previews

  • Rosemarie Trockel, Night Origami, 2008, mixed media, 27 x 23 x 2".

    Rosemarie Trockel, Night Origami, 2008, mixed media, 27 x 23 x 2".

    Rosemarie Trockel

    Kunstmuseum Bonn
    Friedrich-Ebert-Allee 2
    June 2–September 4, 2010

    Kunsthalle Zurich
    Limmatstrasse 270
    July 17, 2013–August 15, 2010

    Curated by Beatrix Ruf

    In the early 1980s, Rosemarie Trockel began making textile “paintings.” Designed by the artist but mechanically fabricated, these knitted-wool canvases feature Playboy bunnies and hammer-and-sickle emblems, undermining clichés of handicrafts as intrinsically feminine and the art object as one-of-a-kind. Such imbuing apparently rational processes with irony remains the basis of Trockel’s complex work. Here artist and curator collaborate on the presentation of some seventy paintings, objects, sculptures, and installations from the 1980s and ’90s to stand in dialogue with new and recent pieces, several conceived for this exhibition. A concurrent retrospective of Trockel’s works on paper opens May 30 at the Kunstmuseum Basel, subsequently merging checklists with the Zurich show when it travels in adapted form to Bonn. Travels to the Kunstmuseum Bonn, June 2–Sept. 4, 2011.

    Translated from German by Oliver E. Dryfuss.

  • Thomas Struth, Crosby Street, New York/Soho, 1978, black-and-white photograph, 17 1/4 x 22".

    Thomas Struth, Crosby Street, New York/Soho, 1978, black-and-white photograph, 17 1/4 x 22".

    Thomas Struth: Photographs 1979-2010

    K20 Grabbeplatz
    Grabbeplatz 5
    February 26–June 19, 2011

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    July 5–September 16, 2011

    Serralves Museum of Contemporary Art
    Rua Dom João de Castro, 210
    October 1, 2011–February 28, 2012

    Kunsthalle Zurich
    Limmatstrasse 270
    July 17, 2013–September 12, 2010

    Curated by Tobia Bezzola, Anette Kruszynski, and James Lingwood

    Asked to pinpoint the essence of photography, Thomas Struth said it was “a communicative and analytical medium,” and his work is a prime example of that rigorous, intellectual approach. One of the most successful graduates of Bernd and Hilla Becher’s Düsseldorf School, Struth is also one of the strictest adherents to its influential version of Neue Sachlichkeit. This three-decade survey rounds up nearly one hundred works, from his earliest, modestly scaled and unpopulated black-and-white streetscapes to the massive color views of thronged museum and cathedral interiors that have come to define his oeuvre, concluding with a series of big new studies of industrial sites.

  • Horst P. Horst, Costume for Salvador Dali’s “Dreams of Venus,” 1939, black-and-white photograph, 7 1/2 X 10".

    Horst P. Horst, Costume for Salvador Dali’s “Dreams of Venus,” 1939, black-and-white photograph, 7 1/2 X 10".

    The Original Copy: Photography of Sculpture, 1839 to Today

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    August 1–November 1, 2010

    Kunsthalle Zurich
    Limmatstrasse 270
    July 17, 2013–May 13, 2011

    Curated by Roxana Marcoci

    In her seminal 1979 essay charting the possibilities for postwar sculpture, Rosalind Krauss pointed to photography’s imbrication within the medium’s “expanded field.” After all, many site-based works migrated from the confines of the white cube only to return to it in the form of photographic documentation. Curator Roxana Marcoci locates this moment within the ongoing—but often overlooked—dialogue between the two mediums in an ambitious exhibition of more than 300 works by 118 artists (Eugène Atget, Constantin Brancusi, Fischli & Weiss, and Rachel Harrison, to name a few) that examines the way photography has informed and challenged our understanding of sculpture from the dawn of modernism to the present day. Travels to the Kunsthaus Zürich, Feb. 25–May 13, 2011.