Three times a year Artforum looks ahead to the coming season. The following survey previews fifty shows opening around the world between January and April.William Forsythe PINAKOTHEK DER MODERNE The Pinakothek der Moderne is a modern art museum, situated in the city centre of Munich, Germany. Together with the Alte Pinakothek and the Neue Pinakothek it is part of Munich's "Kunstareal" (the "art district"). , MUNICH April 22-July 16 Curated by Bernhart Schwenk [ILLUSTRATION OMITTED] Shall we dance? In keeping with the Pinakothek der DER - Distinguished Encoding Rules Moderne's stated mission to present "exhibitions and events from various cultural domains," curator Bernhart Schwenk has invited the deconstructionist choreographer William Forsythe to take over the museum this spring. Born in New York New York, state, United States New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of in 1994, Forsythe trained at the Joffrey Ballet School and performed with the Joffrey before being recruited to join the Stuttgart Ballet in 1973. In 1984 he began directing the Ballet Frankfurt, turning it into a groundbreaking company that kept Germany at the forefront of the avant-garde for twenty galvanizing galvanizing, process of coating a metal, usually iron or steel, with a protective covering of zinc. Galvanized iron is prepared either by dipping iron, from which rust has been removed by the action of sulfuric acid, into molten zinc so that a thin layer of the zinc years. When government budget cuts led to the dance-world-shattering dissolution of the Frankurt group in 2004, he established the smaller, more flexible eighteen-artist ensemble called the Forsythe Company, based in Dresden and Frankfurt. His latest work has moved out of traditional theater spaces and into museums, galleries, and even the outdoors, embracing various genres, including installation, performance, and sonic environment. Now, for an unprecedented three months, the Forsythe Company's home will be the open, spacious galleries of Munich's museum of modern and contemporary art. To plan an exhibition that unfolds over time in four installments is to depart from the usual curatorial method: Forsythe's show will also flip the usual performance paradigm--where the audience is fixed and the dance is evanescent--on its head. Here, dances are envisioned as installations, and the viewers will be doing the moving, in some cases effecting the performance. To kick things off on April 22, the Forsythe Company will perform You Made Me a Monster, 2005, a trio that involves making a skeleton out of a tangled pile of bones. Following the performance, an installation version of the work incorporating film and video will occupy the first of the three immense spaces (each sixty-five square feet) set aside for Forsythe. The next phase of the project begins with Scattered Crowd, 2002, a Forsythe installation involving a soundscape sound·scape n. An atmosphere or environment created by or with sound: the raucous soundscape of a city street; a play with a haunting soundscape. and four thousand white balloons, with which viewers can interact at will. Then comes what Schwenk calls "a link" between the presentations: City of Abstracts, 2000, a project that is even more interactive. The site- and indeed audience-specific concept piece will, for this iteration, transpire on a staircase between the galleries, capturing museumgoers on camera and simultaneously transmitting their images to a nearby monitor, thus transforming them into the very art they are observing. For the final installment, a skylit gallery will be the theater for Clouds After Cranach, 2005, Forsythe's most recent work, recalling (if in name only) his collaboration last year with Spencer Finch, Three Atmospheric Studies [see Artforum April 2005]. Again, the curator expects that the choreographer will use "the whole space as the stage." [ILLUSTRATION OMITTED] One can imagine that choreography--the most visual of the performing arts--will transform the museum, with each taking on some of the attributes of the other. "Choreography is absolutely adaptive to museum space," says Schwenk, who is planning adaptations of his own, including a novel catalogue. "Something equivalent to performance," he promises. "It shouldn't look too static." Synergy, it seems, is the new destiny, and Munich the destination.--Nancy Dalva [ILLUSTRATION OMITTED] NEW YORK Edvard Munch MUSEUM OF MODERN ART February 19-May 8 Curated by Kynaston McShine Although his best-known painting, The Scream, 1893, may be lost forever, Edvard Munch remains one of Scandinavia's greatest cultural exports, right up there with ABBA, IKEA IKEA Ingvar Kamprad Elmtaryd Agunnaryd (Swedish home furnishings retailer founder's initials and location) , and H & M. Monographs and critical studies on the artist continue to proliferate, and now MOMA Moma (mō`mä), town, E central Mozambique. It is important mainly as a harbor for the export of tropical produce. is hosting a retrospective of Munch's work--surprisingly, the first exhibition in the US to be devoted to the Norwegian painter in almost three decades. The show features some ninety paintings and fifty prints and drawings, and surveys the artist's corpus in its entirety, from 1880 to 1944. The catalogue includes essays by McShine and Munch scholars Patricia Berman, Reinhold Heller, Elizabeth Prelinger, and Tina Yarborough yar·bor·ough n. Games A bridge or whist hand containing no honor cards. [After Charles Anderson Worsley, Second Earl of Yarborough and provides detailed documentation of Munch's works and career.--David Rimanelli David Smith SOLOMON R. GUGGENHEIM MUSEUM Solomon R. Guggenheim Museum: see Guggenheim Museum. February 3-May 14 Curated by Carmen Carmen throws over lover for another. [Fr. Lit.: Carmen; Fr. Opera: Bizet, Carmen, Westerman, 189–190] See : Faithlessness Carmen the cards repeatedly spell her death. [Fr. Gimenez In 1966, less than a year after David Smith's death, Clement Greenberg reflected on the artist on whom he had pinned his hopes for the "new sculpture": "His oeuvre, in all its unevenness and sprawl, in all its bewildering be·wil·der tr.v. be·wil·dered, be·wil·der·ing, be·wil·ders 1. To confuse or befuddle, especially with numerous conflicting situations, objects, or statements. See Synonyms at puzzle. 2. diversity, somehow remains open, unfinished." With 122 sculptures--from the wiry wir·y adj. 1. Resembling wire in form or quality, especially in stiffness. 2. Sinewy and lean. 3. Filiform and hard. Used of a pulse. welded constructions of the '30s through the later volumetric volumetric /vol·u·met·ric/ (vol?u-met´rik) pertaining to or accompanied by measurement in volumes. vol·u·met·ric adj. Of or relating to measurement by volume. totems--this exhibition commemorating the centenary of Smith's birth should mirror that "bewildering diversity." Dozens of drawings and the artist's notebooks, which suggest their maker's thematic and intellectual sympathies, round out the selection. Curated by the Guggenheim's Carmen Gimenez, the show is accompanied by a mammoth scholarly catalogue nearly as heavy as one of Smith's sculptures. Travels to the Centre Pompidou, Paris, June 14-Sept. 11; Tate Modern, London, Oct. 4, 2006-Jan. 3, 2007.--Lisa Pasquariello [ILLUSTRATION OMITTED] Snap Judgments: New Positions in Contemporary African Photography INTERNATIONAL CENTER OF PHOTOGRAPHY March 10-May 28 Curated by Okwui Enwezor A successful attempt to comprehend contemporary art practices in Africa must encompass broad geopolitical ge·o·pol·i·tics n. (used with a sing. verb) 1. The study of the relationship among politics and geography, demography, and economics, especially with respect to the foreign policy of a nation. 