMPORARY ART
Eschewing the taut focus he used to seemingly resuscitate waxworks in his series of uncanny historical portraits, Hiroshi Sugimoto trained a loosened lens on familiar architectural landmarks, from Le Corbusier's Notre-Dame at Ronchamps to the MCA building itself, to offer a portentous glimpse of our surroundings, as the artist puts it, "after the end of the world." Organizing this focused review of Sugimoto's postapocalyptic sneak peeks is Venice Biennale--bound MCA senior curator Francesco Bonami, who is contributing to the catalogue along with Marco de Michelis and John Yau. Maybe it's true: The only things to survive the nuclear winter will be cockroaches... and Koolhaases. Feb. 23-June 2; Williamson Gallery, Art Center College of Design, Pasadena, CA, Oct. 18-Dec. 21.
How Latitudes Become Forms
WALKER ART CENTER
Just what exactly does the word "global" mean, anyway? That's the question on the table in this far-reaching survey. Bringing together twenty-nine emerging artists from six countries (Brazil, China, India, Japan, South Africa, and Turkey), the project signals its ambitions by riffing on the title of Harald Szeemann's groundbreaking 1969 exhibition. Organized by Walker curators Philippe Vergne, Douglas Fogle, and Olukemi Ilesanmi and featuring a catalogue with an international group of eighteen authors, this transdisciplinary show endeavors to establish a new paradigm for "globalist" exhibitions. Feb. 9-May 4; Fondazione Sandretto Re Rebaudengo, Turin, June 1-Sept. 14; Contemporary Arts Museum, Houston, July 17, 2004-Sept. 19, 2004.
With the survey "Drawing Now" attracting attention at MOMA last fall, the time is ripe for a fresh, full-career look at our own old-master draftsman. For the Menil Collection, curator and catalogue author Mark Rosenthal has assembled a jewelbox group of thirty works, many of them lent by the artist himself. Covering the years 1955 to 2001, the exhibition will provide a concise, up-to-date counterpoint to the National Gallery's more expansive 1990 take on the same subject. The chosen examples, though limited in number, promise to survey the full range of Johns's varied iconography and virtuoso technique, from finely rendered charcoal drawings to his lush use of ink on plastic. Jan. 31-May 4.
Splat, Boom, Pow!: The Influence of Comics in Contemporary Art, 1970-2000
CONTEMPORARY ARTS MUSEUM
"Comics and contemporary art" is an idea that floats up among curators periodically, probably even predating Pop. (George Herriman's Krazy Kat, begun before World War I, is famously well loved by artists.) But Valerie Cassel's "Splat, Boom, Pow!" looks to be a thoughtful take on the subject and fresh in its placement of younger artists like Laylah Ali, Julie Mehretu, and Chris Ofili alongside obvious inclusions like Roy Lichtenstein and Sigmar Polke. "The point," says Cassel, "is to look at how myth is manifest in contemporary society and the idea of what constitutes a vernacular visual language." Her show will run from Pop to manga, with entries both unpredictable and right. Apr. 12-June 29; Institute of Contemporary Art, Boston, Sept. 17-Jan. 4,2004.
MUSEUM OF CONTEMPORARY ART
Following the artist's massive 1996 Guggenheim retrospective, Ellsworth Kelly's oeuvre has been sliced and diced into ever-finer morsels, from his early drawings to his relief paintings and Spectrums. Now comes an exhibition organized by curator Toby Kamps around Red Blue Green, 1963, a major canvas in the museum's collection. The show and its catalogue, with essays by Kamps, Roberta Bernstein, Sarah Rich, and Dave Hickey, focus on a group of fourteen large-scale paintings as well as source materials from 158 to 1965, a period when Kelly further blurred the line between figure and ground and embraced color combinations that packed a knockout optical punch. Jan. 19-Apr. 13; Museum of Fine Arts, Houston, Apr. 27-July 27; Whitney Museum of American Art, New York, Aug. 10-Nov. 3.
