• “The Way of the Shovel: Art As Archaeology”

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    November 9, 2013–March 9, 2014

    Curated by Dieter Roelstraete

    Addressing the recent historiographic turn in artistic practices through works made in the last two decades by thirty-three artists, including Joachim Koester, Deimantas Narkevičius, and Hito Steyerl, MCA curator Dieter Roelstraete frames this pervasive interest in countermemory as a critical response to a “cultural pathology of forgetting” that emerged in the post-9/11 Bush era. In addition to gathering examples of laborious archive-based practices (Mark Dion), obsessions with obsolete display technologies (Tacita Dean), and reinvestigations of the after- effects of Communist institutions in Eastern Europe (Phil Collins, Anri Sala), the show will position Robert Smithson as a key model for the artist as researcher. Moyra Davey’s close-ups of the deteriorated surfaces of pennies and LaToya Ruby Frazier’s portraits of abandoned buildings in Braddock, Pennsylvania, meanwhile, will introduce distinctly American perspectives to the paradoxical mode of contemporaneity presented here as “The Way of the Shovel.”

  • Max Kozloff, Joyce Kozloff, 1987, C-print, 19 1/8 x 15".

    Max Kozloff, Joyce Kozloff, 1987, C-print, 19 1/8 x 15".

    “Max Kozloff: Critic and Photographer”

    The Art Institute of Chicago
    111 South Michigan Avenue
    October 5, 2013–January 5, 2014

    Curated by Michal Raz-Russo

    Max Kozloff should be well known to longtime Artforum readers, as he has written for the magazine on and off since 1964 and most recently just last September. In the mid-1970s, when he spent some years as Artforum’s executive editor, he began to focus his writing on photography, and at around the same time he became a photographer himself. Now the Art Institute of Chicago is presenting a show of around eighty of his pictures. Also on hand will be a selection of Kozloff’s essays and a group of works by photographers about whom he has written, providing an unusual opportunity to explore an artist’s visual concerns through both his aesthetic models and his own words. The real draw, though, will be Kozloff’s photographs, and their beautiful treatment of color—which for him, he has said, “is tenderness.”