previews

  • Larry Clark, Jonathan Velasquez, 2004, color photograph.

    Larry Clark

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    July 19, 2013–January 2, 2011

    Curated by Sébastien Gokalp

    Larry Clark’s never-never land is the everyman’s nightmare. Adolescent burnout, teenage turpitude, drugs, sex, American decay: The vigilant Clark limns a familiar car-crash narrative, as much fodder for the moralists as morality tale. “Once the needle goes in it never comes out,” he writes bleakly in the preface to Tulsa (1971), his first (and classic) book of documentary photography. Recently he’s lightened up a bit, his movie Wassup Rockers (2005) and photographic series “Los Angeles,” 2003–2006 evincing a more avuncular spirit. This retrospective rounds up some fifty years of his efforts to tell the world its kids’ secrets, including a 16-mm film from 1963, never before publicly shown. Demonstrating the unique French appetite for the American story, this show will also occasion the first monograph on Clark’s work, flush with essays by multiple contributors.

  • De Stijl (Georges Vantongerloo), Composition, 1917-1918, oil on canvas, 8 x 10".

    Mondrian in Paris: 1912-1938

    Centre Pompidou
    Place Georges-Pompidou
    December 1, 2010–March 21, 2011

    Curated by Brigitte Leal

    Piet Mondrian spent the bulk of his career in Paris (1912 to 1938, minus the World War I years), sublimating its traffic and jazz into the “dynamic equilibrium” of his paintings. Yet the French ignored their famous Dutch resident for far too long, and his work is still barely represented in his adopted city. This retrospective, comprising some eighty works from the painter’s Paris years, will be paired at the Pompidou with a substantial De Stijl exhibition (curated by Frédéric Migayrou and simultaneously on view), and together they promise a corrective, offering an intensive look at Mondrian’s formal development and a complementary account of the extroverted movement, cutting across disciplinary and international borders, that he helped to launch. The link between the two shows will be a reconstruction of Mondrian’s rue du Départ studio—a work of art in itself.

  • André Kertész, Satiric Dancer, 1926, black-and-white photograph, 9 x 7".

    André Kertész

    Gropius Bau
    Niederkirchnerstraße 7
    June 1–September 1, 2011

    Jeu de Paume
    1 place de la Concorde
    September 28, 2010–February 6, 2011

    Fotomuseum Winterthur
    Grüzenstrasse 44 & 45
    February 25–May 22, 2011

    Curated by Annie-Laure Wanaverbecq

    André Kertész has hardly lacked for intelligent attention in recent years. (A wide-ranging retrospective toured in 2005.) But as his career was nearly as long and eventful as his life (he died at ninety-one in 1985), this exhibition of some three hundred photographs— from early work shot while he was serving in the Austro-Hungarian Army to his late New York Polaroids—nonetheless promises both new material and new perspectives. Organized chronologically and punctuated by self-portraits, the show follows Kertész’s parallel lives as a witty, poetic avant-gardist and a busy pioneer of personal photo reportage. Books and an extensive selection of magazines supplement the framed images, providing an unusually broad view of the artist as working photographer.

    Travels to the Fotomuseum Winterthur, Zurich, Feb. 25–May 22, 2011; Martin-Gropius-Bau, Berlin, June–Sept. 2011.