2. a. and cultural diversity. For this sweeping survey, Okwui Enwezor has chosen thirty-five artists from twelve countries on the epic continent, most of whom have never exhibited abroad. The more-than-two-hundred works on view include photographs, videos, installations, and performance documentation, and explore themes familiar to Western discourse: identity (through race, gender, and the body); historic trauma and representation; and political narratives in a postcolonial nation. Revealing far more common ground than visitors may have anticipated, the exhibition promises to reframe Re`frame´ v. t. 1. To frame again or anew. our understanding of African photography, making us question what may have been our own snap judgments.--Stephen Frailey Klee and America NEUE GALERIE March 9-May 22 Curated by Josef Helfenstein Walter Benjamin famously interpreted Klee's Angelus Novus, 1920, as a figure that turns toward the past while history pushes forward. Similarly, "Klee and America" (organized by Josef Helfenstein, director of the Menil Collection) builds on the success of MOMA's 1987 retrospective and the collection-specific "Paul Klee at the Guggenheim Museum" in 1993, while shedding new light on the Swiss painter's legacy in the US. Through more than sixty oil paintings, watercolors, and drawings, as well as documentary material on influential collectors like Alfred Barr and Galka Scheyer, the exhibition focuses on the artist's increasing popularity in America during the late '30s and '40s, after Hitler's campaign against "degenerate" art caused the European market for his work to collapse. Travels to the Phillips Collection, Washington, DC, June 16-Sept. 10; Menil Collection, Houston, Oct. 6, 2006-Jan. 14, 2007.--Kent Minturn Energy/Experimentation: Black Artists and Abstraction, 1964-1980 STUDIO MUSEUM IN HARLEM The Studio Museum in Harlem is an American fine arts museum in the Harlem neighborhood of New York City, New York. It was founded in 1968 as the first such museum in the U.S. April 5-July 2 Curated by Kellie Jones Organized by Yale art historian Kellie Jones, this group exhibition joins the politics of race to the practices of avant-garde painting, sculpture, and video in the mid-'60s and '70s. The fifteen artists included--Al Loving, Alma Thomas, and Howardena Pindell among them--pursued vibrantly modernist alternatives to the figuration fig·u·ra·tion n. 1. The act of forming something into a particular shape. 2. A shape, form, or outline. 3. The act of representing with figures. 4. A figurative representation. 5. of the contemporaneous Black Arts Movement The Black Arts Movement or BAM is the artistic branch of the Black Power movement. It was started in Harlem by writer and activist Amiri Baraka (born Everett LeRoy Jones). . The show's catalogue explores the creative contexts--like Minimalist sculpture and free jazz--that shaped black abstraction and presents a transcription of the museum's cross-generational roundtable (moderated by Jones last June) on abstraction then and now, featuring artists Julie Mehretu and Louis Cameron, their nonobjective predecessors Melvin Edwards and William T. Williams, and Lowery S. Sims (president of the Studio Museum).--Richard Meyer William Wegman BROOKLYN MUSEUM March 10-May 28 Curated by Trevor Fairbrother Since 1970, William Wegman has marketed himself and his kennel of canine celebrities so well (and so far outside the precincts of contemporary art) that it's hard to formulate a critical take. But here are three attempts: (1) Wegman is a canny critical artist, the most literal (mis) reader of Smithson's site/non-site dialectic yet; (2) he's learned Warhol's "business art" model all too well; (3) he'd be nowhere without the adorable pooches, the most famous in America since Benji. Through more than 260 photographs, drawings, paintings, collages, books, and videos from 1968 to today, this show, organized by the Addison Gallery, may show which description fits. Now go chase the ball. Travels to the Smithsonian American Art Museum The Smithsonian American Art Museum is a museum in Washington, D.C. with an extensive collection of American art. Part of the Smithsonian Institution, the museum has a broad variety of American art that covers all regions and art movements found in the United States. , Washington, DC, July 4-Sept. 24; Norton Museum of Art This article is for the Norton Museum of Art in Florida. See this link for the Norton Simon Museum in Pasadena, California. The Norton Museum of Art is an art museum located in West Palm Beach, Florida. , West Palm Beach, FL, Nov. 4, 2006-Jan. 28, 2007; Addison Gallery of American Art, Andover, MA, Apr. 7-July 31, 2007.--Eric Banks [ILLUSTRATION OMITTED] BOSTON David Hockney MUSEUM OF FINE ARTS Museum of Fine Arts, Boston, chartered and incorporated (1870) after a decision by the Boston Athenaeum, Harvard, and the Massachusetts Institute of Technology to pool their collections of art objects and house them in adequate public galleries. February 26-May 14 Curated by Sarah Howgate and Barbara Stern Shapiro One cannot trace the history of Pop art without visiting David Hockney's pastel-and-Polaroid-strewn studio. The British-born, Los Angeles-based artist helped pioneer the movement in the '60s, though his work--particularly his portraiture--is imbued with a warm intimacy distinct from the mass-market flash embraced by his Pop peers. Co-organized by London's National Portrait Gallery National Portrait Gallery can refer to:
CAMBRIDGE, MA Frank Stella 1958 ARTHUR M. SACKLER Arthur M. Sackler (August 22, 1913, Brooklyn, New York – May 26, 1987, New York City) was an American physician, entrepreneur and philanthropist. He attended New York University School of Medicine and graduated with an M.D. MUSEUM February 4-May 7 Curated by Harry Cooper and Megan R. Luke In 1968, a decade into Stella's groundbreaking career, David Antin could only shake his head: "Frank Stella is also not the Frank Stella everybody thought he was." The search for the real Stella continues with this exhibition, which gathers twenty works (many previously overlooked, even by the catalogue raisonne) from the months in 1958 leading up to the "Black Paintings"--when a freshly graduated Stella shared studio space with Carl Andre, attended lectures by an increasingly optical-minded Clement Greenberg, gawked at the sudden rise of Jasper Johns's "anti-art," and concocted colorful, drooling drooling the discharge of saliva from the mouth. A normal feature in some breeds of dogs such as St. Bernard, Newfoundland and English bulldog, presumably because of their loose, pendulous lips. , often funky paintings that both prepared for and violate the uniformity and order of the logolike canvases to come. Travels to the Menil Collection, Houston, May 25-Aug. 20; Wexner Center for the Arts, Columbus, OH, Sept. 9-Dec. 31.--Lane Relyea PHILADELPHIA Gone Formalism INSTITUTE OF CONTEMPORARY ART January 21-March 26 Curated by Jenelle Porter Can't we call it something else? "Formalism" may be a lost cause, with its connoted rejection of anything personal, social, imagined, or weird. Yet relations between front and back, inside and outside, material fact and illusion, structure and image continue to compel many of the best artists working today. Porter, in her first show for the ICA Ica (ē`kä), city (1993 pop. 108,724), capital of Ica dept., SW Peru, on the Pan-American Highway. It is a commercial center for the cotton, wool, and wine produced in the region. There are several summer resorts nearby. , tackles the way formalism still resonates by focusing on six artists: Charles Long, Evan Holloway, Mark Grotjahn, Liz Larner, Jessica Jackson Hutchins Jessica Jackson Hutchins-Malkmus (b. 1971) is an American artist. She is the wife of former Pavement band member, Stephen Malkmus. The Portland Mercury reported in September 2006 that "her ceramics (steeped in a California funk attitude), papier-mache sculptures, and , and Gitte Schafer. Her selection of thirty sculptures, paintings, drawings, and installations by these practitioners hints at the possibilities of infusing the optical raptures of formalisms past with humor and brains. These "formalists" seem more the children of Tuttle and Hammons than of Olitski and Frankenthaler.