previews

  • Georgia O'Keeffe, Music, Pink and Blue No. 2, 1918, oil on canvas, 35 x 29 1/8". © Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York.

    Georgia O'Keeffe, Music, Pink and Blue No. 2, 1918, oil on canvas, 35 x 29 1/8". © Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York.

    “Georgia O’Keeffe: Abstraction”

    Whitney Museum of American Art
    99 Gansevoort Street
    September 17, 2009–January 17, 2010

    Georgia O'Keeffe Museum
    217 Johnson Street
    May 28–September 12, 2010

    The Phillips Collection
    1600 21st Street NW
    February 6–May 9, 2010

    Curated by Barbara Haskell, Barbara Buhler Lynes, Bruce Robertson, and Elizabeth Hutton Tur

    For the past few decades, American art’s first lady has looked a bit kitschy to insiders, her artistic mode as pseudo-authentic as “southwestern” cuisine. Then there is her troublesome status as a celebrity, thanks in part to Alfred Stieglitz’s racy portraits (some of which appear in this exhibition), as well as to her subject matter. But maybe we were wrong. By foregrounding her abstractions—130 paintings, watercolors, drawings, and sculptures—the case can be made for a radicality underlying her popularity, a rigor beneath the flowers. And seen through the eyes of today’s younger artists, O’Keeffe’s brand of American art looks interesting again, specific and local amid globalism’s anyspacewhatever, late, late modernism.

  • Anne Truitt, First, 1961, latex on wood, 44 1/4 x 17 3/4 x 7". © Estate of Anne Truitt/Bridgeman Art Library.

    Anne Truitt, First, 1961, latex on wood, 44 1/4 x 17 3/4 x 7". © Estate of Anne Truitt/Bridgeman Art Library.

    Anne Truitt: Perception and Reflection

    Hirshhorn Museum and Sculpture Garden
    Independence Avenue at Seventh Street, SW
    October 8, 2009–January 3, 2010

    Curated by Kristen Hileman

    With this retrospective, Anne Truitt, who died in 2004, finally gets the full treatment. Included will be several of the painted wooden abstractions that caught Clement Greenberg’s eye in the late 1960s, eliciting comparisons to Donald Judd and Robert Morris, as well as lesser known work from the succeeding three decades, when she experimented with metal fabrication, augmented her signature columnar forms with horizontal extensions, and developed a two-dimensional practice. From the beginning, Truitt insisted on the importance of referentiality and color—both troublesome to the Minimalists with whom she is often grouped—in seeking “maximum meaning in the simplest possible form,” an objective so deceptively straightforward it requires the cognitive acrobatics of a koan. The show is accompanied by the artist’s first monograph, with essays by curator Hileman and art historian James Meyer.

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

    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.

  • Susan Rothenberg, Cabin Fever, 1976,
acrylic and tempera on canvas, 67 x 84 1/8". © 2009 Susan Rothenberg/Artists Rights Society (ARS), New York.

    Susan Rothenberg, Cabin Fever, 1976,
    acrylic and tempera on canvas, 67 x 84 1/8". © 2009 Susan Rothenberg/Artists Rights Society (ARS), New York.

    Susan Rothenberg

    Modern Art Museum | Fort Worth
    3200 Darnell Street
    October 18, 2009–January 4, 2010

    Miami Art Museum
    101 West Flagler Street
    October 15–January 9, 2010

    Georgia O'Keeffe Museum
    217 Johnson Street
    July 10, 2013–May 16, 2010

    The Phillips Collection
    1600 21st Street NW
    June 15–September 30, 2010

    Curated by Michael Auping

    The earliest of the twenty-five canvases in this exhibition (organized with the Georgia O’Keeffe Museum in Santa Fe, New Mexico) date from the mid-1970s, when a group of works on horse themes catapulted Susan Rothenberg to the forefront of the New Image painters. Long settled in Galisteo, Texas, Rothenberg has for some time employed a much smaller, stitch-like stroke, a mode resistant to the “frozen motion” (as the artist describes it) of the equine ideogram on which her considerable reputation rests. Absorbed by the small wonders of Texan domestic life as well as by the state’s vast landscape, she now makes paintings that appear eccentrically Impressionist, with a characteristic loss of edge as figures and grounds meld into one another owing to her agile and flickering touch.