• Dorothea Tanning, Canapé en temps de pluie (Rainy-Day Canapé), 1970, tweed, upholstered wood sofa, wool, ping-pong balls, and cardboard, 32 1/4 x 68 1/2 x 43 1/4".

    “In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States”

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    January 29–May 6, 2012

    Curated by Ilene Susan Fort and Tere Arcq

    Clichés and stereotypes should collapse like a house of cards within the abyss of the looking glass in this fresh take on women and Surrealism. Staples from Frida Kahlo and Leonora Carrington will mingle with lesser-known work, including photographs from Rose Mandel and screenprints by Dorr Bothwell, and all will benefit from reframing in terms of politics, myth, and response to place. An accompanying scholarly book, edited by the curators, will provide a critical map for the dizzying range of the exhibition, which comprises nearly two hundred works made between 1930 and 1970 and gathers artists as diverse as Lee Miller and Yayoi Kusama in its scope. That, at least, is consistent with the Wonderland theme, an apt metaphor for the experience of Surrealism reflected backward (and in high heels).

  • Superstudio, The Continuous Monument: Alpine Lakes, project, 1969, collage, colored pencil, and oil stick on board, 18 x 18 1/2".

    “Ends of the Earth: Land Art to 1974”

    MOCA Geffen Contemporary
    152 North Central Avenue
    April 8–July 30, 2012

    Curated by Philipp Kaiser and Miwon Kwon

    Though sometimes superficially portrayed as a collective flight from the mediating structures of cosmopolitan culture, the Land art movement was from its beginnings a wildly heterogeneous range of practices that often craftily exploited the very systems they appeared to critique or eschew. The story of the social, historical, and technological contingency of Land art is the subject of this large-scale thematic exhibition, organized by MoCA senior curator Kaiser and UCLA’s Kwon, a leading historian of site-specific art. Focusing on projects made during the 1960s and ’70s by nearly one hundred artists from around the world, the show is paired with a catalogue featuring essays by the curators and other scholars, as well as contributions from some of the period’s leading figures, including Virginia Dwan, Seth Siegelaub, and Willoughby Sharp.

  • “Mickalene Thomas: The Origin of the Universe”

    ICA - Institute of Contemporary Art, Los Angeles
    Bergamot Station G1 2525 Michigan Avenue
    April 14–August 18, 2012

    Curated by Lisa Melandri

    A kind of visual Vagina Monologues, Mickalene Thomas’s “The Origin of the Universe” will take as its starting point two images that even today are most often kept behind closed doors, metaphoric or literal: Gustave Courbet’s L’Origine du monde, 1866, and Marcel Duchamp’s Étant donnés, 1946–66. Thomas is known for paintings and collages that combine garish multi- patterned and beglittered decors, art- historical echoes and references, and racial and sexual debate, and here she will premiere more than a dozen paintings, conceived as a suite for the occasion, as well as her own reimagining of Duchamp’s infamous installation. In its juicy yet venerated content, this exhibition seems both a logical and a daring next step.