• David Hockney, Mr. and Mrs. Clark and Percy, 1970-71, acrylic paint on canvas, 84 1/4 x 120".

    David Hockney, Mr. and Mrs. Clark and Percy, 1970-71, acrylic paint on canvas, 84 1/4 x 120".

    David Hockney

    Museum of Fine Arts, Boston
    465 Huntington Avenue
    February 26–May 14, 2006

    National Portrait Gallery
    St. Martin's Place
    July 19, 2013–January 21, 2007

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    June 11–September 4, 2006

    Curated by Sarah Howgate and Barbara Stern Shapiro

    One cannot trace the history of Pop art without visiting David Hockney's pastel-and-Polaroid-strewn studio. The British-born, Los Angeles-based artist helped pioneer the movement in the '06s, though his work—particularly his portraiture—is imbued with a warm intimacy distinct from the mass-market flash embraced by his Pop peers. Co-organized by London's National Portrait Gallery, this exhibition dives into Hockney's output, through 162 portraits spanning fifty years that show Hockney's relatives, lovers, and celebrity friends in their swimming pools and failing relationships. The eccentric painter himself, blond and bespectacld, appears in a section of self-portraits.

  • Eva Hesse

    The Menil Collection
    1533 Sul Ross Street
    February 3–April 23, 2006

    MOCA Geffen Contemporary
    152 North Central Avenue
    August 6–October 23, 2006

    The Drawing Center
    35 Wooster Street
    July 25, 2013–July 15, 2006

    Curated by Catherine de Zegher and Elisabeth Sussman

    Eva Hesse spent much of her decade-long career engaged in drawing—at times even in her sculpture. Perhaps more than any artist of her generation (with the possible exceptions of Fred Sandback and Richard Tuttle), she brought qualities of line off the page into her work in three dimensions. Following Hesse's landmark multimedia retrospective in 2002, this exhibition, co-organized by the Drawing Center and the Menil Collection, brings drawings to the fore with a survey of one hundred “finished” works on paper, supplemented by a selection of Hesse's 1965 reliefs, a small group of sculptural works, and rarely seen notebooks and diaries.

    Travels to the Drawing Center, New York, May 6–July 15; Museum of Contemporary Art, Los Angeles, Aug. 6–Oct. 23.

  • Lorna Simpson

    MOCA Geffen Contemporary
    152 North Central Avenue
    April 16–July 10, 2006

    Miami Art Museum
    101 West Flagler Street
    October 13, 2006–January 21, 2007

    Whitney Museum of American Art
    99 Gansevoort Street
    February 8–May 6, 2007

    Curated by Helaine Posner

    While working alongside the Pictures artists, Lorna Simpson pioneered a practice that applied Conceptual strategies to visual considerations of race and gender, earning her a place among the most influential artists to come out of the '80s. Now—two decades and countless exhibitions later—she is truly a force to be reckoned with. For the artist's first mid-career survey, American Federation of Arts curator Helaine Posner has gathered forty-six works—a healthy selection of early image-and-text pieces, seven major photographs on felt, six film installations, and a smattering of recent photographs. An all-star catalogue complements the show, with essays by Okwui Enwezor and Hilton Als and a conversation between the artist, Thelma Golden, and Isaac Julien.

    Travels to the Miami Art Museum, Oct. 13, 2006–Jan. 21, 2007; Whitney Museum of American Art, New York, Feb. 8–May 6, 2007; and other venues.

  • Katherine S. Dreier, Zwei Welten (Two Worlds), 1930, oil on canvas, 281⁄4 x 36 1⁄8". From “The Société Anonyme.”

    Katherine S. Dreier, Zwei Welten (Two Worlds), 1930, oil on canvas, 281⁄4 x 36 1⁄8". From “The Société Anonyme.”

    “The Société Anonyme: Modernism for America”

    Dallas Museum of Art
    1717 North Harwood
    June 10–September 16, 2007

    Hammer Museum
    10899 Wilshire Boulevard
    April 23–August 20, 2006

    The Phillips Collection
    1600 21st Street NW
    October 14, 2006–January 21, 2007

    Curated by Susan Greenberg and Jennifer R. Gross

    Founded in 1920 on East 47th Street in New York by Katherine S. Dreier, Marcel Duchamp, and Man Ray, the Société Anonyme amassed one of the most impressive collections of modern art in the US. Created to educate the public about modern art and to support emerging artists, the “experimental museum”'s acquisition program and reference library existed at a time when no institution in America was collecting or supporting contemporary work. This show features some two hundred pieces from the collection (housed since 1941 at the Yale University Art Gallery, which organized the show) by Arthur Dove, Ernst, Kandinsky, Léger, Picasso, Schwitters, and more.Travels to the Phillips Collection, Washington, DC, Oct. 14, 2006–Jan. 21, 2007; Dallas Museum of Art, June 10–Sept. 16, 2007; and other venues.

  • “Courbet and the Modern Landscape”

    Walters Art Museum

    October 15, 2006–January 7, 2007

    The Museum of Fine Arts, Houston
    1001 Bissonnet
    June 18–September 10, 2006

    The Getty Center
    1200 Getty Center Drive
    February 21–May 14, 2006

    Curated by Charlotte Eyeman and Mary Morton

    Major museum exhibitions of Courbet are rare in the US (the last one was at the Brooklyn Museum almost twenty years ago). And when they do occur, they tend to be large and unwieldy, as if to make up for their infrequency. We should therefore applaud the Getty for its less-is-more approach: About forty landscapes centered around the crucial decade of the 1860s—many rarely seen together and a handful never before exhibited in the US—should focus attention on Courbet's disturbing and at times erotic brand of naturalism, the kind of work that so impressed later generations of modernist painters. One regrets that LACMA's Cézanne and Pissarro show closes before Courbet comes to town.

    Travels to the Museum of Fine Arts, Houston, June 18–Sept. 10; Walters Art Museum, Baltimore, Oct. 15, 2006–Jan. 7, 2007.