Apparitions: Frottages and Rubbings from 1860 to Now
11 September — 3 January 2016
Menil Collection, Houston
In a seductively tactile display, this exhibition focuses on one of the oldest known image-making techniques. Featuring some 100 works on paper by 50 international artists, the exhibition explores the roots of frottage — with works including a remarkable group of 19th-century tomb rubbings — to its use in modern and contemporary practice, from Surrealist Max Ernst to post-war figures including Alighiero Boetti and Roy Lichtenstein, and contemporary practitioners including Anna Barriball, Jennifer Bornstein and Morgan Fisher.
Do Ho Suh, Rubbing/Loving Project: Metal Jacket, 2014. Courtesy of the artist and Lehmann Maupin Gallery, New York and Hong Kong © Do Ho Suh
Treasures from the House of Alba: 500 Years of Art and Collecting
11 September — 3 January 2016
Meadows Museum, Dallas
The Alba family has held a significant place in European history for more than 500 years, not only in military, political and social terms, but also for its cultural patronage and art collecting. This legacy is explored in this exhibition, which presents some fine examples from the 15th and 16th centuries up to the end of the 20th century, including Fra Angelico, Titian, Van Gogh, Goya, Ribera, Murillo, Rubens, Rembrandt, Brueghel, Ingres, Renoir, Courbet, Madrazo, Sargent and many more. Gathered from many of the Alba family’s palaces in Madrid, Seville and Salamanca, many of these great works are leaving Spain for the first time, and together offer a unique perspective on the history of art, as patronised and collected by this important aristocratic family.
Peter Paul Rubens, Charles V and the Empress Isabella, c.1628. Colección Duques de Alba
11 September — 1 November
Born in Maryland and now living and working in Stockholm, this is Emily Roysdon’s first solo exhibition in Austria. Drawing on an essay written by the artist, entitled Uncounted, the show explores questions of movement and aliveness, performance and time, dramatic experimentation and improvisation, presented through an environment that sits somewhere on the spectrum of installation, stage scenery and performance space. In an accompanying artist’s book, Uncounted: Call & Response, Roysdon has invited 23 other artists and writers to contribute responses to selected sections of her original essay.
Courtesy the artist
12 September — 13 December
Moderna Museet, Stockholm
Francesca Woodman’s intense and haunting photographs continue to inspire, years after her premature death in 1981. This display of some 100 works covers a number of the series and themes she addressed, which included gender, representation, identity, sexuality and the body. Alongside the artist's works will be a selection from Moderna Museet’s own photography collection, in an admirable attempt to place Woodman in the context of her contemporaries and widen the conversation around her oeuvre beyond the personal and biographical.
Francesca Woodman, House #4, Providence, Rhode Island, 1976 © George and Betty Woodman
Pedro Reyes: Disarm (Mechanized)
12 September — 10 January 2016
Turner Contemporary, Margate
As part of The Year of Mexico 2015, Turner Contemporary presents this installation by Mexican artist Pedro Reyes, comprising eight mechanical musical instruments fabricated from illegal firearms, which were given to the artist by the Mexican government following confiscation in the city of Ciudad, Juarez. The installation can either be automated or played live by an individual operator using a laptop computer or midi keyboard. In Reyes’ words: ‘It’s important to consider that many lives were taken with these weapons; as if a sort of exorcism was taking place, the music expelled the demons they held, as well as being a requiem for the lives lost.’
Pedro Reyes, Disarm (Mechanized), 2012 © Pedro Reyes; Courtesy Lisson Gallery
Tracey Emin — Egon Schiele: Where I Want To Go
Until 14 September
Leopold Museum, Vienna
Following blockbuster Egon Schiele shows in New York and London in recent months, Vienna’s Leopold Museum shifts perspective with Where I Want To Go. In presenting over 80 works by Tracey Emin alongside her personal selection of Schiele’s drawings, the exhibition explores interesting parallels and raises provocative questions about the politics of gender and nudity, as well as narcissism and confessional art.
Tracey Emin, Lonely Chair drawing, 2012.
© Tracey Emin. Courtesy Lehmann Maupin Gallery/Bildrecht, Vienna
Revolution of the Eye: Modern Art and the Birth of American Television
Until 20 September
The Jewish Museum, New York
Casting its gaze on the risk-taking and aesthetic experimentation of the early days of television, Revolution of the Eye looks at how, from the late 1940s to the mid-1970s, the pioneers of American television took inspiration from Modernist art and design. Appropriating ideas from Dada and Surrealism, the new medium of television also provided a promotional platform for artists, designers and critics. On show at The Jewish Museum are rare clips of John Cage, Dalí, Willem de Kooning, Marcel Duchamp, Ray Eames, Roy Lichtenstein and others, as well as works of art and graphic design by Saul Bass, Man Ray, Georgia O’Keeffe, Andy Warhol and many more.
Salvador Dalí on What’s My Line, CBS, 27 January 1957. © Fremantle Media
Until 20 September
Carré d’Art–Musée d’Art Contemporain, Nîmes
Following on from an exhibition of the same name at the Reina Sofia Museum in Madrid (2013-14), Biographical Forms focuses on the contemporary period, with most works produced since the late
1950s. Posing questions about authorship, personal mythology and collective production, the exhibition explores the biographical form and the telling of stories. Includes work by Chantal Akerman, Carl Andre, Marcel Broodthaers, Lygia Clark, Sigmar Polke, Dieter Roth, Thomas Schütte and many more.
