• Richard Prince, Untitled (labels) (detail), 1977, one of 4 color photographs, each 20 x 24".

    Richard Prince

    Walker Art Center
    725 Vineland Place
    March 22–June 15, 2008

    Solomon R. Guggenheim Museum | New York
    1071 Fifth Avenue
    September 28, 2007–January 9, 2008

    Curated by Nancy Spector

    Richard Prince has in recent years become one of the inescapable artists of our time—a fascinating development, given that for years his work seemed to appeal to only a coterie, whereas some of his Pictures peers quickly secured critical approbation and visibility. Prince now reigns as one of the most influential figures for young artists drawn to his cunning amalgams of grunge and glamour, conceptual spark and pop-cultural savvy. This retrospective includes some 175 of the artist’s works, among them his “Gangs” photographs, “Nurse” paintings, and “Hoods” sculptures. The catalogue includes essays by curator Nancy Spector and Jack Bankowsky and interviews by Glenn O’Brien with Phyllis Diller, Kim Gordon, and other cultural luminaries, who allegedly form a composite adumbration of Prince’s themes with regard to mass-cultural connoisseurship. Travels to the Walker Art Center, Minneapolis, Mar. 22–June 15, 2008; Serpentine Gallery, London, Summer 2008.

  • Frida Kahlo, Self Portrait, 1930, oil on canvas, 26 x 22".

    Frida Kahlo

    Walker Art Center
    725 Vineland Place
    October 27, 2007–January 20, 2008

    Philadelphia Museum of Art
    26th Street and the Benjamin Franklin Parkway
    February 20–May 18, 2008

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    June 14–September 28, 2008

    Curated by Elizabeth Carpenter and Hayden Herrera

    Frida Kahlo has long been subject to hagiography, a propensity abetted by her revelatory self-portraiture, her film portrayal by Salma Hayek, and her frankness about her unredeemed circumstances. (She famously quipped that she had suffered two grave misfortunes: a brutal traffic accident and Diego Rivera.) Now, on the centenary of Kahlo’s birth, the Walker, in association with SF MoMA, is organizing a massive tribute that ups the ante, bringing together roughly fifty canvases from 1926 to 1952, two years before her death, and 150 family snapshots and unseen photographs of the Mexican painter by artists including Manuel Alvarez Bravo, Gisele Freund, and Tina Modotti. What remains to be seen is whether this ambitious presentation can transcend the cult of personality. Travels to the Philadelphia Museum of Art, Feb. 20–May 18, 2008; San Francisco Museum of Modern Art, June 14–Sept. 28, 2008.

  • Mircea Cantor, The Spring, 2007, oil on canvas, 13 3/4 x 8 5/8".

    “Brave New Worlds”

    Walker Art Center
    725 Vineland Place
    October 4, 2007–February 17, 2008

    Curated by Doryun Chong and Yasmil Raymond

    With the zeitgeist-tapping group exhibitions “Let’s Entertain” (2000), “Painting at the Edge of the World” (2001), and “How Latitudes Become Forms” (2003), Walker curators at the turn of the millennium gave the Whitney Biennial a run for its money. After a pause to open the museum’s new building in 2005, “Brave New Worlds,” featuring twenty-four artists from more than a dozen countries, picks up where “Latitudes” left off. Aldous Huxley’s prescient, dystopian novel sets the framework for this presentation of approximately seventy mostly recent works by artists—including Yto Barrada, Mircea Cantor, Erik van Lieshout, and Zwelethu Mthethwa—who address political consciousness in a world so fragmented it might best be rendered plural. The catalogue features texts by curators Doryun Chong and Yasmil Raymond, “correspondent” essays filed from six countries, an insert by Romanian artist Lia Perjovschi, and reprints of related material.