J. PAUL GETTY MUSEUM
Video artist Bill Viola spent two years in the late '90s participating in a Getty Research Institute project on representations of human passions. Now the fruit of that project, Emergence, 2002, a joint commission of the institute and the Getty Museum, will be on view with twelve other installations from the past two years in this survey organized by John Walsh, the museum's director emeritus. A comprehensive catalogue featuring a conversation between Viola and art historian Hans Belting is promised, as is a separate scholarly publication edited by art historian Richard Meyer based on the Research Institute project. Jan. 24-Apr. 27; National Gallery, London, Oct. 22, 2003-Jan. 4, 2004; Bayerische Staatsgemaldesammlungen, Munich, spring 2004.
MUSEUM OF CONTEMPORARY ART
A few years ago in these pages, Lane Relyea suggested that a new wave of Color Field painting was taking over the galleries. Substituting virtuality for Fried's opticality, Relyea proposed that the dematerialized effulgence of the computer monitor was the impetus for yet another stab at pure painting, and he cited Los Angeles-based painter Laura Owens as the pervasive influence. But while Owens's work certainly plays on the conventions of Color Field, she draws from a wide range of source materials, including embroidery and Asian landscape painting, frequently commingling vaporous washes of color with frankly goofy representational elements. Curated by Paul Schimmel, this show comprises some twenty works and features a catalogue with essays by Schimmel and CalArts dean Thomas Lawson.
Mar. 16-June 22.
In recent years, Kutlug Ataman has introduced viewers to a host of fascinating eccentrics--the transvestite in Never My Soul, 2001, the Turkish diva in semiha b. unplugged, 1997, the British hippeastrum collector in The 4 Seasons of Veronica Read, 2001. Sure, the British-Turkish artist and filmmaker's videos are about identity, but they eschew the flat-footed presentation and yawn-producing platitudes that often accompany work in this vein, as Women Who Wear Wigs, 1999, proved with a vengeance. Now Ataman's first major UK solo show, organized by the Serpentine's Rochelle Steiner, will bring all of his major efforts together under one roof, including his latest video installation, I + I = I. Ataboy! Feb. 10-Mar. 16.
Ice, flowers, chocolate, candles, oranges, whistling kettles, glass beads--no one can accuse Anya Gallaccio of a narrow repertoire of means. The variety of materials is sure to give pace and unpredictability to her Ikon installations, which run from the late '805 (when she attracted attention in London's YBA scene-making exhibition "Freeze") to brand-new commissions involving local schools and an off-site project growing vegetables with children. Sometimes stunning, sometimes fey, Gallaccio's work is notable for its quotidian approach to age-old themes of growth, decay, mortality, and transformation. Her largest public exhibition in the country to date, the Ikon show follows on the heels of her installation at Tate Britain (closes Jan. 26).
Apr. 2-May 18.
BALTIC CENTRE FOR CONTEMPORARY ART
The CoBrA movement commands credibility these days as a breeding ground of the Situationist International, but its visual style--a paint-squandering figurative expressionism that owes a lot to art brut-has drawn few admirers since its heyday in the late '405 and '505; not even during the '80s of Schnabel and Baselitz did the Copenhagen/Brussels/Amsterdam look make much of a comeback. Has the time finally come for a reappraisal of AsgerJorn, Karel Appel, and company? Guest curator Peter Shield and the Baltic's Sune Nordgren certainly have their work cut out for them, but let's revisit this boisterous art with open minds. Mar. 1-Apr. 21; Manchester City Art Gallery, Manchester, England, May i-June 15; Irish Museum of Modem Art, Dublin, July 3-Sept. 21.
CENTRE GEORGES POMPIDOU
How do you celebrate Philippe Starck, creator of all things creatable, whose rise from nightclub stylist and Ian Schrager muse to French national treasure has, as he hoped it would, bent our understanding of the interplay between products and marketing, designers and design? How about with an installation of twelve talking Starck heads in a dark, velour-draped hall, where each robot effigy comments on an image of its master's work projected opposite onto giant bronze-framed screens? That rather perfect Starckian hell will greet visitors to this exhibition of the designer's "mental universe," organized by the Pompidou's Marie-Laurejousser with, one imagines, a measure of ineffable input from the subject himself.
Feb. 26-May 12.