--Katy Siegel Make Your Own Life: Artists In & Out of Cologne INSTITUTE OF CONTEMPORARY ART April 21-July 31 Curated by Bennett Simpson The "Cologne effect" of the '80s may have had less to do with artistic innovation than with marketing, packaging, and attitude, but its result was spectacular: The modest-size city on the Rhine emerged not only as the art capital of West Germany but as the most important center for contemporary art outside New York. "Make Your Own Life" maps the mythical surroundings of the late Martin Kippenberger and his excessive friends, many still based in the city. Positioning art production in a broader cultural context, the show presents nearly forty paintings, sculptures, installations, photographs, and videos alongside less-exhibited projects (records, publications, posters, and invitation cards). Among the thirty-odd artists included are Kai Althoff, Cosima von Bonin, and Michael Krebber, as well as Americans like Mike Kelley and Cady Noland.--Daniel Birnbaum [ILLUSTRATION OMITTED] Artur Barrio GALLERIES AT MOORE February 8-March 19 Curated by Brian Wallace In 1970, during one of the most violent periods of Brazil's military dictatorship, Artur Barrio left plastic bags filled with meat, bones, excrement excrement /ex·cre·ment/ (eks´kri-mint) 1. feces. 2. excretion (2). ex·cre·ment n. Waste matter or any excretion cast out of the body, especially feces. , and garbage on the streets of Rio de Janeiro Rio de Janeiro, city, Brazil Rio de Janeiro (rē`ō də zhänā`rō, Port. rē`  thĭ zhənĕē`r , while an accomplice photographed passersby, capturing their curious, repulsed, and horrified hor·ri·fy tr.v. hor·ri·fied, hor·ri·fy·ing, hor·ri·fies 1. To cause to feel horror. See Synonyms at dismay. 2. To cause unpleasant surprise to; shock. reactions. For Barrio's first solo exhibition in North America, curator Brian Wallace offers an unprecedented opportunity to view these and other photographs alongside some seventy objects, drawings, notebooks, and documentary material from the late '60s to the present, including a new project that incorporates elements (coffee grounds coffee grounds a term used to describe vomited blood. See hematemesis. , lightbulbs, wall writings) from Barrio's Documenta11 installation. The show is accompanied by a symposium featuring the artist and international curators like Carlos Basualdo and Cristina Freire, as well as a catalogue with new translations of Barrio's writings.--Irene Small WASHINGTON, DC Cezanne in Provence NATIONAL GALLERY OF ART January 29-May 7 Curated by Philip Conisbee and Denis Denis, king of Portugal: see Diniz. Coutagne In 1990 Griselda Pollock asked, "What can we say about Cezanne these days?" Now, on the centenary of the canonical artist's death, "Cezanne in Provence" should give us plenty to talk about. Organized by Philip Conisbee of the National Gallery and Denis Coutagne of the Musee Granet, this exhibition comprises 118 oil paintings, watercolors, and lithographs made by the artist in his native Provence, including depictions of the Mediterranean coast at L'Estaque, Mont Sainte-Victoire, and the Chateau Noir. The show is a major component of the French region's "Cezanne 2006" tribute, which involves the reopening of the Musee Granet (closed for renovation since 2003) and the opening of several key sites in Cezanne's life, like his family home in Aix-en-Provence and his work cottage in the Bibemus quarry. Travels to the Musee Granet, Aix-en-Provence, June 9-Sept. 17.--Suzanne Hudson MIAMI Miami, cities, United States Miami (mīăm`ē, –ə). 1 City (1990 pop. 358,548), seat of Dade co., SE Fla., on Biscayne Bay at the mouth of the Miami River; inc. 1896. Vik Muniz MIAMI ART MUSEUM The Miami Art Museum (MAM) is an art museum located in Downtown Miami, Florida, in the United States. It was founded in 1996 as the successor to the Center for the Fine Arts. February 10-May 28 Curated by Peter Boswell The largest survey to date of Vik Muniz's work will perforce per·force adv. By necessity; by force of circumstance. [Middle English par force, from Old French : par, by (from Latin per; see per) + force, force showcase the artist's wide range of materials, from chocolate syrup to hole-punch confetti. Using these unlikely items, Muniz makes perceptual jokes ("clouds" drawn by planes) and reconstructs images appropriated from various sources (LIFE magazine, Renaissance art). He then photographs the results, exhibiting the pictures rather than the elaborate creations themselves. Like his Neo-concrete predecessors, Muniz makes works that are both playful and socially aware, as in "Sugar Children," 1996, his series depicting the children of exploited plantation workers--in sugar. This show comprises 109 photographs, a sky-drawing, and a book of new writings by the artist. Travels to the University of South Florida • • [ Contemporary Art Museum, Tampa, June 30-Oct. 8; Seattle Art Museum The Seattle Art Museum (commonly known as "SAM") is an art museum located in downtown Seattle, Washington USA. Admission is free on the first Thursday of each month. , Nov. 10, 2006-Jan. 14, 2007; and other venues.--Frances Richard Malcolm Morley MUSEUM OF CONTEMPORARY ART January 20-April 16 Curated by Bonnie Clearwater Malcolm Morley stands among the preeminent living American painters, but the historical scope of his work is too little known in the US, his adopted country since 1958. This survey of forty paintings from the mid-'60s to the present is long overdue; it is, in fact, the artist's first in the US since 1983, when he was recast as a neo-expressionist (having first been pigeonholed as a Superrealist). Now, the grandeur of his work puts it far beyond mere labels: "Only when Morley's work is taken out of the movement of Photorealism photorealism, international art movement of the late 1960s and 70s that stressed the precise rendering of subject matter, often taken from actual photographs or painted with the aid of slides. do his interests come into focus," maintains Clearwater. The show, which includes recent paintings, such as those of model-plane kits and current events in Afghanistan (most never before shown in the States), should reveal an oeuvre marked by radical switches but also by a deep inner consistency.--Brooks Adams [ILLUSTRATION OMITTED] HOUSTON Eva Hesse MENIL COLLECTION February 3-April 23 Curated by Catherine de Zegher and Elisabeth Sussman Eva Hesse spent much of her decade-long career engaged in drawing--at times even in her sculpture. Perhaps more than any artist of her generation (with the possible exceptions of Fred Sandback and Richard Tuttle), she brought qualities of line off the page into her work in three dimensions. Following Hesse's landmark multimedia retrospective in 2002, this exhibition, co-organized by the Drawing Center and the Menil Collection, brings drawing to the fore with a survey of one hundred "finished" works on paper, supplemented by a selection of Hesse's 1965 reliefs, a small group of sculptural works, and rarely seen notebooks and diaries. Travels to the Drawing Center, New York, May 6-July 15; Museum of Contemporary Art, Los Angeles This article is about Museum of Contemporary Art, Los Angeles. For other Museums named Museum of Contemporary Art, see Museum of Contemporary Art. The Museum of Contemporary Art (MOCA) is a contemporary art museum in and near Los Angeles, California. , Aug. 6-Oct. 23.