Thomas Schütte, Mohr’s Life: The Sculptor, 1988-1999. Friedrich Christian Flick Collection in Hamburger Bahnhof. © ADAGP, Paris 2015
Until 20 September
Tate Britain, London
Taking ‘sensation’ rather more literally than that famous 1997 exhibition at the Royal Academy of Art, Tate Sensorium proposes that taste, touch, smell and sound may be fruitfully incorporated into the art experience. The multisensory experience includes works by Francis Bacon, David Bomberg, Richard Hamilton and John Latham, and uses innovative technology including binaural and directional audio to produce 3D sounds, a perfume release system to heighten scent and pioneering touchless haptics technology to create the impression of tactile sensations.
David Bomberg, In the Hold, c.1913–4. Presented by the Friends of the Tate Gallery 1967 © Tate
Julião Sarmento: Easy, Fractals & Star Map
Until 26 September
Galpão Fortes Vilaça, São Paulo
Renowned Portuguese artist Julião Sarmento presents an exhibition of new work under the tantalising title Easy, Fractals & Star Map. Including paintings and sculptures, the show is one in a series that explores an imagined relationship between Edgar Degas and Marcel Duchamp, and more directly between specific works. The first in the series was presented in 2014, entitled Terra Incognita, referring to the ‘unknown territory’ of this fictional relationship between, in Sarmento’s words, two ‘giants of art history’.
Julião Sarmento Fifth Easy Piece, 2015. Photo: José Manuel Costa
Black Mountain: An Interdisciplinary Experiment 1933-1957
Until 27 September
Hamburger Bahnhof, Berlin
Taking as its starting point two works from the Nationalgalerie’s permanent collection by Cy Twombly and Robert Rauschenberg that originated at Black Mountain College in 1951 and 1952, this exhibition explores the legendary American arts college, which existed from 1933 to 1957 near Asheville in North Carolina. Conceived as an experimental college that promoted collaboration, Black Mountain’s fascinating history is one of radical arts education, multi-disciplinary practice and a host of stellar names, from architect Philip Johnson, to Bauhaus teachers Josef and Anni Albers, and Walter Gropius. The exhibition aims not only to offer a historical retrospective but also to engage with current debates on the education and training of artists today.
Black Mountain College: Buckminster Fuller Class, Lake Eden Campus, Summer, 1949. © Courtesy of Western Regional Archives, States Archives of North Carolina / Masato Nakagawa
New for Now: The Origin of Fashion Magazines
Until 27 September
This survey of the Rijksmuseum’s rich collection of costume and fashion prints positions these pre-photography illustrations as the precursor to today’s fashion magazines. In more than 300 prints, New for Now reveals the ebbs and flows of women’s and men’s fashion from 1600 to the first half of the 20th century. Paul Poiret’s ‘fashion is art’ philosophy shines through in his two series on display, while an ambitious digitisation project has allowed 8,000 prints from the Raymond Gaudriault Collection and the MA Ghering-van Ierlant Collection to be viewed on the Rijksmuseum website.
The Gallery of Fashion, 1 July 1794, Fig. 15. Courtesy Rijksmuseum, Amsterdam
Raúl Anguiano: Retrato de un Maestro
Until 27 September
Museum of Latin American Art, Long Beach
Mexican-born artist Raúl Anguiano was well known as a muralist who continued in the vein of Rivera, Orozco and Siqueiros and pushed the possibilities of mural painting. Aged just 20, he held his first major exhibition at Mexico City’s Palacio de Bellas Artes in 1935. Presenting a selection of over 30 paintings and works on paper from the 1930s and 1940s, this exhibition reflects Anguiano’s mastery of portraiture and landscape painting as well as his engagement with Cubism, Realism and Surrealism.
Raúl Anguiano, Después del cataclismo (After the Cataclysm), 1937. Courtesy of Brigita Anguiano
Takehisa Kosugi: Spacings
Ikon Gallery, Birmingham
Composer and artist Takehisa Kosugi (b.1938) was a pioneer of experimental music in Japan in the early 1960s, and continues to draw on influences from the spontaneity of Charlie Parker to traditional Japanese music and Noh Theatre. Associated with the Fluxus movement and known for his work with the Merce Cunningham Dance Company, he is one of the most influential artists of his generation. In his first major solo exhibition in the UK, Birmingham’s Ikon Gallery presents three sound installations, including one made especially for this exhibition.
Takehisa Kosugi, Mano-dharma, electronic, 1967. Courtesy of the artist
Everything is Architecture: Bau Magazine from the 60s and 70s
Institute of Contemporary Art, London
Opening in the Fox Reading Room, the ICA presents a display about influential Vienna-based architectural magazine Bau: Magazine for Architecture and Urban Planning, published by the Central Association of Austrian Architects. Including original issues of the magazine published between 1965 and 1970, the exhibition shows how the magazine became an experimental platform to explore the interchange between architecture, art and politics.
