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“Monochrome: Painting in Black and White”

Stiftung Museum Kunstpalast, Düsseldorf, March 21–July 15, 2018

This exhibition explores its subject from the Middle Ages through the present day. Comprising a selection of around sixty painted objects in a wide variety of materials (canvas, wood, glass, vellum, ceramics, silk, and more), the show includes work by masters of the Northern Renaissance, such as Jan van Eyck and Albrecht Dürer, as well as major modern and contemporary figures like Jackson Pollock and 
Gerhard Richter.

Image: Gerhard Richter, Helga Matura with her Fiancé, 1966, oil on canvas, 78 3/4 × 39 1/2 inches. Museum Kunstpalast Düsseldorf. Copyright © Gerhard Richter 2017. Photo: Museum Kunstpalast – ARTOTHEK.

“Jasper Johns: Something Resembling Truth”

The Broad, Los Angeles, February 10– May 13, 2018

“Discovered” by gallerist Leo Castelli in 1958, Jasper Johns has since become famous for his lexicon of flags, targets, numbers, maps, and light bulbs. Over the artist’s sixty-year career, his open-ended aesthetic, which fosters perceptual ambiguity and semiotic play, has influenced American art movements from Pop to postmodernism. Arranged thematically, this survey presents more than 150 paintings, sculptures, drawings, and prints by the honorary Royal Academician.

Image: Jasper Johns, Target, 1961, encaustic and collage on canvas, 167.6 x 167.6 cm. Copyright © Jasper Johns / VAGA, New York / DACS, London. Photo: Copyright © 2017 The Art Institute of Chicago / Art Resource, NY / Scala, Florence.

“Rachel Whiteread”

through January 21, 2018

The first woman to win the Turner Prize (1993), British artist Rachel Whiteread is known for sculptures that translate negative space into solid form. This midcareer retrospective includes drawings, collages, photographs, and documentation of public projects such as the famed House (1993–94), her concrete cast of the interior spaces of a domestic structure, which was controversially destroyed soon after its completion. Along with new work on view for the first time, the exhibition brings together works from White-read’s first solo exhibition in 1988.

Image: Rachel Whiteread House, 1993. Copyright © Rachel Whiteread. Photo: Courtesy of the artist.


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

Art writer Marcus Verhagen interviewed on “Everything we see could also be otherwise (My sweet little lamb)” at The Showroom [Published 2017/11/02]

This tightly conceived show engages in subversive, mostly ironic ways with gender politics and notions of national allegiance.

Image: Sanja Iveković, New Star / Nova Zvijezda, 1983, collage, printed paper, hair, 14 1/2 x x 20 3/4 inches (framed). Courtesy of Kontakt, the Art Collection of Erste Group and ERSTE Foundation.

Curator Cedar Lewisohn on upcoming shows at some of his favorite artist-run spaces [Published 2017/10/25]

“You don’t always know what you’re going to see, but that’s part of the fun—being surprised and challenged.”

Image: Verity Birt, Deformation Attends Her (film still), 2017. Courtesy of the artist and Res.

2017 Frieze Spotlight curator Toby Kamps on exhibitions around London [Published 2017/10/16]

“I love a good title.”

Image: Vittorio Scarpati, Untitled, 1989. Courtesy of Max Mueller. Photo Credit Andy Keate.

Sculptor Sarah Staton on exhibitions in London [Published 2017/10/06]

“There are two exhibitions currently up in London that I think make a great pairing.”

Image: Christopher Wool, Head, 1992, enamel on aluminum, 107 3/4 x 72 inches. Courtesy Astrup Fearnley Collection, Oslo, Norway.

Diversity Art Forum director Pauline de Souza on “Soul of a Nation: Art in the Age of Black Power” at Tate [Published 2017/10/06]

“‘Soul of a Nation: Art in the Age of Black Power,’ a survey of work made by African-American artists between 1963 and 1983, offers insight into these artists’ practices at a number of levels.”

Image: Emory Douglas, 21 August 1971, “We Shall Survive, Without a Doubt,” 1971, newspaper, 17 1/2 x 22 3/4 inches. Center for the Study of Political Graphics, Culver City, CA. Copyright © Emory Douglas/Artists Rights Society (ARS), New York. Photo courtesy of Emory Douglas/Art Resource, New York.

Critic and curator Jennifer Thatcher on Peter and Andy Holden’s father-and-son collaboration at Artangel [Published 2017/10/05]

“I loved this Artangel exhibition . . .”

Image: Andy Holden, Untitled (Bower), 2017, a recreation of a bowerbird’s bower, with a view of the film A Natural History of Nest Building (2017), by Andy Holden and Peter Holden, through it. In “Andy Holden & Peter Holden: Natural Selection,” September 10–November 5, 2017, Artangel at the former Newington Library, London. An Artangel commission. Photo by Marcus J. Leith.

Artist Cécile B. Evans on shows around London [Published 2017/08/28]

“This summer I noticed a welcome shift in the audiences that art establishments want to talk to and the people being invited to speak to them. The exhibitions on view were likely programmed before Brexit, before the outcomes of various elections and hopefully these are steps towards a longer commitment to diverse programming.”


Hyundai Commission 2017 (Turbine Hall) Superflex

October 2, 2017–April 2, 2018

The EY Exhibition: Impressionists in London

November 2, 2017–April 29, 2018

Wolfgang Tillmans: artist selected exhibition

January 26, 2018–April 15, 2018

The EY Exhibition: Picasso 1932—Love, Fame, Tragedy

March 8, 2018–September 9, 2018


February 9-May 29, 2017
by Gabriel Coxhead

David Hockney is one of the most popular and widely-recognized artists of our time,” states the introductory wall text in Tate Britain’s retrospective––though actually that’s putting it mildly.

October 29, 2016–January 29, 2017
by Elizabeth Fullerton

Born in 1860 to a British father and Flemish mother, Ensor lived in the Belgian seaside town of Ostend for most of his life, apart from the three years he spent at the fine art academy in Brussels. This rootedness to Ostend, a resort popular in the…

Image: James Ensor: Skeletons Fighting over a Pickled Herring, 1891, 6¼ by 8½ inches; at the Royal Academy of Fine Arts.
September 22–December 11, 2016
by Federico Florian

A DIY apparatus composed of pumps, glass jars, porcelain filters, plastic tubes, a copper still, and sundry other items was installed in the first room of Candice Lin’s solo show at Gasworks. An intense, unpleasant smell filled the air.

Image: Candice Lin: System for a Stain, 2016, wood, glass jars, cochineal, copper still, hot plate, and mixed mediums; at Gasworks.