previews

  • George Condo, Spiderwoman, 2002, oil on canvas, 96 x 80".

    George Condo, Spiderwoman, 2002, oil on canvas, 96 x 80".

    George Condo

    Schirn Kunsthalle Frankfurt
    Römerberg
    July 25, 2013–May 28, 2012

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 18, 2011–January 15, 2012

    New Museum
    235 Bowery
    January 26–May 15, 2011

    Museum Boijmans Van Beuningen
    Museumpark 18-20
    June 25–September 25, 2011

    Curated by Ralph Rugoff and Laura Hoptman

    George Condo appeared on the international art scene in the early 1980s with a series of phony old-master paintings, works that borrowed from canonized techniques to render disfigured portraits, subsuming the apparently contradictory tendencies of the moment: a resurgence of figurative painting and a predominant critical discourse on appropriation. At the time, the lines between the two camps seemed solid; in hindsight, the distinctions have grown murky. This exhibition, co-organized by the New Museum and the Hayward Gallery, will portray an artist ahead of his time, featuring some eighty works from Condo’s brash premiere to the present.

  • Salvador Dalí, Aphrodisiac Telephone, 1936, mixed media, 7 x 4 7/8 x 12". From “Surreal Objects: Three-Dimensional Works from Dali to Man Ray.” © Fundació Gala-Salvador Dali/VG Bild-Kunst, Bonn.

    Salvador Dalí, Aphrodisiac Telephone, 1936, mixed media, 7 x 4 7/8 x 12". From “Surreal Objects: Three-Dimensional Works from Dali to Man Ray.” © Fundació Gala-Salvador Dali/VG Bild-Kunst, Bonn.

    Surreal Objects

    Schirn Kunsthalle Frankfurt
    Römerberg
    July 25, 2013–May 29, 2011

    Curated by Ingrid Pfeiffer

    From the foundational penchant for objective chance to Breton’s inquiries into the “situation of the object,” the thing stood as Surrealism’s nexus of materiality and metaphysics, the empirical and the erotic. Comprising roughly 180 pieces, “Surreal Objects: Three-Dimensional Works from Dalí to Man Ray” features Man Ray’s literally rebarbative Gift, 1920/1961, and Dalí’s more anodyne lobster-handled Aphrodisiac Telephone, 1936. Alongside fur-lined crowd-pleasers, notable works often given short shrift—such as Ángel Ferrant’s sculpture and Dorothea Tanning’s soft constructions—also get their due here. How the exhibition will compare to the Victoria and Albert Museum’s design-focused “Surreal Things,” mounted in 2007, remains to be seen; the Schirn promises a broader spectrum of objecthood and its interstices, and consideration of these in the context of later Surrealist theory—a welcome prospect indeed.