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.
This spring, MoMA will host the first large-scale exhibition to grant international visibility to the photographs of Grete Stern and Horacio Coppola. The transatlantic journey of these creative partners (and, at one point, spouses) demonstrates that before the paralysis of Europe during World War II, avant-gardes emerged simultaneously in various metropolises of the world, eradicating the notion of periphery. Stern and Coppola left a Bauhaus closed by the Nazis to land eventually in Buenos Aires, where they hosted Argentina’s “first” exhibition of modernist photography and ran a commercial studio. Stern, in particular, conceived of feminist images that echoed the era’s widespread disenchantment with patriarchal societies. On view will be 250 original photographs and photomontages, 40 typographic works, 26 photobooks and periodicals, and four 16-mm films (many of which have never been exhibited), while the catalogue provides new translations of the artists’ writings, as well as essays from the curators and scholar Jodi Roberts.
As South Africans commemorated twenty years of postapartheid democracy last year, Johannesburg-based photographer Zanele Muholi was documenting the violence that persists against the country’s lesbian, gay, bisexual, transgender, and intersex communities. The series “Faces and Phases,” 2006–14, for example, like much of the work of this self-described “visual activist,” measures the distance between the liberties enshrined in South Africa’s lauded constitution and the sexual violence and hate crimes that continue to be committed against local women, especially black lesbians. Following on the heels of Muholi’s recent showings at the 2013 Venice Biennale and Documenta 13 in 2012, this exhibition draws together nearly ninety of her photographs, videos, and installations since 2007 under the theme of isibinelo, a Zulu word suggesting evidence to behold or an example to witness.
This American survey of Picasso’s sculpture, the first in almost fifty years (since the 1967 MoMA show), will be unforgettable. With roughly 150 works, many from the Musée National Picasso–Paris, the chief lender and coorganizer, the exhibition will trace Picasso’s continual upending of the medium. The curators have decided to stay out of the way, allowing the story to unfold in chronological chapters corresponding to distinct periods when the painter threw himself into three-dimensional work. Sculpture, which suggests carving, is too tame a word for all the stuff that poured out of the playground known as Picasso; it is even hard to believe that it all came from a single artist. One highlight will be the first-ever reunion of the six ripped-open “Glass of Absinthe” bronzes of 1914, each embellished differently, mixing casting and assemblage, patina and painting, humor and monumentality, in a combined act of revolution. But there will be many others.
Taking its title from Rem Koolhaas’s 1995 manifesto, “S, M, L, XL” is an examination of sculpture and scale. Scale, the relative size of one thing to another, became a preoccupation of aesthetic theory with the publication, in these pages, of Robert Morris’s “Notes on Sculpture” in 1966. Fittingly, two of the four works in the show are by Morris: Portal, 1964, a post-and-lintel structure so narrow we can barely squeeze through it, and Passageway, 1961, an increasingly constricting curved corridor that funnels us to a dead end. And while Franz West’s Blue, 2006, adds a welcoming “relational” element (a seat) to Morris’s spiral, Kris Martin’s installation T.Y.F.F.S.H., 2011, an open balloon animated by fans, allows viewers to experience the immersive scale so emblematic of today’s “site-specific” sculpture.
Black modernity, in its many splendors, is the focus of “The Freedom Principle.” The fifty-years-young Chicago music collective AACM (Association for the Advancement of Creative Musicians) grounds the exhibition in the rowdy and riotous 1960s jazz insurgency sparked by Ornette Coleman, Cecil Taylor, John Coltrane, and the AACM’s own world-renowned modernists: Muhal Richard Abrams, Anthony Braxton, Henry Threadgill, George Lewis, Wadada Leo Smith, and flagship group the Art Ensemble of Chicago. The AACM’s ethos of independence and intrepid exploration has infused the work of two subsequent generations of Afrocentric modernists and futurists. Sharing space with a plethora of artifacts, including original printed materials and photographs from the AACM archive, are works by renowned fellow travelers AfriCOBRA, as well as by more contemporary conceptualist-Maroon operatives such as Terry Adkins, Cauleen Smith, Renée Green, and Nick Cave.
This exhibition reevaluates the vital yet understudied practice of Noah Purifoy (1917–2004), an artist and activist whose melding of collage and community outreach would influence numerous succeeding practitioners. Born in Alabama, Purifoy moved in 1950 to Southern California, where he would execute his signature 1966 exhibition “66 Signs of Neon,” whose works Purifoy and others crafted from the debris of the previous year’s Watts rebellion, and the sprawling constellation of assemblages (1989–2004) that comprise his Joshua Tree Outdoor Desert Art Museum. “Junk Dada” will feature a selection of modes from Purifoy’s diverse oeuvre, from collages to sculptures to installations, and promises to assert his importance within histories of the found object. The accompanying catalogue will include an interview with Purifoy; essays by colleagues, critics, and historians; and a never-before-published portfolio of the artist’s photography.