previews

  • 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

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

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

    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.

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

    Gilbert & George

    Tate Modern
    Bankside
    February 15–May 7

    Haus der Kunst
    Prinzregentenstrasse 1
    June 9–September 16

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

    Castello di Rivoli
    Piazza Mafalda di Savoia
    October 8–January 6

    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.