previews

  • Allan McCollum, The Shapes Project: Shapes Monoprints (detail), 2005–, framed laser-jet prints, dimensions variable.

    Allan McCollum, The Shapes Project: Shapes Monoprints (detail), 2005–, framed laser-jet prints, dimensions variable.

    Allan McCollum

    Institute of Contemporary Art, Miami (ICA Miami)
    61 NE 41 Street
    March 26–July 12, 2020

    Curated by Alex Gartenfeld and Stephanie Seidel

    Arrangements of Allan McCollum’s iconic Plaster Surrogates, 1982–, occupy museum walls around the world, serving as exemplars of authorial and institutional critique. Yet as this survey of five decades of work will make clear, the artist’s practice now demands a more expansive interpretation. Alongside pieces such as Perfect Vehicles, 1985–, and Over Ten Thousand Individual Works, 1987–, deadpan ideational proxies and imitations of mass-produced abstraction, the show will feature McCollum’s recent collaborations with regional communities and historical institutions. Focusing on production and labor in local contexts, the artist’s geographic explorations reveal an idiosyncratic and visionary practice amid the postmodern critique that frames his oeuvre. Travels to the Mildred Lane Kemper Art Museum at Washington University, Saint Louis, September 25, 2020–January 4, 2021.

  • STERLING RUBY

    Institute of Contemporary Art, Miami (ICA Miami)
    61 NE 41 Street
    November 7, 2019–February 2, 2020

    Curated by Alex Gartenfeld and Eva Respini

    This fall’s hottest collab is Sterling Ruby’s first comprehensive museum survey, co-organized by ICA Boston and ICA Miami. The exhibition—which includes more than fifty paintings, collages, ceramics, and large-scale sculptures spanning 2003 to the present—highlights the range of his material experimentation. In the accompanying catalogue, essays by curators Alex Gartenfeld and Eva Respini and, in particular, an interview with the artist by critic and Texte zur Kunst editor Isabelle Graw grapple with the implications of Ruby’s ever-expanding studio: from site of self-excavation to headquarters for forays into retail design and high-fashion clothing projects. The retrospective isolates Ruby’s greatest hits while eliding the more slippery ventures—such as his videos and experiments in streetwear—that walk the line between critique as practice and critique as (mere?) aesthetic. Travels to the Institute of Contemporary Art, Boston, February 26–May 26, 2020.