• Dana Schutz, Autopsy of Michael Jackson, 2005, oil on canvas, 60 x 108".

    “Dana Schutz: If the face had wheels”

    Denver Art Museum
    100 West 14th Avenue Pkwy
    November 10, 2012–January 13, 2013

    Miami Art Museum
    101 West Flagler Street
    January 15–February 26, 2012

    Neuberger Museum of Art, Purchase College
    735 Anderson Hill Road Purchase College, SUNY
    September 25–December 10, 2011

    Curated by Helaine Posner

    Dana Schutz paints with directness and expediency, and her work has an exhilaration that comes from giving form to internal feelings. She is an American symbolist who is sometimes mistaken for a realist. Her paintings often depict scenes that are absurd, goofy, or grotesque: things seen in the mind’s eye. A woman eating her own arm, a nude man lying prone in the desert, someone caught midsneeze— the pictures revel in the power of pictorial visualization. Schutz has a winning curiosity about strange forms that the self, and self-destruction, can take; you can imagine her saying, “Nothing human is foreign to me.” This survey, with more than forty paintings and drawings made over the past decade, will prove Schutz to be that rare thing: a maverick leading the way in the mainstream.

  • Clay Geerdes, Cockettes Photo, 1972, color photograph, 32 x 24". From “West of Center,” MCA Denver.

    “West of Center: Art and the Counterculture Experiment in America, 1965–1977”

    Museum of Contemporary Art, Denver (MCA DENVER)
    1485 Delgany Street
    November 10, 2011–February 19, 2012

    Curated by Adam Lerner and Elissa Auther

    The Happenings and Coalitions of the New York avant-garde are well known; less so their counterparts from the western US. In a concerted effort to redress this imbalance, “West of Center” assembles more than 130 artworks and artifacts from this highly experimental moment, investigating the extension of aesthetic thought outside of its comfort zone via hybridized modes of social, political, and ecological intervention by collective groups working left of the Continental Divide. Moving between the workshops of Anna and Lawrence Halprin, the media events of Ant Farm, and the agitprop posters of Black Panther Emory Douglas, with stops along the way for Drop City eco-aesthetics and psychedelic light shows, this exhibition (and its catalogue with two dozen contributors) will fill in some blanks in this era’s cultural history while also serving as a timely reminder of what artists can do in the absence of a viable market for art.