Bau: Magazine for Architecture and Urban Planning, issue 1/2, 1968. Courtesy the architects, artists and their estates
Sickert in Dieppe
Until 4 October
Pallant House Gallery, Chichester
In an historic Queen Anne townhouse and contemporary extension, Pallant House Gallery houses a remarkable collection of Modern British art. In its major summer exhibition, Sickert in Dieppe explores the significant inspiration Sickert found in the picturesque French seaside town, which he visited regularly over four decades and moved to permanently from 1898-1905. Depicting everyday life as well as the town’s architecture and harbour, Sickert captured the spirit of the place while developing his own pictorial technique.
Walter Sickert, The Façade of St Jacques, Dieppe, 1902. Private collection Courtesy of Fine Art Society
Until 4 October
Zacheta National Gallery of Art, Warsaw
This gallery in central Warsaw is throwing open the doors to art. From an idea sparked through the gallery’s educational programme, which works to widen access to those who often have restricted contact with art for social reasons or due to disability, this exhibition promises to abandon traditional ways of experiencing art, and provide an expanded sensorial environment. Drawing on the idea of a secret garden, artists in this group exhibition have worked with materials such as sand, rocks, peat, beeswax, grass, wicker, plants, branches and mushrooms.
Mirosław Maszlanko Windmills, 2013. Courtesy of the artist
Towards an alternative history of graphic design: Schmuck, POP, bRIAN, Assembling
8 August — 4 October
De La Warr Pavilion, Bexhill On Sea
Curated by graphic design whiz Fraser Muggeridge, this exhibition takes a close look at four publications that thrived in the late 1960s to mid-1970s: Schmuck, POP, bRIAN and . Muggeridge leads a thoughtful tour through these publications, which were largely put together by people without a formal training in typography, graphic design or print production, and who embraced new technologies that allowed artists to produce their own publications. Muggeridge has spoken in the past about his enthusiasm for magazines like Schmuck, for its playfulness and inventiveness, qualities that shine in this alternative history of graphic design.
General Schmuck, Beau Geste Press, 1976
Marina Abramović: Private Archaeology
Until 5 October
Museum of Old and New Art (MONA), Tasmania
In a solo exhibition that features more than 40 works from across a career that spans more than 40 years, the Museum of Old and New Art welcomes Marina Abramović back to Australia for the first time in 17 years. The title Private Archaeology refers to a series of four cabinets, each including objects selected by Abramović for their importance to her life. It is exemplary of the kinds of objects and rituals she has come to use in her work to transport participants to a heightened awareness of the present moment. Expect sound pieces, video works, photographs, sculptures and interactive works using the The Abramović Method.
Marina Abramović. Image credit: Paola+Murray
Crystal Bridges Museum of American Art, Bentonville
Jamie Wyeth has described his process of portraiture as not only a depiction in paint, but as a process of osmosis, of spending time with, absorbing and becoming his subject. Though their styles were starkly different, when he painted Andy Warhol in New York during the 1970s, they bonded over shared interests such as Americana, death and morbidity, and ended up exchanging portraits of each other. This is just one of the works on display in an exhibition that surveys Wyeth’s six-decade-long career and the development of his distinct approach to realism.
Jamie Wyeth, Portrait of Andy Warhol, 1976. Photo courtesy of the Museum of Fine Arts, Boston. © Jamie Wyeth
Günther Förg: Wall Paintings
Twenty-five of late German artist Günther Förg’s large-scale wall paintings go on display in Hamburg in an exhibition that includes his first ever wall painting, executed in 1978 at a private home in Günzach, as well as his last wall painting from 2013 at Galerie Gisela Capitain in Cologne, and works from every decade of his career. Förg divided this group of works into various types, including juxtaposed colour fields, rooms in which all four walls were painted in a different colour, various paintings in public or semi-public spaces, works that emphasise the architecture, and colours relating to the specific place.
Exhibition view Galerie Micheline Szwajcer Antwerp, 1985. Photo: Günther Förg. © Estate Günther Förg
Until 11 October
Tate Modern, London
This retrospective of Agnes Martin’s work, the first since 1994, covers the full extent of her practice from early experiments with still lifes, portraits and different media, through to the celebrated grid and striped canvases for which she is best known. Working in the male dominated field of 1950s and 1960s abstraction, Martin left New York in 1967, just as her work was gaining some acclaim. Settled in New Mexico, she continued to paint until her death in 2004. This major survey show will no doubt bring Martin’s work to a whole new audience.
Agnes Martin, Happy Holiday, 1999. Tate / National Galleries of Scotland © Estate of Agnes Martin
Dinh Q. Lê: Memory for Tomorrow
Mori Art Museum, Tokyo
In the first solo exhibition by Vietnamese artist Dinh Q. Lê, viewers are invited to contemplate the past, present and future of Japan’s relationship with Vietnam. Dinh Q. Lê immigrated with his family to the USA at the age of ten to escape the Khmer Rouge. After studying photography and media art, he developed a process of making tapestries inspired by traditional Vietnamese grass mat weaving. Forty years after the end of the Vietnam War and 70 years since Japan’s defeat in the Second World War, Lê’s work unveils memories and personal experiences that have been overshadowed by ‘official’ histories.
