Fall Art Preview – Part Two

September 18th, 2012

The art options are so plentiful this season since institutions the world round are rotating into their fall roster of exhibitions. It’s difficult to decide when there’s so much to choose from, but continuing our preview from last week, here are three more highly anticipated exhibitions opening soon that have piqued our interest:

Thomas Schütte, Bert, Fimo, fabric
Photo: Gino Bühler
© DACS 2012

Serpentine Gallery
Thomas Schütte
September 23 – Nov 18

From its pastoral setting in Kensington Gardens, the Serpentine commands a dynamic program of exhibitions, architectural commissions, and lectures. It`s particularly renowned for its commitment to contemporary programming having worked with established senior artists such as Louise Bourgeois, Bridget Riley and Cindy Sherman and also mounted exhibitions at pivotal moments in artists’ careers cementing the reputation of the likes of Damien Hirst. This fall, it takes on the work of German artist Thomas Schütte focusing on his exploration of the age-old genre of portraiture throughout his career. This exhibition, the first focused just on Schütte`s engagement with this genre, encompasses sculptures, photographs, paintings and drawings, and includes works created over the past two decades as well as new work made specifically for the Serpentine. Schütte, conversant in minimalism and conceptualism, also cites classical sculpture as an enduring influence having spent time studying Roman portraits of emperors at the Capitoline Museum: “I was [in Rome] in 1992, the year there was this peaceful revolution in Italy where the heads of State and a lot of prominent people were being exposed and discredited and sent to jail. So the caricature and the satire [were] a reality…“ Schütte often studies his subjects repeatedly in order to better understand them and his investigations include series portraying acquaintances and friends as well as self-portraits including his Mirror Drawing series, works of intense observation and self-discovery. Combined, the artist`s representation of the possibilities of humanity embrace both the beautiful and the disturbing and tell the story of Schütte`s engagement with the long-standing figurative traditions of art.

Lee Bontecou, Untitled, 1962
Canvas, welded steel and wire construction
57 x 54 1/2 x 22 in. (144.78 x 138.43 x 55.88 cm)
Collection of Manfred Simchowitz

Museum of Contemporary Art, Los Angeles
Destroy the Picture: Painting the Void, 1949–1962
October 7, 2012 – January 7, 2013

LA MoCA had been a recent fixture in the press with the resignation of Chief Curator Paul Schimmel followed by the exit of several notable artists including Ed Ruscha and John Baldessari from its Board – all in protest of the reign of Director Jeffrey Deitch. But there’s still an opportunity to see Schimmel’s curatorial prowess in Painting the Void, 1949-1962 which brings together 100 works by 25 artists working in North America, Europe and Asia, providing an expansive view of the trajectory of painting in the years following WWII. These artists literally destroyed the traditional canvas by tearing, cutting and burning their picture plane, reacting to the devastating aftermath of the war. Challenging the conservative history of the medium they focused on gesture and moving between two and three dimensionality, the artists presented treated their medium flexibly, extending its scope to include performative actions, assemblage and time-based a tions. Several main galleries focus on the works of Lee Bontecou, Alberto Burri, Lucio Fontana, Salvatore Scarpitta, Schozo Shimamoto and Kazuo Shiraga, and Painting the Void stages a dialogue with other practitioners who shared similar strategies contributing to Schimmel’s original thesis that theirs was a coherent movement.

Martha Rosler, Travelling Garage Sale, La Mamelle Gallery, San Francisco, USA, 1977

Museum of Modern Art
Martha Rosler’s Meta Monumental Garage Sale
November 17 – November 30, 2012

Martha Rosler is one of the most inventive and influential artists working today. Having emerged in the 1970s with her provocative and pioneering videos and performances that addressed everyday life, Rosler has been an important contributor to the feminist and conceptual art fields for more than four decades. For her first solo exhibition at the Museum of Modern Art in New York, Rosler presents Meta Monumental Garage Sale, a new iteration of a work she originally performed in the art gallery of the University of California at San Diego in 1973. For this latest incarnation Rosler will hold a large-scale garage sale in the museum’s atrium featuring everyday objects collected by the artist, MoMA staff members and the general public. Visitors will be able to browse and purchase the wares on display, which creates a unique interaction between the artist and viewers. Rosler will be performing for the duration of the exhibition’s two-week run and a professional wedding photographer will be on hand to photograph purchasers with their new goods. Martha Rosler’s Meta Monumental Garage Sale promises to be a unique, not-to-be-missed event that is destined to captivate the New York art world this fall.

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