Fifty years after their American debut, Marcel Duchamp’s editioned readymades—including Fountain, Bicycle Wheel, Hat Rack, and Traveler’s Folding Item—are again on view, and in the same building in which they were originally presented. The issues of artistic integrity addressed in that show, which paralleled the rise of Pop and presaged the appropriationist methods deployed by artists of the Pictures Generation, haunt this one, too. With the Jeff Koons retrospective right down the road, this exhibition couldn’t be better timed.
For Brazilian artist Lygia Clark's first comprehensive exhibition in North America, MoMA presents three hundred of the artist's drawings, paintings, sculptures, and participatory works from the late 1940s to the early 1980s. The survey, drawn from both public and private collections, organizes the artist’s work into three key themes: abstraction, Neo-concretism, and the “abandonment” of art.
Lygia Clark The Abandonment of Art, 1948–1988
The first comprehensive US survey of Italian Futurism presents more than 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
In celebration of the fiftieth anniversary of Andy Warhol’s contribution to the 1964 New York World’s Fair, the Queens Museum shows nine paintings made with the screens the artist used to create the controversial 13 Most Wanted Men, 1964, a work that depicted the enlarged mug shots of thirteen of the NYPD’s most-wanted criminals of 1962. Another 175 related objects are also on view.
Andy Warhol 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair
For Maria Lassnig’s most significant survey ever presented in the United States, MoMA PS1 exhibits fifty of the artist’s paintings as well as a selection of watercolors and filmic works—most of which have never been shown in the US. The included works span all periods of the artist’s career, from her early graphic abstractions produced in Paris to her later figural representations.
For “Here and Elsewhere,” curator Massimiliano Gioni aims to counter any notion that contemporary art in the Arab world might be homogeneous. Instead, his large survey of art in the Middle East—including works by forty-five artists from fifteen countries—focuses on a group with practices that might conceptually or aesthetically reference the Middle East, but which extend far beyond the purview of mere geography.
Here and Elsewhere
This exhaustive retrospective is the first to examine Jeff Koons’s career in its entirety. Curator Scott Rothkopf has reconstituted groundbreaking series in a chronological narrative that asserts Koons as one of the most crucial artists of the postwar era. The weighty catalogue, with texts by Isabelle Graw, Rachel Kushner, Michelle Kuo, Jeffrey Deitch, and Antonio Damasio, among others, promises to be a summer read like no other.
JEFF KOONS Jeff Koons: A Retrospective
The first museum survey of Charles Gaines brings together four decades of work. From his early experiments with systems and codes to his later examinations of subjectivity, the exhibition forms a pivotal link between 1960s and ’70s Conceptualists and artists that followed.
Charles Gaines Charles Gaines: Gridwork 1974–1989
Day and night throughout the month of August, a new work by UK artist Ian Whittlesea that consists of a single lightbulb will illuminate the gallery space. The regular, slow pulse of the bulb, whose light fades from bright to dark, relates to Whittlesea’s ongoing exploration of Mazdaznan breathing techniques taught by abstract painter Johannes Itten at the Bauhaus art school in the 1920s.
Ian Whittlesea A Breathing Bulb
Jimmie Durham takes over the entire bi-level gallery with two site-specific installations. On the ground floor, oil barrels painted with “chameleon” automobile paint, which changes colors depending on one’s perspective, are scattered amid brightly colored animal skeletons, car parts, and plastic pipes leaking mysterious fluids. The wall installation on the first floor, by contrast, is sparse and sober, featuring a black-and-white drawing of animals.
Jimmie Durham Traces and Shiny Evidence
Representing a new direction in the artist’s work, Aaron Curry’s latest large-scale paintings show illusionistic representations of monstrous figures and hideous heads. Using an acidic palette of purples, oranges, and greens, Curry references diverse artistic styles ranging from Juan Gris to Garbage Pail Kids trading cards.
Aaron Curry Paintings
This historical exhibition of work by New York–based dancer, choreographer, and filmmaker Yvonne Rainer presents live performances (a forty-five-minute dance program takes place four times daily) alongside writings, sketches, scores, documentary photographs, and experimental films. Together, these elements provide a rich, multidisciplinary study of Rainer’s practice between 1961 and 1972.
Yvonne Rainer Yvonne Rainer: Dance Works
For his sixth exhibition at Sadie Coles, Jim Lambie is showing new works that vary dramatically in terms of media and scale. Continuing his typical practice of using found objects as catalysts, Lambie incorporates ready-mades into paintings, sculptures, and installations.