--Scott Rothkopf SAN FRANCISCO Todd Eberle SAN FRANCISCO MUSEUM OF MODERN ART The San Francisco Museum of Modern Art (SFMOMA) is a major modern art museum and San Francisco landmark. It opened in 1935 under founding director Dr. Grace Morley (Grace L. December 16, 2005-March 7, 2006 Curated by Ruth Keffer and Joseph Rosa Todd Eberle is best known for his architectural photographs in stylish magazines like Vanity Fair, W, and Domus, but his new series of large-format images distills the contemporary architectural venture to found geometries and grids. Locating the modernist schematic in the patterns of ceilings, grills, tiles, and other architectural surfaces, these photographs reference much of the history of geometric abstraction, from De Stijl to Stephen Westfall, yet ultimately remain photographic: luminous, airy, and somewhat ethereal. The thirteen prints on view--of such iconic structures as Gordon Bunshaft's Lever House and Frank Lloyd Wright's Unity Temple and Johnson Wax Building--also underscore the difficulty of achieving authentic abstraction in photography, a medium so tied to representation. Travels to the Art Institute of Chicago Art Institute of Chicago, museum and art school, in Grant Park, facing Michigan Ave. It was incorporated in 1879; George Armour was the first president. Since 1893 the Institute has been housed in its present building, designed in the Italian Renaissance style by , Spring 2006.--Stephen Frailey LOS ANGELES Lorna Simpson MUSEUM OF CONTEMPORARY ART April 16-July 10 Curated by Helaine Posner While working alongside the Pictures artists, Lorna Simpson pioneered a practice that applied Conceptual strategies to visual considerations of race and gender, earning her a place among the most influential artists to come out of the '80s. Now--two decades and countless exhibitions later--she is truly a force to be reckoned with. For the artist's first mid-career survey, American Federation of Arts curator Helaine Posner has gathered forty-six works--a healthy selection of early image-and-text pieces, seven major photographs on felt, six film installations, and a smattering of recent photographs. An all-star catalogue complements the show, with essays by Okwui Enwezor and Hilton Als and a conversation between the artist, Thelma Golden, and Isaac Julien. Travels to the Miami Art Museum, Oct. 13, 2006-Jan. 21, 2007; Whitney Museum of American Art Whitney Museum of American Art, in New York City, founded in 1930 by Gertrude Vanderbilt Whitney. It was an outgrowth of the Whitney Studio (1914–18), the Whitney Studio Club (1918–28), and the Whitney Studio Galleries (1928–30). , New York, Feb. 8-May 6, 2007; and other venues.--Frances Richard The Societe Anonyme: Modernism for America UCLA UCLA University of California at Los Angeles UCLA University Center for Learning Assistance (Illinois State University) UCLA University of Carrollton, TX and Lower Addison, TX HAMMER MUSEUM April 23-August 20 Curated by Susan Greenberg and Jennifer R, Gross Founded in 1920 on East 47th Street in New York by Katherine S. Dreier, Marcel Duchamp, and Man Ray, the Societe Anonyme amassed one of the most impressive collections of modern art in the U.S. Created to educate the public about modern art and to support emerging artists, the "experimental museum"'s acquisition program and reference library existed at a time when no institution in America was collecting or supporting contemporary work. This show features some two hundred pieces from the collection (housed since 1941 at the Yale University Art Gallery The Yale University Art Gallery houses a significant and encyclopedic collection of art in several buildings on the campus of Yale University in New Haven, Connecticut. Although it embraces all cultures and periods, the Gallery possesses especially renowned collections of early , which organized the show) by Arthur Dove, Ernst, Kandinsky, Leger, Picasso, Schwitters, and more. Travels to the Phillips Collection, Washington, DC, Oct. 14, 2006-Jan. 21, 2007; Dallas Museum of Art The Dallas Museum of Art is an art museum located in the Arts District of downtown Dallas, Texas, USA along Woodall Rodgers Freeway between St. Paul and Harwood. History , June 10-Sept. 16, 2007; and other venues.--Amra Brooks LOS ANGELES Courbet and the Modern Landscape [ILLUSTRATION OMITTED] J. PAUL GETTY Jean Paul Getty (December 15, 1892 – June 6, 1976) was an American industrialist and founder of the Getty Oil Company. Biography Born in Minneapolis, Minnesota, into a family already in the petroleum business, he was one of the first people in the world with a MUSEUM February 21-May 14 Curated by Charlotte Eyerman and Mary Morton Major museum exhibitions of Courbet are rare in the US (the last one was at the Brooklyn Museum almost twenty years TWENTY YEARS. The lapse of twenty years raises a presumption of certain facts, and after such a time, the party against whom the presumption has been raised, will be required to prove a negative to establish his rights. 2. ago). And when they do occur, they tend to be large and unwieldy, as if to make up for their infrequency. We should therefore applaud the Getty for its less-is-more approach: About forty landscapes centered around the crucial decade of the 1860s--many rarely seen together and a handful never before exhibited in the US--should focus attention on Courbet's disturbing and at times erotic brand of naturalism, the kind of work that so impressed later generations of modernist painters. One regrets that LACMA's Cezanne and Pissarro show closes before Courbet comes to town. Travels to the Museum of Fine Arts, Houston
LONDON Tropicalia: A Revolution in Brazilian Culture BARBICAN BARBICAN. An ancient word to signify a watch-tower. Barbicanage was money given for the support of a barbican. ART GALLERY February 15-May 21 Curated by Carlos Basualdo "Tropicalia," the poet Torquato Neto wrote, "is whatever is necessary." We should get a sense of just how exhilarating "whatever" can be in this exhibition, which presents some 250 works produced during the influential Brazilian cultural movement of the late '60s. These are shown alongside contemporary responses by Marepe, Karin Schneider, and nine others. Highlights include Helio Oiticica's seminal environment Eden, 1969, and television footage from 1968 of Os Mutantes singing in plastic suits. Accompanied by a catalogue containing an anthology of period texts, the show, co-organized by the MCA MCA in full Music Corporation of America Entertainment conglomerate. It was founded in Chicago in 1924 by Jules Stein as a talent agency. In the 1960s it bought Decca Records and Universal Pictures, and today it produces films, music, and television shows. Chicago and the Bronx Museum, argues that being slippery can also be extremely smart. Travels to Centro Cultural de Belem, Lisbon, July-Sept.; Bronx Museum of the Arts, New York, Oct. 14, 2006-Jan. 28, 2007; and other venues.--Irene Small Martin Kippenberger TATE MODERN February 8-May 7 Curated by Doris Krystof and Jessica Morgan Martin's back! The massive Tate Modern is making room for the colossal Martin Kippenberger in a retrospective of more than two hundred works. Touchingly, The Happy End of Franz Kafka's "Amerika", 1994, provides the show's center of gravity; Kafka's epic, like Kippenberger's retrospective, appeared posthumously. Although getting a grip on the artist's dizzying productivity can be like trying to grasp escaping butane butane (by  `tān), C4H10, gaseous alkane, a hydrocarbon that is obtained from natural gas or by refining petroleum. , retrospectives decelerate de·cel·er·ate v. de·cel·er·at·ed, de·cel·er·at·ing, de·cel·er·ates v.tr. 1. To decrease the velocity of. 2. the blur of life, making an oeuvre more legible. You even feel Kippenberger's breath in the catalogue essay his sister Susanne has written on, among other things, the playhouse the young artist called Martinsklause. Now, Tate Modern is Martinsklause II. Travels to K21 Kimstsammlung Nordrhein-Westfalen, Dusseldorf, June 10-Sept. 16.