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Browse Recent Exhibition Reviews

Susan Davidson, Megan Fontanella, Brandon Taylor, and Jeffrey Warda
Exh. cat. New York: Guggenheim Museum, 2013. 144 pp.; 124 color ills. Cloth $45.00 (9780892074976)

Exhibition schedule: Peggy Guggenheim Collection, Venice, May 26–September 8, 2013; Solomon R. Guggenheim Museum, New York, September 27, 2013–January 5, 2014

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July 17, 2014

Robert Motherwell: Early Collages gathered the artist’s most important works in that medium from 1943 through 1951. Expertly directed by Susan Davidson, senior curator at the Guggenheim, New York, the exhibition included many pieces that had not been shown publicly for decades and demonstrated the pivotal role that collage played in Motherwell’s early career. The artist was unique among those of his generation in creating important collages throughout his life. The first impression yielded by...

Emma Lavigne, ed.
Exh. cat. Paris: Éditions du Centre Pompidou, 2013. 256 pp.; 800 color ills. Cloth €39.00 (9782844266217)

Exhibition schedule: Centre Pompidou, Paris, September 25, 2013–January 6, 2014; Ludwig Museum, Cologne, April 11–July 13, 2014; Los Angeles County Museum of Art, Los Angeles, November 23, 2014–March 8, 2015

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July 10, 2014

Upon entering Pierre Huyghe’s extraordinary retrospective at the Centre Pompidou, curated by Emma Lavigne, the visitor encounters a tall, abstract, concrete sculpture covered with marks of time and material deterioration. The sculpture, titled Mère Anatolica 1, is not by Huyghe but by Parvine Curie, who produced it in 1975 as part of an event at the College Pierre de Coubertin de Chevreuse, a junior high school that Huyghe attended. Huyghe moved the sculpture from its...

Exhibition schedule: Clyfford Still Museum, Denver, January 25–May 12, 2013

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July 10, 2014

A gray day is a good day to visit the Clyfford Still Museum in Denver, Colorado. Against the museum’s cast concrete walls, natural lighting, and textured cement surfaces, Still’s paintings give off a luminous glow that recalls the artist’s own statement, “You can turn the lights out. The paintings will carry their own fire” (Clyfford Still, letter to Betty Freeman, December 14, 1960; Betty Freeman Papers, Archives of American Art, Smithsonian Institution). As a first-generation...

Mark P. McDonald
Exh. cat. London: British Museum and Lund Humphries, 2012. 320 pp.; 350 color ills. Cloth $80.00 (9780714126807)

Exhibition schedule: British Museum, London, September 20, 2012–January 6, 2013; Museo Nacional del Prado, Madrid, March 20–June 16, 2013 (under the title Spanish Drawings from the British Museum: Renaissance to Goya); Art Gallery of New South Wales, Sydney, August 31–November 24, 2013; New Mexico Museum of Art, Santa Fe, December 14, 2013–March 9, 2014

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July 3, 2014

For more than fifty years, studies of Spanish art have disproved the myth that peninsular artists did not draw. While some Spaniards drew very little—most notably El Greco, Francisco de Zurbarán, and Diego Velázquez—others drew a great deal. Francisco de Goya, for example, was a remarkably prolific draftsman. Nevertheless, curators and historians in the nineteenth and early twentieth centuries came to assume that the scarcity of Spanish drawings in European collections compared to those by...

Gabriel Pérez-Barreiro, Richard Shiff, and Robert Storr
Exh. cat. Austin: University of Texas Press and Blanton Museum of Art, 2013. 152 pp.; 113 color ills. Cloth $60.00 (9780292753112)

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Exhibition schedule: Exhibition schedule: Fundação Iberê Camargo, Porto Alegre, September 1–November 18, 2012; Pinacoteca do Estado de São Paulo, São Paulo, February 7, 2013–April 7, 2013; Blanton Museum of Art, Austin, October 27, 2013–January 12, 2014
July 3, 2014

The first career retrospective of Waltercio Caldas, The Nearest Air: A Survey of Works by Waltercio Caldas, at the Blanton Museum of Art, and co-organized with the Fundação Iberê Camargo, was shaped by two framing devices before the viewer even set eyes on the art. First, upon entering the museum the visitor was offered headphones and an iPod to listen to music selected by the Brazilian artist. The playlist featured Brazilian bossa nova, jazz, and...