DU JEU DE PAUME
Magritte (1898-1967) does not lack for major exhibitions, but this retrospective promises new approaches to the ever-popular and influential Belgian prankster (the last big show was held as recently as 1998, in Brussels). The selection of 110 paintings and fifty watercolors moves from the artist's first Surrealist period of the mid-'205 through the so-called impressionist and vache moments of the' 405 to his late works of coffins and petrification. The curatorial team, headed by Jeu de Paume director Daniel Abadie, will doubtless throw a French intellectual lasso around the neck of this poet of enigma and anxiety.
Feb. 11-June 9.
DU GRAND PALAIS
The art of Marc Chagall (1887-1985) isn't all bright colors and fiddlers on the roof. His pre-1910 Russian works, with their shtetl imagery of women giving birth, look ever more raw and bracing, and his 1920 murals for the State Jewish Chamber Theater in Moscow, first seen ten years ago, reveal him to be a lean, mean designer with a mordant wit. Now the biblical paintings from the late '30s to the '60s shed new light on the apocalypse of World War II, not to mention the advent of AbEx. As curated by Jean-Michel Foray, director of the Musee Nationale Message Biblique Marc Chagall in Nice (one of the great late-moderne Riviera pit stops), the show should further strengthen the case for Chagall as it integrates these rediscoveries. Mar. 14- June 23; San Francisco Museum of Modern Art, July 26-Nov. 4.
MUSEO NACIONAL CENTRO
DE ARTE REINA SOFIA
Mattresses, maps, theater layouts: Whatever Guillermo Kuitca paints, he paints exhaustively, producing through focused repetition and nuanced variation conceptually dense explorations of intimacy, order, and memory. The artist is only forty-one, but he has been making distinctive work for over twenty years and, astonishingly, had his first solo show at age thirteen. Curated by Paulo Herkenhoff and Sonia Becces, the exhibition surveys one hundred paintings and drawings and includes selections from Kuitca's most recent suite of works, on Wagner's Ring cycle. The Buenos Aires leg of the tour will be Kuitca's first exhibition in his native Argentina in over fifteen years. Feb. 6-Apr. 28; Malba-Coleccion Constanti, Buenos Aires, June 7-Aug. 18.
Micropolitics: Art and the Quotidian, 2001-1968
ESPAI D'ART CONTEMPORANI
While globalism is often a key word for curators describing changes in today's social landscape, "Micropolitics" takes a more personal approach, looking at the everyday formation of subjectivity. Curators Juan Vicente Aliaga, Maria Corral, and Jose Miguel G. Cortes are organizing the exhibition in three parts linked to historical moments; the first covers the years 1989 through 2001. (Subsequent portions backtrack to span 1980-89 and 1968-80.) Among fourteen artists dealing with all things intimate are Chantal Akerman, Ann-Sofi Siden, and Ilya Kabakov--whose bathroom installation alludes to the unique privacy afforded by the toilet in Soviet society. The catalogue features all-star essays by Boris Groys, Hal Foster, and others. Jan. 31-Sept. 14.
Pair the inscrutable Andreas Slominksi--setter of traps, collector of objets trouves, performer of ephemeral actions--with the poetically inclined curator Germano Celant, and things esoteric will undoubtedly result. We'll have to wait until the opening to find out, as the artist won't reveal details concerning the sculptures he's conceived for the Fondazione Prada. (Even more than most artists, Slominski is mum when it comes to plans and intentions.) His devices can be whimsical (an elaborate mechanism to transport a teaspoon of cough syrup without spilling a drop) or menacingly literal (fully functional animal traps straight from the hunting-and-fishing store). Perhaps the accompanying catalogue will include a chapter on survival tactics for ensnared viewers? Mar.-June.
I Moderni/The Moderns
CASTELLO DI RIVOLI
Was postmodernism merely a parenthetical blip within the continuing arc of modernism? That's the big question raised by Carolyn Christov-Bakargiev in her ambitious curatorial debut at Castello di Rivoli. She has selected twenty-five contemporary artists who, she says, revisit utopian ideological tenets of modernism or who are concerned with themes of perception and formal composition resembling those considered during the technology boom at the beginning of the twentieth century. If the artists are mostly familiar-included here are Tacita Dean, Liam Gillick, Julie Mehretu, Sarah Sze, and Piotr Uklanski-Christov-Bakargiev promises to show them in a new light. A catalogue features key modernist texts as selected by each participant.
