previews

  • Misia and Valloton at Villeneuve, 1899.

    Misia and Valloton at Villeneuve, 1899.

    Edouard Vuillard

    Royal Academy | Burlington Gardens
    6 Burlington Gardens
    July 24, 2013–April 18, 2004

    MUSÉE DES BEAUX-ARTS

    May 15–August 24, 2003

    Grand Palais
    3 avenue du Général Eisenhower
    September 23, 2003–January 4, 2004

    National Gallery of Art
    Sixth Street and Constitution Avenue, NW
    January 19–April 20, 2003

    In 1954 Fairfield Porter wrote of Edouard Vuillard, “We have not yet caught up with the extreme sophistication of his successes.” This exhibition of some 200 works, coupled with the simultaneous publication of a catalogue raisonné by Antoine Salomon and Guy Cogeval of the Montreal Musée des Beaux-Arts, should at the very least aid us in gaining ground on the great intimiste (Cogeval, along with a team of National Gallery curators, is responsible for the selection here). In addition to paintings and mural decorations, there are prints, drawings, and photographs (as museumgoers will discover, Vuillard was a master of the Kodak).

  • Dancing Couple, 1909.

    Dancing Couple, 1909.

    Ernst Ludwig Kirchner

    Royal Academy | Burlington Gardens
    6 Burlington Gardens
    July 24, 2013–September 21, 2003

    National Gallery of Art
    Sixth Street and Constitution Avenue, NW
    March 2–June 1, 2003

    The most haunting and seductive of the German Expressionists, Kirchner was a founder of the Dresden-based Die Brücke in 1905 and the group’s most ardent apologist. With thirty-five paintings, five sculptures, and eighty-plus works on paper, this retrospective curated by Jill Lloyd, Magdalena Moeller, Andrew Robison, and Norman Rosenthal is the artist’s first in the US since 1968 and the first in Britain ever. Look for naturist bacchanals, primitivist totems, out-there bohemian studio scenes, scarecrow-chic Berlin women, grim self-portraits as a soldier, and eerie Alpine snowscapes. Having lived to see the Nazis destroy his art, Kirchner committed suicide at age fifty-eight in Switzerland—an incalculable loss for modern art.

  • Bill Viola, Emergence, 2002, production still from a color video.

    Bill Viola, Emergence, 2002, production still from a color video.

    Bill Viola

    The National Gallery, London
    Trafalgar Square
    October 22, 2003–January 4, 2004

    The Getty Center
    1200 Getty Center Drive
    January 24–April 27, 2003

    Museum Brandhorst
    Kunstareal Theresienstrasse 35a
    February 1–December 31, 2004

    Video artist Bill Viola spent two years in the late ’90s participating in a Getty Research Institute project on representations of human passions. Now the fruit of that project, Emergence, 2002, a joint commission of the institute and the Getty Museum, is on view with twelve other installations from the past two years in this survey organized by John Walsh, the museum’s director emeritus. The exhibition is accompanied by a comprehensive catalogue featuring a conversation between Viola and art historian Hans Belting and a separate scholarly publication edited by art historian Richard Meyer based on the Research Institute project.

  • 99 Names (video still), 2002.

    99 Names (video still), 2002.

    Kutlug Ataman

    Serpentine Galleries
    Kensington Gardens
    February 10–March 9, 2003

    In recent years, Kutlug Ataman has introduced viewers to a host of fascinating eccentrics—the transvestite in Never My Soul, 2001, the Turkish diva in semiha b. unplugged, 1997, the British hippeastrum collector in The 4 Seasons of Veronica Read, 2001. Sure, the British-Turkish artist and filmmaker’s videos are about identity, but they eschew the flat-footed presentation and yawn-producing platitudes that often accompany work in this vein, as Women Who Wear Wigs, 1999, proved with a vengeance. Now Ataman’s first major UK solo show, organized by the Serpentine’s Rochelle Steiner, brings all of his major efforts together under one roof, including his latest video installation, 1 + 1 = 1. Ataboy!