previews

  • Brice Marden

    Hamburger Bahnhof
    Invalidenstraße 50-51
    June 1–September 1, 2007

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    October 29, 2006–January 15, 2007

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    February 17–May 13, 2007

    Curated by Gary Garrels

    Painting, for Brice Marden, is “about transformation. Taking that earth . . . turning it into air and light.” For four decades he has been practicing his alchemy, and if there’s a flaw in his pictorial legerdemain it may be that he makes it look too easy. This retrospective of more than one hundred paintings and drawings, though, should correct the misapprehension that all this grandeur and elegance come without effort. And with his career now falling symmetrically into two parts—paintings consisting of single or combined monochrome panels from the mid-’60s through the mid-’80s; works since then that employ calligraphic gesture—it’s hard not to wonder: Does this summation herald a new mutation to come? Travels to the San Francisco Museum of Modern Art, Feb. 17–May 13, 2007; Hamburger Bahnhof, Berlin, June–Sept. 2007

  • Felix Gonzalez-Torres, Untitled (Oscar Wilde’s Tombstone), 1989, color photograph on jigsaw puzzle in plastic bag, 7 1/2 x 9 1/2". © The Felix Gonzalez-Torres Foundation.

    Felix Gonzalez-Torres, Untitled (Oscar Wilde’s Tombstone), 1989, color photograph on jigsaw puzzle in plastic bag, 7 1/2 x 9 1/2". © The Felix Gonzalez-Torres Foundation.

    Felix Gonzalez-Torres

    Hamburger Bahnhof
    Invalidenstraße 50-51
    October 1, 2006–January 9, 2007

    Curated by Frank Wagner

    Felix Gonzalez-Torres’s work anticipates its own reception with a precision perhaps greater than that of any art before or since. Though memory was his great subject, works such as his free, unlimited-edition posters and endless candy spills encourage viewers to participate in the installations’ ongoing creation. Nothing, then, could be more fitting for the current effort to historicize the 1990s than Gonzalez-Torres’s art of future remembering. Coming ten years after the Cuban-American’s death at age thirty-nine, this comprehensive show frames forty-three works from his too-brief career through an “archive” of cultural references contemporaneous with his art—from gun laws to the drug AZT. A perfectly appropriate challenge: to situate historically an art whose sterling characteristic is that it never ends.