previews

  • Robert Rauschenberg, Lake Placid / Glori-Fried / Yarns from New England (Cardboard), 1971, cardboard, rope, and wood pole, 9' 6 3/4“ x 13' 5” x 8".

    “Robert Rauschenberg: Cardboards and Related Pieces”

    The Menil Collection
    1533 Sul Ross Street
    February 23–May 13, 2007

    Curated by Josef Helfenstein

    Robert Rauschenberg’s Cardboards were one of the most startling and entirely unexpected revelations of his 1997 Guggenheim retrospective. Made between 1971 and 1972, these large, wall-mounted arrangements of partially flattened boxes saw his return to the single-image pictorial mode he had mastered, and then all but abandoned, in Bed, 1955. Despite their obvious deployment of the readymade, the Cardboards engage primarily with Abstract Expressionist scale—a scale that produces the impact of these works and is, needless to say, unappreciable in reproduction. To challenge Barnett Newman with a cardboard box, as Rauschenberg does in Castelli/Small Turtle Bowl (Cardboard), 1971, is a bold move and no doubt only one of many surprises in this exhibition of thirty-six works. The catalogue features essays by curator Josef Helfenstein and by Yve-Alain Bois.

  • Bruce Nauman, Neck Pull, 1968/2006, color photograph, 20 x 28“. Photo: Jack Fulton. From the series ”Infrared Outtakes," 1968/2006. © Bruce Nauman / Artists Rights Society (ARS), New York.

    “A Rose Has No Teeth: Bruce Nauman in the 1960s”

    Berkeley Art Museum and Pacific Film Archive (BAMPFA)
    2155 Center Street
    January 17–April 15, 2007

    The Menil Collection
    1533 Sul Ross Street
    October 12, 2007–January 13, 2008

    Castello di Rivoli
    Piazza Mafalda di Savoia
    May 23–September 9, 2007

    Curated by Constance Lewallen

    Bruce Nauman may have made his name in seminal New York group shows such as Lucy Lippard’s “Eccentric Abstraction” (Fischbach Gallery, 1966) and Marcia Tucker and James Monte’s “Anti-Illusion” (Whitney Museum of American Art, 1969), but the artist was then living in the Bay Area, where he received his MFA from UC Davis in 1966 and later taught at the San Francisco Art Institute. Featuring 118 works—including a newly discovered fiberglass sculpture saved by Nauman’s classmate though forgotten by the artist himself—this exhibition, curated by Constance Lewallen, promises to shed much-needed light on Nauman’s early career, placing it in the context of the Bay Area’s then-burgeoning Conceptual-art scene. The catalogue features essays by Anne M. Wagner, Robert Storr, and others. Travels to Castello di Rivoli, Turin, Italy, May 23–Sept. 9; Menil Collection, Houston, Oct. 12, 2007–Jan. 13, 2008.