Browse Recent Exhibition Reviews

Co-curated by Paul Schimmel, former chief curator of the Museum of Contemporary Art, Los Angeles, and partner and vice president at Hauser and Wirth; and Jenni Sorkin, art historian, critic, and assistant professor of contemporary art history at the University of California, Santa Barbara, Revolution in the Making: Abstract Sculpture by Women, 1947–2016 felt like an ambitious museum exhibition, especially with its impressive roster of thirty-four artists working across so much of the twentieth century and into the present. And yet it was the inaugural project at Hauser Wirth and Schimmel, a commercial gallery-cum-arts complex. Located in the heart of… Full Review

A powerful signifier of knowledge and collective memory in Western modernity, the archive has been a topic of much interest in art history and cultural studies. The scholarship of the last few decades—from Michel Foucault’s to Hal Foster’s—has exposed its artifice, indeterminacy, and historical role in the formation and operation of power structures. What is more, despite the fact that the photograph’s claim of veracity has been seriously challenged by the visual culture of the late twentieth century, it has remained a key component of most modern archives. Thus, photography, more as a discursive agent than as a medium, has… Full Review

That Anni Albers’s modestly sized weaving Free-Hanging Room Divider (1949) is one of the larger objects in Leap Before You Look: Black Mountain College 1933–1957 is a testament to the spare conditions under which the artists at Black Mountain College worked. An island of progressivism in the Blue Ridge Mountains, Black Mountain was a small school that staged a grand experiment in collectivism and experiential education. Students and faculty lived together; art practice was at the center of a liberal arts curriculum; and all participated in a work program that kept the school afloat. Throughout its short existence, the college… Full Review

In 1999, when a former student activist of the 1960s, Fram Kitagawa, proposed an idea for revitalizing the southern areas of Japan’s Nīgata Prefecture with contemporary art, its six municipalities unanimously declined. But Kitagawa insisted that art could help build a community to reinvigorate the desolate agrarian region and reverse the damage done by the government’s ferocious urbanization. After more than two thousand meetings with local communities, the effort crystallized in the first Echigo-Tsumari Art Triennale in 2000. The sixth edition was held in 2015. The world’s largest international exhibition, the latest triennale revealed 180 new works in… Full Review

Assembled from roughly forty different public and private collections, the exhibition Van Dyck: The Anatomy of Portraiture, curated by Stijn Alsteens and Adam Eaker, brought together more than one hundred paintings, drawings, and prints by Anthony van Dyck (1599–1641) and his contemporaries. Perhaps not coincidentally, the exhibition appeared exactly twenty-five years after another landmark Van Dyck show in New York—Christopher Brown’s groundbreaking The Drawings of Anthony van Dyck at the Morgan Library. Though separated by a quarter century, the two are conceptually linked, each taking as its starting point Van Dyck’s prodigious abilities as a draftsman. While the earlier… Full Review

The catalogue accompanying Walid Raad’s eponymous survey at the Museum of Modern Art (MoMA) is a beautiful volume with extensive documentation of the artist’s oeuvre from the 1990s to today; it will undoubtedly serve as the go-to resource on the artist for years to come. Ironically, it is also colored by a set of historiographic problems that Raad himself vigorously works over in his artistic production. What does it mean that alongside a contribution by the exhibition’s curator, Eva Respini, MoMA commissioned a historian of Islamic art, Finbarr Barry Flood, to write the second catalogue essay? What is the significance… Full Review

In the earliest works featured in her mid-career survey at the Hammer Museum, Frances Stark traces excerpts from classic works of literature on carbon paper, investigating the intimate relationship forged between writer and reader, artist and viewer. Painstakingly, she has copied the serif font of T. S. Eliot’s “The Love Song of J. Alfred Prufrock” (1915) by hand, as well as the scrawled, and at times inscrutable, marginalia found in a secondhand copy of the poem. These annotations do not illuminate Eliot’s text so much as they gesture to the interiority and intellectual life of the anonymous reader, who scribbles… Full Review

Picasso Sculpture, curated by Ann Temkin and Anne Umland at the Museum of Modern Art (MoMA) in New York, is the first in-depth survey of Pablo Picasso’s sculptural production since the exhibitions held in London and New York City in 1967. In the preceding years, Picasso’s sculptures were barely seen, even in reproduction, as the artist—with what I take to be his animist inclinations—held onto many of the works for dear life. The three-dimensional bodies kept Picasso company in ways stacks of paintings and drawings could not, and they nurtured his imagination in ways he needed. The… Full Review

In 1977, when she was 57 years old, artist Lygia Clark decided to abandon art. For thirty-odd years she had been working through a series of questions concerning space, time, ontological perception, and experience, slowly refining each in a quest to “unite art and life” (Lygia Clark, “Lecture at the Escola Nacional de Arquitetura, Belo Horizonte, Fall 1956,” quoted in the exhibition catalogue, 54). Although not the first, or the last, avant-garde artist to arrive at this conclusion, Clark seems to have legitimately reached this decision after three decades of systematic research, in which she believed she had exhausted all… Full Review

Curated by the prominent John Singer Sargent (1856–1925) scholar Richard Ormond, the exhibition Sargent: Portraits of Artists and Friends at the Metropolitan Museum of Art presents ninety-two works that depict members of the artist’s vast social circle. Spread across five rooms and organized chronologically by Sargent’s location, these images chart the ways in which the artist’s personal relationships and growing prestige afforded him substantial access to creative personalities who would influence his understanding of the arts. The Met’s display included a further gallery of immensely candid watercolors and drawings from their collections. These additional images productively served to highlight both… Full Review