• Matthew Barney, Drawing Restraint 9, 2005, color film in 35 mm, 145 minutes. Production still. Photo: Chris Winget.

    Matthew Barney

    Serpentine Galleries
    Kensington Gardens
    September 20–November 11, 2007

    Curated by Kitty Scott

    If a single artist could be said to have defined the 1990s, it would probably be Matthew Barney. After the culmination of his “Cremaster” shebang in his 2003 retrospective at the Solomon R. Guggenheim Museum, New York, many skeptics wondered, Well, now what? But Barney’s most recent feature film, Drawing Restraint 9, 2005, amply demonstrates his continued aesthetic fecundity. The Serpentine show consists of some thirty works, including sculptures, installations, performances, drawings, and films from the ongoing “Drawing Restraint” series. Several large sculptures related to Drawing Restraint 9 are among the exhibition highlights, and a local cinema will hold a series of screenings of the film. Drawing Restraint V, a publication featuring essays by curator Kitty Scott and critic Neville Wakefield and a short story by the Icelandic author Sjón, accompanies the exhibition.

  • Enrico David, Untitled, 2007, gouache on paper, 14 3/4 x 14 3/4".

    Enrico David

    ICA - Institute of Contemporary Arts, London
    The Mall
    September 27–November 11, 2007

    Curated by Mark Sladen

    A major exhibition by Italian-born, UK-based artist Enrico David bodes well as the first monographic show organized by Mark Sladen, the ICA’s new director of exhibitions. David’s impressively varied body of work has involved embroidery, drawing, gouache, printmaking, and sculpture, incorporating references to styles ranging from Art Deco to 1970s interior design. The resulting artworks—among them a series of canvases featuring exuberant, stiletto-heeled figures, and a stained-wood, friezelike sculpture of a dancing chorus line—make it clear that David marches to the beat of his own camp drummer. Yet it is the humanistic, labor-intensive constancy and beauty of his art that have made David a much-admired figure on the British scene. This exhibition of some thirty works includes a new installation based on a photocollage by Surrealist artist Dora Maar, as well as a gallery with David’s selections from his own holdings of his work.

  • Lee Miller

    Victoria and Albert Museum
    Cromwell Road
    September 15, 2007–January 6, 2008

    Jeu de Paume
    1 place de la Concorde
    October 13, 2008–January 11, 2009

    Philadelphia Museum of Art
    26th Street and the Benjamin Franklin Parkway
    January 26–April 27, 2008

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    July 1–September 28, 2008

    Curated by Mark Haworth-Booth

    Child model for her amateur lensman father; Vogue cover girl; Man Ray’s Surrealist muse: It’s hard to imagine a woman of her era more photographed than Lee Miller. But as this retrospective demonstrates, Miller was also a serious imagemaker in her own right. Whether by fluke or by reaction formation, the four photographers who learned their trade in Man Ray’s atelier—Bernice Abbott, Bill Brandt, Jacques-André Boiffard, and Miller herself—all abandoned his experimental approach for straight photography. Of the 140-odd images in this exhibition, which date from the late 1920s to the early ’50s, by far the most arresting are those Miller shot as the only female photojournalist on the front during World War II—as a correspondent for British Vogue. Travels to the Philadelphia Museum of Art, Jan. 26–Apr. 27, 2008; San Francisco Museum of Modern Art, July 1–Sept. 21, 2008; Jeu de Paume, Paris, Oct. 13 2008–Jan. 11, 2009.

  • Louise Bourgeois, Cumul I, 1969, marble, 22 3/8 x 50 x 4". © Louise Bourgeois/Licensed by VAGA, New York, NY.

    Louise Bourgeois

    Tate Modern
    October 11, 2007–January 20, 2008

    Centre Pompidou
    Place Georges-Pompidou
    February 19–June 2, 2008

    Curated by Marie-Laure Bernadac, Frances Morris, and Jonas Storsve

    “I don’t dream,” Louise Bourgeois once claimed. And although her images, ideas, and objects feel half-submerged in the unconscious, the artist describes her working method as more akin to operating “under a spell” than derived from any somnolent source. The Tate’s retrospective (the first in the UK since 1995), curated by Marie-Laure Bernadac, Frances Morris, and Jonas Storsve, brings together more than two hundred drawings, sculptures, installations, and fabric pieces from Bourgeois’s seven-decade-long career. The accompanying catalogue features the artist’s own multifaceted written work, as well as essays by Rosalind Krauss, Julia Kristeva, Linda Nochlin, and others. All you Bourgeois fans, pinch yourselves: This is no dream.

  • Marlene Dumas, The Teacher (sub a), 1987, oil on canvas, 63 x 78 3/4".

    “The Painting of Modern Life”

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 4–December 30, 2007

    Castello di Rivoli
    Piazza Mafalda di Savoia
    February 4–May 4, 2008

    Curated by Ralph Rugoff

    In his debut show as the Hayward’s director, Ralph Rugoff eschews the small, quirky delights he is known for in favor of a broader brush. “The Painting of Modern Life” brings together approximately a hundred paintings that use photographs as their starting point—highlighting a prevalent strategy for picture making over the past forty-five years. The show kicks off with high-fidelity favorites such as Andy Warhol and Gerhard Richter but also features younger artists such as Elizabeth Peyton and Wilhelm Sasnal, who evidence other, less faithful marriages of source and product. Photographic painting may be the target of much recent complaint, but it is not monolithic, as this show should make abundantly clear. Travels to the Castello di Rivoli, Turin, Italy, Feb. 4–May 4, 2008.