• Ed Ruscha, Oof, 1962/1963, oil on canvas, 71 1/2 x 67".

    Ed Ruscha

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 14, 2009–January 10, 2010

    Haus der Kunst
    Prinzregentenstrasse 1
    February 12–May 2, 2010

    Moderna Museet | Stockholm
    May 22–September 5, 2010

    Curated by Ralph Rugoff

    For the cover of the catalogue of his first retrospective, at SF MoMA in 1982, Ed Ruscha chose to reproduce a 1979 pastel that bore the inscription I DON’T WANT / NO RETRO / SPECTIVE. Obviously, no museum director took him at his word. Ruscha’s latest career survey concentrates solely on painting, allowing viewers, easily mesmerized by the artist’s extraordinary inventiveness in a variety of media, to reflect on the particular flavor of his pictorial output. Ruscha’s work has evolved at great speed since his 2005 Venice triumph, and this show of nearly eighty canvases (accompanied by a substantial catalogue with essays by Hayward director Ralph Rugoff and others, and a new interview with Ruscha) invites us to consider his current work in the context of his half-century-long love affair with paint.

  • Francesco Vezzoli, Salvidor Dalí, 1998, cotton embroidery on canvas, 12 1/2 x 12 1/4".

    Dalí Dalí Featuring Francesco Vezzoli

    Moderna Museet | Stockholm
    September 19, 2009–January 17, 2010

    Curated by Caroline Corbetta and John Peter Nilsson

    Once maligned as Surrealist schlock, Dalí’s prescient forays into popular amusement and unbridled marketeering have lately come to the fore of scholarship on the mustachioed Catalonian. First, there was the 2003 exhibition devoted to his New York World’s Fair pavilion, followed by “Dalí and Mass Culture,” “Dalí and Film,” and now Dalí and . . . Francesco Vezzoli! The show opens with a concise overview of the master’s paintings, peppered with paraphernalia like jewelry and Schiaparelli gowns, and continues on to the first European retrospective devoted to Vezzoli’s own splashy meditations on sex, dread, and hype. A catalogue featuring essays by the curators, as well as contributions by Hal Foster and Chrissie Iles, among others, promises to confirm Dalí’s once-overlooked step-parentage of Warhol’s media-savvy children.