--Ronald Jones Gothic Nightmares: Fuseli, Blake and the Romantic Imagination TATE BRITAIN February 15-May 1 Curated by Martin Myrone This show promises to be an educational Halloween party. With 160 works, it explores the demons Demons See also devil; evil; ghosts; hell; spirits and spiritualism. ademonist one who denies the existence of the devil or demons. bogyism, bogeyism recognition of the existence of demons and goblins. , witches, and elves imagined by two dozen high-minded British visionaries and considers such popular entertainments as the "Phantasmagoria phan·tas·ma·go·ri·a or phan·tas·ma·go·ry n. pl. phan·tas·ma·go·ri·as or phan·tas·ma·go·ries A fantastic sequence of haphazardly associative imagery, as seen in dreams or fever. ," which offered nineteenth-century Londoners a preview of the modern horror film, complete with grisly slide shows and creepy sounds. This rich territory was a core ingredient in the Romantic imagination, which, from the 1760s on, expanded into an ever-more irrational world. Here, the focus is on the odd couple of Swiss-born Henry Fuseli, with his crowd-pleasing Nightmare, 1781, and William Blake, whose depictions of monsters and phantoms were inspired by the loftiest pages of the Bible and Dante.--Robert Rosenblum [ILLUSTRATION OMITTED] LONDON Ugo Rondinone WHITECHAPEL ART GALLERY January 24-March 26 Curated by David Thorp Notorious for his extended sequence of abstract "target" paintings and for a questionable predeliction for circus clowns, "multidisciplinary romantic" Ugo Rondinone generates dreamlike juxtapositions of the prosaic and the improbable that critic Elizabeth Janus has aptly dubbed "parallel realities." For his first major exhibition in the UK, the Swiss artist has produced two atmospheric environments comprising a total of twenty-four recent paintings and sculptures, nine of which are new. Moodily gothic in tone, the larger of the two installations is laid out around a vast labyrinth of reflective black Perspex and accompanied by an audio recording of a repetitive dialogue about an impending im·pend intr.v. im·pend·ed, im·pend·ing, im·pends 1. To be about to occur: Her retirement is impending. 2. breakup. Alison Gingeras, Gilda Williams, and independent curator David Thorp contribute essays to the catalogue.--Michael Wilson Modernism: Designing a New World, 1914-1939 VICTORIA AND ALBERT MUSEUM Victoria and Albert Museum, South Kensington, London, opened in 1852 as the Museum of Manufacturers at Marlborough House. It originally contained a nucleus of contemporary objects of applied art bought from the Great Exhibition of 1851 at the instigation of the April 6-July 23 Curated by Christopher Wilk For some die-hards, Modernism with a capital M may still be a religion of absolute truth and beauty, but for the rest of us (abuse) for The Rest Of Us - (From the Macintosh slogan "The computer for the rest of us") 1. Used to describe a spiffy product whose affordability shames other comparable products, or (more often) used sarcastically to describe spiffy but very overpriced products. 2. (especially antique dealers) it's become as much a period style as Second Empire or Art Nouveau. Fraught with the historical nostalgia of a long-lost utopian dream, the movement can now seem as quaint and precious as Bakelite and glass brick, which means it's high time for an all-embracing retrospective. This one not only extends as far afield as Japan, Brazil, and Israel but mixes the exalted heights of Mondrian and Mies van der Rohe Van Der Ro·he See Ludwig Mies Van Der Rohe. with 350 more-earthbound examples of graphic design, furniture, photography, painting, film, and costume. In short, it is a poignant time capsule of the myth of progress forever destroyed by World War II. Travels to MARTa Herford, Germany, Sept. 16, 2006-Jan. 7, 2007.--Robert Rosenblum LIVERPOOL Making History: Art and Documentary in Britain from 1929 to Now TATE LIVERPOOL February 3-April 23 Curated by Tanya Barson The Tate machine turns itself in stately fashion to confront the prevailing winds; With this chronological survey, it makes a major attempt to historicize his·tor·i·cize v. his·tor·i·cized, his·tor·i·ciz·ing, his·tor·i·ciz·es v.tr. To make or make appear historical. v.intr. To use historical details or materials. current documentary trends. Tate Liverpool's Tanya Barson seeks to establish a continuum between fifty British practitioners, including such disparate figures as John Grierson, Lucian Freud, Gilbert & George, the Berwick Street Film Collective, and Jeremy Deller. The exhibition's broad sweep--it comprises roughly 250 films, television programs, and photographs as well as paintings, works of literature, and other media--is fortified fortified (fôrt  ´fīd),adj containing additives more potent than the principal ingredient. by a catalogue with essays by David Campany, Lynda Morris, and Mark Nash.--Mike Sperlinger BIRMINGHAM Roy Arden IKON GALLERY February 1-March 19 Curated by Nigel Prince Roy Arden's midcareer survey features the three major phases of his work to date: the '80s archival photographs documenting the social history of his native British Columbia; the "landscape of the economy" color photographs of the early '90s that explore the mix of old and new in his local surroundings; and his more recent images of the "urban rustic"--such mundane subjects as weeds, gutters, street corners, and wildflowers. Throughout, Arden's photography rejects the exotic and the spectacular as it tracks modernity in the everyday and the global in the local. In this show, some thirty prints are complemented by three videos, two of which are new--one, a gritty archaeology of the search for treasure in the back alleys of Arden's Vancouver, the other a transcendent manipulation of found footage of a sports riot.--Alex Alberro DUBLIN Howard Hodgkin IRISH MUSEUM OF MODERN ART The Irish Museum of Modern Art (Irish: Músaem Nua-Ealaíne na hÉireann), also known as IMMA, opened in May 1991 and is Ireland's leading national institution exhibiting and collecting modern and contemporary art. February 22-May 7 Curated by Enrique Juncosa and Nicholas Serota Howard Hodgkin once called a painting After Vuillard; the title sums up much of what some admire about his work as well as what leaves others so indifferent: the echoes of Ecole de Paris intimism and an Epicurean redeployment of stylistic features abstracted not just from Vuillard but also from Bonnard and Matisse. Yet he offers more than an exquisite rehash re·hash tr.v. re·hashed, re·hash·ing, re·hash·es 1. To bring forth again in another form without significant alteration: rehashing old ideas. 2. To discuss again. : Hodgkin takes crazy chances with color, laying it down with such an unlikely mix of subtlety and bravura bra·vu·ra n. 1. Music a. Brilliant technique or style in performance. b. A piece or passage that emphasizes a performer's virtuosity. 2. A showy manner or display. adj. 1. that he's never boring. This survey, comprising some sixty works from 1960 through today, is accompanied by the anthology Writers on Howard Hodgkin; these literati literati Scholars in China and Japan whose poetry, calligraphy, and paintings were supposed primarily to reveal their cultivation and express their personal feelings rather than demonstrate professional skill. may not know much about art, so look avidly but read with a dash of salt. Travels to Tate Britain, London, June 15-Sept. 17; Museo Nacional Centro de Arte Reina Sofia, Madrid, Oct. 18, 2006-Jan. 8, 2007.--Barry Schwabsky PARIS [ILLUSTRATION OMITTED] Pierre Huyghe MUSEE D'ART MODERNE mo·derne adj. Striving to be modern in appearance or style but lacking taste or refinement; pretentious. [French, modern, from Old French; see modern.] Adj. 1. DE LA VILLE DE PARIS Ville de Paris may refer to:
