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Atlantic Center
for the Arts Bernar Venet
Eleven of Venet’s monumental sculptures are currently installed in Riverside Park. Working with huge bars of steel, Venet forges his material to create strong, conceptually challenging forms known as “lines in space.” This body of work—all variations on Venet’s favorite themes of arc, angle, diagonal, and indeterminate line—reflects his interest in mathematics and the problem of the identity of the work of art. He considers his sculptures beyond the usual context of abstraction and figuration, positing a third term based in mathematical language. These stark gestures stand in marked contrast to the lush southern landscape.
Beeville Art Museum Inside Out:
New Works by Lee Littlefield
Littlefield’s sculptures have been described as the “product of a collaboration between Dr. Seuss and Dr. Freud.” Best known for his “pop-up” sculptures scattered along Houston freeways, he transforms trees, vines, and branches into whimsical forms and paints them in vivid primary colors.
Berkeley Art Museum,
University
of California Everything Matters:
Paul Kos, A
Retrospective
A leading artist and influential teacher in the San Francisco Bay Area for more than 30 years, Kos was one of the major figures in the early conceptual art scene in the late ’60s and early ’70s. He is recognized for his pioneering explorations in the genres of video, performance, and installation. Together with such peers as Vito Acconci and Bruce Nauman, Kos was among the first artists to incorporate video, as well as sound and interactivity, into sculptural installations. Witty, thought-provoking, and challenging, his work engages the ever-relevant paradoxes of faith, war, and nature. Kos explains his approach by paraphrasing Václav Havel, who observed that in the West everything works and nothing matters, while in the East nothing works and everything matters. Things do matter to Kos, and he makes his concerns matter for viewers.
Birmingham Museum
of Art Stephen Hendee:
Perspectives 7
Hendee’s sculptural installations of faceted, light-inflected forms are built from disarmingly low-tech materials—translucent corrugated plastic, hot glue, and fluorescent lights—but they inspire associations with virtual reality and cyberspace. The Birmingham works range in size from modular units or cells activating specific places to large structures that dominate entire rooms. Ascension, a 40-foot colossus that incorporates elements from Hendee’s earlier sculptures for the Federal Reserve Bank and The Concord Center in Birmingham, is his most ambitious project yet.
City Hall Park MetroSpective
This retrospective celebrating 10 years of Public Art Fund projects brings contemporary public art back to the recently restored City Hall Park for the first time since 1992. The show, installed in Lower Manhattan’s most central public park, revisits six works that were first exhibited as part of Public Art Fund’s contemporary art program at MetroTech Center, a busy commercial and educational hub in downtown Brooklyn. These outdoor sculptures by Art Domantay, Ken Landauer, Walter Martin and Paloma Muñoz, Peter Rostovsky, Do-Ho Suh, and Brian Tolle draw on a diverse range of subject matter—including nature, public memorials, and childhood experience.
Daum Museum of
Contemporary Art, State Fair Community College Jun Kaneko
Jun Kaneko has been a pivotal figure in the world of clay, merging the expressionistic style of Voulkos and Soldner with large-scale, almost minimal forms. This retrospective, the largest showing of his work in the Midwest, features works in clay and cast glass, as well as paintings and works on paper. In 1971, under the instruction of Soldner, Kaneko began a set of three pieces, forerunners of the now-familiar forms he calls “dangos.” These simple, rounded objects (named for Japanese dumplings) have become essential elements in his public art commissions, anchoring spatial configurations and unifying disparate design elements. Interested in energy and spirituality, Kaneko uses clay as a three-dimensional canvas for a variety of geometric patterns based in numbers, shapes, and colors.
Fondazione Prada Andreas Slominski
Slominski has been defined by critics as a Fallensteller or “trapper”—a designation that seems to capture the insidious, playful spirit of his conceptual works. Slominski identifies himself literally and figuratively with the setting of traps. Intrigued with the sculptural form of animal traps, he also began to tease out their ramifications as metaphor and model. His first Falle (1984–85) consisted of a regular mousetrap, exhibited in a gallery with full Duchampian honor—a cat-and-mouse game involving the artist and the public in which the latter goes around in circles, trying to find the meaning of an object that is intentionally meaningless. Slominski’s absurd, ironic universe also includes bicycles, windmills, and everyday objects such as golf balls and pianos. Slominski constantly thwarts expectations, which he sometimes plays with in cruel and manipulative ways. In his nonsensical world, everyday things become complex and innocuous things become dangerous.
Henry Art Gallery,
University
of Washington
James Turrell: Knowing
Light “Knowing Light” premieres new large-scale installations that reflect Turrell’s four decades of work with light, as well as models and drawings of his ongoing Roden Crater project. The selection demonstrates Turrell’s ability to create light works that deeply engage viewers in the physicality of seeing. As much to do with vision and perception as issues of light and color, shape and form, Turrell’s works posit a “painterly sensibility” in three dimensions. He does not make objects to sit in space, he creates the space itself.
