Kelley Walker has scanned, silk-screened, and printed splotches and scrawls over a host of imagery including Civil Rights–era photography, 1970s Braniff Airlines ads, and R&B magazine covers. Walker’s second exhibition at this gallery shows how happily meaning slips and slides around when passed from news to advertising to art.
This exhibition of paintings and multimedia installations by the late Berlin-based Michel Majerus is the most comprehensive collection of the artist’s work ever shown in the United States. Sampling images from popular culture and art history, Majerus’s work from the 1990s and early aughts is a testament to the hybridity of the information age.
Paweł Althamer’s first US museum exhibition features a new iteration of Draftsmen’s Congress, a work that invites visitors and groups to create drawings and paintings on the museum’s fourth floor. (An earlier version debuted at the 2012 Berlin Biennale.) Two other floors are dedicated to a range of sculptures and videos Althamer made over the past two decades, many of which were realized in collaboration with community organizations.
Pawel Althamer The Neighbors
At the heart of this tightly curated exhibition, organized by Nashville’s Frist Center for the Visual Arts, is Carrie Mae Weems’s celebrated 1990 “Kitchen Table Series,” which probes issues of femininity and domesticity vis-à-vis black-and-white portraits of the artist and her family. The lesser known texts, audio recordings, and videos that are also on view intensify the affect that makes Weems remarkable.
Carrie Mae Weems Three Decades of Photography and Video
Hate/love or love/hate: the Whitney Biennial always elicits an inspired intensity. For the seventy-seventh edition of this once-annual now-biennial exhibition, three curators—Stuart Comer, Anthony Elms, and Michelle Grabner—have each been given one floor to oversee. This will be the last iteration of the Biennial at the Whitney’s Marcel Breuer–designed building on Madison Avenue, before the museum moves to its new headquarters in the Meatpacking district downtown.
The first comprehensive US survey of Italian Futurism presents over three hundred works including everything from painting and sculpture to architecture, fashion, film, advertising, free-form poetry, music, theater, and performance. Organized by Vivien Greene, the Guggenheim’s curator of nineteenth- and early twentieth-century work, the exhibition chronicles the movement from its feverish inception in 1909 with F. T. Marinetti’s Futurist manifesto to its quietus as Word War II drew to a close.
Italian Futurism, 1909–1944: Reconstructing the Universe
Continuing to test portraiture tropes with his paintings of imaginary personages and variously distorted visages, George Condo’s latest portraits battle against the confines of the canvas itself. Facial features scattered across multiple paintings vacillate between abstraction and representation while presenting an enormous puzzle for the mind’s eye.
In the late 1960s, Minimal music pioneer Steve Reich made a composition using sound bites from the taped testimonies of six Harlem teenagers who were accused of murder and brutally beaten by the police. Borrowing Reich’s title, Glenn Ligon’s exhibition revisits the so-called “Harlem Six” with three monumental screen-print paintings that imbue the deceptively simple words “come out to show them” with a newfound urgency.
Glenn Ligon Come Out
The “Bill” evoked in Georg Baselitz’s painting exhibition “Farewell Bill” is none other than the late, great Willem de Kooning. Paying homage to the Abstract Expressionist whose bright colors and primal style first inspired him in the late 1950s, Baselitz presents a new series of upside-down self-portraits featuring poppy pigments and gestural brushwork that recall de Kooning’s lyrical abstract paintings of the ’70s.
Georg Baselitz Farewell Bill
Hot on the heels of his US retrospective trifecta—The Guggenheim, New York; the Los Angeles County Museum of Art (through April 6); and the Museum of Fine Arts, Houston—James Turrell is currently showing new and recent works across the pond. The exhibition at Pace London, the artist’s first in this space, features two never-before-shown glass and LED light installations from the “Wide Glass” series.
Complementing Richard Hamilton’s retrospective at Tate Modern, the concurrent exhibition at the ICA celebrates the artist’s early work as a curator and exhibition designer. Two 1950s installations Hamilton created in conjunction with the Independent Group for the ICA’s former premises have been reinstalled in the Institute’s current location and are accompanied by a wealth of relevant archival materials.
Richard Hamilton Richard Hamilton at the ICA
Hailed as the founding father of British Pop art, Richard Hamilton experimented with various styles and mediums over the course of his sixty-year career. The Tate Modern’s retrospective is the first exhibition to embrace the artist’s expansive and diverse oeuvre—from his exhibition designs of the 1950s to his final paintings made in 2011.
Following B. Wurtz's recent retrospective exhibitions at Metro Pictures in New York and Kate MacGarry in London, the artist has returned to his homeland of southern California to present his latest sculptures. His deft arrangements of found and everyday materials always surprise and delight, and then later seem nearly meditative.
Inspired in turns by formalist and feminist concerns, Mai-Thu Perret has cultivated a wide-ranging practice, from writing about a fictional commune to restaging a 1924 Soviet play. Here, the Geneva-based artist investigates questions of craft and composition, via tapestries, ceramics, and even a wicker sculpture of a donkey—a nod to Robert Bresson’s four-legged Balthazar.
Mai-Thu Perret Astral Plane
Swiss duo Fischli & Weiss began collaborating in 1979 and started work on this exhibition—their first in LA in twenty-five years—before Weiss passed away in 2012. The show focuses on pieces from their series of cast polyurethane objects from the artists’ studio and Views of Airports, a slide presentation of 469 photographs.
Peter Fischli David Weiss Polyurethane Objects
Cocurated by Anne Ellegood and Johanna Burton, this exhibition plumbs the influential intersection between institutional critique and appropriation art of the 1980s and ’90s. The curators have cherry-picked works by thirty-six American artists—from Judith Barry to David Wojnarowicz—and examine in tandem the legacy of feminist and civil rights movements. It’s a historical show that also includes recent work, taking up a variety of mediums and messages.
Take It or Leave It: Institution, Image, Ideology