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“Hilma af Klint: Paintings for the Future”

through January 27, 2019
In 1908, the famed mystic Rudolf Steiner advised Swedish visionary artist Hilma af Klint (1862–1944) not to show her works for fifty years; in fact, her pioneering abstractions—predating the nonobjective work of Kandinsky, Malevich, and Mondrian—were not publicly exhibited until 1986. This exhibition presents 160 works in conjunction with recent paintings by American artist R.H. Quaytman.
Image: Hilma af Klint, Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17), 1915, from the SUW/UW Series (Serie SUW/UW), oil on canvas, 59 1/4 x 59 1/2 inches. Copyright © The Hilma af Klint Foundation, Stockholm. Photo: Albin Dahlström, the Moderna Museet, Stockholm.

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EDITORS’ PICKS

through December 15, 2018

Padded with foam and felt, encrusted with eggshells, licked with scraps of colorful latex, studded with bricks, and bristling with toilet plungers, Atlanta-based artist Katya Tepper’s shaped wall reliefs have the graphic punch of billboards, the dynamism of Elizabeth Murray’s painting, and the material inventiveness of Thornton Dial’s assemblages. Simultaneously evoking flayed bodies and strip mall signage, they pulse with exuberant, stubborn, life.

Image: Katya Tepper, Hysteric Sign (Ribbed Tomato ’n Grapes), 2018, industrial felt, caulk, epoxy, latex rubber, silicon, cloth and dyed cloth, wine corks, plastic and wooden thread spools, thread, quilting pins, plastic bottles, foam, wood, hardware,and acrylic paint, 104 x 133 x 11 inches. Photo: Marc Tatti. Courtesy of the artist and White Columns, New York.
through March 11, 2019

Cameron Rowland creates installations of existing objects and documents that expose America’s inequities, particularly those deriving from the poisonous legacy of slavery. The artist’s 2016 show at New York’s Artists Space, for example, consisted of examples of commercial goods, including office desks and firefighting suits, made by inmates—a disproportionate number of whom are African American men incarcerated for petty crimes—working for less than minimum wage in state prisons; these were accompanied by a brochure tracing the roots of what has been called the re-enslavement of black Americans. Rowland’s commissioned project for The Museum of Contemporary Art in Los Angeles brings together items such as an antebellum tax record; a MOCA donor plaque acknowledging the patronage of the Community Redevelopment Agency of Los Angeles; and objects seized by police through the process of civil asset forfeiture to examine the racist dimensions of state and market forces’ property “accumulation by dispossession.”

Image: Cameron Rowland, “D37,” Museum of Contemporary Art, Los Angeles, 2018 (installation view). Courtesy of the artist and ESSEX STREET, New York.
through February 24, 2019

Part political art and part political action, Cuban artist Tania Bruguera’s work has taken myriad forms, among them a 2014 public performance in which she invited everyday Cubans to step up to a podium in Havana’s Revolution Square and speak their minds (the event was canceled by Cuban authorities, who also arrested several would-be participants) as well as a storefront community center in New York City offering services to recent immigrants. In 2008, Bruguera had policemen on horseback storm Tate Modern’s Turbine Hall and corral surprised visitors into the center of the gallery—transforming audience members into state-controlled citizens, according to the artist. This season, Bruguera returns to Tate Modern with a new commissioned piece, involving a heat-sensitive floor,  expanding on her concept of Arte Útil (art as a social tool).

Image: Installation view of “Tania Bruguera, Hyundai Commission,” Turbine Hall, Tate Modern, 2018. Photo copyright © Tate photography (Andrew Dunkley).
through December 31, 2018

At seventy-seven,Tadao Ando shows no sign of slowing down. The self-taught Japanese architect recently completed his first condominium in New York, named for its location, 152 Elizabeth Street, and is currently transforming a nineteenth-century Parisian stock 
exchange, the Bourse de Commerce, into an art gallery. Models for this latest project and sixty-nine older buildings, such as the iconic concrete Church of Light (1994) outside Osaka, are on display in the Centre Pompidou’s exhibition, along with 180 photographs and drawings documenting Ando’s globe-spanning career.

Image: Nobuyoshi Araki, Portrait of Tadao Ando. Copyright © Nobuyoshi Araki. Courtesy of the artist and the Centre Pompidou.

VOICES

Art in America talks to artists, curators, and other leading figures about their favorite current exhibitions.

Phillip March Jones on six shows in New York [12/10/18]

“You know it when you see it.” Read More »
Image: Paa Joe, [Fort] Gross-Friedrichsburg – Princestown. 1683 Brandenburg, 1717-24 Ahanta, 1724 Neths, 1872 Britain, 2004–2005 and 2017, emele wood and enamel, 40 x 100 x 70 inches. Courtesy of the artist and Jack Shainman Gallery, New York. Photo copyright © Paa Joe, courtesy of the artist and Jack Shainman Gallery, New York.

Artist Anna Betbeze on three shows in Los Angeles [posted 10/26/18]

“The works I’m most attracted to, that make the most sense to me at this moment, are by artists who are looking deeply at our broken world and trying to reconfigure it.” Read More »
Image: Pauline Boudry/Renate Lorenz, Toxic, 2012. Installation with super 16mm film / HD, 13 minutes, and archive. Courtesy of the artists.

Writer Allie Biswas on “Adam Pendleton: Our Ideas,” at Pace [posted 11/2/18]

“The importance of words is immediately noticeable in the artist’s current exhibition at Pace.” Read More »
Image: “Adam Pendleton: Our Ideas,” installed at Pace Gallery, 6 Burlington Gardens, London, October 2-November 9, 2018. From left: Black Dada (A), 2018; Midnight (A Victim of American Democracy), 2017; System of Display, U (CULTURE/Sonia Delaunay, study for mosaic design, 1955), 2018; System of Display, O (MOVING/Arabia ceramics), 2018; Our Ideas #2, 2018; partial view of Our Ideas #3, 2018. Copyright © Adam Pendleton, courtesy of Pace Gallery. Photo: Damian Griffiths.

Photographer Dawoud Bey on two shows in New York [published 08/09/2018]

“I get back to my New York City hometown periodically, and more often than not I’m drawn there by exhibitions that I know will haunt me if I miss them.” Read More »
Image: Maren Hassinger, Monuments, 2018, eight site-specific sculptures in Marcus Garvey Park, Harlem, dimensions variable. Courtesy the artist and Susan Inglett Gallery. Photo: Adam Reich.

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HIGHLIGHTS FROM OUR SISTER PUBLICATIONS

Engineered Content

By Eleanor Heartney
Mel Chin creates deeply researched multilayered works, tracing the links between history, science, mythology, literature, high art, and pop culture.

Aruna D’Souza and Laura Raicovich in Conversation

By Andy Battaglia
The author of Whitewalling: Art, Race, & Protest in 3 Acts and the former Queens Museum director talk over dumplings in Flushing.

Breaking new ground

By Elizabeth Pochoda
Picturing Mississippi at the Mississippi Museum of Art in Jackson and a related exhibition at Tougaloo College are events in museum history as much as landmarks in the state’s history.

Works on Paper

By Paul Clemence
Known for its radical day-glo colors, scratch-and-sniff papers, and edgy motifs, Flavor Paper has revolutionized the wallpaper industry, from its bold designs to even the way wallpaper is sold.

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