Dinh Q. Lê, Erasure, 2011. Installation view at Sherman Contemporary Art Foundation, Sydney, 2011. Photo: Aaron de Souza
Robert MacPherson: the Painter’s Reach
Queensland Gallery of Modern Art, Brisbane
Presenting the work of Robert MacPherson through paintings, installations, ephemera and works on paper, the Queensland Gallery of Modern Art celebrates the long career of this leading Australian artist. In the words of Gallery Director Chris Saines, ‘MacPherson’s bold paintings, installations and sculptures often capture the dry Australian character and sense of humour. His art sees invention in everyday Australian life and landscapes, in the roadside signs, the almost-forgotten slang words and the classifications of flora and fauna that we often take for granted.’ The exhibition overlaps with Swags and Swamp Rats, an interactive project by Robert MacPherson that introduces children to the people, places and objects that inspire his work.
Robert MacPherson, Scale From The Tool (Sabco), 1977. Collection of the artist. Courtesy Yuill|Crowley, Sydney
Past Forward: Contemporary Art from the Emirates
Until 18 October
Eli and Edythe Broad Art Museum, East Lansing
Past Forward presents paintings, photographs, sculptures, video installations and more from Emirati artists whose work explores identity and life in the UAE, while imagining possible visions for the future. Including work by Lateefa bint Maktoum and Mohammed Al Qassab, among many others, the exhibition showcases work from modern pioneers and contemporary practitioners, who draw on the country’s history, society and unique environment for inspiration.
Lateefa bint Maktoum, Observers of Change I, 2011. Courtesy of H.H. Sheikh Zayed bin Sultan bin Khalifa Al Nahyan
Amanda Coogan: I’ll sing you a song from around the town
Until 18 October
Royal Hibernian Academy, Dublin
In sculpture and live performance, Dublin-born Amanda Coogan’s I’ll sing you a song from around the town continues the artist’s provocative and exciting work. In the first week, Coogan performs the first piece; in the second week she moves onto a second piece, while a collaborator continues the first, so that, by the final week of the exhibition, all six pieces are being performed simultaneously. Amanda Coogan studied with Marina Abramović in Berlin and has exhibited work widely, including at the Venice Biennale, Liverpool Biennial and PS1, New York.
Amanda Coogan, The Fall, 2009. Image courtesy of the artist and Kevin Kavanagh Gallery, Dublin. Photograph: Davey Moor
The 80s: Figurative Painting in West Germany
Städel Museum, Frankfurt
Surveying the development of figurative painting in Berlin, Hamburg and the Rhineland in the 1980s, this major exhibition brings together around 100 works by 27 artists. It’s a broad enough theme to allow for great complexity and diversity in works that critiqued painting’s past and present, and reflected on homosexual emancipation and the New Wave and Punk scenes. A thorough and insightful vision of a dynamic and historically significant decade in German history, the exhibition is accompanied by an extensive ‘digitorial’ presentation, offering image, sound, film and text online.
Martin Kippenberger, Two Proletarian Women Inventors on Their Way to the Inventor’s Congress, 1984. Photo: Städel Museum — ARTOTHEK. © Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne
2015 Pavilion by SelgasCano
Until 18 October
Serpentine Gallery, London
The Serpentine Pavilion has become a landmark event in the London summer art calendar and this year the project celebrates 15 years of architectural experimentation. Plans by Spanish architects SelgasCano, headed by José Selgas and Lucía Cano, have been circulating for some time and passers-by have been witnessing the construction of a translucent, colourful, chrysalis-like structure. As a prelude to the Park Nights programme of talks and events, SelgasCano will be in conversation on 23 June, discussing the concepts behind the design, as well as the history of the commission with architects of past pavilions.
Serpentine Pavilion designed by SelgasCano 2015, indicative CGI at night © Steven Kevin Howson / SelgasCano
Until 18 October
Fruitmarket Gallery, Edinburgh
Following her spectacular sculpture for the Tate Britain Commission in 2014, Phyllida Barlow’s work will now be the subject of a major solo exhibition, on throughout the Edinburgh Festival. Her monumental work is made from simple materials such as plywood, cardboard, fabric, plaster, paint and plastic, often found on the street or recycled from one work to the next. The works exist in a state of messy precariousness and raises questions about the nature of objects and our relationship to them. Each sculptural work is made in reference to the space of its exhibition, so the Fruitmarket will inspire a new set of sculptures especially for this show.
Installation view: ‘Phyllida Barlow. dock’, Tate Britain, London, England. 31 March — 19 October 2014. Photo: Alex Delfanne
Joan Mitchell Retrospective: Her Life and Paintings
Until 25 October
Ranging from the early work of the 1950s to the late work of her final years, this large survey of work by Joan Mitchell focuses on her paintings, with nearly 30 pictures, including many large-format, multi-part works. Alongside her extraordinary paintings, Kunsthaus Bregenz presents the first public exhibition of archival materials from the Joan Mitchell Foundation, including film and photographic records, correspondence, invitation cards, as well as posters and other ephemera, offering insights into her bright personality and her relationships with visual artists, writers and other cultural figures, such as Elaine de Kooning, Franz Kline, Frank O’Hara and Samuel Beckett.
