• Dalí and Film

    Tate Modern
    June 10–September 9, 2007

    Curated by Dawn Ades, Montse Aguer, Félix Fanès, and Matthew Gale

    Salvador Dalí’s contributions to the art of cinema are well known, but the influence of film on his practice in other media is less so. This exhibition, co-organized with the Gala-Salvador Dalí Foundation in Figueres, Spain, aims to rectify the situation: Some one hundred Dalí paintings, photographs, drawings, and manuscripts are being displayed alongside his work in film—including his collaborations with Luis Buñuel, Alfred Hitchcock, and Walt Disney—in order not only to explore the origins of the ideas in his films, but also, more interestingly perhaps, to illuminate the ways in which Dalí attempted to apply what he learned as a filmmaker to his other work. A comprehensive catalogue should tease out these connections in detail. Travels to the Los Angeles County Museum of Art, Oct. 14, 2007–Jan. 6, 2008; Salvador Dalí Museum, St. Petersburg, FL, Feb. 1–June 1, 2008; Museum of Modern Art, New York, June 29–Sept. 15, 2008.

  • Kenneth and Mary Martin

    Camden Arts Centre
    Arkwright Road
    July 13–September 16, 2007

    Curated by Celia Davies and Sarah Martin

    Bridget Riley didn’t come out of nowhere, and English art in the 1950s was not just kitchen-sink realism and incipient Pop. If you had gone to “This Is Tomorrow” at London’s Whitechapel Art Gallery in 1956, you would have seen a lot more than the Richard Hamilton collage everyone remembers; one room was given over to a site-specific collaboration between Kenneth and Mary Martin and the architect John Weeks. The Martins were leading lights of a postwar revival of Constructivism in England, sharing a structural approach to issues of chance, order, form, and motion. In recent decades their oeuvre has been so overlooked it’s not even unfashionable. This gathering of roughly forty-five mobiles, paintings, relief sculptures, and drawings, ranging from the early ’50s to the artists’ deaths in 1984 and 1969, respectively, should put them back in the picture. Travels to the De La Warr Pavilion, Bexhill-on-Sea, UK, Jan. 20–Apr. 20, 2008.

  • Panic Attack! Art in the Punk Years

    Barbican Art Gallery
    Barbican Centre Silk Street
    June 5, 2008–September 9, 2007

    Curated by Mark Sladen and Ariella Yedgar

    Following the stage-setting exhibition “The Secret Public: The Last Days of the British Underground 1978–1988,” organized by the Kunstverein Munich last year, London’s Barbican Art Gallery weighs in with “Panic Attack!,” a consideration of tensions—both real and imagined—that existed between punk and the more rarefied world of contemporary art. Whereas the Munich show focused mainly on London-centric activities, “Panic Attack!”—featuring works from the mid-’70s to the mid-’80s—casts its net wider, to include cultural collisions in American art scenes during the punk (and postpunk) era. With more than 150 works in various media by around thirty artists, including Nan Goldin, David Wojnarowicz, and even sculptor Tony Cragg, this exhibition should provide a further reevaluation of one of art’s more elusive and abrasive moments.