February 2-April 23 Curated by Laurence Bosse, Julia Garimorth, and Hans-Ulrich Obrist After visiting the Antarctic Circle last year, Parisian hometown-boy-made-good Pierre Huyghe explores a terra incognita in·cog·ni·ta adv. & adj. With one's identity disguised or concealed. Used of a woman. n. A woman or girl whose identity is disguised or concealed. closer at hand: the "virgin" territory of the Musee d'Art Moderne de la Ville de Paris's newly refurbished exhibition space. To celebrate its reopening after a two-year renovation, the museum presents five projects from Huyghe, whose last significant outing there was a 1998 group exhibition with Dominique Gonzalez-Foerster and Philippe Parreno. The Antarctic voyage, along with its orchestral pendant filmed last fall in New York's Central Park, provides the basis for ambitious new installations, which are presented alongside a film of the Le Corbusier-inspired puppet musical commissioned by Harvard's Fogg Art Museum The Fogg Art Museum is the oldest of Harvard University's art museums. It covers the history of western art from the Middle Ages to the present. It opened to the public in 1895 and was originally housed in an Italian Renaissance style building designed by Richard Morris Hunt in 2004. Travels to Tate Modern, London, July 5-Sept. 24.--Margaret Sundell Jean-Luc Godard CENTRE POMPIDOU April 26-August 14 Curated by Dominique Paini How best to approach your own institutionalization Institutionalization The gradual domination of financial markets by institutional investors, as opposed to individual investors. This process has occurred throughout the industrialized world. when you've previously skewered no less a figure than Mick Jagger as a tool of the entertainment industry--the countercultural equivalent of a toothpaste salesman? Jean-Luc Godard rolls the dice in organizing his own career retrospective by moving beyond the museum's usual theater-bound, film-program format reserved for celluloid luminaries to design nine galleries, each devoted to a single theme (unannounced at press time). The French auteur auteur (ōtör`), in film criticism, a director who so dominates the film-making process that it is appropriate to call the director the auteur, or author, of the motion picture. , who turned seventy-five last year, has made seven new short films for the occasion to boot. A suitably risky crowning event for the director whose 1967 movie Weekend declared itself "a film found on a scrapheap."--Tim Griffin Juergen Teller FONDATION CARTIER POUR L'ART CONTEMPORAIN March 4-May 21 Curated by Herve Chandes and Leanne Sacramone To fashion consumptives, Juergen Teller is best known for his Marc Jacobs-inspired collaborations with the likes of Cindy Sherman and Charlotte Rampling. And while Teller is not alone in raising the stakes in the conceptual project of disguising art as commerce, his ability to create images whose brutality, tenderness, humor, and seriousness endure regardless of context signals a unique and singular vision. His first major show in France comprises some eighty photographs. Expect to find iconic images of Yves Saint Laurent and Kate Moss alongside prints of weeds poking out of Albert Speer's Nuremberg ruins. Whether advertising handbags or the bloat of hubris Hubris An arrogance due to excessive pride and an insolence toward others. A classic character flaw of a trader or investor. , Teller's work charts a moral and conceptual decadence redeemed by searing sear 1 v. seared, sear·ing, sears v.tr. 1. To char, scorch, or burn the surface of with or as if with a hot instrument. See Synonyms at burn1. 2. honesty and impolite im·po·lite adj. Not polite; discourteous. [Latin impol beauty.--Neville Wakefield NIMES Markus Raetz CARRE D'ART, MUSEE D'ART CONTEMPORAIN February 1-May 7 Curated by Francoise Cohen cohen or kohen (Hebrew: “priest”) Jewish priest descended from Zadok (a descendant of Aaron), priest at the First Temple of Jerusalem. The biblical priesthood was hereditary and male. Swiss artist Markus Raetz has spent the past forty years exploring the essence of seeing. With subtle materials (twigs, leaves, mirrors, and wisps of metal) and a lightness of touch, Raetz creates anamorphic See anamorphic lens and anamorphic DVD. objects and images that play with perception, making his viewers question what they see and how they look at the world. This retrospective of nearly two hundred works includes sculptures but highlights Raetz's delicate works on paper (drawings, sketches, prints, watercolors, and notebooks), borrowed from public and private collections as well as from the artist's studio. Curated by director Francoise Cohen, the exhibition is accompanied by a catalogue with an essay by Sorbonne art history professor Gilbert Lascault.--Elizabeth Janus [ILLUSTRATION OMITTED] MADRID Inner Worlds Outside FUNDACION "LA CAIXA" January 26-April 2 Curated by Monica Kinley and Jon Thompson Jean Dubuffet's coinage "art brut" has an antiquated ring, and "outsider art" was a suspect term even before the oeuvre of Chicago janitor and Vivian Girls visionary Henry Darger became a posthumous blockbuster. Eschewing either designation, curators Thompson and Kinley (the latter is director of the Musgrave Kinley Outsider Art Collection) organize their selection of 150 works thematically rather than according to the backgrounds of the artists, Dream-weavers Ensor, Guston, Klee, and Pollock share space with Darger, Michael the Cartographer, farm laborer J. B. Murray, and others under such rubrics as "Imaginary Landscapes," "Fantastic Cities," "Impossible Architecture," "Desire and the Erotic Body," and "Physiognomic phys·i·og·no·my n. pl. phys·i·og·no·mies 1. a. The art of judging human character from facial features. b. Divination based on facial features. 2. a. Hauntings." Travels to the Whitechapel Art Gallery, London, Apr. 26-July 2; Irish Museum of Modern Art, Dublin, July 25-Oct. 1.--Frances Richard MILAN Milan, prince and king of Serbia Milan (Milan Obrenović) (mĭl`än ōbrĕ`nəvĭch), 1854–1901, prince (1868–82) and king (1882–89) of Serbia; grandnephew of Miloš Obrenović. Tom Sachs FONDAZIONE PRADA April 6-June 15 Curated by Germano Celant Mock-machismo American Tom Sachs is about to hit Europe with a double-barrel survey. The first assault, curated by Gunnar B. Kvaran, Grete Arbu, and Hanne Beate for Oslo's Astrup Fearnley Museum of Modern Art, launches mid-January with a broad selection of incendiary objects parodically misappropriating high- and low-class power signs (think Chanel value meal and Prada toilet). The second offensive, at the Fondazione Prada, features the artist's more megalomaniacal meg·a·lo·ma·ni·a n. 1. A psychopathological condition characterized by delusional fantasies of wealth, power, or omnipotence. 2. An obsession with grandiose or extravagant things or actions. constructions, including a nitrouspowered police car and new works like a one-to-seven scale model of an aircraft carrier control tower and a full-size replica of the blue whale that hangs in New York's American Museum of Natural History American Museum of Natural History, incorporated in New York City in 1869 to promote the study of natural science and related subjects. Buildings on its present site were opened in 1877. . An inveterate inveterate /in·vet·er·ate/ (-vet´er-at) confirmed and chronic; long-established and difficult to cure. in·vet·er·ate adj. 1. Firmly and long established; deep-rooted. 