TABLE OF CONTENTS

PRINT May 1998

US News

traveling exhibitions

Pierre Bonnard,” the first retrospective of the artist’s work in New York in more than thirty years, will open at the Museum of Modern Art on June 21 and run through Oct. 13. John Elderfield, MoMA’s deputy director for curatorial affairs and chief curator at large, has slightly pruned the show that opened last February at London’s Tate Gallery (Richard Shone’s review of the original selection, which remains on view at the Tate until May 17, begins on p. 139) from 108 works down to 90. “I’ve tightened the show quite a bit,” says Elderfield. “New York is a tougher town on artists.” The MoMA version is organized by subject rather than chronologically, Elderfield adds, an attempt “to get people to slow down and spend a lot of time with the pictures.” Also traveling to MoMA (July 15–Oct 27) is “Yayoi Kusama in New York: 1958-68,” originally mounted at the Los Angeles County Museum of Art, where it can be seen through May 8 (AF preview, Jan. 1998). Kusama’s sculptures and installations “seem even more timely today than in the ’60s,” contributing editor David Rimanelli wrote in these pages about the show. “Alvar Aalto: Between Humanism and Materialism” (AF preview, Jan. 1998) can also be caught at MoMA, through May 19, and “Bill Viola” continues at the Whitney Museum of American Art until May 10.

Traveling to the Jewish Museum on June 4 is “George Segal, a Retrospective: Sculptures, Paintings, Drawings.” The show, which can be seen at the Hirshhorn Museum and Sculpture Garden in Washington, DC, until May 17, was organized by the Montreal Museum of Fine Arts, where it started its run last September. Though this four-decade survey has shrunk from its Montreal version (forty-two works will be included here, down from seventy), Segal himself assisted the Jewish Museum in narrowing the selection. “An Expressionist in Paris: Chaim Soutine,” the Lithuanian-born painter’s first museum retrospective in thirty years (AF preview, Jan. 1998), hangs at the Jewish Museum until Aug. 16. “Alex Katz—Under the Stars: American Landscapes 1951-1995,” which opened at the Baltimore Museum of Art two years ago, ends its run at P.S. 1 in Queens, the institution that organized the show, on June 28. Uptown, the only African American among the original Abstract Expressionists gets his due in “Norman Lewis: Black Paintings, 1946-1977” (AF preview. Jan. 1998), at the Studio Museum in Harlem through Sept. 20. “Half Past Autumn: The Art of Gordon Parks” (AF preview, Sept. 1997) travels to the Museum of the City of New York on July 1 and closes Nov. 1 (the show can be seen at the Minnesota Museum of American Art in St. Paul until May 17).

Outside New York, “Stuart Davis” makes its sole American appearance at the National Museum of American Art in Washington from May 22 to Sept. 7. Organized by the Peggy Guggenheim Collection in Venice, the Washington exhibition is “essentially the same” show of more than fifty works that has toured Europe since last June, according to Elizabeth Broun, director of the National Museum of American Art. “We’ve been able to add a couple of important pieces—one from Baltimore and one from Chicago—that were not allowed to travel abroad,” says Broun, “and we’ve lost the pieces from the Whitney because they wanted them for the opening of their new galleries” (the modest but handsome new floors, which display a portion of the Whitney’s permanent collection, opened on April 4). Philip Rylands, the show’s curator, selected the works with the assistance of Broun and Earl Davis, the artist’s son (who has also provided family photographs, memorabilia, sketches, and cover illustrations from The Masses for exclusive display at the Washington show). The Whitney’s Richard Diebenkorn retrospective (AF preview, Sept. 1997) opens at the Phillips Collection in the nation’s capital on May 9, where it remains until Aug. 16. “Brice Marden: Work Books” features thirty years’ worth of the artist’s workbook drawings. Co-organized by Harvard’s Fogg Art Museum, the Kunstmuseum Winterthur, and Munich’s Staatliche Graphische Sammlung, the show appears at the Fogg from May 30 to Sept. 6. “Arthur Dove: A Retrospective” (AF preview, Sept. 1997), previously at the Phillips Collection and the Whitney, remains at the Addison Gallery in Andover, MA, until July 12, before moving to the LA County Museum of Art on July 30 to end its run on Oct. 5, MoMA’s Chuck Close retrospective (AF preview, Jan. 1998) remains in New York through May 26, then travels to Chicago’s Museum of Contemporary Art (June 20–Sept. 13). The Walker Art Center’s “100 Years of Sculpture” (AF preview, Jan. 1998) stays up in Minneapolis until May 24. “Agnes Martin/Richard Tuttle,” a small-scale exhibition of major works by the two longtime friends, hangs at the Modern Art Museum of Fort Worth through Aug. 2. Organized by the museum’s Universalist Exposition chief curator. Michael Auping, the show moves to the artists’ home court (Site Santa Fe), where it will be on view from Aug. 15 to Oct. 20. In California, “The Architecture of Reassurance: Designing the Disney Theme Parks“ (AF preview, May 1997) hits the UCLA/Armand Hammer Museum on May 13 and runs until Aug. 2. This show, curated by cultural historian Kara Ann Marling and organized (with Disney’s cooperation) by the Canadian Centre for Architecture, started its run in Montreal last June. ”Paul Strand, Circa 1916“ (AF preview, Jan. 1998) remains at the Metropolitan Museum of Art in New York through May 31. It then travels to the San Francisco Museum of Modern Art on June 19, where it will remain on view until Sept. 15. ”Sargent Johnson: African-American Modernist“ (AF preview, Jan. 1998) can be seen at SF MoMA until July 7. Also of note in the Bay Area is ”An English Vision: Stanley Spencer" (AF preview, Sept. 1997). This definitive survey of the figurative painter’s work, which opened at the Hirshhorn last October, moves to the Fine Arts Museum in San Francisco, where it will hang from June 8 to Sept. 6.

