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.
An African American designer based in Paris in the 1980s, Patrick Kelly was a fashion-world anomaly whose irreverent looks boldly addressed issues of race, sexuality, and class. Now, a generation after Kelly’s untimely death from aids in 1990, his work as jovial provocateur is considered in full in this capacious survey. Presenting more than eighty ensembles, the exhibition highlights the designer’s signature interweaving of autobiography, racial stereotypes,and cliché notions of luxury and taste, which Kelly frequently both celebrated and satirized. Photography by the daring Oliviero Toscani (of ’80s and ’90s Benetton fame) and Pierre et Gilles, rare video footage of the designer’s runway shows, and Kelly’s personal collection of reclaimed racist memorabilia fill out the show, which is punctuated by the adjoining exhibition, “Gerlan Jeans ♥ Patrick Kelly,” an homage by New York–based-street-wear designer Gerlan Marcel.
Not since the 1971 retrospective held at this very museum has a full-blown reevaluation of American photographer and filmmaker Paul Strand been attempted. Now, drawing heavily on a trove of recently acquired prints and lantern slides, the Philadelphia Museum presents Strand not as a revanchist who retreated from modernism after making his radically abstract compositions of 1915–17, but rather as a humanist who believed in the inherent modernity of keen observation and straightforward presentation of the world as it exists. Accompanied by an extensive catalogue, this exhibition of some 250 photographs and three films spans Strand’s career, from his Pictorialist origins and brilliant experiments of the 1910s and ’20s through the extended portraits of placesfrom Mexico to Ghanathat occupied him from the ’30s through the ’60s. Travels to the Fotomuseum Winterthur, Switzerland, Mar. 7–May 17, 2015; Fundación MAPFRE, Madrid, June 3–Aug. 30, 2015; Victoria and Albert Museum, London, Mar. 19–July 3, 2016.
The world recognizes David Lynch as an American auteur, but his clairvoyant cinema emerged fromand was created alongsidean equally strange and singular art practice. This ambitious exhibition, Lynch’s first major museum show, comprises more than ninety paintings, photographs, and drawings from 1965 through the present, including previously unseen early work. Among the highlights are Six Men Getting Sick, a multimedia installation made Lynch made in 1967 while he was a student at PAFA, presented now for the first time since its creation, as well as a selection of short films the director shot in the late ’60s in Philadelphia, a city he once called “the biggest inspiration of my life.” Lynch’s artistic output resonates with his Hollywood films, archly evoking the mysterious in the familiar, the body in unlikely configuration with “organic phenomena,” and “the home” as a site triggering flashbacks and nightmares.
Mapping the impact of Pop art over the past fifty years, the Seattle Art Museum zeros in on two key moments in which artists have updated Pop proper’s concerns: the 1980s and the past decade. The exhibition (offering some hundred works dating from 1961 to 2014) will cover familiar territory at the outset, charting distances between landmarks such as Andy Warhol and Jeff Koons, but it will quickly head into more adventurous terrain. Vocho (Yellow), 2004, Margarita Cabrera’s stitched rendition of the once-ubiquitous Volkswagen Bugfor which the artist refashioned in vinyl those parts made in Mexicoweds the logic of Claes Oldenburg’s soft sculptures to global politics, while works by Josephine Meckseper and Rachel Harrison explore the parataxis of product display and Amie Siegel’s montage of YouTube Sinatra wannabes singing “My Way” (My Way 2, 2009)pursues the echo of Warhol’s celebrity culture to its final, flattest frontier.
Maybe because Duane Michals never studied photography, he’s always felt free to take liberties with the medium, bending it to his will and his whim by staging scenes, building narrative sequences, creating multiple exposures, and writing and painting on and around his images. His picturesdealing with death, dreams, love, beauty, friendship, and the imaginationare unfashionably sincere, subversively playful, and hard to resist. Curator Linda Benedict-Jones, drawing from the Carnegie’s broad holdings of Michals’s output, presents more than 160 pieces made between 1954 and 2013, including examples of Michals’s vivacious editorial work for Vogue and Esquire. The catalogue includes essays by Max Kozloff, Allen Ellenzweig, William Jenkins, and others, while an eclectic group of paintings, drawings, photographs, and prints, (Goya to Kertész) from Michals’s own collection, displayed alongside the show, will provide another sort of insight into the artist’s way of seeing. Travels to the Peabody Essex Museum, Salem, MA, Mar. 2015.
Nouveau Réaliste Yves Klein was notorious in the 1960s for using women as “human paintbrushes,” while American Conceptualist David Hammons gained renown a decade later for indexical drawings made using his own greased-up body. Though the two artists’ practices emerged from vastly different contexts and conversations, this exhibitionone of several inaugurating the AAM’s new downtown venuecontends that an irreverent attitude toward artmaking connects Klein and Hammons in intriguing ways. Three themes, “Ritual,” “Process,” and “Transformation,” promise to link the show’s forty-nine works on more than just formal grounds, hopefully allowing ephemeral actions like Klein’s Zones of immaterial pictorial sensibility, 1962in which a notional artwork was transferred to its collector via a ceremonial toss of gold into the Seineand Hammons’s sidewalk sale of melting snowballs (Bliz-aard Ball Sale, 1983) to be productively regarded together. A catalogue with contributions by Jacobson, Philippe Vergne, and Klaus Ottmann accompanies the show.