2. iconoclast iconoclast Surgery A surgical instrument used for blunt dissection, which may be used below the galea aponeurotica in preparation for scalp reduction-browlift in hair restoration. See Hair replacement. with a Monacelli monograph in the works, Sachs has developed a brand power that looks set to outstrip his quarry's.--Jeff Gibson CODROIPO, ITALY Infinite Painting: Contemporary Painting and Global Realism VILLA MANIN CENTRO D'ARTE CONTEMPORANEA April 9-September 24 Curated by Francesco Bonami and Sarah Cosulich Canarutto Despite well-rehearsed claims for its autoextinction, painting remains as ubiquitous as the shows and discourses attending to it. This exhibition traces the "pictorial" not only through abstract and figurative painting but also through sculpture, video, and photography, engaging the question of medium from a perspective of collective expansion. The roughly eighty works on view span the past two decades, which the curators have dubbed the age of "Global Realism" to describe how the "real" is influenced by globalization globalization Process by which the experience of everyday life, marked by the diffusion of commodities and ideas, is becoming standardized around the world. Factors that have contributed to globalization include increasingly sophisticated communications and transportation . Less about essentialist ontology ontology: see metaphysics. ontology Theory of being as such. It was originally called “first philosophy” by Aristotle. In the 18th century Christian Wolff contrasted ontology, or general metaphysics, with special metaphysical theories than about cross-connected networks, painting here becomes a game of six degrees of separation. Or, as Bonami puts it, it's an "exhibition about painting, but not just another painting exhibition."--Suzanne Hudson GENEVA Steven Parrino MUSEE D'ART MODERNE ET CONTEMPORAIN February 21-May 14 Curated by Fabrice Stroun For Steven Parrino, the making of art in New York was--like life in the city itself--an unremitting, unsentimental negotiation between production and destruction. Takmg as many cues from Warhol as he did from experimental music, this post-painter wrenched canvases off their stretchers, twisting them into glossy vortexes, and pummeled smooth Sheetrock panels with a sledgehammer See Opteron. . What's most American in Parrino's work are its automatic procedures, its blackouts, and its conceptual relationship with B-horror movies, underground comics, and noise. This retrospective includes more than two hundred works, ranging from paintings, drawings, and photographs that date from the artist's student years and his involvement with the Nature Morte gallery in the East Village to the collaborative film and music projects that preceded his fatal motorcycle accident in 2005.--John Kelsey [ILLUSTRATION OMITTED] ZURICH Marc Camille Chaimowicz MIGROS MUSEUM FUR GEGENWARTSKUNST April 8-June 18 Curated by Heike Munder The late, lamented art critic Stuart Morgan gave the following instructions for the proper reception of the work of Marc Camille Chaimowicz: "Unlearn 'art.' Unlearn 'artwork.' Unlearn 'closure.' Unlearn 'public' and 'private.' Finally unlearn 'man.'" Well, that could take a while. But the fact that this survey follows hard on the heels of another this past autumn in Dusseldorf suggests that the French-born, London-based Chaimowicz, whose performances and installations drew international acclaim in the '70s but whose career went a bit quiet in the '90s, is coming back into focus. At the Migros, fourteen works--installations, print and painting suites, and sculptures--from the past thirty-four years sample an oeuvre that combines the quotidian quotidian /quo·tid·i·an/ (kwo-tid´e-an) recurring every day; see malaria. quo·tid·i·an adj. Recurring daily. Used especially of attacks of malaria. and the exquisite, the decorative and the political, the critical and the sentimental in ways to which we're unaccustomed.--Barry Schwabsky VIENNA Cinema Like Never Before GENERALI FOUNDATION January 20-April 24 Curated by Antje Ehmann and Harun Farocki Citing inspiration from Giuseppe Perella and Michele Mancini's conceptual groupings of bodies and places in their 1981 study of the films of Pasolini, Ehmann and Farocki offer a complex collaborative discourse between film images in an exhibition built around their own and others' work. Rather than recuperate re·cu·per·ate v. To return to health or strength; recover. film-historical forces for the museum, they propose exploded systemic and thematic views of those forces at work in a variety of media. The eleven artists featured range from the unjustly neglected Klaus Wyborni to the better-known Gustav Deutsch and younger practitioners like Astrid Kuver. It's no surprise that Farocki, whose work has often critiqued institutions through preexisting pre·ex·ist or pre-ex·ist v. pre·ex·ist·ed, pre·ex·ist·ing, pre·ex·ists v.tr. To exist before (something); precede: Dinosaurs preexisted humans. v.intr. images, should arrive at the insight that curating involves parallel archaeological practices.--Keith Sanborn. BERLIN 4th Berlin Biennale for Contemporary Art VARIOUS VENUES March 25-May 28 Curated by the Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick It's tough explaining just what exactly the Wrong Gallery is (Cattelan, Gioni, and Subotnick started it in a shallow doorway in New York), much less how it's curating the 4th Berlin Biennale, inexplicably titled "Of Mice and Men Of Mice and Men story of George Milton and Lennie Small’s futile dream of having their own farm. [Am. Lit.: Of Mice and Men] See : Futility Of Mice and Men ." Several months prior to the biennale's opening, the Wrong Gallery made its presence strongly felt with Gagosian Gallery, Berlin: In typically cheeky fashion, the miscreant mis·cre·ant n. 1. An evildoer; a villain. 2. An infidel; a heretic. [Middle English miscreaunt, heretic, from Old French mescreant, present participle of curators appropriated the international behemoth's name and logotype for an impostor gallery of their own. Add to that the magazines Zitty, in which they interview Berlin-based artists, and Checkpoint Charley, which includes research materials on some seven hundred practitioners. The show itself features only sixty artists and will unravel both in museums and along a street in Berlin's historic Mitte district.--David Rimanelli DUSSELDORF Zero MUSEUM KUNST PALAST The museum kunst palast is an arts museum in Düsseldorf, Germany. History The museum kunst palast was founded as Kunstmuseum Düsseldorf, a typical communal arts collection in Germany. April 9-July 9 Curated by Lorand Hegyi, Jean-Hubert Martin, Heike van den Valentyn, and Mattijs Visser Time again to revisit Group Zero? The concerns of this midcentury minimovement, which caught the current of early '60s European investigations into "environments" and kineticism ki·net·i·cism n. The theory or practice of kinetic art. ki·net  i·cist n. , seem to come under scrutiny every few years, but this exhibition promises something more than the usual retread re·tread tr.v. re·tread·ed, re·tread·ing, re·treads 1. To fit (a worn automotive tire) with a new tread. 2. of Heinz Mack, Otto Piene, and Gunther Uecker. Instead, "Zero" looks at their influences (with some three hundred works by nearly fifty artists, from members of Gutai to Pol Bury, Hans Haacke, Daniel Spoerri, and, of course, Yves Klein) and organizes the works largely according to theme (light, vibration, etc.). Whether the survey will conclusively define Group Zero remains to be seen, but it should at least contextualize con·tex·tu·al·ize tr.v. con·tex·tu·al·ized, con·tex·tu·al·iz·ing, con·tex·tu·al·iz·es To place (a word or idea, for example) in a particular context. its neo-Dada work. Travels to the Musee d'Art Moderne, Saint-Etienne, Sept. 15, 2006-Jan, 15, 2007.