Scott Rothkopf

  • Daniel Buren

    Despite Daniel Buren’s status as one of France’s most revered living artists (and the nation’s penchant for honoring its own), he has surprisingly escaped retrospective treatment from Beaubourg thus far. Now Buren joins the ranks of Jean Nouvel, Raymond Hains, and other homegrown heroes celebrated in a series of exhibitions launched after the Centre Georges Pompidou’s recent renovation. Of course, because the artist has worked only in response to particular sites since 1967, a full-on Buren “retrospective” poses a bit of a curatorial conundrum.

  • Richard Tuttle

    Conceived as a site-specific installation, Tuttle’s intervention at Porto draws on the idiosyncratic architecture of the Casa de Serralves, a pink International Style–meets–Art Deco mansion. Organized by critic Susan Harris, the exhibition mixes older work with recent sculptures that respond specifically to the richly appointed interiors of the setting. Two and a half hours up the road, at the Centro Galego de Arte Contemporánea in Santiago de Compostela, is a complementary retrospective of the artist’s books as well as new large-scale sculptures. With work expanding to

  • Agnes Martin: The Nineties and Beyond

    During the ’90s, Agnes Martin fell into the role of a celebrated—if slightly improbable—grande dame of American painting.

    During the ’90s, Agnes Martin fell into the role of a celebrated—if slightly improbable—grande dame of American painting. Throughout the decade she showed up amid artists a quarter her age, whether at the Whitney Biennial or the Carnegie International, all the while racking up a host of lifetime achievement awards. Now the Menil Collection is throwing her a ninetieth birthday party complete with thirty-five canvases spanning the last twelve years. Over that time, Martin slightly shrank her standard format and loosened her hand, laying down what only such a famously restrained painter could call

  • Willem de Kooning: Tracing the Figure

    Fifty years ago Willem de Kooning shocked the art world with his “Woman” paintings—not simply because the figures were so violently abstract but because his abstraction had so much figuration in it.

    Fifty years ago Willem de Kooning shocked the art world with his “Woman” paintings—not simply because the figures were so violently abstract but because his abstraction had so much figuration in it. Curators Paul Schimmel and Connie Butler have assembled nearly all the pastels from the artist’s landmark 1953 show, along with seventy other works on paper that chart de Kooning’s grappling with the figure from 1938 through 1955. In light of recent bombshells by Currin, Yuskavage, et al., it appears the time is ripe for yet another look at the postwar

  • Hit or Myth

    BY THE TIME I BEGAN STUDYING ART HISTORY IN THE MID-’90s, DOUGLAS CRIMP’S 1977 GROUP show “Pictures” had achieved the quasi-mythic status of those exhibitions we latecomers can imagine we’ve seen, even if we haven't. Like the Jewish Museum’s “Primary Structures,” Michael Fried’s “Three American Painters,” or even Damien Hirst’s “Freeze,” "Pictures” seems less an object of history than of folklore in the minds of those too young to have seen it firsthand. With that show, we are told, a canny critic inaugurated the enticingly slick and brainy strain of '80s art, and we might envision a gallery

  • “Sol LeWitt: Incomplete Open Cubes”

    THE WADSWORTH ATHENEUM'S RECENT Sol LeWitt exhibition included just one of the artist’s projects—and everything else in the museum. Curator Nicholas Baume scattered LeWitt’s 1974 “Variations of Incomplete Open Cubes” throughout the Wadsworth’s venerable galleries and then invited viewers to wander the building, discovering the stark white objects in conversation with their surroundings. It turns out they had a lot to say.

    In contrast to the breadth of LeWitt’s exhaustive traveling retrospective, the Wadsworth’s focused approach afforded viewers a chance to consider the unfolding of a single major