previews

  • 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 - January 13

    Miami Art Museum
    101 West Flagler Street
    January 15 - February 26

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

    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.

  • Mark Handforth, Rolling Stop, 2008, aluminum, vinyl, acrylic, 96 x 96".

    “Mark Handforth: Rolling Stop”

    Museum of Contemporary Art, North Miami
    770 NE 125th Street
    November 30 - February 19

    Curated by Bonnie Clearwater

    In 1996, MoCA, North Miami launched a program meant to raise the profile of emerging local artists. The first installment was a solo project by Mark Handforth. Since then, Handforth’s work has garnered international recognition, yet he has chosen to remain in Miami, participating in the city’s increasingly dynamic contemporary art scene. This fall, the museum will host its second exhibition of the artist’s work, promising a presentation appropriately larger in scope and ambition, including forty sculptures made since the mid-1990s. Viewers will be afforded the opportunity to connect with the humor and pathos that Handforth brings to vernacular urban materials—from lampposts and street signs to fluorescent light fixtures and metal trash cans—and to enjoy the romantic levity he so slyly smuggles into the formalism of abstract sculpture. A catalogue with an essay by curator Bonnie Clearwater (who brought Handforth to the museum fifteen years ago) and an interview with the artist by Tom Eccles accompanies the show.