Jim Lambie Answer Machine
“No Drones” presents a series of tracings Louise Lawler made from her own photographs. Working with artist and children’s book illustrator Jon Buller, Lawler transformed these tracings into wall drawings made of black adhesive vinyl. Playing with notions of scale and permanence, works from this series can be printed at any size and the outputs destroyed after each presentation.
Louise Lawler No Drones
The third solo exhibition of Peter Hujar’s photographs at Maureen Paley reminds us of a gritty 1970s New York City that has long since faded away. Also on view, Hujar’s arresting black-and-white portraits, which Susan Sontag poetically described in her intro to Hujar’s 1976 Portraits of Life and Death, the only catalogue published during the artist’s lifetime, as “fleshed and moist-eyed friends and acquaintances.”
Ed Atkins’s largest solo exhibition in a public institution in his native UK features the multiscreen video work Ribbons, 2014, which takes over the Serpentine Sackler Gallery. Transforming the gallery into an environment filled with sound, bodies, light, and color, the site-specific installation is accompanied by texts, images, and additional videos.
Examining the contemporary treatment of an age-old artistic subject, this group show brings together twenty-five big-name international artists who represent the human form in a variety of styles and contexts. Spanning the past quarter century, the exhibition includes major works by Huma Bhabha, Maurizio Cattelan, Urs Fischer, Isa Genzken, Rachel Harrison, Thomas Hirschhorn, Pierre Huyghe, Jeff Koons, Paul McCarthy, Cady Noland, Ugo Rondinone, Yinka Shonibare MBE, and more.
The Human Factor: The Figure in Contemporary Sculpture
Southbank Centre, Belvedere Road / +442079604200 / http:/
Mon 12pm to 6pm, Tue - Wed 10am to 6pm, Thu - Fri 10am to 8pm, Sat - Sun 10am to 6pm
This retrospective dedicated to Italian artist Giulio Paolini collects fifty years of work in which the artist ponders the relationship between viewer and artwork. Having begun his career as part of the Arte Povera movement in the 1960s, Paolini remains relevant with recent works that raise questions about authorship and materiality in today’s digital age.
Giulio Paolini Giulio Paolini: To Be or Not to Be
Gilbert & George’s recent series “Scapegoating Pictures for London” features a motif of nitrous oxide canisters—known as “whippets” or “hippy crack” when used recreationally—whose bomb-like forms evoke current-event issues ranging from drug abuse to warfare and terrorism. Emphasizing these paintings’ sinister nature, the artists themselves variably appear as skeletons or masked figures.
Gilbert & George
On the occasion of the publication of the catalogue, TITTIPUSSIDAD, conceived designed and edited by Julian Simmons and documenting Sarah Lucas’s trip to Mexico in 2012, Contemporary Fine Arts presents an exhibition of photographs from the catalogue, original sculptures by Lucas, and a sixty-nine-minute film also made by Simmons during their Mexican adventure.
Sarah Lucas, Julian Simmons Tittipussidad
Bringing together a diverse range of local and international artistic perspectives, the Eighth Berlin Biennale, curated by Juan A. Gaitán, takes over four venues across Berlin. Many participating artists have created new works specifically for the event, which, overall, endeavors to present fresh perspectives on the city itself.
Produced by the Victoria and Albert Museum in London (where it was shown last spring), this buzzy exhibition brings together more than 300 objects related to David Bowie’s career and personal life. In addition to showcasing artifacts ranging from the performer’s flashy costumes to his handwritten set lists, the exhibition creates an immersive multimedia experience through numerous audio and visual clips from concerts, music videos, and films.
This short-term exhibition centers on a collaborative performance by Japanese artists Junko Wada and Takehito Koganezawa. Wada’s paintings, which develop out of her dance performances, will be on view for ten days as part of Haus Am Waldsee’s summer visitor program.
Junko Wada Summer Visitor
Timed to coincide with the traveling Philip Guston exhibition (at Hamburg's Sammlung Falckenberg until May 25; then at the Louisiana Museum of Modern Art in Humlebæk until June 28), Aurel Scheibler is showing three of the late artist's charcoal drawings along with seven oil paintings. While two early paintings from 1961 and 1962 show Guston working in a fully abstract style, the later works reveal the artist's mature figurative style.
Since Elizabeth Peyton first engaged with the work of German composer Richard Wagner in 2011, when she created new paintings for an exhibition at New York City’s Metropolitan Opera, the artist has made many works related to opera. Her current show features portraits and still lifes inspired by Wagner’s nineteenth-century opera Tannhäuser.
