Angel Otero: Everything and Nothing
Contemporary Arts Museum Houston
Angel Otero: Everything and Nothing is a ten-year survey that chronicles the evolution of the artist’s practice to date. The exhibition will feature four distinct bodies of work created between 2006 and 2016, including his iconic skin and transfer paintings, early paintings created using silicon and collage, as well as his sculptures created using porcelain and steel.
Jennifer Steinkamp: Madame Curie
Museum of Contemporary Art San Diego
Jennifer Steinkamp’s immersive video installation, Madame Curie, was commissioned by MCASD in 2011 for the downtown location’s Farrell Gallery. The work was inspired by Steinkamp’s research into atomic energy, atomic explosions, and the effects of these forces on nature. Marie Curie was the recipient of two Nobel Prizes for creating the theory of radioactivity, and discovering radium and polonium. She was also an avid gardener and lover of flowers. An enveloping, panoramic work, this piece activates a field of realistically rendered moving flowers and flowering trees, drawn from a list of over 40 plants mentioned in Marie Curie’s biography, written by her daughter, Eve Curie. Through August 20, 2017.
Mickalene Thomas: Waiting on a Prime-Time Star
Newcomb Art Museum, Tulane University, New Orleans, LA
Waiting on Prime-Time Star will highlight Thomas’ strategy of working across different media—whether collage, painting, print, film, or installation—as part of her creative process. Blurring the boundaries between representation and abstraction, she, in turn, confronts the objectification of women while simultaneously offering a vocabulary for redefining notions of femininity. January 18-April 9, 2017.
Kader Attia: Reflecting Memory
Mary & Leigh Block Museum, Evanston, IL
The Block Museum will present an exhibition of newly commissioned work by the internationally acclaimed French-Algerian artist Kader Attia (b. 1970), based in part on the artist’s research in the collections of Northwestern University’s Herskovits Library of African Studies and interviews with university faculty across disciplines. Conceived as an installation, the exhibition will feature collage, a sculpture, and an extended film-essay. Taken as a whole, the works will expand on Attia’s long-term exploration of trauma and repair, both of the body and of society, and will probe the legacies of colonialism, slavery, and xenophobia in our time.
Mickalene Thomas: Do I Look Like a Lady?
MOCA presents Mickalene Thomas: Do I Look Like a Lady?, an exhibition of new and recent work by New York–based artist Mickalene Thomas. For this exhibition, Thomas has created a group of silkscreened portraits to be featured alongside an installation inspired by 1970s domestic interiors, and a two-channel video that weaves together a chorus of black female performers, past and present, including standup comedians Jackie “Moms” Mabley and Wanda Sykes, and pop-culture icons Eartha Kitt and Whitney Houston. An incisive, moving, and at times riotous portrait of the multiplicities of womanhood, Do I Look Like a Lady? builds upon Thomas’s ongoing reconsideration of black female identity, presentation, and representation through a queer lens. October 16, 2016-February 6, 2017.
Erwin Wurm: The Philosophy of Instructions
Bangkok Art & Culture Centre, Bangkok, Thailand
With the current political and social climate, it marks up the stage of transition not only links with what goes on around the SEA region but also parts of the world where the contemporaneity is constituted with a shift of systematic of thoughts at present. Whether it is neo-conservative uprising, progressive evolution, it paves the context for the exhibition to broaden beyond existing boundaries to reassess current issues at hand in their contemporaneous entirety. With the keywords such as humour, superiority, irony, mass, and contradiction are some among many, suggested to encourage new thoughts of self in relation to society. Through the sculptural works of the world famous artist, Erwin Wurm, they offer various depths of philosophy with subliminity placing audience at his central core to explore a light and humorous side yet critical state of self. The intention of the exhibition is to present the artworks of the notable artist who has long history in invstigating the possibility of art on the relative planes of self in relation to the reality in the contemporary society. Through February 26.
Jennifer Steinkamp: Botanic 3
McNay Art Museum, San Antonio, TX
From August 30, 2016-January 8, 2017, the McNay Art Museum will present selected works from Jennifer Steinkamp's Botanic series. Created in 2015, Steinkamp’s newest work features flowering plants animated inside a cubic framework that utilizes the outer edge of the video as a container, mimicking the boundaries of a garden. Flowers are blown by an unseen force, as plants collide both with each other and the edges of the frame, breaking apart into seeds, twigs, leaves, and petals. The animations loop forward and back—transitioning between breaking apart and coming back together— eliminating any notion of narrative, as is characteristic in Steinkamp’s work.
Tony Oursler: Imponderable
From June 16, 2016-April 16, 2017 the Museum of Modern Art, New York, will screen Tony Oursler’s film Imponderable—an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a “5-D” cinematic environment utilizing a contemporary form of Pepper’s ghost—a 19th-century phantasmagoric device—and a range of sensory effects, Imponderable is an immersive feature-length film inspired by Oursler’s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Imponderable will be shown in conjunction with selections from Oursler’s archive relating to the film.
In Februrary 2015, The Whitworth reopened its doors to the public after a major expansion project by architects MUMA. Before building works began a 3D scan was made of the space that is now occupied by the new extension. The scan included the line of London Plane trees that flank the South side of the building. One of these trees had unfortunately died, and was earmarked to be felled. On Gallaccio's first visit to the site the tree had already gone, leaving a noticeable gap in the avenue. Fascinated by the absence of the tree, she studied the architects digital scans with the hope of making a work in response to its loss:
“Usually I would take an existing object and transform it; not making a copy but a new unique object determined by the form and material properties of the original. I am interested here in using the data to produce a sculpture that is a ghost of the real tree, without being a replica.”
Nari Ward: Smart Tree
Inspired by a building adjacent to the High Line that had been transformed into an indoor parking lot, Nari Ward reconfigures a memory from his childhood for his High Line Commission, Smart Tree. Returning to his father’s home in Jamaica after fifteen years away, Ward remembers finding one of two abandoned cars in the front yard sprouting a lime tree. He reimagines this fantastical story for the High Line in the form of a Smart car refinished with strips of tire treads and propped up on cinder blocks. In place of a lime tree, Smart Tree will feature an apple tree growing out of its roof, adapted out of necessity for its North American context. With the car’s cinderblock base representing stasis, and its coating of tire treads suggesting perpetual movement, Ward’s Smart Tree holds up a mirror to the flux surrounding the High Line itself and reminds viewers of the High Line’s history as a major transportation artery in Manhattan.
Human Interest: Portraits from the Whitney's Collection
Whitney Museum of American Art, New York
Lehmann Maupin is pleased to share that Ashley Bickerton's Triple Self-Portrait: All That I Can Be (1996) is included in Human Interest: Portraits from the Whitney’s Collection. The exhibition offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.
Titled Efêmero, OSGEMEOS' latest mural occupies the two outer walls of Pirelli HangarBicocca’s Cubospace, covering a total area of over one thousand square meters. Efêmero is the first large-scale mural in Italy by Brazilian artists OSGEMEOS, and will remain on view through April 2017.
Named 2015 United States Artist Fellow
Lehmann Maupin congratulates Mickalene Thomas on winning a 2015 United States Artists fellowship award!