• Airworld: Design and Architecture for Air Travel

    Museu de les Arts Decoratives

    October 1, 2005–January 1, 2006

    The Design Museum, London
    224-238 Kensington High Street (Reopening 24 November 2016)
    March 18–June 24, 2005

    Vitra Design Museum
    Charles-Eames-Str. 1
    July 17, 2013–January 9, 2005

    Curated by Jochen Eisenbrand

    “Air travel reminds us who we are,” wrote Don DeLillo in The Names. “It’s the means by which we recognize ourselves as modern.” Following World War I, most airports were mere sheds held over from military usage, but as the jet set emerged in the ’50s, the world’s leading designers—Robin Day, Alexander Girard, and Gio Ponti, to name a few—were enlisted to create an aura of efficiency and modernity. This show offers 394 objects (from advertisements and uniforms to cabin interiors and aircraft models) arranged by ticket office, terminal, departure, and arrival like some fantasy airport—except you can keep your shoes on.

    Travels to the Design Museum, Ghent, Mar. 18–June 24, 2005; Museu de les Arts Decoratives, Barcelona, Oct. 2005–Jan. 2006; and other venues.

  • Office in a Small City, oil on canvas, 1953.

    Office in a Small City, oil on canvas, 1953.

    Edward Hopper

    Museum Ludwig
    October 9, 2004–January 9, 2005

    Tate Modern
    May 27–September 5, 2004

    Curated by Sheena Wagstaff

    British audiences haven’t seen much Edward Hopper since the Whitney’s 1980 retrospective traveled to London’s Hayward Gallery, so this show is the first to test the American artist’s dour probity against the freewheeling post-YBA climate. Tate Modern curator Sheena Wagstaff aims to present a straightforward look at Hopper’s achievement: roughly eighty oils, watercolors, prints, and preparatory drawings, from his early plein air sketches of Paris to the increasingly frugal mindscapes of his last years. Running concurrently with a survey of Hopper fan Luc Tuymans, the show features a film program selected by Todd Haynes and a catalogue with essays by Wagstaff, Brian O’Doherty, and others.

    Travels to the Museum Ludwig, Cologne, Oct. 9–Jan. 9, 2005.

  • Leopoldville, 2000.

    Leopoldville, 2000.

    Luc Tuymans

    K20 Grabbeplatz
    Grabbeplatz 5
    October 16, 2004–January 23, 2005

    Tate Modern
    June 23–September 26, 2004

    Curated by Emma Dexter

    Luc Tuymans has been everyone’s favorite candidate for serious European painter for several years now. Far away from the American brand of ostentatious figuration, Tuymans draws on Raoul de Keyser for minimalist eccentricity and Richter for a mournful commentary on painting itself. Tate senior curator Emma Dexter brings together eighty works from the past twenty years for the artist's first major exhibition in the UK. Tuymans's seemingly impersonal combination of weighty topics (ranging from the Congo to the Holocaust); the faint affect of found photographs (on which his work is often based); and lovely, offhand handling produces an indelible sadness—a history of absence, lost changes, and missing links.

    Travels to Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Oct. 16–Jan. 23, 2005.

  • David Inshaw, The Badminton Game, 1972-73

    David Inshaw, The Badminton Game, 1972-73

    Art of the Garden

    Tate Britain
    June 3–August 30, 2004

    Curated by Nicholas Alfrey, Stephen Daniels, Mary Horlock, Martin Postle, and Ben Tufnell

    Without Gertrude Jekyll and Sissinghurst, Britain would not be Britain. Celebrating the bicentenary of the Royal Horticultural Society, Tate Britain offers an eccentric bounty of garden-inspired art ranging from trysting places and melancholic inscriptions to bursts of poppies that might have taught Victorians how painting, like flower arrangement, should be about beauty. This anthology of roughly 125 works promises to be neither conservative nor predictable. If Constable and Turner, Spencer and Nash are here, so is Beatrix Potter. And to shake up the garden-club members, flowers and rocks will be brought up-to-date by young photographers as well as by such alchemists as Ian Hamilton Finlay and Marc Quinn.

  • Portrait of Romana de la Salle, 1928.

    Portrait of Romana de la Salle, 1928.