In Europe, “Bruce Nauman: Image/Text 1966-1996,” a show of fifty-two pieces largely devoted to the role that language, music, sound, and words play in the artist’s work (AF preview, May 1997), travels to the Hayward Gallery, London, on July 16 and will be on view there until Sept. 6. “Gabriel Orozco,“ an overview of the artist’s work of the past two years (AF preview, Jan 1998) remains at the Musee d’Art Moderne de la ville de Paris through June 21; at the same institution, ”Visions du Nord,“ a large survey of Scandinavian art (AF preview, Jan. 1998), is up until May 19. Also in Paris, ”Man Ray: Photography Inside Out“ is a retrospective of the artist’s photography; the first exhibition based on the exhaustive use of Man Ray’s own photographic archives, the show opens at the Grand Palais on April 28 and runs through June 29 in Bilbao, all 500 objects of the Guggenheim Museum’s ”China: 5,000 Years“ (see Andrew Solomon’s review of the show on p. 142) will go on display sometime this summer, although Gugg officials haven’t yet been able to pin down the exact month and day. (Don’t you just hate it when that happens?) One of the most complete Lucio Fontana retrospectives to date (AF preview, Jan. 1998) remains on view at the Palazzo delle Esposizioni, Rome, through June 22. And making its final European stop is ”Sunshine & Noir: Art in LA. 1960-1997," which unites the work of fifty artists from Southern California. The show, which originated at the Louisiana Museum in Copenhagen last year (AF preview, May 1997), travels to Turin (to the Castello di Rivoli, May 9–Aug. 23) before moving on to its final destination, Los Angeles.

Katharina Sieverding, a retrospective of the Berlin artist’s pioneering photo-based work, began its run at Düsseldorf’s Kunst-sammlung Nordrhein-Westfalen in December; it can be seen at the Stedelijk Museum, Amsterdam, through June 14. The third and final venue of the retrospective of work by the painter Jonathan Lasker, organized by the Kunsthalle Bielefeld, opens at the Kunstverein St. Gallen in Switzerland on May 2 (until June 28). One of this season’s most talked-about shows, “Out of Actions: Between Performance and the Object, 1949-1979,” documents actions, performances, and happenings by more than one hundred international artists through the objects left as traces of these various activities. The maverick undertaking travels to the MAK-Austrian Museum of Applied Arts on June 17, where it remains until Sept. 6; it can still be caught (until May 10) at the Geffen Contemporary at the Los Angeles Museum of Contemporary Art, where it opened in February (AF preview, Jan. 1998). “Cindy Sherman: Retrospective” (AF preview, Sept. 1997), at Chicago’s Museum of Contemporary Art through May 31, moves to Galerie Rudolfinum, Prague, on June 25 and will be on view until Aug. 23. “Pipilotti Rist,” the Swiss video artist’s first solo show in Germany (AF preview, Jan. 1998), remains at the Hamburger Bahnhof, Berlin, through May 31 and travels to Kunsthalle Wien on June 26 and runs until Aug. 30. And the first retrospective of work by Brazilian artist Lygia Clark, which was mounted last fall at the Fundació Antoni Tàpies in Barcelona (AF preview, Sept. 1997), will be at the Fundação de Serralves from Apr. 30 to June 28 before traveling to the Palais de Beaux-Arts, Brussels.

Lawrence Levi