• 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.

  • Laura Owens, Untitled, 2001, acrylic and oil on canvas, 106 x 67 1/2".

    Laura Owens

    New Museum
    235 Bowery
    March 16–June 22, 2003

    A few years ago in these pages, Lane Relyea suggested that a new wave of Color Field painting was taking over the galleries. Substituting virtuality for Fried’s opticality, Relyea proposed that the dematerialized effulgence of the computer monitor was the impetus for yet another stab at pure painting, and he cited Los Angeles–based painter Laura Owens as the pervasive influence. But while Owens’s work certainly plays on the conventions of Color Field, she draws from a wide range of source materials, including embroidery and Asian landscape painting, frequently commingling vaporous washes of color with frankly goofy representational elements. Curated by Paul Schimmel, this show comprises some twenty works and features a catalogue with essays by Schimmel and CalArts dean Thomas Lawson.

  • Hiroshi Sugimoto, Marina City, 2001, black-and-white photograph, 72 x 60".

    Hiroshi Sugimoto

    New Museum
    235 Bowery
    February 23–June 2, 2003

    The Alyce de Roulet Williamson Gallery, Art Center College of Design
    1700 Lida Street
    October 18–December 21, 2003

    Eschewing the taut focus he used to seemingly resuscitate waxworks in his series of uncanny historical portraits, Hiroshi Sugimoto trained a loosened lens on familiar architectural landmarks, from Le Corbusier’s Notre-Dame at Ronchamps to the MCA building itself, to offer a portentous glimpse of our surroundings, as the artist puts it, “after the end of the world.” This focused review of Sugimoto’s postapocalyptic sneak peeks was organized by Francesco Bonami, who contributed to the catalogue along with Marco de Michelis and John Yau. Maybe it’s true: The only things to survive the nuclear winter will be cockroaches . . . and Koolhaases.