• Charles LeDray, Party Bed, 2006-2007, mixed media, 25 3/4 x 19 1/4 x 40 1/2". Photo: Tom Powel.

    Charles LeDray: workworkworkworkwork

    Institute of Contemporary Art

    July 16–October 17

    Whitney Museum of American Art
    99 Gansevoort Street
    September 18–February 13

    Curated by Randi Hopkins

    New York–based Charles LeDray is a self-taught artist whose practice defies the category’s savant stereotype. Yes, he uses traditional craft techniques to produce work of visionary intensity. True, he commands an idiosyncratic oeuvre that includes microscaled clothing and furniture. And, admittedly, he has made objects incorporating hand-carved human bone, tapping into tropes of primitivism and outsider art. But as this show, which gathers fifty-odd sculptures and installations from the past twenty- five years, demonstrates, LeDray also possesses a sophisticated understanding of the contemporary scene. A master embroiderer and potter with a talent for fine and affecting detail, he turns age-old methods to deathless ends, probing the intersection of individual and collective imagination. Travels to the Whitney Museum of American Art, New York, Nov. 18, 2010–Feb. 13, 2011.

  • Mark Bradford, A Truly Rich Man is One Whose Children Run Into His Arms When His Hands are Empty, 2008, mixed media collage on canvas, 102 x 144".

    Mark Bradford: You're Nobody (Til Somebody Kills You)

    Institute of Contemporary Art

    November 19–May 13

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    June 1–October 1

    Wexner Center for the Arts
    The Ohio State University 1871 North High Street
    May 8–August 15

    Dallas Museum of Art
    1717 North Harwood
    October 6–January 15

    Curated by Chistopher Bedford

    An incisive archaeologist of the street, Mark Bradford is best known for his wall-size, often cartographic paintings incorporating the collage and décollage of scavenged urban detritus. This ten-year survey will foreground those works while highlighting significant new pieces in sculpture, film, and other media. The rough-hewn installation Pinocchio Is on Fire, 2010, for example, employs sound and mock interviews to unearth historical events and cultural phenomena that have affected the African-American community in Los Angeles. The accompanying catalogue includes essays by Robert Storr, Hilton Als, and the curator, among others. _Travels to the Institute of Contemporary Art, Chicago, June–Sept. 2011; Dallas Museum of Art, Oct. 16, 2011–Jan. 15, 2012; San Francisco Museum of Modern Art, Feb. 18–May 20, 2012.

  • Gabriel Kuri, Untitled (Jamais), 2006, ticket stubs on vintage magazine page, 10 1/4 x 10".

    Gabriel Kuri: Nobody Needs to Know the Price of Your Saab

    Institute of Contemporary Art

    February 3–July 4

    Blaffer Art Museum, University of Houston
    120 Fine Arts Building
    August 28–November 12

    Curated by Claudia Schmuckli

    With sculptures, tapestries, and collages made over the past twelve years, Gabriel Kuri’s first solo exhibition in the United States puts on view his explorations of the circulation of objects within global flows of information, labor, and capital. First gaining recognition in Mexico City around the turn of the millennium and currently working there and in Brussels, Kuri is best known for a series begun in 2003 for which he had supermarket receipts handwoven by artisans from Guadalajara, combining the incidental and throwaway with the meticulously handcrafted. Typifying the artist’s unexpected combinations of high and low, a sequence of more recent works features marble slabs topped with everyday items such as parking tickets, banknotes, aluminum cans, and courtesy soaps from hotels. Travels to the Institute of Contemporary Art, Boston, Feb. 3–July 4, 2011.