Joan Mitchell, Minnesota, , 1980 © Estate of Joan Mitchell, collection of the Joan Mitchell Foundation. Courtesy Cheim & Read, New Yorkn
Julia Margaret Cameron: From the Victoria and Albert Museum
Until 25 October
Art Gallery of New South Wales, Sydney
One of the most innovative photographers of the 19th century, Julia Margaret Cameron’s career was brief but prolific. She produced portraits of the intellectual and artistic elite of Victorian England, including the poet laureate Alfred Lord Tennyson, scientists Charles Darwin and Sir John Herschel, and Julia Jackson, Cameron’s niece and the mother of Virginia Woolf. Housemaids and local children were also enlisted to recreate allegorical scenes from literature and Bible stories. Through the depth and character of her portraits, and her experiments with process, which embraced the imperfections of photography, her work was a significant influence on later practitioners.
Julia Margaret Cameron, Julia Jackson, 1867. © Victoria and Albert Museum, London.
Until 26 October
Auckland Castle, County Durham
Located within St Peter’s Chapel at Auckland Castle, an exhibition of four new works by video art pioneer Bill Viola is the first in a series intended to reflect on the meaning of faith. Auckland Castle is one of the most important episcopal palaces in Europe, and the magnificent home of the Prince Bishops of Durham. Installed above the altar, the video works derive from Viola’s large-scale video installation, Martyrs (Earth, Air, Fire, Water) which was unveiled at St Paul’s Cathedral in London in May 2014. Dr Chris Ferguson, Auckland Castle’s Curatorial and Exhibition Director, said: ‘Bill Viola has created deeply moving and challenging works within Christian sites over the last two decades. The presentation of Earth Martyr, Air Martyr, Fire Martyr and Water Martyr within the intimate surrounds of the private St Peter’s Chapel at Auckland Castle creates a contemplative and personal reflection on the role of faith within our lives today.’
Installation view: Bill Viola, Earth Martyr, Air Martyr, Fire Martyr and Water Martyr, all 2014. Courtesy of Auckland Castle Trust. Photo: Mark Pinder
14th Istanbul Biennial
Until 1 November
The Istanbul Biennial returns with SALTWATER: A Theory of Thought Forms, curated by US writer, art historian and former Artistic Director of dOCUMENTA (13) Carolyn Christov-Bakargiev. Featuring over 80 international participants in over 30 venues on the European and Asian sides of the Bosphorus, SALTWATER takes place in museums as well as temporary spaces of habitation on land and on sea such as boats, hotels, former banks, garages, gardens, schools, shops and private homes. Be sure to visit SALT Galata in the former headquarters of the Ottoman Bank, Istanbul Modern in a former cargo warehouse, an exhibition on the fourth floor of a shoe shop and another in a one-time residence of Leon Trotsky, as well as three fictional venues only accessible in the imagination. A house on Bostanbaşı Street hosts the public programme throughout the biennial.
Küçük Mustafa Paşa Hammam, one of the venues for the 14th Istanbul Biennial
John Waters: How Much Can You Take?
Until 1 November
As a directorial force in independent cinema — and despite his famous proclamation that ‘contemporary hates you’ — John Waters’ radical and provocative work has been a major influence on countless artists. However, what this show reveals is Waters’ own artistic endeavours away from the silver screen. With around 35 small-to-large-format film photographs, assemblages and sculptural works, How Much Can You Take? is a revelatory show, illuminating a little known aspect of the filmmaker’s output. A live performance will take place on 23 September in the Kunsthaus auditorium, with Waters presenting his legendary 90 minute one-man show This Filthy World.
John Waters, The Girls, 2003. Collector plates by Adora Porcelain, Ed.1/300. Private collection. © John Waters.
Alfredo Jaar: We loved it so much, the revolution
Until 1 November
Museé d’Art Contemporain de Marseilles (MAC)
The first French retrospective of work by Chilean-born installation artist Alfredo Jaar, this exhibition at MAC Marseilles is curated by museum director and long-time friend of the artist Thierry Ollat. Never shy of pushing his critical work to the point of controversy, Jaar’s projects include 2014’s A Logo for America which put a dark twist on the US flag in Times Square, and a six-year project about the genocide in Rwanda. Casting a sustained critical eye on some of the major issues and injustices of our time, Alfredo Jaar earned recognition as a Guggenheim Fellow in 1985, a MacArthur Fellow in 2000, and has won numerous other awards and endowments.
Alfredo Jaar: We loved it so much, the revolution, 2015. Installation with neon and glass fragments © Alfredo Jaar and [mac] musée d’art contemporain de Marseille. Courtesy Galerie Kamel Mennour, Paris
Myth & Magic: Art of the Sepik River
6 August — 1 November
National Gallery of Australia, Canberra
As Papua New Guinea marks the 40th anniversary of its independence, Myth & Magic showcases the cultures of communities within its Sepik River region. Sculptures, masks and other objects are on display, many of which depict crocodiles large and small, including jewellery, sculpture, a bridal veil made by the Iatmul people from shells and fibres, and a ceremonial house post covered in carved designs of crocodile scales. The exhibition takes care to show that each community has its own artistic canon and history, and traces the development of long-standing traditions, ceremonies and cultural practices to the present day.
