Tuesday, July 26
Bringing together work by nine LA artistsGinny Bishton, Jennifer Bornstein, Sharon Lockhart, Paul McCarthy, Jason Meadows, Catherine Opie, Laura Owens, Lari Pittman, and Allen Ruppersbergthis show represents three decades of West Coast art. Highlights include Opie’s photographic portraits of children and Ruppersbuerg’s The Singing Poster, 2003, a tribute to Allen Ginsberg’s Howl (1955–56).
Art from Los Angeles: 1990 - 2010
Exploring why certain artistic subjects, materials, and practices tend to be dubbed “masculine” or “feminine,” this group exhibition is titled after Gloria Steinem’s famous feminist compilation. The artists brought together here are united in their head-on approach to taking down alleged “feminine” themes, from ornamentalism to sensuality.
Outrageous Acts and Everyday Rebellions
Chiharu Shiota’s first solo gallery show in Italy features new and recent tangly (and entangling) works. The Japanese artist’s signature spiderweb-like environmental installations made with black string are accompanied by photographs, drawings, and prints.
Chiharu Shiota Follow the line
The German artist takes over HangarBicocca’s vast industrial space with new and preexisting sensorial works that use light, optical experiments, and movement to help viewers experience the world in novel ways. Thanks to the installation’s choose-your-own-adventure design featuring two parallel pathways, visitors must decide how to approach, and get lost in, the exhibition.
Carsten Holler Doubt
Sharing more in common with Charles Burchfield’s swamps than Monet’s water lilies, Simeti’s vision of the natural world is wild, aggressive, and weed-filled. His sculptures and paintings suggest a romantic vision of a once-manicured garden reclaimed by Mother Nature.
Francesco Simeti Armed, barbed and halberd shaped
Hoping to better understand artists’ reliance on preexisting imagery in order to make their own, German artist Thomas Demand has curated an exhibition that features works by more than sixty artists and spans the early nineteenth century to now. Organized into three sections, the show addresses issues of originality and copycat culture by examining appropriation and image-making as both creative pursuits and acts of theft.
A seminal figure in Italian photography, Franco Vimercati made his first photographs in 1973 when he focused his camera on the inhabitants of the village where he took his summer holidays. These rarely shown works are on view along with better-known series from later in his career, including “Ciclo della zippier” (1983–92), photos of the same found-object (a tureen) taken over a period of nearly ten years.
Franco Vimercati Franco Vimercati
The inaugural show at this gallery’s Milan location (Galleria Fumagalli was founded in Bergamo in 1971) brings together four post–World War II artists whose works push abstraction to new limits. Revealing unexpected commonalities between Castellani, Mangold, Morris, and Noland, the exhibition compares these artists’ use of geometric forms, monochrome, and the surrounding environment.
Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland. A Personal View of Abstract Painting and Sculpture.
Since 1923 the Triennale di Milano has been a showcase for modern design, including decorative arts, fashion, and architecture. Among the exhibitions this year, “Arts and Foods: Rituals since 1851” (April 9–November 1), curated by Germano Celant, provides a global overview of the connection between food-related aesthetics and rituals.
Juxtaposing work by two contemporary artists alongside ceramics by Lucio Fontana, this exhibition shows off certain contradictions of clay. Complementing Fontana’s Informel figures, Caroline Achaintre’s clay objects are simultaneously modern and primitive, while Ivan Seal’s gestural and ceramics-encrusted paintings hover between two and three dimensions.
Lucio Fontana | Caroline Achaintre | Ivan Seal A Conversation about Ceramics
In addition to the well-known sculpture that lends the show its title, this exhibition features other politically charged sculptures by Ed and Nancy Kienholz. Among them: The Bronze Pinball Machine with Woman Affixed Also, 1980, which presents the female body as pure entertainment, and 76 J.C.s Led the Big Charade, 1993–1994, one of the couple’s final installations, in which seventy-six wall-mounted crucifixes (made with baby doll parts and wagon chassis) take aim at institutionalized religion.
Edward Kienholz and Nancy Reddin Kienholz KIENHOLZ: FIVE CAR STUD