Elizabeth Peyton Da scheinest Du, oh lieblichster der Sterne
Focusing on Otto Piene’s early artistic career in the 1960s and early ’70s, the exhibition at the Neue Nationalgalerie presents a large-scale re-creation of a projection Peine originally produced in New York in 1967 while collaborating with the ZERO group. Shown in the large hall of the Neue Nationalgalerie, Pienne’s handpainted slides create an experience that the artist has described as a “poetic journey through space.”
Otto Piene More Sky
Presenting photographs made between 1968 and 1971, this exhibition focuses on Zofia Kulik’s earliest artistic work, made while Kulik was still a student at the Academy of Fine Arts in Warsaw. Select fragments from a large body of work show the artist's interest in the relationship—and theoretical intersection—between film and sculpture.
Zofia Kulik Instead of Sculpture – Sequences 1968-71
Featuring 200 original prints made between 1928 and 1974, this exhibition dedicated to American photographer Walker Evans culls mainly from the private collection of Clark and Joan Worswick. The comprehensive selection of work spans from Evans’s impressions of Depression-era New York City and the rural south to his late series of semiabstract color Polaroids.
Walker Evans Walker Evans. A Life's Work
Animated by works that buzz, pulse, shiver, and hum, “Technokinesis” immerses in a space both virtual and physical. Artists alert to the shaky term “post-Internet,” such as Ian Cheng, Michael E. Smith, and Nina Canell, are presented alongside idiosyncratic Conceptualists Jason Dodge and veterans such as Robert Breer and Dennis Oppenheim. Curated by Jenny Jaskey and Andrea Neustein, “Technokinesis” has an East Coast counterpart at Blum & Poe’s New York space.
For their Los Angeles debut, Jennifer Allora and Guillermo Calzadilla continue their investigations of biosemiotics and biomusicology. On view is Apotomē, 2013, a video work based on a 1798 concert for elephants in Paris and named after a ratio in music that denotes the excess of human sensation. A new performance has also been produced by the duo, which similarly probes what is human and what is not.
Allora & Calzadilla
Allan Sekula’s “Ship of Fools” constituted an eighteen-month-long international campaign against a system of maritime shipping that used substandard vessels and exploitative labor conditions. The photographic series is his final major body of work.
Allan Sekula Ship of Fools
“Made in LA” is the second biennial of artists from Los Angeles. Curated this year by Michael Ned Holte and Connie Butler (after the initial cocurator, Karin Higa, passed away), the show continues to offer a dynamic and strong range of voices.
Made in L.A. 2014
Focusing on sculptures Joel Shapiro produced in New York in the 1980s, the current exhibition at Karsten Greve’s Paris gallery illustrates the tension between pure abstraction and suggested figuration that defines the artist’s oeuvre. The human-scale of Shapiro’s monochrome and polychrome constructions’ and the fact that they are presented without pedestals affirms the objects’ real-world presence, even in the context of the white-cube gallery space.
Joel Shapiro Wood Plaster Paint
This exhibition dedicated to late French-Norwegian artist Anna-Eva Bergman marks the artist’s first solo exhibition in Paris in nearly twenty years. Featuring paintings made during the final decade of the artist’s life (1977–1987), the works on view are bold abstractions in blue, black, white, and silver leaf.
Anna Eva Bergman Paintings 1977 - 1987
This major retrospective dedicated to the late Argentinian-born, Milan-based artist showcases more than 200 sculptures, paintings, and installations. Demonstrating that Fontana’s practice extended well beyond his famous “Tagli” series (the slashed canvases the artist began to make in the late 1950s), this comprehensive exhibition includes fascinating, lesser-known bodies of work including large-scale ceramics from the 1930s, now making their debut here in France.
Lucio Fontana Retrospective
This exhibition dedicated to California photographer Lewis Baltz, who belongs to the same generation as Jan Dibbets, Douglas Huebler, and Bruce Nauman, plays up the cinematic quality of Baltz’s photographs—linking them to films by Hitchcock, Godard, and Antonioni. The show is Baltz’s largest in France since his retrospective at the Musée d’Art Moderne de la Ville de Paris in 1993.
Lewis Baltz Common Objects
This exhibition dedicated to Belgian designer Dries Van Noten juxtaposes iconic pieces from his men’s and women’s collections against textiles and fashions from the museum’s permanent collection. Rounding out the show are videos, musical selections, film clips, photographs, and artworks (by the likes of Francis Bacon, Damien Hirst, Yves Klein, Elizabeth Peyton, and Victor Vasarely) on loan from public and private collections, all of which have served as inspiration to Van Noten throughout his career.
