previews

  • Patrick Heron

    Tate Britain
    Millbank
    June 25–September 6, 1998

    As a critic and artist, Patrick Heron has long played the role of David in his defense of postwar British abstraction against the American Goliath of AbEx. French giants such as Matisse and Braque influenced his painting early on and were the subjects of his subtlest writings on art. Since the ’60s the retinal impact of pure color has been at the heart of his work. This eighty-painting retrospective should enable us to see whether David hit the target or fell wide of the mark. The catalogue features texts on the artist by the exhibition’s curator, David Sylvester, and by Martin Gayford and A.S. Byatt. June 25–Sept. 6; travels to Art Gallery of Ontario, Toronto.

  • Cornelia Parker

    Serpentine Galleries
    Kensington Gardens
    May 12–June 14, 1998

    Does it make any difference that the actual record in the photograph used to spin on Hitler’s turntable? How do the associations a given artifact carries change our perception of it? With her installations of objects that hover between the conspicuously vestigial and the anonymously exhausted—a lump of plastic not yet pressed into a record, cocaine incinerated to become worthless white powder—Cornelia Parker has long been interested in such questions. Since her previous Serpentine exhibition (a collaborative installation featuring actress Tilda Swinton asleep in a vitrine together with mundane possessions of the great and good), the artist has been short-listed for the Turner Prize, so those expecting big things from her new show, organized by curator Lisa Corrin, shouldn’t be disappointed.

  • Peter Doig

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    June 12–August 16, 1998

    Peter Doig’s is a voice that combines painterly wisdom and poignant autobiographical incident. In this show of twelve large paintings and a handful of smaller works (which made its debut in March at the Kunsthalle zu Kiel and now travels to its organizing institution), landscapes are transformed into topographies of mood, from physical elation to anxiety born of personal memories, filtered through the lens of a Northern Romantic sensibility. A respected teacher and currently a trustee of the Tate Gallery, Doig has a loyal following that should be immeasurably increased by this substantial public showing, curated by the Whitechapel’s Felicity Lunn.

  • Young Americans 2

    Saatchi Gallery
    Duke of York's HQ King's Road
    April 30–November 22, 1998

    On the heels of the Saatchi’s Alex Katz exhibition comes “Young Americans 2,” a juicy slice of recent American art. The two-part show focuses first on new pieces by Jessica Stockholder, Ashley Bickerton, Carroll Dunham, David Salle, and Terry Winters. The second selection surfs the younger and, in Britain, less familiar contemporary scene, presenting the work of sixteen artists, including Elizabeth Peyton, Robin Lowe, Lisa Yuskavage, and Tom Friedman. The romp of a catalogue essay is by write-till-you-drop duo Lisa Liebmann and Brooks Adams. Apr. 30–July 12 (part 1); Sept. 10–Nov. 2 (part 2).