Browse Recent Exhibition Reviews

The Solomon R. Guggenheim Museum’s exhibition of Swedish modern artist Hilma af Klint (1862–1944), Hilma af Klint: Paintings for the Future, was a long-overdue American showcase of af Klint’s innovations. Organized by Director of Collections and Senior Curator Tracey R. Bashkoff, Paintings for the Future notably highlighted the spiritualist beliefs that informed af Klint’s practice, as well as those of peers like Wassily Kandinsky and Piet Mondrian. Yet, while the show and catalog successfully celebrated af Klint’s monumental compositions, both fell short of their goal: the integration of af Klint within canonical European aesthetic modernism. This weakness was as… Full Review

Dutch and Flemish marine paintings have tended to be a niche subject, often subsumed within landscapes, left to specialists, or referenced with a few stars, such as Jan Porcellis, Simon de Vlieger, and Willem van de Velde the Younger. In Seymour Slive’s still-standard survey Dutch Painting 1600–1800 (Yale University Press, 1995), the chapter on landscape is three times longer than that on marine subjects. Such an imbalance contrasts with the large number of prestigious commissioned seascapes, often of ceremonial embarkations or naval battles, that commanded high prices during the seventeenth century. The technicalities of boat building, navigating, and weather are… Full Review

The exhibition Agents of Faith: Votive Objects in Time and Place revealed the moving, sometimes playful yearning that accompanies a primal desire to be in the company of the supernatural. Curated by Ittai Weinryb, the Bard Graduate Center Gallery exhibition posited that this desire to visualize or materialize the miraculous is a practice that has existed in all periods and places. It featured objects ranging from Etruscan terra-cottas to Mexican votive paintings to Bavarian and Italian wax casts of individual body parts to a Harley-Davidson motorcycle made for the Vietnam War Memorial. Weinryb asserted in the wall text that votive… Full Review

Maria Lassnig: Woman Power, curated by Wolfgang Drechsler and displayed in the Andito degli Angiolini at Palazzo Pitti, showcased twenty-five artworks by the Austrian painter Maria Lassnig (1914–2014). The paintings that were in the exhibition, which are either self-portraits or still-life pictures, examine the complex phenomenology of the material relationships between human flesh, animals such as tigers and birds, and diverse objects including scissors, musical instruments, plastic wrap, and fresh vegetables. Drechsler’s selection of twenty-five paintings spanning from 1960 to 2010 also traces Lassnig’s interest in using both abstraction and figuration to paint the here and now. As she… Full Review

Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980 was an archive of radical potential. The highly anticipated architecture exhibition at the Museum of Modern Art (MoMA) included over four hundred drawings, plans, photographs, models, and film reels related to the construction, ideological and physical, of the second Yugoslavia (Socialist Federal Republic of Yugoslavia). Unlike in MoMA’s previous architecture exhibition Latin America in Construction: Architecture 1955–1980 (2015), which used MoMA’s own collection to supply the majority of objects on display, the materials showcased in Toward a Concrete Utopia were the result of extraordinary coordination by the curators and researchers to assemble… Full Review

Kristine Khouri and Rasha Salti’s exhibition Past Disquiet and its accompanying catalog of essays and documents is the result of ten years of research into neglected histories of international solidarity. Their research brings to light a dynamic, sprawling network of Cold War “grassroots cultural diplomacy” projects (57) that often developed independently or at arm’s length from the state. During the 1960s–90s, cultural workers found common cause in anti-imperialist struggles and campaigns for national liberation, justice, and equality. Solidarity was expressed by artists and intellectuals through the organization of exhibitions, the donation of works, and the development of institutions explicitly committed… Full Review

“The Art-form which is form-of-power does not say anything, it Does something to you,” wrote modernist composer, astrologer, and painter Dane Rudhyar nearly a decade before he joined the Transcendental Painting Group (TPG) in Santa Fe, New Mexico (Art as Release of Power, Hamsa, 1929). Agnes Pelton: Desert Transcendentalist is the latest ambitious example of a growing fascination with esoterically inspired art that attempted to compel an active, dynamic spirituality into our mundane world: to “do something,” rather than merely illustrate appearances. The exhibition is expertly curated by Gilbert Vicario, the Selig Family Chief Curator at the Phoenix… Full Review

In 1980, artists Christo and Jeanne-Claude were invited to Miami to consider completing a work for the New World Festival of the Arts, a large-scale festival spanning the visual and performing arts during the summer of 1982. Their visit would connect them to Miami’s nascent art scene and inspire their self-funded project Surrounded Islands, completed in May 1983, for which the artists transformed Biscayne Bay by surrounding eleven islands with a pink polyethylene fabric. Bridging public sculpture with earth art, Surrounded Islands became one of the couple’s most iconic works. The Pérez Art Museum Miami (PAMM)’s recent… Full Review

William Blake and the Age of Aquarius at Northwestern University’s Block Museum, curated by Stephen F. Eisenman, is a both learned and highly accessible look at the surprisingly broad influence that William Blake exerted on American artists in the 1960s. By focusing on Blake’s impact, Eisenman manages to present the sixties in a critical light, largely free of the tired nostalgia that usually accompanies the turbulent era. As Eisenman notes in the accompanying catalogue, the term “Age of Aquarius” was made popular by the sixties musical Hair, which played an important role in giving visibility to the style of… Full Review

For over two decades the artist and experimental geographer Trevor Paglen has given form to visually elusive subjects, from black-op military bases hidden in Nevada deserts and spy satellites encircling the earth to NSA-tapped fiber optic cables on the Pacific Ocean floor. The Smithsonian American Art Museum (SAAM)’s recent midcareer survey brought into focus how Paglen probes the subject of seeing itself—whether as an embodied human act or an algorithmic code. What does it take, to what lengths must one go, to occupy a position from which one can truly see the world? Moreover, how can one… Full Review