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

  • “Picasso and American Art”

    Walker Art Center
    725 Vineland Place
    June 17–November 9, 2007

    Whitney Museum of American Art
    99 Gansevoort Street
    September 28, 2006–January 28, 2007

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    February 25–May 28, 2007

    Curated by Michael FitzGerald

    No artist was as important to the development of twentieth-century American art as Pablo Picasso—though he never even visited the United States. Whether as a figure to emulate or a yoke to buck, Picasso cast a shadow across the Atlantic that permeated even the remotest recesses of the country’s artistic psyche. Guest curator and Picasso scholar Michael FitzGerald assembles nearly forty of the Spaniard’s works and some 120 objects by Americans—including Stuart Davis, Jackson Pollock, and David Smith—who used his oeuvre as a point of departure. The show presents this mammoth figure through the eyes of those who cared (and sometimes worried) most about the implications of his diverse production. Travels to the San Francisco Museum of Modern art, Feb. 25–May 28, 2007; Walker Art Center, Minneapolis, June 17–Nov. 9, 2007.

  • Joseph Cornell

    Peabody Essex Museum
    East India Square 161 Essex Street
    April 28–August 19, 2007

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    October 6, 2007–January 6, 2008

    Smithsonian American Art Museum
    8th and F Streets NW
    November 17, 2006–February 19, 2007

    Curated by Lynda Roscoe Hartigan

    About as close to an outsider artist as an insider can get, Joseph Cornell was a compulsive collector with no formal art training, who toiled in his basement in Queens, New York, transforming his stash—seashells, newspaper clippings, Dutch clay pipes—into uncannily beautiful assemblages. That Cornell merits the appellation “American art master,” as this exhibition proclaims, is beyond dispute. But more in the mold of Robert Rauschenberg or of Henry Darger? Visitors to this retrospective—the artist’s first in twenty-five years—can decide for themselves. Lynda Roscoe Hartigan, from the co-organizing Peabody Essex Museum, assembles some two hundred objects, works on paper, documents, and films, promising comprehensive insight into Cornell’s exquisitely eccentric vision. Travels to the Peabody Essex Museum, Salem, MA, Apr. 28–Aug. 19, 2007; San Francisco Museum of Modern Art, Oct. 6, 2007–Jan. 6, 2008.