• Charles Burchfield, The Night Wind, 1918, watercolor, gouache, and pencil. © The Museum of Modern Art.

    Charles Burchfield

    Burchfield Penney Art Center
    1300 Elmwood Avenue
    March 5–May 23, 2010

    Hammer Museum
    10899 Wilshire Boulevard
    October 4, 2009–January 3, 2010

    Whitney Museum of American Art
    99 Gansevoort Street
    June 24–October 17, 2010

    Curated by Robert Gober

    The eye for selection and sensitivity to space evident in Robert Gober’s sculptures and installations were last directed to curating in 2005, when the artist chose items from the Menil Collection in Houston to accompany his own work. Now Gober has assembled a full-fledged survey devoted to watercolorist Charles Burchfield (1893–1967), whose visions of the American scene are by turns ecstatic and morbid, mystical and bleak. The exhibition presents ephemera from Burchfield’s life (doodle-filled journal pages, correspondence with his early supporter Alfred H. Barr Jr.) alongside seventy-four watercolors. Psychedelic avant la lettre, the paintings feature plants, stars, insects, and dilapidated houses that melt or radiate shimmering coronas; a vocabulary of synesthetic marks lets the landscapes breathe, buzz, and hum their lost innocence.

  • Guillermo Kuitca, “Mozart—da Ponte” I, 1995, mixed media on canvas, 71 x 92". © Courtesy Sperone Westwater, New York.

    Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980–2008

    Albright-Knox Art Gallery
    1285 Elmwood Avenue
    February 9–May 30, 2010

    Miami Art Museum
    101 West Flagler Street
    October 9, 2009–January 17, 2010

    Walker Art Center
    725 Vineland Place
    June 26–September 29, 2010

    Hirshhorn Museum and Sculpture Garden
    Independence Avenue at Seventh Street, SW
    October 21, 2010–January 9, 2011

    Curated by Douglas Dreishpoon

    Employing motifs such as maps, architectural plans, and genealogical charts, Guillermo Kuitca makes borders and links—as well as their political and personal mediation—central to his practice. Miami is thus a fitting location to launch this touring midcareer survey, which traces the contours of the Argentinean artist’s oeuvre with some seventy drawings and paintings. One standout is Untitled, 1992 (on view for the first time in the United States), an arrangement of twenty child-size beds with road maps of Europe painted directly onto their mattresses—elegantly cleaving public and private.