Apr. 16-Aug. 24.
MUSEION-MUSEO D'ARTE MODERNO E CONTEMPORANEA
Though very American and very Los Angeles, Raymond Pettibon's work is also international and equal opportunity, riffing broadly on Western culture, with the United States positioned as an import/ export hub for cultural hang-ups and hangovers. Whether dealing with art, sex, Mickey Mouse, Jesus, or the war in Afghanistan, Pettibon's cartoonish pop/punk drawings aren't fully at home anywhere because they tease out small to large doubts, follies, hypocrisies, and neuroses that respect no boundaries. Two hundred thirty drawings, plus a wall project and video series, will test their resonance in the Italian psyche.
Jan. 31-May 4
Galleria d'Arte Moderni di Bologna
July 15-Sept. 28.
MUSEUM MODERNER KUNST STIFTUNG LUDWIG WIEN
With this tightly edited retrospective comprising some two dozen works by Jeff Wall, curator Achim Hochdorfer attempts to chart the full development of the Vancouver-based artist, from the 1980 Steve's Farm, Steveston to the present. Accompanied by a lecture series and an extensive catalogue (contributors include Peter Burger, Hans Belting, Tom Holert, and Kaja Silverman), the exhibition--Wall's first major show in Austria--will stress the artist's critical assessment of the history of photography and its conventions of representation. At the same time the organizers promise an examination of the artist's work with respect to the broader context of the birth and maturation of Conceptual art.
Mar. 22-June 1.
Elke Krystufek emerged in the early '90s with in-your-face performances and installations dealing with femininity and sexuality as filtered through pop culture. Taking her cue from '70s body art--particularly its Viennese branch-Krystufek uses her own image, often distorted, debased, disguised, or made sexually explicit, to confront viewers with collective (and mostly suppressed) revulsions and desires. This exhibition, organized by Sammlung Essl chief curator Gabriele Bosch, is the first comprehensive look at the artist's prodigious output and will consist of approximately zoo works from the past decade, including paintings, photographs, collages, videos, and a site-specific installation. The accompanying catalogue includes essays by Bosch and Viennese critic Peter Gorsen.
Feb. 14-Apr. 27.
MUSEUM FUR ANGEWANDTE KUNST
After a seven-year jail term for drug offenses and immorality, Otto Muhl can pride himself on being Austria's most controversial artist. From the early '70s until 1991, the Viennese Actionist reigned over his "action-analytical commune," a utopian experiment based on collective property, artistic creativity, and a fierce belief in free sexuality. While an abusive streak ultimately undermined the ideals of Meister Muhl's communal body analysis, his artwork still stands for a radical spirit in the face of an ever-repressive Austrian social order. Curator Bettina M. Busse's comprehensive survey features paintings, photographs, and video and film documentation of his extreme performances, while the accompanying catalogue traces the shady history of the Friedrichshof Commune.
Mar. 26-June 9.
ST. GALLEN, SWITZERLAND
KUNSTMUSEUM ST. GALLEN
Turkish artist Ayse Erkmen never works in the same medium or takes the same thematic approach twice. Instead, she varies her gestures to reveal borders inherent to each exhibition space, whether physical or not. For her recent Wiener Secession show, lights installed in the glass ceiling made the classic white cube flash and flicker. In Frankfurt, she dispatched three ships and their crews from Istanbul, Venice, and Shingu, Japan, to carry people up and down the river Main. She posted Turkish verb endings on a building facade in Berlin and installed metal detectors outside Frankfurt's Portikus gallery. At St. Gallen, both curator Konrad Bitterli and the public will be in for a surprise--and, no doubt, a fresh sense of location.
Mar. 3-May 11.
Although this exhibition includes seventy-odd works by Richard Artschwager dating from 1960 through 2002, it's not exactly a retrospective; in fact, the artist calls it an "introspective," according to its curator, Winterthur director Dieter Schwarz. This may be because it focuses on Artschwager's drawings, surely his least-known work. Even the painting and sculpture on view are recondite: Schwarz's selection from the '90s, for example, highlights Artschwager's portraits, a genre with which he is not readily associated. In addition to a catalogue, Schwarz is publishing a book of Artschwager's writings and interviews--a long-overdue opportunity to see the artist put his perplexities into words.
