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.
Anne Collier’s photographs court frankly affective content: album covers showing a fragile Marilyn Monroe or a narcissistic Jean Marais in Cocteau’s Orphée; self-help cassettes containing advice about coping with anger, guilt, and despair; twin snapshots of azure ocean where her parents’ ashes were scattered. But Collier’s treatment of such artifacts is dead calm and distanceda matter of flat planes, empty grounds, images rephotographed and repurposed to analytic ends. Her “Woman with a Camera” series, 2006–, depicts magazine photographs of celebrities (Faye Dunaway, Jacqueline Bisset) wielding chunky, phallic camera equipment. Much of Collier’s recent work adverts to predigital visual culture. For her first major solo exhibition, the artist will present some forty works from 2002 onward; the accompanying catalogue will include essays by Darling, Whitney curator Chrissie Iles, and novelist Kate Zambreno. Travels to the Aspen Art Museum, CO, Apr. 2–July 15, 2015; Art Gallery of Ontario, Toronto, Sept. 26, 2015–Jan. 10, 2016.
Doris Salcedo has spent much of the past thirty years exploring how the banal trappings of domestic life might bear the traces and traumas of those who lived amid them. Although the resulting sculptures address the cycles of political violence that have scarred her native Colombia, they are never dependent on the knowledge of specific events, operating instead by means of an unsettling embodiment of absence. This first retrospective of Salcedo’s career brings together a comprehensive selection of her sculptural production since the late 1980s alongside her newest works, which trade in the heavy solidity of concrete-filled armoires and chairs for the fragility of rose petals and raw silk. The exhibition will be accompanied by a new film documenting Salcedo’s site-specific installations and a catalogue with contributions by the artist, Elizabeth Adan, Katherine Brinson, and Helen Molesworth. Travels to the Solomon R. Guggenheim Museum, New York, June 26–Oct. 14.
In Jos de Gruyter and Harald Thys’s unnerving, darkly comic videos, characters sit mutely, assault one another, or comment glumly on unsatisfactory vacation experiences. These low-watt individuals could have produced the artists’ intentionally pedestrian drawings, depictions of sex scenes, urban views, vehicles, dinosaurs, etc., which feel similarly blank. The Belgian pair’s first US exhibition presents a new video, a work composed for organ (to be performed in a local cathedral), and steel sculptures elaborating on their earlier White Elements, 2012–, masklike white physio-gnomies (and functioning fountains) that could be public sculpture in Thys and de Gruyter’s world. Yet this art suggests that its emotional evacuations might be elective, a means of escaping a confining state apparatus via comfortable numbness. Thereinsidestepping liberal pieties, approving self-hobblinglies its real challenge. Travels to MoMA PS1, New York, May 3–Aug. 30.
In 1936, Man Ray photographed plaster, wood, string, and papier-mâché models of mathematical formulae housed in the Institut Henri Poincaré in Paris, creating pictures that André Breton thought of as representing the crisis of the object. Living in Hollywood during the 1940s, Man Ray used these hermetic images for a group of bluntly illusionistic paintings he called “Shakespearean Equations,” titling them after Shakespeare characters. The triangles and T squares of Giorgio de Chirico’s metaphysical paintings are their forebears, and they signal a revived introspection spurred by the Second World War. Co-organized with the Israel Museum in Jerusalem, this show will present more than one hundred related pieces; a selection of the canvases will appear alongside their photographic sources and a number of the original mathematical models. Travels to the Ny Carlsberg Glyptotek, Copenhagen, June 11–Sept. 20; Israel Museum, Jerusalem, Oct. 20, 2015–Jan. 23, 2016.
Art, science, collaborative innovation, the risks and responsibilities of patronageyou couldn’t invent subject matter more fitting for the inaugural exhibition of the Harvard Art Museums this fall following Renzo Piano’s extensive renovation. “Mark Rothko’s Harvard Murals” will present a set of paintings commissioned by the university for its Holyoke Center penthouse dining room. In 1962, Rothko made six abstract panels, each almost nine feet high; five were hung. Reflecting his interest in creating a space rather than its decoration, he also consulted on the walls and fiberglass curtains for the room’s ample windows. Despite these measures, the paintings quickly deteriorated and by 1979 were banished to dark storage. All six will reemerge, alongside thirty-two studies from 1961–62 and with the benefit of some conservation magic: The Harvard Art Museums and MIT Media Lab developed software that creates “compensation images” for projection over the canvases to virtually (and fleetingly) restore their original color. Light, once a vandal of the works, now plays the hero.
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.