• Gilbert & George, England, 1980, 118 1/2 x 118 1/2".

    Gilbert & George, England, 1980, 118 1/2 x 118 1/2".

    Gilbert & George

    Tate Modern
    February 15–May 7, 2007

    Haus der Kunst
    Prinzregentenstrasse 1
    June 9–September 16, 2006

    de Young Museum
    50 Hagiwara Tea Garden Drive
    February 1–May 1, 2008

    Castello di Rivoli
    Piazza Mafalda di Savoia
    October 8, 2007–January 6, 2008

    Curated by Jan Debbaut

    Gilbert & George claim that “Most people who saw our last retrospective [in the UK] are dead,” but their influence on several generations of younger British artists is clear. The duo apparently lobbied Tate Modern for a retrospective, and the museum is now presenting the largest exhibition of their work to date (curated by Jan Debbaut), spanning the artists’ transgressive-conceptualist history from the early “living sculptures” to the present, including their postcard pieces, all forty-five “Pictures” series, and new works. Here, in Britain’s powerhouse of cultural tourism, G&G’s arch (in both senses) conservative performance of “life as art” and their obsession with identity will be refracted through their post-YBA role as national art icons. Travels to Haus der Kunst, Munich, June 9–Sept. 16; Castello di Rivoli, Turin, Italy, Oct. 8, 2007–Jan. 6, 2008; De Young Museum, San Francisco, Feb.–May 2008; and other venues.

  • Andreas Gursky, Bahrain I, 2005, c-print, 117 11/16 x 84 5/8".

    Andreas Gursky, Bahrain I, 2005, c-print, 117 11/16 x 84 5/8".

    Andreas Gursky

    Istanbul Modern
    Asmalımescit Mahallesi Meşrutiyet Caddesi, No:99
    May 30–August 26, 2007

    Haus der Kunst
    Prinzregentenstrasse 1
    February 17–May 13, 2007

    Sharjah Art Foundation
    Al Mureijah Square, Al Shuwaiheen
    November 29, 2007–January 28, 2008

    Curated by Thomas Weski

    Among the exceptional group of students who cut their teeth during the 1980s in Bernd and Hilla Becher’s master class at the Düsseldorf Kunstakademie, Andreas Gursky made it biggest, literally. His oversize, digitally manipulated images of postmodern spectacle update his mentors’ program of dispassionately archiving sites of modernist production, and argue, in both form and content, that global capitalism not only generates industrial objects but images, representations, and subjectivities as well. Given how his works address the circulation of images in a global economy, it makes perfect sense that this exhibition—curated by Thomas Weski—of some fifty large-scale photographs, mostly from the past six years, will embark on its own world tour. Travels to Istanbul Modern, May–Aug., Sharjah Art Museum, United Arab Emirates, Nov.; Moscow House of Photography, spring 2008; and other venues.