Dries Van Noten
Adopting the coinage “protograph” to describe the moment just before or after an image is captured and immortalized by a camera, Oscar Muñoz’s retrospective at the Jeu de Paume brings together four decades of work by the Colombian artist. Not limited to photography, the exhibition demonstrates the wide breadth of Muñoz’s oeuvre, which also includes printmaking, drawing, installations, video, and sculpture.
Oscar Muñoz Protographs
Complementing the Robert Mapplethorpe retrospective at the Grand Palais, the Musée Rodin juxtaposes more than one hundred works by the twentieth-century American photographer with plaster and bronze sculptures by the nineteenth-century French master. Striking comparisons abound between the two artists’ appreciation of the human form.
Mapplethorpe - Rodin
For its first edition, Sèvres Outdoors has invited twenty-five Paris galleries to present large-scale sculptures on the manicured grounds of the Cité de la céramique (home to France’s national porcelain factory, a technical school, and a museum.) Among the thirty-three sculptures on view are works by Carsten Höller, Guillaume Leblon, Atelier Van Lieshout, Markus Lupertz, and Elmar Trenkwalder (who recently did an artist residency at Sèvres and currently has a solo show in the museum, through October 27).
The current retrospective of self-taught artist Martial Raysse features more than 200 works—paintings, sculptures, films, photographs, and drawings—made over the course of a fifty-year career that brought the artist together with the likes of Yves Klein, Raymond Hains, Jean Tinguely, and Jacques Villeglé. Pushing beyond Raysse’s affiliation with the new realist movement, the exhibition highlights the artist’s individual position: “the hygiene of vision.”
Danish artist Kasper Sonne makes paintings by coating canvases with an even and pristine layer of industrial paint and then pouring chemical solvent over the surfaces, which causes different color stains to appear. In addition to several such paintings, Sonne’s current exhibition includes a film made with nonrepresentational images (text) and an installation of small vials filled with New York City rainwater.
Kasper Sonne Bad Chemistry
The exhibition’s title, “Munari Polytechnic,” refers to the multifaceted career of Bruno Munari, in which he combined industrial and artistic practices while working as a designer, writer, and sculptor. Looking forward in addition to backward, the retrospective makes a strong case for Munari’s influence on a younger generation of artists.
Jessica Stockholder brings to Milan a new series of assemblages made of brightly colored domestic objects including lamps, chairs, and kitchen utensils. Characteristically, the Chicago-based artist’s playful works conjure both abstract and narrative associations.
Jessica Stockholder Glimpse
With her current exhibition, Los Angeles–based artist Shannon Ebner adds to her ongoing project “Black Box Collision A,” a series of seventeen large-scale photographs of the letter A. The photos are accompanied by another ongoing piece—the continuation of a long-form poem, which is both a visual and linguistic mash-up.
Shannon Ebner Black Box Collision A: Gasoline & Auto Electric
Over one hundred of Mimmo Rotella’s famous torn posters (décollages) are shown alongside works by some of his closest followers. The retrospective, which was curated by Germano Celant, focuses on Rotella’s activity between 1953 and 1964.
The debut exhibition at M77 Gallery presents works on paper by Luca Pignatelli, who has not shown in Milan for fifteen years. The drawings, which range in terms of size and support, describe mysterious cities based in reality and steeped in fantasy.
Luca Pignatelli OFF PAPER
Danish-Vietnamese artist Danh Vo has sent fragments of a recreated Statue of Liberty to cities around the world, including Copenhagen, Chicago, New York, and now Beijing. The 2012 Hugo Boss prize winner enlisted the help of Shanghai-based craftsmen to produce the shattered copper forms, basing them on the original drawings for the statue by Frédéric Auguste Bartholdi.
Danh Vo We the People ( Detail)
In his first solo exhibition at Galleria Continua in Beijing, Kader Attiaa French artist of Algerian descent known for work concerned with historical research and its misunderstandingshere corrals materials and detritus into various installations that evoke civilization's cycles of destruction and recuperation.
Kader Attia Beginning of the world
“Time is Money” is the second of two back-to-back installments staged at Magician Space by Li Jinghu. The first, unveiled in June, marked the Guangdong native’s first solo show in Beijing. Known for reworking industrial and urban materials into highly expressive installations, Li will present two new worksone that references the video halls frequented by factory workers and another that alludes to moonlight as experienced by city dwellers.
Li Jinghu Time is Money