Mar. 1-May 25; Kaiser-Wilhelm-Museum, Krefeld, Germany, June 29-Sept. 21; Staatliche Graphische Sammlung, Munich, Oct. 8-Jan. 6, 2004.
Fans eager for an overdue Genzken retrospective will have to settle for this survey of her work since 1992, the year the artist took a break from concrete and shifted her material focus to polyurethane (more recently she has also worked in glass). The show takes up where Portikus (Frankfurt) and the Renaissance Society (Chicago) left off a decade ago in their jointly produced look at Genzken's career. Kunsthalle director Beatrix Ruf is gathering approximately thirty works--and commissioning several installations--that promise to update the artist's long-term investigation into sculpture's dialogue with architecture and the built environment. Featuring essays by Ruf and Veit Loers, the new catalogue will also offer Genzken's commentary on her projects.
Mar. 22-May 15.
MUSEUM FUR NEUE KUNST/ZKM
"Forever young!" Martin Kippenberger often proclaimed. And with his death, in 1997, it sadly came true. The time machine cranks backward as Kippenberger's first retrospective opens on what would have been the artist's fiftieth birthday. Given his staggering productivity, tracking his various torrents of ingenuity has always been a bit like herding cats, but curators Rolf Meicher and Andreas Schalhorn have lined up more than 450 works, from paintings to editions, providing the big picture of the bighearted big shot. The lavishly illustrated catalogue, with contributions by Stephen Prina and Susanne Kippenberger, among others, will round out and reminisce about an astonishing life's work that will never stop teasing, tormenting--and delighting--us.
Feb. 8-Apr. 27.
AKADEMIE DER KUNSTE
Throughout her long career, Valie Export has remained ahead of the curve, whether as the sole female associate of the Viennese Actionists in the early '60s or in her early-'70s self-identification as a "media artist." Still, the body as a site for cultural inscription has remained central to the Austrian artist's work, and her media analyses--investigating the increasingly blurred boundaries between technology and the self--have always been connected to larger social themes. Curated by Hildtrud Ebert and Frank Wagner, this exhibition of approximately 140 works should raise Berlin's temperature in the darkest days of its cold winter.
Jan. 18-Mar. 9.
DEUTSCHE GUGGENHEIM BERLIN
The Guggenheim's delayed survey of the career of Kasimir Malevich, curated by Matthew Drutt (late of the Guggenheim and now with the Mend Collection, Houston), promises to be the most revealing show to date of the wizard of the Russian avant-garde. Some 120 paintings, drawings, and objects, from breakthrough works like Black Square and Black Cross to the portraits of the '30s, illustrate the evolution, achievements, and disintegration of the founder of Suprematism. If some of Malevich's sociopolitical aspirations for his Soviet-period abstraction seem headily ambitious, there's no doubting his intellectual rigor and pervasive influence. New archival research should give the multiauthor catalogue a long shelf life.
Jan. 18-Apr. 27; Solomon R. Guggenheim Museum, New York, June-Sept. 7; Menil Collection, Houston, Oct. 3-Jan. 11, 2004.
Lily van der Stokker
MUSEUM VOOR MODERNE KUNST
Before he'd ever been so honored, Ed Ruscha declared famously in a drawing: I DON'T WANT NO RETROSPECTIVE. In this first survey of Lily van der Stokker's drawings, there's one that happily notes: GOING BACKWARDS IS A MOVEMENT TOO. The sentence perfectly captures how van der Stokker entwines pathos and deadpan humor. Although she's best known for site-specific wall paintings, matter-of-fact statements delivered in curlicues of florid abundance, drawings are at the very heart of her work. They form a visual diary that's emotion specific. A guilty pleasure? Contributors to a comprehensive book accompanying the show include an unrepentant John Waters and curator Mirjam Westen, who chose 250 drawings from almost a thousand made since 1987. Wow.
Feb. 1-Mar. 23.
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