Fall Art Preview – Part One
After Labour Day the art world gets back to business, puts away its summer “blockbusters” which may pander a bit to the tourists of the season, and mounts its serious fall exhibitions. This year is no exception and we have rounded up a selection of soon-to-open shows that sound extremely promising. Here’s part one of a select few we anticipate will be worth seeing this fall:
Marian Goodman Gallery
September 12 – October 13, 2012
Marian Goodman’s envy-inducing roster is home to a pantheon of internationally celebrated artists but Gerhard Richter is a giant amongst them. Richter has been revered for decades for his facility in an oeuvre that encompasses astonishingly diverse photorealist as well as monumental abstract paintings. On view in his solo exhibition this fall will be his recent Strip Paintings and a sculpture, 6 Standing Glass Panels, 2002/2011 that extends the conversation between his paintings and glass works that the artist has explored since the mid-1960s. For Richter, his glass panel and steel structure acts as a metaphor for the idea of a painting as a view onto the world. Much of Richter’s work challenges traditional modes of looking in embracing new visual possibilities afforded to us through technological advancements, and the Strip Paintings continue this trajectory of investigation. Based on his Abstract Painting 724-4, 1990, Richter has created his Strip Paintings using digital software which provides a system of chance-based rules to break down his original work and provide new templates of patterns. Richter has long acknowledged the role of accidents and chance-based principles in his practice, stating, “Chance is a given, unpredictable, chaotic, the basis. And we try to control that by intervening, giving form to chance, putting it to use.” Regardless of whether you are aware of the process by which these paintings are created, they promise to be a visual tour de force.
Claes Oldenburg: Strange Eggs
September 20, 2012 – February 3, 2013
The Menil Collection, housed in the famed building designed by Renzo Piano, is the showcase for the extensive private collection of 20th century art amassed by John and Dominique de Menil. While the founders’ collection remains the museum’s biggest draw, the Menil also organizes exceptional temporary exhibitions that are often installed in dialogue with collection works on view. Their latest, Claes Oldenburg: Strange Eggs, focuses on a lesser-known aspect of the celebrated Pop artist’s practice – collage. While Oldenburg may be most famous for his large-scale soft sculptures of everyday objects, he began his career making collages out of commercial advertisements and images taken from newspapers and magazines. For this exhibition, the Menil has collected 18 of these early experimentations created between 1956 and 1958, which reveal the artist’s burgeoning interest in popular culture and the everyday. The exhibition is installed in the Menil’s Surrealist galleries which place Oldenburg’s work in relation to collages by such luminaries as Max Ernst and Yves Tanguy who shared Oldenburg’s interest in making the ordinary appear strange and menacing. If you happen to be in Houston this fall, this exhibition offers an amazing opportunity to view unfamiliar work by one of the 20th century’s most distinguished artists.
Yerba Buena Center for the Arts
The Parade: Nathalie Djurberg and Hans Berg
October 12, 2012 – January 27, 2013
We’ve been fans of Berlin-based, Swedish artist Nathalie Djurberg’s eerie and enthralling stop-motion animations for a while now and were disappointed to miss her significant exhibition at the New Museum in the spring. So we were thrilled to discover that we have another opportunity to view the show when it travels to San Francisco’s Yerba Buena Center for the Arts in October. The Parade, the artist’s largest American exhibition to date, features five new animations scored by her partner and collaborator Hans Berg, and a bevy of sculptural works of birds that bring the bizarre and unnerving images from her videos into three-dimensional form. The visual language that Djurberg employs is decidedly her own and she constructs dense fantasy worlds where fear, transgressive desire, and physical and psychological transformation are manifest and enacted. The Parade represents the artist’s move away from isolated videos to the creation of immersive environments that combine animation, sculpture, music and performance. The last stop on this extremely well received US-tour, The Parade: Nathalie Djurberg and Hans Berg is not to be missed.