Saturday, October 22
This comprehensive presentation of Eggleston’s portraits spans fifty years of the artist’s output. In addition to pictures of blues musician Fred McDowell in his casket and actor/director Dennis Hopper driving in the outback, the exhibition includes never-before-seen black-and-white prints from the 1960s that show the artist’s unromanticized view of daily life in America.
William Eggleston Portraits
Spanning the 1950s through the 1990s, this exhibition focuses on Kounellis’s very first pieces, the “Alfabeto” series, begun in 1958. These early works, which consist of black stenciled numbers, letters, and mathematical symbols on paper and canvas, show an essential step away from abstract formalism and toward a Conceptualist discourse.
The ironic title of this group show devoted to female artists is borrowed from a 2014 work by American artist Julia Wachtel. Making wide-ranging references to pop culture, world politics, and personal identity, the fourteen women featured are not united thematically or stylistically but rather by a common drive to succeed in a man’s (art) world.
Featuring clouds and vapor trails, Tacita Dean’s hand-drawn color lithographs depict the LA skies the artist marveled at during her residency at the Getty Research Institute in 2014–15, made locally at Los Angeles’s famous print studio, Gemini G.E.L. Also made in LA is Portraits, 2016, a poignant 16-mm film of David Hockney smoking.
Tacita Dean LA Exuberance
The new suite of three works by James Richards uses appropriated digital videos and audio recordings to striking effect. Crumb Mahogany, 2016, a kaleidoscopic six-channel sound installation, features a vast range of audio snippets, vocal to incidental sounds. Radio At Night, 2015, and Rushes Minotaur, 2016, employ this same eclectic audio as a sound track for a collage of newscasts, medical documentaries, French erotica, and material from ICA’s own video archive.
James Richards Requests and Antisongs
A founding member of Brazil’s Neo-Concrete movement, Lygia Pape is best known for her three-dimensional objects that transform according to the viewer’s point of view. Spanning more than thirty years, the works here include early black-and-white geometric drawings Desenhos (Designs), 1957–1959, and, from later in her career, her iconic Ttéias (Webs), 1977–2000), delicate installations of gold or silver threads that appear woven into the air.
Multidisciplinary artist Marc Camille Chaimowicz weaves together literature, design, painting, sculpture, and photography to make art that resists the tyranny of linear time. This look back at the French artist’s career includes a restating of his immersive glam rock installation Enough Tiranny, which was first presented at Serpentine Gallery in 1972.
Marc Camille Chaimowicz
New York–based painter Maureen Gallace has been compared to Edward Hopper and Giorgio Morandi. Replacing detail with flat areas of color, her small oil paintings of houses and landscapes tenderly capture the atmospheric effects of sun and weather.
This joint show, which inaugurates Skarstedt’s new London space, pairs two artists from the Pictures generation. Inspired by classical portrait paintings by the likes of Raphael, Caravaggio, and Rubens, Cindy Sherman plays both model and creator in her “History Portraits” series, 1988–90, and, in doing so, calls into question the fraught historical relationship between the two roles. Meanwhile, David Salle’s “Tapestry Paintings,” 1989–91, embellish scenes from seventeenth-century Italian and Russian tapestries tapestries with anachronistic art-historical references like African masks and Giacometti sculptures.
Cindy Sherman & David Salle History Portraits & Tapestry Paintings
Featuring works spanning the 1930s–1970s—a period during which Wifredo Lam worked in Cuba, France, America, and Spain—this retrospective confirms the Cuban artist’s place at the center of global modernism. Often compared to avant-gardists like Picasso and Fontana, Lam addresses the social injustices of his day using a signature style of hybrid figures.
Casting a critical eye over the role of female artists in European museums, the Guerrilla Girls revisit their own poster from 1986 that deadpanningly states: “It’s Even Worse in Europe.” Having sent questionnaires to arts institutions across Europe asking about their collections and exhibitions, the feminist activist collective presents nearly four hundred responses—funny, heartbreaking, and terrifying —as part of an archive-based exhibition.
Guerrilla Girls Is it even worse in Europe?
Having transformed Paris’s Palais de Tokyo in 2013 and New York’s Park Avenue Armory in 2015, Philippe Parreno now takes over the Turbine Hall with a complex choreography of sound, light, objects, and videos. The fully automated exhibition can be considered as a single Gesamtkunstwerk upending traditional exhibition stagings of time and space.
Hyundai Commission: Philippe Parreno