previews

  • Lutz Bacher, Crash, 2008, vinyl, 12 x 32'.

    Lutz Bacher

    Contemporary Art Museum St. Louis
    3750 Washington Blvd.
    September 12, 2008–January 4, 2009

    Curated by Anthony Huberman

    Women artists of the ’70s—the topic is white-hot. Suddenly everyone is receptive. Many once-neglected female artists who emerged in that decade are now beginning to receive wider recognition and even, as in the case of Lutz Bacher, their first-ever solo exhibitions in major museums. Working in California in the mid-’70s and in New York (in affiliation with Pat Hearn Gallery) in the ’80s and ’90s, the intentionally elusive Bacher has long enjoyed a “cult” following. Her work resists easy categorization—she is not strictly a photographer, installation artist, videographer, painter, or appropriationist per se—but her approach is consistently conceptual. Shifting stylistic strategies underwrite her critical engagement with politics and contribute to a sense of interruption—we always only have partial views of her chameleon practice. This exhibition aims to emend that with a site-specific installation of ten new works, as well as a rotating display of older pieces.

  • 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.