• Untitled #7, 2000. From the series “What Remains.”

    Untitled #7, 2000. From the series “What Remains.”

    Sally Mann

    Corcoran Gallery of Art
    500 17th Street, NW
    June 12–September 7, 2004

    Curated by Philip Brookman

    In her often haunting photographic series “What Remains,” Sally Mann conflates the Romantic appreciation of disintegration’s inherent beauty, the photograph’s compulsive preservation of the past, and a southern narrative that evokes both. Through her eyes, the landscape becomes an unrelenting burial site that composts considerable psychic weight. Organized by senior curator of photography and media arts Philip Brookman and accompanied by a substantial monograph, this exhibition features more than ninety gestural and glossy wet-collodion prints that reward the viewer with their depth and resonance. Of particular interest is a group of close-up portraits that transforms the Mann children into shrouds. What remains is a tradition of loss.

  • Joan Miró, La Naissance du monde, 1925.

    Joan Miró, La Naissance du monde, 1925.


    Fondation Beyeler
    Baselstrasse 101
    May 2–September 5, 2004

    The Phillips Collection
    1600 21st Street NW
    October 9, 2004–January 23, 2005

    Curated by Elisabeth Hutton Turner and Oliver Wick

    Two of the twentieth century’s great lyrical poets of form in space, American Alexander Calder and Spaniard Joan Miró shared more than aesthetic sensibility—they also had a friendship spanning some fifty years. Though each would follow his own highly distinctive path—for Calder, groundbreaking sculptural ideas expressed through signature mobiles and stabiles; for Miró, elegantly idiosyncratic, often whimsical paintings and murals—the years following their first meeting, in 1928, saw the pair engage with many of the same formal and theoretical issues. This show features nearly 130 works, including their 1947 collaboration for Cincinnati's Terrace Plaza Hotel.

    Travels to the Phillips Collection, Washington, DC, Oct. 9–Jan. 23, 2005.

  • Amedeo Modigliani,
Portrait of Léopold Zborowski, 1919.

    Amedeo Modigliani,
    Portrait of Léopold Zborowski, 1919.

    Modigliani: Beyond the Myth

    The Jewish Museum
    1109 Fifth Avenue
    May 21–September 19, 2004

    Art Gallery of Ontario
    317 Dundas Street West
    October 23, 2004–January 23, 2005

    The Phillips Collection
    1600 21st Street NW
    February 26–May 29, 2005

    Curated by Mason Klein

    Even if he hadn’t lived the quintessential vie bohème—partaking of torrid affairs, carousing with fellow avant-gardists, succumbing to tuberculosis at thirty-five—Amedeo Modigliani would be well remembered for his instantly recognizable portraits of the stylishly gaunt. New Yorkers haven’t seen his work en masse since MoMa’s 1951 retrospective, so this exhibition of more than one hundred paintings, sculptures, and drawings offers an exceptional chance to take measure “beyond the myth.” A forthcoming indie biopic, a lusty tale of “true genius, like van Gogh and Mozart” starring Andy Garcia, should give the demythologization effort some healthy competition.

    Travels to the Art Gallery of Ontario, Toronto, Oct. 23–Jan. 23, 2005; Phillips Collection, Washington, DC, Feb. 26, 2005–May 29, 2005.