• Thomas Demand, Zimmer (Room), 1996, color photograph, 67 3/4 x 91 5/16".

    Thomas Demand, Zimmer (Room), 1996, color photograph, 67 3/4 x 91 5/16".

    Thomas Demand

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    March 4–May 30, 2005

    Curated by Roxana Marcoci

    Nothing is immediate in the work of Thoomas Demand, the German artist who trained as a sculptor but is known today as a photographer. While the end result of his process may always be a photograph, Demand's labor-intensive practice is nevertheless rooted in the sculptural. Rather than documenting the world as he finds it, Demand constructs a life-size paper model based on a previous image—typically of a politically or historically charged site, like Jackson Pollock's studio. Although perfectly crafted, these models allow for a Brechtian moment disclosing that they are artifacts (pencil marks here, wrinkled paper there). The nearly thirty works on view from the past decade mark Demand's largest US survey to date and may cultivate his reputation as a sculptor.

  • Daniel Buren

    Solomon R. Guggenheim Museum | New York
    1071 Fifth Avenue
    March 25–June 8, 2005

    Curated by Lisa Dennison, Susan Cross, and Alison Gingeras

    In 1971, Buren's contribution to the Sixth Guggenheim International Exhibition was removed without his consent before the show's opening. Now the French Conceptualist who taught us to be leery of museum display returns to the Gugg for a one-man event. On view are new site-specific works—a structure (one corner of an imagined cube) that rises in the rotunda up to the sixth ramp and installations in the windows of two galleries—and roughly fifteen paintings from the early '60s. These projects promise to make plain the continuing relevance of Buren's investigations into the ideological workings of art-world institutions. A catalogue on the artist's past and current endeavors includes essays by the curators and Bernard Blistène.

  • Tim Hawkinson, Pentecost, 1999, mixed media, dimensions variable.

    Tim Hawkinson, Pentecost, 1999, mixed media, dimensions variable.

    Tim Hawkinson

    Whitney Museum of American Art
    99 Gansevoort Street
    February 11–May 29, 2005

    Curated by Lawrence Rinder

    In 1995, curious crowds lined the block to see Tim Hawkinson's first New York solo show at Ace Gallery, and chances are the LA artist's loopy, tinkerer-in-the-basement aesthetic will generate similar enthusiasm for his first major museum survey. Hawkinson's carnivalesque approach and carnal subject matter are evidenced in the sixty works on view. Spanning nearly two decades, the diverse selection includes self-portraits cast from inflated latex balloons, tiny sculptures made from ground fingernails, and enormous wind instruments that mimic internal organs. Ancillary to the body theme is the pesky issue of mortality, clearly a consuming topic for Hawkinson (judging from the large number of functioning clocks in his oeuvre).

    Travels to the Los Angeles County Museum of Art, June 26–Sept. 25.

  • Petah Coyne

    Chicago Cultural Center
    78 E. Washington Street
    May 14–August 21, 2005

    Kemper Museum of Contemporary Art
    4420 Warwick Boulevard
    September 17–December 4, 2005

    44-19 Purves Street
    January 16–April 10, 2005

    Curated by Douglas Dreishpoon

    Returning to the SculptureCenter, host of her breakthrough debut in 1987, the queen of mixed media brings nearly two decades of prolific creation full circle. Laboriously constructed from hair, wax, chicken wire, silk, hay, tar, ribbon, and myriad other materials, her trademark hanging, spreading, or climbing tangles, lumps, and clumps—simultaneously repulsive and gorgeous—stage encounters with delicacy and ponderousness, purity and dreck. With fourteen large-scale sculptures and eight dreamlike black-and-white photographs on view, this nineteen-year survey promises the quintessential Coyne experience.

    Travels to the Chicago Cultural Center, May 14–Aug. 21; Kemper Museum of Contemporary Art, Kansas City, MO Sept. 17–Dec. 4; and other venues.

