The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.
Anicka Yi can’t forget the “taste” of El Bulli recipe 1647, mentholated and matcha-infused water vapor sealed below a layer of ice. Like Ferran Adrià before her, Yi is drawn to enmeshing the scientific and the sensual. This vital aspect of her practice has been enriched by her experience last year as an MIT visiting artist, which granted Yi long-desired access to scientific expertise. This exhibitiona multifaceted installationpromises to be her most consuming outing yet. In the spirit of her molecular gastronomic madeleine, diffused menthol vapor and a curious sound track will greet visitors as they happen on a petri-dish pond inhabited by Yi’s newly enhanced arsenal of the material and the bacterial. The attendant monograph, with contributions by Upitis, Johanna Burton, and Caroline Jones, will savor Yi’s exploration of the notion of taste as contagion.
True to the maxim “Everything’s bigger in Texas,” this exhibition will be the most extensive survey to date by New York fixture Marilyn Minter. Gathering more than two dozen paintings made since 1976, the show delves deep into Minter’s oeuvre, past her iconic recent canvases of dolled-up orifices to more abstracted appropriations of vintage photographs and enamels of eroticized food. In the decade since Minter’s work was beamed into pop consciousness via prominent placement in the trashy, coyly satiric soap Gossip Girl, she has continued to ply her seductive, glossy imagery. Three videos and the artist’s earliest photographic seriesfeaturing Minter’s pill-plagued but still-glamorous mother before a mirrorlend context and gravitas to the stuff she’s made so wretchedly gorgeous. Travels to MCA Denver, Sept. 18, 2015–Jan. 31, 2016; Orange County Museum of Art, Newport Beach, CA, Apr. 1–July 10, 2016; Brooklyn Museum, 2016.
The past few years have seen the Gutai group catapult to the forefront of the ever-expanding history of postwar art. But the specificities of its members’ respective practices remain undetermined, a situation this two-person exhibition, co-organized with the Japan Foundation, Tokyo, seeks to remedy in part. For both Shiraga and Motonaga, the element of chance was central. Best known for painting exuberantly with his feet, Shiraga regarded abstraction as a form of live theater. Motonaga poured vividly hued paints, which pooled or ran in currents across his canvases, thus capturing the unpredictability of fluids left to their own devices. Including nearly sixty paintings, drawings, photographs, films, sculptures, archival materials, and re-creations of installations that cover the full extent of the artists’ careers from the 1950s to the 2000s, the exhibition and accompanying catalogue seek to illuminate how both artists so gleefully crossed the boundaries of painting, performance, and documentationall in the name of abstraction.
Tadao Ando’s 2001 building for the Pulitzer Arts Foundation is both minimal and restrained, but it’s not quite a white cube. It is light gray, the color of the architect’s signature cast-in-place concrete, and its complex interiors, marked by carefully layered spaces and subtle plays of height and volume, belie the boxlike simplicity of its silhouette. As the latest spate of high-profile institutional projects reveals that museum architecture is still defined by the familiar polarity between overwhelming excess and mind-numbing neutrality, Ando’s recently completed renovation of the Pulitzer (which has transformed the building’s lower administrative and storage level into new galleries) could not be more timely. The inaugural, multilevel installation of solo exhibitions of the work of Alexander Calder, Fred Sandback, and Richard Tuttle serves to emphasize visual and spatial interconnection, demonstrating that a museum can actively shape the viewer’s experience without overpowering the art or simply fading into the background.
If a select few of Pop art’s past and present stars (think Sigmar Polke and Jeff Koons) recently took New York, the Walker Art Center’s upcoming exhibitionfeaturing some 140 works produced over the course of three decades on four continentsaims to widen our Pop horizons far beyond the usual names and locales. Alongside such household brands as Warhol and Rauschenberg, Polke will make an appearance, but so too will his (less recognized) fellow Capitalist Realists Konrad Lueg and Manfred Kuttner, here joined by Argentineans Marta Minujín and Edgardo Giménez, Brazilian Wanda Pimentel, and the Japanese-born Ushio Shinohara and Yayoi Kusama, among many others. Incorporating an extensive film and video program and showcasing works across media, the Walker exhibition and accompanying catalogue promise an unmatched opportunity to assess Pop’s global reach, and (it’s Pop, after all) to see some standout works by a few undisputed stars in the process. Travels to the Dallas Museum of Art, Oct. 11–Jan. 17, 2016; Philadelphia Museum of Art, Feb. 18–May 15, 2016.
From leather dykes and surfer dudes to LA freeways and Minnesota icehouses, the photography of Catherine Opie has long engaged in a dialogue between the genres of portraiture and landscape. The Wexner offers a new lens through which to understand that discourse by focusing on two of Opie’s most recent bodies of work: a series of color portraits of friends, family members, and fellow artists and a collection of quasi-abstract landscape photographs. Opie pushes the lush color and formal stature of her portraits even further, sometimes presenting these works in oval formats recalling Northern Renaissance painting. In her latest landscapes, she racks the camera’s focus to create pictures in which nature (forests, waterfalls, mountains) is loosely recognizable yet never clearly resolved or easily inhabitable. This show promises to open another chapter in Opie’s ongoingand thoroughly indispensablephotographic story.