previews

  • Jo Baer

    Stedelijk Museum Amsterdam
    Museumplein 10
    December 12, 1998–January 24, 1999

    If there’s a more thankless occupation than Minimalist painter, we’d like to know about it. Of course, if you hedge the reductivism with some “incomplete” lower edges to your canvases, then mutate back into a curvilinear romantic, you can carve out a rep as a “major” artist. It helps to be a guy. If you’re a woman whose work is severe enough to earn you but a single mention in Irving Sandler’s American Art of the 1960s (as a “conceptual” artist), and then you hie off to Holland to become a mystical “imagist,” chances are you’ll get forgotten. The Stedelijk will try to correct the situation for the expatriate American, Jo Baer, in this forty-canvas retrospective.

  • Christine Borland

    De Appel
    Schipluidenlaan 12D4
    November 6, 1998–January 4, 1999

    Death leaves behind more than just bones. To document the vagaries of the Great Vanishing Act, Glaswegian artist Christine Borland has buried weapons, photographed fetuses in collections devoted to medical history, ordered skeletons over the phone, and had six sculptors replicate the head of Josef Mengele, the Mad Doctor of Auschwitz. In this first Dutch survey of Borland’s work, curator Saskia Bos presents work from 1991 to 1998. Nov. 6, 1998–Jan. 4, 1999; travels to Museum für Gegenwartskunst, Zurich; CCC, Tours, France; Fundaçao de Serralves, Porto, Portugal.