Louisiana Museum
of Modern
Art Louise Bourgeois:
Life as Art
A retrospective to compare with Bourgeois’s exhibitions at the Tate Modern (2000) and at Documenta 2002, this show features sculptures, paintings, drawings, prints, and installations from 1945 to the present, as well as a very recent audio-work. Even at the age of 91, Bourgeois continues to add to her diverse artistic vocabulary (bronze, marble, latex, nylon stockings, unraveled clothing, and found objects), using her own voice as a poetic and coarsened thread to link memory and the present. This show explores the profoundly personal aspect of Bourgeois’s work. The existential condition of humanity—what the artist calls the “drama of the one among the others”—is reflected in her work as the interplay between brutality and vulnerability. Not just concerned with the body, Bourgeois has made it the pursuit of a lifetime to probe our innermost human feelings.
Miami Art Museum Shirin Neshat
This survey provides an unprecedented opportunity to experience Neshat’s work in depth through six of her video-and-sound environments and related photographs. Although Neshat lives in the U.S., her work explores cultural issues of her native Iran and Islam, especially the position of women. Her epic tales are told through sweeping panoramas of striking opposites: the desert and the sea; the architecture of East and West; women in black chadors and men in crisp white shirts. Powerfully cinematic imagery combines with careful choreography and mesmerizing music by contemporary composers such as Sussan Deyhim and Philip Glass to place viewers in the middle of cultural dialogue and collision.
Miami Art Museum New Work:
Roberto Behar and Rosario Marquardt
This Miami-based architect/artist team creates works that move among the genres of painting, public art, architecture, and urbanism. Their installations, interventions, paintings, and photographs propose encounters between stories and spaces, navigating the intimate and the monumental, the mundane and the fantastic. Behar and Marquardt, who were born and educated in Argentina, have lived in the U.S. since 1985. For this exhibition, they have modified a gallery in the museum so that it evokes a public space at night, illuminated by festive strand of colored lights. An enormous house of cards enveloped by a wooden scaffold stands in the middle of the space, tinuum between construction and collapse.
Milwaukee Art
Museum Rags to Riches:
25 Years of
Paper Art from Dieu Donné Papermill
Founded in 1974 in Madison, Wisconsin, the Dieu Donné press moved to New York City in 1976 where it became a center for the production of handmade papers used to create sculpture, as well as pulp paintings, prints, and artists’ books. This exhibition presents 25 years of activities at the papermill and features 90 works by 39 artists who have taken advantage of its resources during residencies, including Lesley Dill, Mel Edwards, Ming Fay, Robert Gober, Winifred Lutz, Sandy Skoglund, and Richard Tuttle. The show also showcases three commissioned works by Alan Shields, Lynda Benglis, and Michelle Stuart. The variety of two- and three-dimensional works reflects the wide range of uses to which artists have applied handmade paper, a medium that enables an incredible scope of expression.
Northern Illinois
University Art Gallery
Lewis deSoto:
Paranirvana (self-portrait) In deSoto’s 26-foot-long air-inflated installation Paranirvana (self-portrait), religion, biography, and technology combine to raise profound questions about life, death, and spirituality. The sculpture presents a series of provocative paradoxes: it is monumental yet empty; it appears as a massive and solid stone form but is as light as air and vulnerable; it portrays a divine being but is also a self-portrait; and finally it depicts Buddha at the moment between life and death, synthesizing the last breath and the first moment after life. The sculpture itself “breathes.” At the end of each day, the fan is turned off and the form deflates. Each morning the fan is turned on, forcing air into the skin until it fills and begins to hum with meditative breathing.
Site Santa Fe Roxy Paine: Second
Nature
This show focuses on two distinct yet interrelated bodies of Paine’s work: monumental artmaking machines and naturalistic, botanical environments. Both types illustrate a reciprocity between the artist, whose repetitive processes are machine-like, and machines, which are programmed to emulate human artmaking. Paine subverts expectations and raises questions about the origins of creativity and how we perceive the creative process. On the one hand, he builds machines that produce what appear to be hand-made objects; on the other, the artist makes works that appear to have been created by nature.
Victoria and Albert
Museum Art Deco 1910–1939
Despite its great popularity, for much of the 20th century Art Deco was dismissed as purely hedonistic and frivolous. This exhibition is the first to explore the style known as “Jazz Moderne,” “Streamline Moderne,” or simply “Moderne” as a global phenomenon affecting cities as far apart as Paris, New York, Bombay, and Shanghai. Bringing an exotic, vibrant approach to the most precious and exclusive works of art as well as to mass-produced goods, Art Deco flourished between the two world wars. More than 300 pieces of sculpture, painting, architecture, furniture, textiles, glass, metal, jewelry, graphic design, fashion, film, and photography explore the development of the style from its European beginnings to its global popularity in the 1930s.
Whitney Museum
of American
Art Elie Nadelman: Sculptor
of Modern Life
This tribute to the Modernist sculptor features more than 200 sculptures in bronze, marble, wood, ceramic, and plaster, as well as photographs and works on paper. Nadelman was influenced by a wide array of references, from Greek marbles and terra cottas to Gothic wood carvings, Art Nouveau, and the sculpture of Rodin—in his work the classical and the modern live side by side. When he came to the U.S. from Paris in 1914, Nadelman had already established a reputation for sleek abstracted figures. But by 1919, he began to balance idealized and elegant linearity with American genre subjects. After the 1929 stock market crash, his style changed dramatically. Until his death in 1946, Nadelman produced small-scale plaster figures whose contorted bodies and distressed surfaces address collective pain. Working in virtual seclusion, Nadelman never exhibited this late work, and it remained hidden until after his death.
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