• Jasper Johns, Flag, 1958, pencil and graphite wash on paper, 8 7/8 x 12". © Jasper Johns/Licensed by VAGA, New York, NY.

    “Jasper Johns: Gray”

    The Art Institute of Chicago
    111 South Michigan Avenue
    November 3, 2007–January 6, 2008

    The Metropolitan Museum of Art
    1000 Fifth Avenue
    February 5–May 4, 2008

    Curated by Douglas Druick and James Rondeau

    Neither black nor white, but gray—the gray in affective states of “quietude” and “anticipation,” and in memory of those feelings; the gray that includes all expressive coloration—is the topic of this major exhibition of the work of Jasper Johns. And it is a truly significant approach to the art, which dwells in the semantics of conceptual skepticism as it ranges from grisaille to gray scale. Curators Douglas Druick and James Rondeau have selected 138 paintings, sculptures, prints, and drawings from 1955 to the present to show Johns’s dedicated study of gray and to argue that through this approach we may come to understand more broadly his aesthetic concerns. The catalogue features essays by the curators and Richard Shiff as well as an interview with the artist by Nan Rosenthal. Travels to the Metropolitan Museum of Art, New York, Feb. 5–May 4, 2008.

  • Melanie Schiff, Emergency, 2006, color photograph, 28 x 19 3/4".

    “Sympathy for the Devil: Art and Rock and Roll Since 1967”

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    September 29, 2007–January 6, 2008

    Museum of Contemporary Art, North Miami
    770 NE 125th Street
    May 31–September 8, 2008

    Curated by Dominic Molon

    “Please allow me to introduce myself,” squawked Mick Jagger in 1968, and forty years later our love affair with that two-backed beast born of man and guitar—rock ’n’ roll—still burns strong. Spanning those four decades, with art by more than sixty artists from four continents—including Richard Hamilton’s collage Swingeing London 67, 1968–69, and Dan Graham’s seminal video Rock My Religion, 1982–84—this survey of some 125 works shows that rock, with its meretricious cousin pop, contains a lexicon of politics and style coded in mere glances and swaggers. Avoiding simple “cock rock” homage, the show features contributions by a number of female artists—Jutta Koether, Aleksandra Mir, and Linder Sterling, among others. Taking the mosh pit to the museum, this acknowledgment of influence is long overdue.Travels to the Museum of Contemporary art, North Miami, FL, May 31–Sept. 8, 2008.