previews

  • “The Studio”

    Hugh Lane Gallery
    Charlemont House Parnell Square North
    December 1, 2006–February 25, 2007

    Curated by Jens Hoffmann and Christina Kennedy

    Interfacing with the computer’s virtual platform and its postproduction procedures and migrating into the social laboratory of relational aesthetics, the contemporary artist’s studio is only the most recent variation in a long and ongoing process of evolution. The Hugh Lane seeks to excavate the studio’s historical variables, mythical associations, and paradigm-shifting benchmarks, including its industrialization by Andy Warhol’s Factory, the uncoding of its gendered signification by Martha Rosler, and its transformation into a set for disposable photographic props by Thomas Demand. Work by sixteen artists will focus on this space of creative production (with Andrew Grassie using the museum as a workplace during the show), offering insights into the changing meaning of the studio over the past forty years—fittingly at an institution that preserves Francis Bacon’s own.

  • Michael Craig-Martin, Eye of the Storm, 2003, acrylic on canvas, 11' x 9' 2".

    Michael Craig-Martin, Eye of the Storm, 2003, acrylic on canvas, 11' x 9' 2".

    Michael Craig-Martin

    IMMA - Irish Museum of Modern Art
    Royal Hospital Kilmainham Military Road
    October 4, 2006–January 14, 2007

    Curated by Enrique Juncosa

    In 1989, Michael Craig-Martin, already a talismanic figure for young British artists, had his first retrospective, at the Whitechapel Art Gallery in London. Now, seventeen years later and in his native Dublin, Craig-Martin’s second retrospective should reveal an artist of even greater breadth and historical magnitude. Reaching back to his precocious beginnings in the ’60s as a Duchampian Conceptualist dealing with film and readymades, the show, comprising some fifty works, will expand to acrylic paintings and neon sculptures and to site-specific mural environments that seem to wed Pop to LeWitt. Rendered in a unique palette of synthetic pastel colors, Craig-Martin’s phantom blueprints for a world of industrial objects cast a magical, elegant spell.