Papua New Guinea, East Sepik Province, Korewori River, Kundima village. Saki [spirit crocodile], 19th century. Papua New Guinea National Museum and Art Gallery
Caro in Yorkshire
Until 1 November
Yorkshire Sculpture Park and Hepworth Wakefield
Two major complementary exhibitions celebrating the career of Sir Anthony Caro, of one of Britain’s greatest sculptors, are open throughout the summer. The Yorkshire Sculpture Park showcases Caro’s relationship to painting, which he believed played a role in revitalising sculpture in the 20th century. Meanwhile, the Hepworth Wakefield concentrates on Caro’s work with architecture and his collaborations with architects, such as the Millennium Bridge in London with Norman Foster, and presents the UK premier of a number of Caro’s Last Sculptures. On 25–26 September, the prestigious Henry Moore Institute hosts Sculpture: 1965, a two-day international conference focusing on a pivotal year in Caro’s career.
Anthony Caro, Terminus, 2013. Image courtesy of Barford Sculptures Limited. Photo: John Hammond
Photographing Monet’s Gardens: Five Contemporary Views
31 July — 1 November
Musée des Impressionismes, Giverny
Taking a fresh look at what is probably one of the most photographed subjects in the world, five contemporary photographic artists present around 90 works in small, medium and large formats, revealing the ongoing inspiration of Claude Monet’s garden in Giverny. Stephen Shore’s photographs record the restoration of the garden between 1977 and 1982, while more recent work comes from Darren Almond, Elger Esser, Henri Foucault and Bernard Plossu.
Bernard Plossu, Chez Monet, le jardin de l’autre côté, Giverny, June 2011. Collection of the artist on loan to Musée des Impressionismes, Giverny. © Bernard Plossu
Moon Kyungwon & Jeon Joonho
Until 8 November
Migros Museum für Gegenwartskunst
Korean artist duo Moon Kyungwon & Jeon Joonho, representatives of the Korean Pavilion at this year’s Venice Biennale, initiated their News from Nowhere project in 2012. Premised on a post-apocalyptic scenario, the project allows the pair to address an array of questions concerning contemporary politics, socioeconomics and ecological changes. Here, they collaborate with the Urban-Think Tank team to develop a contemporary version of the classical agora, a temporary architecture for assembly and community.
Moon Kyungwon & Jeon Joonho, El Fin del Mundo, 2012, film still. Courtesy the artists and Gallery Hyundai, Seoul
Korakrit Arunanondchai: 2558
Until 19 October
Ullens Center for Contemporary Art, Beijing
Bangkok-raised Korakrit Arunanondchai gets the Ullens Center spotlight treatment in a solo show that will include video, installation, painting and performance pieces. Now based in the US, Arunanondchai presented his first solo museum exhibition at MoMA PS1 in 2014, showcasing his characteristically diverse mixture of subjects, styles and materials. His fascination with denim was apparent at MoMA PS1 and the material, with all its rich cultural resonances, is also key to this Beijing show.
Korakrit Arunanondchai, installation view, MoMA PS1, New York, 2014 © the artist, courtesy MoMA PS1, Carlos / Ishikawa, London and CLEARING, New York, Brussels. Photo: Matthew Septimus
The Freedom Principle: Experiments in Art and Music, 1965 to Now
Until 22 November
Museum of Contemporary Art, Chicago
Tracing the vibrant legacy of avant-garde jazz and experimental music of the late 1960s, particularly within the African-American arts scene in Chicago, and its continuing influence on contemporary art and culture today, The Freedom Principle is a celebration of experimentation, collective endeavour and improvisation. The show combines historical materials with contemporary artistic responses to the tremendous heritage of the 1960s black avant-garde that inspired generations of visual artists, including such as Terry Adkins, Nick Cave, Stan Douglas, Renee Green, Rashid Johnson, Lili Reynaud-Dewar and Cauleen Smith, all of whom are represented in this exhibition.
Nick Cave, Speak Louder, 2011. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography
Until 22 November
TarraWarra Museum of Art (TWMA), Victoria
This first solo exhibition in Australia of Pierre Huyghe’s work focuses on his ongoing investigations into time and temporality, beginning with a journey through a piece of fossilised amber, continuing with a search for a mythical creature in Antarctica, and terminating in a compost heap in Kassel. In the words of co-curator Amelia Barikin, ‘For Pierre Huyghe, time is volatile. It folds and unfolds, disperses and multiplies. Collapsing distinctions between past, present and future, the exhibition speculates towards a non-linear mode of history, in which non-human time scales and non-human agencies play equal part.’
Pierre Huyghe, L’Expédition Scintillante, Act 2 (light show), 2002. Collection Museo de Arte Contemporáneo de Castilla y León (MUSAC). Exhibition view Raven Row, London, 2013. Photograph: Marcus J. Leith
Image and Message: Cranach in the Service of Court and Reformation
Until 29 November
Museum Shloss Wilhelmshöhe, Kassel
Providing a new perspective on old German painting, this exhibition brings together work from international collections by the prolific and innovative Cranach workshop. As court painter to Upper Saxony, Cranach’s portraits of German princes and the leaders of the Protestant Reformation, as well as his more overtly religious subjects, clearly expressed his enthusiasm for the Lutheran cause. This exhibition goes one step further, and asks whether we could consider them works of pictorial propaganda.
