previews

  • Pierre Klossowski, Roberte agressée par les esprits qu'elle a censurés (Roberta Attacked by the Spirits She Had Censured), 1976, colored pencil on paper, 63 3/4 x 43 5/16".

    Pierre Klossowski, Roberte agressée par les esprits qu'elle a censurés (Roberta Attacked by the Spirits She Had Censured), 1976, colored pencil on paper, 63 3/4 x 43 5/16".

    Pierre Klossowski

    Museum Ludwig
    Heinrich-Böll-Platz
    December 22, 2006–March 18, 2007

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    September 20–November 19, 2006

    Centre Pompidou
    Place Georges-Pompidou
    April 2–June 4, 2007

    Curated by Sarah Wilson

    Pierre Klossowski (1905–2001) remains best known for his literary and philosophical activities. The founder, with Marie Bonaparte and Dr. René Laforgue, of the Paris Psychoanalytic Society, Klossowski was an active collaborator in the Collège de Sociologie (with Georges Bataille, Roger Caillois, et al.), and his 1947 theological study, Sade mon prochaine, is a classic, while his many novels enjoy a devoted coterie. Nevertheless, Klossowski’s delicate and perverse drawings remain marginalia in the history of Surrealism, in part because his allegorical, erotic art has been overshadowed by the fame of his younger brother, Balthus. The museums present some forty large-scale drawings and sculptures from 1952 to 1990 as well as films and related materials, complicating our perception of an already slippery figure. Travels to the Museum Ludwig, Cologne, Dec. 22, 2006-Mar. 18, 2007; Centre Pompidou, Paris, Apr. 2-June 4, 2007.

  • Yves Klein

    Centre Pompidou
    Place Georges-Pompidou
    October 5, 2006–February 5, 2007

    mumok – Museum moderner Kunst Stiftung Ludwig Wien
    Museumsplatz 1
    March 8–June 3, 2007

    Curated by Yves Klein

    Only two years after the Schirn Kunsthalle’s object-oriented Yves Klein retrospective, the Pompidou’s “Body, Color, Immaterial” seeks to correct the misconception that Klein’s performances, publicity stunts, and dabblings with “the void” were simply complements to his material production. Stressing that the artist’s diverse ephemeral works are on a par with his celebrated monochromes and “Anthropometries,” the show considers his interventions and sound pieces alongside roughly two hundred drawings, manuscripts, photographs, films, paintings, and sculptures. Given recent exhibitions of Klein’s “Air Architecture,” it seems that an institutional dematerialization of the artist’s oeuvre is taking place. Travels to the Museum Moderner Kunst Stiftung Ludwig Wien, Mar. 8-June 3, 2007.

  • Joel Meyerowitz, Red Interior, Cape Cod, 1976, color photograph, 20 x 24". © Joel Meyerowitz.

    Joel Meyerowitz, Red Interior, Cape Cod, 1976, color photograph, 20 x 24". © Joel Meyerowitz.

    Joel Meyerowitz

    Jeu de Paume
    1 place de la Concorde
    October 3, 2006–January 14, 2007

    Curated by Régis Durand

    Abandoning the complex street photography that launched his career in the ’60s, Joel Meyerowitz fully embraced the use of color film in the early ’70s and shifted his lens from the spontaneous, restless, and jagged urban scene to the serene silence of landscape. The Jeu de Paume’s survey of 120 prints, the first European presentation of the artist’s color photography, chronicles his work during this formative decade. Although often leaning toward a form of bourgeois sentimentality, Meyerowitz’s best images, of beaches and the simple domestic manner of Cape Cod, draw on the ability of color film and the large-format view camera to articulate a precise quality of light, air, and temperature. Viewers can also make their top picks: The exhibition will include an interactive method by which visitors may select a take-home catalogue of images of their choosing.

  • Maurice Denis

    Montréal Museum of Fine Arts
    1380 Rue Sherbrooke Ouest
    February 22–May 20, 2007

    Musée d'Orsay
    62 rue de Lille
    October 31, 2006–January 21, 2007

    Mart Museo di Arte Moderna e Contemporanea di Trento e Rovereto
    Corso Bettini, 43
    July 21–September 21, 2007

    Curated by Jean-Paul Bouillon, Guy Cogeval, Serge Lemoine, and Sylvie Patry

    In 1890, Nabi theoretician Maurice Denis famously pronounced, “Remember that a picture—before being a warhorse, a nude woman, or any story—is essentially a flat surface covered with colors arranged in a particular order.” And then he painted to prove it. Denis’s boldly rhythmic, decorative canvases—including the 1908 cycle The Story of Psyche—are the focus of this exhibition (co-organized with the two institutions to which the show travels), which also comprises the artist’s graphic work and later classical canvases. The Musée d’Orsay installment is complemented by simultaneous presentations of Denis’s photographs and drawings.