    Tamara de Lempicka

    Royal Academy | Burlington Gardens
    6 Burlington Gardens
    July 24, 2013–August 30, 2004


    September 16, 2004–January 2, 2005

    Curated by Evelyn Benesch, Ingried Brugger, Simonetta Fraquelli, and Norman Rosenthal

    Putting her art at the disposal of the moneyed European, and, later, American, class to which she belonged, Tamara de Lempicka (1898–1980) created some of the most iconic paintings of the Art Deco period. This first major UK exhibition of her work gathers fifty-five portraits, still lifes, and nudes mainly from the interwar era and features a comprehensive catalogue with essays by, among others, Alain Blondel, author of Lempicka's catalogue raisonné. The artist's bohemian life is easily read in her sleek, often androgynous portraits, and women—reclining, heavy-lidded nudes à la Ingres; glass-eyed flappers draped in starched yet shapely raiment—have never looked so perfectly dominating.

    Travels to Kunstforum, Vienna, Sept. 16–Jan. 2, 2005.

  • Mixiotes, 2001.

    Mixiotes, 2001.

    Gabriel Orozco

    Serpentine Galleries
    Kensington Gardens
    July 1–August 30, 2004

    Curated by Rochelle Steiner

    More than a regular on the international group-show circuit, Gabriel Orozco practically invented today’s genre of globe-trotting artist. But Orozco’s at-home-everywhere-and-nowhere persona is less a stylish pose than an extension of his artistic project: a fusion of post-Minimalism's concern for site-specificity and Conceptual art’s reliance on the portable photographic document. Orozco's most recent stops include Venice and Dublin, and summer finds the Mexican artist in London for his first major exhibition in Britain since 1996. The Serpentine Gallery, Orozco’s host of the moment, is creating a “complete environment” comprising roughly sixty new and existing sculptures, drawings, and photographs, chosen by chief curator Rochelle Steiner in close collaboration with the peripatetic artist.

  • Viral Landscape No.1, 1988-89

    Viral Landscape No.1, 1988-89

    Helen Chadwick

    Trapholt Museum of Modern Art
    Æblehaven 23
    June 1–August 1, 2005

    Barbican Art Gallery
    Barbican Centre Silk Street
    May 1–August 1, 2004

    Manchester Art Gallery
    Mosley Street
    September 25–November 21, 2004

    Liljevalchs Konsthall
    Djurgårdsvägen 60
    June 1–August 1, 2005

    Curated by Mark Sladen

    With Helen Chadwick’s death in 1996 at the age of forty-two, the art world lost yet another major young female artist. For Chadwick, pleasure, visual and otherwise, had parity with politics, and she is remembered as much for her vibrant, sassy feminism as her roving experimentation across sculpture, installation, and photography. This seventy-work retrospective places the artist’s last pieces alongside reprises of two major London solo shows, in 1986 and 1994, to trace her journey from an allegorical, decorative postmodernism to exuberantly scatalogical yet sensual sculpture.

    Travels to the Manchester City Art Museum, Sept. 18–Nov. 21; Kunstmuseet Trapholt, Kolding, Denmark, Jan. 2005–Mar. 2005; Liljevalchs Konsthall, Stockholm, June 2005–Aug. 2005.

  • Samuel Fosso, Le Chef, 2003.

    Samuel Fosso, Le Chef, 2003.

    Africa Remix

    Museum Kunstpalast
    Ehrenhof 4-5
    July 24–November 7, 2004

    Hayward Gallery
    Southbank Centre, Belvedere Road
    February 10–April 17, 2005

    Centre Pompidou
    Place Georges-Pompidou
    May 15–August 20, 2005

    Curated by Simon Njami

    The ambitious, multidisciplinary “Africa Remix” samples work made in the past decade by nearly one hundred artists from the continent. This timely arrangement highlights such stars as William Kentridge and Jane Alexander alongside heterogeneous work of some sixty as yet unknowns. The substantial catalogue features essays by curator Simon Njami, Jean-Hubert Martin, Hudita Mustafa, and others. Nonetheless, it remains to be seen whether a show so committed to the exigencies of place can transcend its exportation abroad or whether the exhibition will wind up redoubling those imperialist fantasies it so carefully strives to avoid.

    Travels to the Hayward Gallery, London, Feb. 10, 2005–Apr. 17, 2005; Centre Georges Pompidou, Paris, May 15, 2005–Aug. 20, 2005; and other venues.