previews

  • Tetsumi Kudo, Your Portrait B, 1962, mixed media, 11 3/4 x 11 3/4 x 11 3/4".

    “Tetsumi Kudo: Garden of Metamorphosis”

    Walker Art Center
    725 Vineland Place
    October 18, 2008–January 11, 2009

    Curated by Doryun Chong

    Viewers unfamiliar with the work of the late Tetsumi Kudo—likely most Americans, since this will be his first solo show at a US museum—may be struck by how much the art looks of its era, and yet how plausibly it might have been made yesterday. Born in Osaka in 1935, Kudo belonged to a restless postwar generation coping with atomic trauma and headlong consumerism. When he moved to Paris in 1962, he synthesized Nouveau Réalisme, Pop, and Fluxus into elegiac, scatological assemblages, studded with mushroomy body parts. Roughly one hundred objects from the 1950s through the ’80s will be displayed, with a “study room” presenting documentation and ephemera. The catalogue will include texts by Mike Kelley and curator Doryun Chong, an illustrated chronology by the artist’s widow, Hiroko Kudo, and statements and interviews not previously published in English.

  • Eero Saarinen, Trans World Airlines Terminal, 1962, John F. Kennedy International Airport, New York. Photo: Bathazar Korab.

    “Eero Saarinen: Shaping the Future”

    Walker Art Center
    725 Vineland Place
    September 13, 2008–January 4, 2009

    Mildred Lane Kemper Art Museum
    Washington University, One Brookings Drive
    January 30–April 27, 2009

    Curated by Donald Albrecht

    In an era when designers of all stripes are mining the relationship between sophisticated technologies and architectural form, the resurgence of interest in midcentury modernist Eero Saarinen should come as no surprise. In his day Saarinen was often seen as an eclectic, and many of his iconic works, from the TWA terminal at JFK airport (1962) to the ubiquitous Womb Chair (1948), deployed cutting-edge technology to produce expressive, mathematically rigorous, curvilinear buildings and furniture that defied high-modernist orthodoxies. The Minnesota iteration of this major traveling retrospective (Saarinen’s first) will span the galleries of two institutions, offering viewers a unique opportunity to engage the complete oeuvre of this great master of both the ars and the techne of architecture.

    Also on view at the Minneapolis Institute of Arts.

  • Elizabeth Peyton, Matthew, 2008, oil on board, 12 1/2 x 9".

    Elizabeth Peyton

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    July 9–September 20, 2009

    Bonnefantenmuseum
    Avenue Céramique 250
    October 21, 2009–March 21, 2010

    Walker Art Center
    725 Vineland Place
    February 14–June 14, 2009

    New Museum
    235 Bowery
    October 8, 2008–January 11, 2009

    Curated by Laura Hoptman

    What becomes a legend most? In the 1970s, Lillian Helman clad in a Blackglama mink did the trick. Nowadays, the grandest compliment that fine art pays to glamour and celebrity might be Elizabeth Peyton's portraits. In a rather different but perhaps no less resonant way, Peyton is as much a signature artist of the '90s as Matthew Barney, the subject of a recent Peyton portrait—and, given her proclivity for skinny, languorous, seemingly lipstick-besmirched ephebi, an uncharacteristic one. Bringing together more than one hundred works, the New Museum surveys fifteen years of the artist's career. The catalogue includes essays by curator Laura Hoptman, Iwona Blazwick, and poet and superearly Warhol icon John Giorno.