Museum of Contemporary Art Chicago (MCA Chicago)
    220 East Chicago Avenue
    September 29, 2018–March 10, 2019

    Curated by Michael Darling

    Across the past two decades, the provocatively ecumenical Italian-born, London-based artist Enrico David has forged a singular practice that proceeds from drawing to a dizzying array of other media. The human body is almost always present—whether considered in works on paper, paintings, tapestries, installations, or the difficult-to-pigeonhole sculptures for which the artist is perhaps best known—but his figural forms inevitably gesture as much to the psychological as to the corporeal. This major survey will include some fifty works showcasing both David’s mastery of a wide range of materials and styles and his deeply personal iconography. “Gradations of Slow Release” will be accompanied by a catalogue featuring an essay by the curator, a conversation between David and Mark Beasley (media and performance-art curator at the Hirshhorn Museum and Sculpture Garden), and a visual contribution by the artist. Travels to the Hirshhorn Museum and Sculpture Garden, Washington, DC, April 18–September 2, 2019.

  • “HAIRY WHO? 1966–1969”

    The Art Institute of Chicago
    111 South Michigan Avenue
    September 27, 2018–January 6, 2019

    Curated by Mark Pascale and Thea Liberty Nichols with Ann Goldstein

    The Hairy Who, a self-styled group of six graduates from the School of the Art Institute of Chicago—Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum—mounted six exhibitions between 1966 and 1969 (three in Chicago and one each in San Francisco, New York, and Washington, DC). These were highly sophisticated, skilled, and stubbornly independent artists who prioritized language building and imaginative invention to produce primarily figurative work that delved into sex, ecstatic states, class structures, and the absurd. This exhibition features 220 pieces, encompassing paintings, drawings, sculptures, and ephemera, and is the first survey to focus solely on the group. Sadly, the show is not traveling, but it should be seen in person. Reproductions inevitably foreground the works’ graphic nature at the expense of their delicate, finely painted surfaces and complex arrangements. The catalogue presents both the first complete list of objects in each of those six now-legendary exhibitions and numerous works in reproduction for the first time. It will provide another crucial platform for future scholarship about this hugely influential and still-vital group of artists.