--Eric Banks [ILLUSTRATION OMITTED] Museums in the 21st Century: Concepts, Projects, Buildings K20 KUNSTSAMMLUNG NORDRHEIN-WESTFALEN March 31-June 25 Curated by Christine Gisi Some indication of the scale of the recent museum-construction spree may be gleaned from the fact that, for the second time in six years, the Art Centre Basel, an organizer of international traveling exhibitions, has mounted a showcase of contemporary museum design. Among the twenty-six projects documented in drawings, models, photographs, videos, and computer animation are Tadao Ando's subterranean Chichu Art Museum in Naoshima, Japan, and the redevelopment of Berlin's Museum Island. What are we going to put in all these new museums? As this show suggests, perhaps the museums themselves. Travels to Museo Nazionale delle Arti del XXI Secolo, Rome, Sept. 21-Oct. 29; Lentos Kunstmuseum Linz, Austria, Nov. 23, 2006-Feb. 19, 2007; and other venues.--Kevin Pratt MUNICH ClickDoubleClick: The Documentary Factor HAUS DER KUNST The Haus der Kunst (literally House of Art) is an art museum in Munich, Germany. It is located at Prinzregentenstrasse 1 at the southern edge of the Englischer Garten, Munich's largest park. February 8-April 23 Curated by Thomas Weski Throughout its history, the practice of documentary photography has implied a rigorous responsibility to truth--an illusive il·lu·sive adj. Illusory. il·lu sive·ly adv.il·lu ideal that has grown increasingly problematic in the digital age. This exhibition examines the influence of digital manipulation on the documentary tradition and how technology has weakened the medium's integrity and authenticity. Although sympathetic to the documentary ideal, the roughly 150 images on view, by Taryn Simon, Larry Sultan, Jeff Wall, Luc Delahaye, and nineteen others, operate between fact and fiction. At its core, the show emphasizes photography based on the artist's interpretation rather than fact, undermining the credibility of the objective witness. Travels to the Centre for Fine Arts The Paleis voor Schone Kunsten (Dutch) or Palais des Beaux Arts (French) is an important federal cultural venue in Brussels, Belgium, commonly referred to as 'Bozar' or 'PSK'. , Brussels, June 26-Sept. 3.--Stephen Frailey HAMBURG Jonathan Meese DEICHTORHALLEN HAMBURG April 28-September 3 Curated by Robert Fleck Ultimate myth-o-man, post-Beuysian neo-shaman, excessive ritualist--the possibilities for describing Jonathan Meese abound, perhaps not surprisingly, as his art is also of and about abundance. Seeking the thrills of the too-much, this painter, installation artist, and performer fought his horror vacui in recent shows in Frankfurt and Copenhagen by expanding his list of heavyweight obsessions (Kubrick and Kinski, Wagner and Balthus). He's also added the Hitler salutation to his gestural repertoire and set design to his portfolio. The roughly two hundred objects here, made by the artist and collaborators Daniel Richter, Raymond Pettibon, Jorg Immendorff, and Albert Oehlen, revolve around a Meese-designed set for the adaptation of Pitigrilli's Weimar-era novel Kokain, to be performed on-site.--Tom Holert [ILLUSTRATION OMITTED] BADEN-BADEN Thomas Schutte STAATLICHE KUNSTHALLE BADEN-BADEN March 10-April 30 Curated by Matthias Winzen This retrospective of 250 works on paper by Thomas Schutte offers a rare opportunity to examine the thought process behind his characteristically deliberate sculptural work of the past three decades. Documenting passing ideas and formal conundrums, these drawings attest to the development of radically different bodies of work, including watercolor series, diaristic sketches, portraits and self-portraits, and to early struggles with the two-dimensional representation of space arising from Schutte's work with stage design and architectural models. The catalogue, with essays by Winzen, Barbara Wagner, and Melitta Kliege and texts by the artist, is complemented by an online catalogue raisonne of the works on paper. Travels to the De Pont Foundation, Tilburg, May 20-Sept. 10: Neues Museum, Nuremberg, Oct. 20, 2006-Jan. 21, 2007.--Bettina Funcke BIELEFELD, GERMANY Louise Bourgeois KUNSTHALLE BIELEFELD March 12-June 5 Curated by Thomas Kellein Louise Bourgeois has spent the better part of a century riffing off a cast of characters she's mostly outlived; her family. Space, memory, and the body are incorporated in her notion of family romance and summed up in the term "femme maison," the housed or trapped body. Bourgeois's initial "Femme Maison," a series of drawings fusing architecture and the female figure, appeared in the mid-' 40s, and since then she has successfully straddled time periods and absorbed everything from Freudian Surrealism to process art and feminism. Included in this 120-work retrospective are fifteen paintings from 1936 to 1945 that have never been shown, as well as Fillette (Sweeter Version), 1968/1999, a latex-covered phallus phallus /phal·lus/ (fal´us) pl. phal´li 1. penis. 2. a representation of the penis. 3. the primordium of the penis or clitoris that develops from the genital tubercle. based on the original Fillette, and the famous Destruction of the Father, 1974, a spore-covered altar she created a year after her husband's death.--Martha Schwendener COPENHAGEN Georg Baselitz LOUISIANA MUSEUM OF MODERN ART The Louisiana Museum of Modern Art is located directly on the shore of the Øresund in Humlebæk 35 kilometers north of Copenhagen in Denmark. It has a wide range of modern art paintings, sculptures and videos, including works by artists such as Roy Lichtenstein, Andy Warhol, Anselm February 10-June 11 Curated by Helle Crenzien and Poul Erik Tojner For more than forty years, Georg Baselitz's work has served as a screen on which the art world has projected its feelings about figurative painting. In the '60s, his moody, expressionistic canvases exploded the unspoken consensus in his native Germany that representational painting had been forever polluted by fascism. In the '80s, however, Baselitz was derided by many critics for insufficiently problematizing his neo-expressionistic practice. But in today's climate of painterly paint·er·ly adj. 1. Of, relating to, or characteristic of a painter; artistic. 2. a. Having qualities unique to the art of painting. b. promiscuity, his complex oeuvre seems ripe for reassessment. This exhibition, which features some 110 paintings and works on paper from four decades, provides ample occasion to see the span of the artist's career and perhaps even to learn something about this moment's attitudes toward painting, too.--Jordan Kantor WARSAW High Tide: New Currents in Art from Australia and New Zealand ZACHETA NATIONAL GALLERY OF ART February 17-April 9 Curated by Magda Kardasz and Simon Rees "High Tide" deposits the work of thirty-six Australian and New Zealand artists on the very distant shores of Warsaw and Vilnius. Organized by the Zacheta's Magda Kardasz and expat New Zealander Simon Rees (now curator at the Contemporary Art Centre, Vilnius), this binational bi·na·tion·al adj. Of, relating to, or involving two nations. survey features an even spread of early- to midcareer artists mining three thematic categories: indigeneity and local mythology, suburbanism (the human hatchery hatchery a commercial establishment dedicated to the hatching of bird eggs to provide day old chicks and poults to the poultry industry. hatchery liquid the contents of unfertilized eggs. Used in petfood manufacture. is a recurrent concern in art from the region), and a placeless internationalism. No longer far-flung colonial subjects--though the legacy lives on--these Western, South Pacific islanders will greet their Eastern European hosts as rising compatriots in art's now-rhizomatic community. Travels to the Contemporary Art Centre, Vilnius, June 2-Aug. 13.--Jeff Gibson |
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