Lucas Cranach the Elder, Portrait of Martin Luther, 1543. Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister
Danh Vo: Slip of the Tongue
Until 31 December
Punta della Dogana, Venice
Danh Vo takes on the curator’s position for Slip of the Tongue, a role that relates to caretaking, circulating, conserving and repairing. The core of the historical pieces in the exhibition come from Venetian institutions, and bear the scars of various preservation processes and the occasional mishap. Meanwhile, contemporary pieces chart lines of friendship and collaboration with Danh Vo, for example to Berlin-based artist Nairy Baghramian who has three installations in the show. Here, as in others of his curatorial projects, Danh Vo is concerned with the preservation and afterlife of objects rather than their interpretation.
Danh Vo, Beauty Queen, 2013. Pinault Collection. Photo: Charlotte du Genestoux
Materials Loved: A New Perspective
Until 31 December
Musée d’Art et d’Histoire, Geneva
Inaugurated in 1910, the Musée d’Art et d’Histoire in Geneva is one of the three largest museums in Switzerland, and it seems its former Chief Curator of the Archaeology Department, Yvette Mottier, was a dedicated and passionate collector of jewellery. On show here are 80 pieces by Jean-Francois Pereña, donated to the museum by Mottier in 2006. Composed of organic and synthetic elements, including leather, shagreen, ivory, mother-of-pearl, nickel silver, wood, Plexiglas and Bakelite, these sculptural, colourful pieces suggest an intimate relationship with the body and cry out to be worn as well as admired.
Jean-François Pereña, Bracelet, 1999 © MAH. Photo: Nathalie Sabato
Jess Dugan: Every Breath We Drew
Until 3 January 2016
Cornell Fine Arts Museum, Winter Park
Jess Dugan continues to work with the photographic portrait to explore gender, sexuality, identity and community, and in this most recent collection of work she particularly addresses issues of desire and the desire for connection, through portraits of herself and others. Often shot in the subject’s home, the images are intimate, honest and revealing of both subject and artist. The exhibition coincides with the publication of a fully illustrated monograph on the artist published by Daylight Books, including an interview with the artist conducted by photographer Dawoud Bey.
Jess T.Dugan Erica and Krista, 2012. © Jess T.Dugan Courtesy of the artist, Gallery Kayafas and Catherine Edelman Gallery
Bob and Roberta Smith
Until 3 January 2016
Yorkshire Sculpture Park
Responding to the holdings of the National Arts Education Archive (NAEA) at Yorkshire Sculpture Park, which documents over 100 years of art education, artist Bob and Roberta Smith presents Art for All. Through material chosen by the artist from the archive, the Garden Gallery exhibition offers a history of art education beginning in the 1700s, while an installation includes hand-painted notices and five sculptures that depict key figures in the history of art education: Joshua Reynolds, Marian Richardson, Tom Hudson, A.E. Halliwell and Lesley Butterworth. Continuing his provocative campaigning for the role of art in life and education, the exhibition invites contemplation of a new art curriculum for the digital 21st century.
Bob and Roberta Smith, Art Makes Children Powerful, 2013. Courtesy the artist and Hales Gallery>
Transmissions: Art in Eastern Europe and Latin America, 1960–1980
Until 3 January 2016
MoMA, New York
Innovative and tantalising in scope, Transmissions explores the parallels and connections between artists working in, and in reference to, Latin America and Eastern Europe during the 1960s and 1970s. With much work on display for the first time, this is an excellent opportunity to see some of the radical experimentation and dissemination of ideas that characterised these decades, with works from MoMA’s collection by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Dóra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz González, Antonio Dias, Lea Lublin, and Ana Mendieta.
Sanja Iveković, In the Apartment, September 1975 / “Elle” March 1975, 1975 © 2015 Sanja Iveković
Fragonard’s Enterprise: The Artist and the Literature of Travel
Until 4 Jan 2016
Norton Simon Museum, Los Angeles
During his first and most important stay in Italy, accompanying his patron Jean-Claude Richard de Saint-Non, the young Jean-Honoré Fragonard documented the great artistic treasures of Florence, Bologna and Padua, among other cities, in black chalk drawings that were later published in suites and as an illustrated travel book Voyage pittoresque de Naples et de Sicileem> (1781–86). Presenting 60 such drawings, this exhibition offers an opportunity to admire these exquisite sketches and witness the excitement of the Grand Tour.
Jean-Honoré Fragonard, Study after Giovanni Battista Piazzetta: St Francis in Ecstasy (from the Aracoeli, Vicenza), , 1760-61. Courtesy of the The Norton Simon Foundation
Pale Pink and Light Blue: Japanese Photography from the Meiji Period
Until 10 January 2016
Museum für Fotografie, Berlin
The Meiji period in Japan was one of modernisation and ‘Europeanisation’. Amongst other technological influences, photography played a key role in this process and several foreign-owned photographic studios set up business in Japan, with Japanese photographers soon following. Here, some 200 images provide a survey of the themes and styles these studios employed, from the staged genre scene to architectural photography and tourist souvenirs that embody and exploit the major stereotypes of the country, from geishas to sumo wrestlers.
