• Wolfgang Tillmans

    Museum of Contemporary Art Chicago (MCA Chicago)
    220 East Chicago Avenue
    May 20–August 13, 2006

    Hammer Museum
    10899 Wilshire Boulevard
    September 17, 2006–January 7, 2007

    Hirshhorn Museum and Sculpture Garden
    Independence Avenue at Seventh Street, SW
    February 15–May 13, 2007

    Curated by Russell Ferguson and Dominic Molon

    Wolfgang Tillmans resists a clear-cut chronology within his own practice by exhibiting earlier photographs alongside more recent work. Though a retrospective (the artist’s first in the US), this show promises the same salon-style installation: Tillmans will arrange some three hundred videos, installations, and photographs—from late-’80s and ’90s still lifes and portraits to recent light-effect abstractions—according to aesthetic groupings that will change at each institution to which the exhibition travels. In its rejection of both formal hierarchies and a linear approach, the show—co-organized by the MCA and the UCLA Hammer Museum—will doubtless demonstrate that Tillmans’s wide range of vision is, above all, democratic.Travels to the UCLA Hammer Museum, Sept. 17, 2006–Jan. 7, 2007; Hirshhorn Museum and Sculpture Garden, Washington, DC, Feb. 15–May 13, 2007.

  • Catherine Opie, Three Crosses and a Shadow, 2005, color photograph, 16 x 20".

    Catherine Opie, Three Crosses and a Shadow, 2005, color photograph, 16 x 20".

    Catherine Opie

    MOCA Cleveland
    11400 Euclid Avenue
    September 29–December 30, 2006

    Orange County Museum of Art
    3333 Avenue of the Arts
    June 4–September 3, 2006

    Curated by Elizabeth Armstrong and Jessica Hough

    Catherine Opie fuses the observational tradition of American photography with a European poststructuralist approach to identity politics in a practice that seeks to determine the aesthetic and cultural languages that articulate community. Co-organized by Armstrong, from OCMA, and Hough, from Connecticut’s Aldrich Contemporary Art Museum, where a smaller version premiered in January, this survey comprises some 140 photographs in nine series—beginning with a selection from Opie’s graduate project, “Master Plan,” 1986–88, which chronicles the development of a housing project in Valencia, California, and ending with work from “In and Around Home,” 2004–2005, which explores her neighborhood in Los Angeles. An accompanying catalogue features a story by A. M. Homes and essays by the curators. Travels to the Museum of Contemporary Art, Cleveland, Sept. 29-Dec. 30.

  • Robert Irwin, Untitled, 1968, acrylic lacquer on shaped aluminum and metal tube, 60 x 60 x 20".

    Robert Irwin, Untitled, 1968, acrylic lacquer on shaped aluminum and metal tube, 60 x 60 x 20".

    “Translucence: Southern California Art from the 1960s and 1970s”

    Norton Simon Museum
    411 West Colorado Boulevard
    May 12–August 28, 2006

    Curated by Michelle Deziel

    “I would like to have some magical saw,” artist DeWain Valentine once remarked, “that would allow me to cut up large sections of the sky or sea.” Such fantasy reveals much of the spirit behind this show of twenty-three works by ten artists (including Valentine) who worked in Southern California in the ’60s and ’70s and—inspired by everything from hot-rod finishes and surfboard resin to Malibu sunsets—experimented with glass, Plexiglas, fiberglass, and cast plastics to make objects that mimick, capture, reflect, and toy with light and atmosphere. The show pinpoints a group that was simultaneously a subset of the finish-fetish crowd and the object-oriented kin of the Light and Space bunch, fusing a spit-polish literalism with airy illusionism and bastardizing stark Minimalist forms with a Pop Californian Romanticism.

  • Richard Pousette-Dart

    Cincinnati Art Museum
    953 Eden Park Drive
    February 3–May 3, 2007

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    June 29–September 17, 2006

    Achenbach Foundation for Graphic Arts
    California Palace of the Legion of Honor, Lincoln Park, 100 34th Avenue
    October 14, 2006–January 14, 2007

    Curated by Robert Flynn Johnson

    Richard Pousette-Dart was the youngest of the “irascibles,” but he made up for his late start by working into the early ’90s. His mythical brand of expressionism was sometimes abstract and sometimes figurative, betraying debts to Surrealism and Native American and Oceanic art. Organized by LACMA, Fine Arts Museums of San Francisco, and the Cincinnati Art Museum, this exhibition is Pousette-Dart’s largest in a museum on the West Coast and will showcase the artist’s transcendental mysticism in fifty drawings from 1940 to 1992, representing his progression through as many styles—from the totemic, which marked his early years, to the abstract black-and-white of his later works—as there were decades of production.