previews

  • Gino de Dominicis, Calamita Cosmica (Cosmic Magnet), 1990. polstyrene, resin, iron, vinyl, glue, dimensions variable.

    Gino de Dominicis, Calamita Cosmica (Cosmic Magnet), 1990. polstyrene, resin, iron, vinyl, glue, dimensions variable.

    Gino de Dominicis

    MAXXI - Museo nazionale delle arti del XXI secolo
    Via Guido Reni 4A
    May 30–November 7, 2010

    Curated by Achille Bonito Oliva

    The meaning of the “AXXI” in MAXXI is “arts of the 21st century,” yet this new museum, having asked Zaha Hadid, no less, to design its building, is opening with a show on Gino de Dominicis, born 1947, died 1998. Perverse? No doubt. But if Italy seems to have its own sense of time, de Dominicis certainly did. His work, in many media, ranges in reference from ancient Sumer to interplanetary space, and though its enigmas are heavily deliberate, they remain unsolved. The centerpiece of this 130-work retrospective, spanning the entirety of de Dominicis’s career, will be the amazing Calamita Cosmica (Cosmic Magnet), 1990—a double of the artist’s skeleton, anatomically exact except that it has a conical nose and is nearly eighty feet long.

  • Ellsworth Kelly, Red Curve in Relief 2009, oil on canvas, two joined panels. 78 x 58 x 2 5/8".

    Ellsworth Kelly, Red Curve in Relief 2009, oil on canvas, two joined panels. 78 x 58 x 2 5/8".

    Jean-Auguste-Dominique Ingres/Ellsworth Kelly

    French Academy of Rome, Villa Medici
    Viale della Trinità dei Monti, 1
    June 22–September 26, 2010

    Curated by Eric de Chassey

    An exhibition bringing together Neoclassical paragon Jean-Auguste- Dominique Ingres (1780–1867) and modernist master Ellsworth Kelly (born 1923)? Sounds like a reach, but then consider that both artists are epicures of the curve, whether an odalisque’s back or the curve qua curve. Conceived by Éric de Chassey for the Villa Medici— where Ingres was a pensionnaire from 1806 to 1810 and director from 1835 to 1841—the installation is designed in collaboration with Kelly and features six of the living artist’s recent monumental reliefs juxtaposed with resonant portraits by Ingres culled from three major French collections. From this grand vista, one moves on to an alternating selection of each artist’s drawings. The catalogue, in English, French, and Italian, includes essays by the curator and Carter Foster.