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Exhibition schedule: Huntington Library, Art Collections, and Botanical Gardens, San Marino, August 17, 2013–January 6, 2014
July 3, 2014

This international loan exhibition presents a nuanced understanding of Franciscan missionary Junípero Serra's life and work in California, contextualizing it within a broader discussion of the Spanish colonial enterprise in New Spain (the formal name of Spanish colonial North America, the Caribbean, and the Philippines, including parts of what is today California, Arizona, New Mexico, Texas, Louisiana, and Florida until Mexican independence in 1821). Born in Petra, Mallorca, in 1713, Serra took vows as a...

Constance M. Lewallen and Karen Moss
Exh. cat. Berkeley and Newport Beach, CA: University of California, Berkeley Art Museum and Pacific Film Archive and Orange County Museum of Art, 2011. 320 pp.; 64 color ills.; 123 b/w ills. Cloth $39.95 (9780520270619)

Exhibition schedule: Orange County Museum of Art, Newport Beach, CA, October 9, 2011–January 22, 2012; University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, February 29–June 17, 2012; Morris and Helen Belkin Art Gallery, Vancouver, September 28–December 9, 2012; SITE Santa Fe, Santa Fe, February 23–May 20, 2013; Bronx Museum of the Arts, New York, June 20–September 8, 2013; Smart Museum of Art, Chicago, October 3, 2013–January 12, 2014

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June 26, 2014

It is appropriate that State of Mind: New California Art Circa 1970, the wonderful, timely, necessary exhibition curated by Constance Lewallen and Karen Moss, was at the Bronx Museum of the Arts, which in the context of the New York art world is as far away psychologically from the gallery districts of Chelsea and the Lower East Side and the museums of Midtown and the Upper East Side as Los Angeles and San Francisco and...

Gloria Groom, ed.
Exh. cat. Chicago, New York, and Paris: Art Institute of Chicago, Metropolitan Museum of Art, and Musée d’Orsay, 2012. 336 pp.; 478 color ills. Cloth $65.00 (9780300184518)

Exhibition schedule: Musée d’Orsay, Paris, September 25, 2012–January 20, 2013 (under the title L’impressionnisme et la mode); Metropolitan Museum of Art, New York, February 26–May 27, 2013; Art Institute of Chicago, Chicago, June 26–September 29, 2013

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June 26, 2014

During its time at the Musée d’Orsay L’impressionnisme et la mode elicited a flurry of anxious reviews from French critics and journalists, who sketched connections between the museum’s approximately twenty-eight-million-dollar facelift, the decline of public funding for museums, the institution’s increasingly liberal loan policy, and the need to generate revenue through ticket sales and private sponsorships—which, in the case of L’impressionnisme et la mode, was fittingly provided by Christian Dior and the French multinational luxury...

Lisa Phillips and Massimiliano Gioni, eds.
Exh. cat. New York: New Museum and Skira Rizzoli, 2013. 248 pp.; many color ills. Cloth $75.00 (9780847841790)

Exhibition schedule: New Museum, New York, NY, October 2, 2013–January 12, 2014

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June 19, 2014

Chris Burden: Extreme Measures at the New Museum, the Los Angeles-based artist’s first major museum exhibition in the United States in twenty-five years and his first solo museum show in New York, is a boy’s dream come true. Organized by Lisa Phillips with Massimiliano Gioni and Jenny Moore, the show presents a grown-up man playing with toys. The difference is that, this time around, Burden’s adolescent universe gets a big injection of money, engineering, and...

College Art Association, 2013.

Exhibition schedule: Scottsdale Museum of Contemporary Art, AZ, January 26–April 28, 2013

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June 12, 2014

What to do with Paolo Soleri (1919–2013)? For the last half-century, the work of the Italian-born architect has seemingly refused to conform to the stylistic and theoretical concerns of the times. That is, until recently, when Cosanti, the foundation he established, began making efforts to transform the general perception of his work from one of an arts-and-crafts practice to that of visionary sustainable design. For the discipline of art history, however, Soleri’s legacy is important,...