Kusakabe Kimbei, Geisha writing a letter, c.1885 © Staatliche Museen zu Berlin, Kunstbibliothek
Crafted: Objects in Flux
Until 10 January
Museum of Fine Arts, Boston
Showcasing works by an international group of more than 30 artists, Crafted: Objects in Flux demonstrates how the landscape of contemporary craft has expanded and its boundaries with art and design blurred. Across a range of materials and practices, the work of emerging and established artists present the vital connections and interactions between craft, architecture and performance. Viewed in the context of the MFA’s renowned collection, this major exhibition reveals the past, present and possible future of craft.
Susie Ganch, Drag Object, 2012–2013. Photo courtesy Sienna Patti. Courtesy Museum of Fine Arts, Boston
Jos de Gruyter and Harald Thys
8 August — 17 January 2016
Museum of Contemporary Art, Chicago
For this latest instalment of the MCA Screen series, Belgian artists Jos de Gruyter and Harald Thys present their largest installation to date, Im Reich der Sonnenfinsternis (In the Empire of the Solar Eclipse, 2010–11). The long-time collaborators continue to explore language, communication and narration in this installation comprising more than 200 paintings ascribed to a fictional painter named Johannes, the protagonist of 25-minute video Das Loch (The Hole), which is also part of the work. Incorporating qualities of alienation and surrealism, the installation picks up on strands running throughout the MCA’s collection, by the likes of René Magritte, Tony Oursler and Cindy Sherman.
Jos de Gruyter and Harald Thys, Das Loch — Im Reich der Sonnenfinsternis, 2010–2011. Photo: Nick Ash. Courtesy Isabella Bortolozzi Galerie, Berlin
Orry-Kelly: Dressing Hollywood
Until 17 January 2016
Once the most famous Australians in Hollywood, costume designer Orry-Kelly’s reputation faded along with the golden era of Hollywood film. Seeking to restore much-deserved recognition, this exhibition reveals the professional and personal life of a man who worked on around 285 films, dressing the likes of Ginger Rogers, Bette Davis, Humphrey Bogart, Ingrid Bergman, Errol Flynn, Katharine Hepburn and Marilyn Monroe, among many others, and who won three Academy Awards for Best Costume Design for An American in Paris (1951), Cole Porter’s Les Girls (1957) and Some Like It Hot (1959).
Orry-Kelly, costume sketch of Natalie Wood for Gypsy, 1962. Courtesy of Barbara Warner Howard
Scottish Artists 1750–1900: from Caledonia to the Continent
6 August — 7 February 2016
The Queen’s Gallery, Edinburgh
With paintings and drawings by celebrated artists Allan Ramsay and Sir David Wilkie, among many others, this exhibition at The Queen’s Gallery is the first to focus on Scottish art in the Royal Collection. Tracing tales of royal patronage and the emergence of a distinctive Scottish school of art, the show includes Wilkie’s important depiction of the first visit to Scotland by a reigning British monarch for nearly two centuries in The Entrance of George IV to Holyroodhouse (1822–30). Meanwhile, David Roberts’ scenes of Egypt and the Holy Land, and John Phillips’ Spanish streetscapes, represent the era’s burgeoning passion for foreign influences and travel.
Sir David Wilkie, The Entrance of George IV to Holyroodhouse, 1822–30. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015
Pastoral to Pop: 20th-Century Britain on Paper
Until 21 February 2016
Museum of Fine Arts, Boston
Prints and drawings by some of Britain’s most important 20th-century artists, ranging from an 1890s drawing of Brittany by post-Impressionist Robert Bevan to a 1999 etching by Lucian Freud, linocuts by Grosvenor School artists Cyril Power, Sybil Andrews and Lill Tschudi, to abstract works in the Vorticist style, and figurative works by Henry Moore and David Hockney. Rarely seen works from the Museum of Fine Art’s collection as well as recent acquisitions and loans representing a century of change.
David Hockney, (Pool 1) Lithographic Water Made of Thick and Thin Lines, a Green Wash, a Light Blue Wash and a Dark Blue Wash, 1978–80 © David Hockney / Tyler Graphics Ltd. Photograph © Museum of Fine Arts, Boston
Take An Object
Until 28 February 2016
MoMA, New York
Focusing on work from the late 1950s to the 1970s, this exhibition takes inspiration from a famous note once scrawled in a sketchbook by Jasper Johns: ‘Take an object / Do something to it / Do something else to it. [Repeat.]’ Reminiscent of an instruction or prompt for lateral thinking, this particular phrase has been frequently invoked by artists who work with everyday objects and look beyond traditional fine art materials — artists such as Robert Rauschenberg, Niki de Saint Phalle, Betye Saar and Katsuhiro Yamaguchi, who all feature here.
Yayoi Kusama, Accumulation No. 1, 1962. The Museum of Modern Art, NY
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