Browse Recent Exhibition Reviews

In early 1964, shortly after acquiring the studio space at 231 East Forty-Seventh Street in New York that would become known as the Factory, Pop artist Andy Warhol commissioned British fashion photographer David McCabe to document his life for one year. Although the project resulted in over 2,500 photographs, none of the images were used by Warhol, nor were any published until last year’s release of McCabe’s book, A Year in the Life of Andy Warhol (London: Phaidon Press, 2003). The book contains 450 of the shots arranged in chronological order, with captions and short stories by David Dalton, one… Full Review

That most Chicagoans who have encountered Dan Peterman’s work have done so without knowing it seems as fitting a tribute to the artist’s ambitions as does the current exhibition at the Museum of Contemporary Art, Chicago (MCA). Indeed, as much as I enjoyed seeing Plastic Economies, I have equally enjoyed using Peterman’s installation Chicago Ground Cover (1997)— without realizing it was an installation—while learning to samba, salsa, shimmy, and shake atop the smooth surface during classes held by Grant Park’s SummerDance program. The highly functional exterior dance floor, made of reprocessed, postconsumer plastic, extends Peterman’s earlier, gallery-based project, Ground… Full Review

Shortly before I visited the Museum of the Art Institute of Chicago to see the exhibition Seurat and the Making of “La Grande Jatte”, an art historian friend in Berlin wrote me, asking if the show was traveling to Europe. The answer is no, and visitors to the exhibition are told the reason why: in 1958, a fire broke out at New York’s Museum of Modern Art while A Sunday on La Grande Jatte was on display there. Though Georges Seurat’s canvas was unharmed, the Art Institute decided that the painting would never again be lent. That absolute stipulation… Full Review

Tracing artistic origins and sources is always tricky business, never more so than when one is seeking to identify and explain a concept as broad and malleable as naturalism. First there is the problem of the term itself. Postmodern theory has rightly claimed that there is no such thing as a naïve, unmediated, “natural” representation of the world around us. Not only are there different kinds of naturalism and different purposes it can serve, but one culture’s naturalism may also strike another’s as highly stylized and limited by convention. Even when there is general agreement that a certain group of… Full Review

Two discourses of Minimalism have come to determine its academic reception today, both of which reject theories by the twentieth century’s most prominent critic, Clement Greenberg. One line of thought stresses the objecthood of an artwork against Greenberg’s insistence that modernist painting remain true to the inherent, unique qualities of the medium. The other emphasizes the phenomenological experience one has of sculpture in real time and space against Greenberg’s call for a disembodied, intuitive experience of a work. Either discourse moves its results toward Michael Fried’s dreaded theatricality, where the work of art shifts to the subject who beholds the… Full Review

The Norton Simon Museum’s exhibition of thirty black-chalk drawings by Jean-Honoré Fragonard offered the viewer an unusual challenge. Consisting of drawings after old-master paintings executed by Fragonard during a tour of Italy in 1760–61, the exhibition took as its subject the education of an artist. By positioning near each drawing a small photo reproduction of the original painting that Fragonard was copying, the viewer was inevitably drawn into a game of comparison as well as a quest to find traces of the mature artist in these accomplished early copies. I was struck first by how faithful Fragonard… Full Review

Any outsider to the field surveying the recent spate of big thesis exhibitions could not fail to notice the discrepant narratives of the Baroque currently in circulation. The Genius of the Rome, 1592–1623 (held at the Royal Academy of Arts in London in 2001) supported a story of individual styles and individual patrons’ taste, sometimes a chaotic situation, but one governed by individual choices that were only secondarily infringed upon by institutional needs or demands. By contrast, the organization of Visioni ed estasi: Capolavori dell’arte Europea tra Seicento e Settecento (held at the Vatican in 2003) was more decisive in… Full Review

While a handful of exhibitions have looked at the relationship between African Americans, Asians, and Asian Americans in visual art, such as Ancestors, a joint effort by Kenkeleba House and the Asian American Arts Centre in 1995, Black Belt is the largest exploration to date. As the title implies, it is structured around the premise of a cross-cultural fascination with Asian martial arts epitomized by the messianic icon Bruce Lee. Yet despite the backing of a thriving institution and the obvious energy and optimism on the part of the artists and curator Christine Y. Kim, the exhibition is disappointing… Full Review

On June 9, 1311, Duccio di Buoninsegna’s Maestà was placed on the high altar of Siena cathedral. A mid-fourteenth-century Sienese chronicle describes its first presentation to the city: bq. On the day on which it was carried to the Duomo, the shops were locked up and the Bishop ordered a great and devout company of priests and brothers with a solemn procession, accompanied by the Signori of the Nine and all the officials of the Commune, and all the populace and all the most worthy were in order next to the said panel with lights lit in their hands,… Full Review

The large retrospective devoted to the work of Marsden Hartley, organized by Elizabeth Mankin Kornhauser for the Wadsworth Atheneum Museum of Art, is a delight, a sadness, and a puzzle in nearly equal measure. The delight is easy to relate. It was thrilling to walk into the Hartford exhibition’s first gallery and face a wall of Hartley’s brightly colored, nonrepresentational paintings made in Paris and Berlin in 1912 and 1913 (cat. nos. 8–11). Their recognizable motifs—numbers, seated Buddhas, musical staves, mudras, Chinese cloud forms, uniformed horsemen—float across the canvases, divided by dark blue lines that alternatively undulate among or… Full Review