  • Larry Clark

    International Center of Photography Museum (ICP)
    79 Essex
    March 11–June 5, 2005

    Curated by Brian Wallis

    At this point in his career, Larry Clark has two overlapping constituencies. First come the ardent devotees of his early photographs of adolescent drug abuse and raw sex, especially those in the books Tulsa (1971) and Teenage Lust (1983), and, to a lesser extent, of his photo-and-text collages. The second (often no less groupielike) goes for Clark's film work, starting with the infamous Kids (1995), followed by the heroin fantasia Another Day in Paradise (1998) and the fan-fucking-tastic Bully (2001). The latest, Ken Park (2002), remains unreleased in the US and the UK (where Clark punched his UK distributor, who then refused to handle the film). This show of some two hundred photographs, videos, and collages from 1963 to 2002, with screenings of three of the films, should make everyone happy.

  • Jean-Michel Basquiat, Charles the First, 1982, acrylic and oil stick on canvas, 78 x 62 1/4". Estate of Jean-Michel Basquiat.

    Jean-Michel Basquiat, Charles the First, 1982, acrylic and oil stick on canvas, 78 x 62 1/4". Estate of Jean-Michel Basquiat.

    Jean-Michel Basquiat

    The Museum of Fine Arts, Houston
    1001 Bissonnet
    November 18, 2005–February 12, 2006

    MOCA Geffen Contemporary
    152 North Central Avenue
    July 15–October 9, 2005

    Brooklyn Museum
    200 Eastern Parkway
    March 11–June 5, 2005

    Curated by Fred Hoffman, Kellie Jones, Marc Mayer, Franklin Sirmans

    According to Marc Mayer, leader of this show's four-person curatorial team, Basquiat was “the last great modernist painter.” How so? Because, “if we think of him as a painter of the School of Paris, he was essentially a figurative and even narrative painter—but there's an extraordinary, breathless, endless reservoir of references in his work, as if he wanted his paintings to represent all of human history.” If this sounds a little like saying that a camel is a giraffe, but has humps—be patient. A Basquiat retrospective (of some ninety works) with a real art-historical ax to grind is something we need to see.

    Travels to the Museum of Contemporary Art, Los Angeles, July 15–Oct. 9; Museum of Fine Arts, Houston, Nov. 18–Feb. 12, 2006.

  • Little Boy: The Arts of Japan's Exploding Subcultures

    Japan Society
    333 East 47th Street
    April 8–July 25, 2005

    Curated by Takashi Murakami

    Takashi Murakami's global empire keeps expanding, whether he's marketing riffs on Louis Vuitton or kiddie-party decorations for Grand Central Terminal. The next takeover promises to rival even Christo dimensions: transporting the high-tech universe of otaku—that infinite profusion of comics, video games, toys, and websites—to Manhattan, where a visiting delegation of Murakami's compatriots will present some two hundred works, immersing us in an ethos of game arcades and shop-window displays. These installations will turn up everywhere, from subway cars and Union Square's subway station to Japan Society's midtown facade (not to mention the show behind it). Watch out, Toys “R” Us!

  • Max Ernst, The Garden of France, 1962, oil on canvas, 44 7/8 x 66 1/8". © 2004 Artists Rights Society (ARS), New York/ADAGP, Paris.

    Max Ernst, The Garden of France, 1962, oil on canvas, 44 7/8 x 66 1/8". © 2004 Artists Rights Society (ARS), New York/ADAGP, Paris.

    Max Ernst

    The Metropolitan Museum of Art
    1000 Fifth Avenue
    April 7–July 10, 2005

    Curated by Werner Spies and Sabine Rewald

    Among the tales told of Max Ernst's stay in New York during World War II is that here he began to palce canvases on the ground, allowing paint to drip from a can that swung on a string above the canvas's surface. Accurate or not—you guess the implications—the story is a tribute to a towering figure whose path through dada and Surrealism abounds with technical innovation, from collage and frottage to grattage and decalcomania. Some 180 works made between 1913 and 1973 by this purveyor of the primal scene and shattered psyche (themes for both yesterday's tragedies and today's) are included in the late artist's return to Gotham—his first US retrospective in thirty years and one whose significance, with Ernst scholar Werner Spies involved, cannot be underestimated.