August 28, 2008

NY Mag's fall painting picks

“Giorgio Morandi: 1890–1964,” Metropolitan Museum, New York, NY. Sept. 16–Dec. 14.
"When the master of quiet still lifes died, in 1964, he was unfashionable in New York and London yet revered in Italy. Today, Morandi’s pastel paintings of bottles give the illusion of time stilled. The visual equivalent of slow food."

“Alfred Kubin Drawings, 1897–1909” At the Neue Galerie, Sept. 25–Jan. 26.
"Nearly 50 years after his death, Kubin gets his first big American museum show. Wispy, surreal pencil drawings and watercolors are like those of a haunted, Austrian Edward Gorey."

“Live Forever: Elizabeth Peyton” and “Mary Heilmann: To Be Someone," New Museum, New York. Oct. 8–Jan. 11 (Peyton) and Oct. 22–Jan. 26 (Heilmann):
"With this doubleheader, the New Museum pays heed to these two quiet, trendsetting women, neither of whom, incredibly, has ever had a proper retrospective here."

Carol Rama” At Maccarone, Oct. 25–Dec. 20.
"The racy Italian nonagenarian, muse to Man Ray and Warhol, gets a rare American show of her sex drawings and bright abstractions."

Read New York Magazine's "Season at a Glance" column.

At The New Yorker, Morandi, Peyton, and Heilmann are fall preview picks, too, and in addition they've selected "Joan Miró: Painting and Anti-Painting 1927–1937" at MoMA, opening November 2. From the press release: "Taking his notorious claim—'I want to assassinate painting' —as its point of departure, the exhibition explores twelve of Miró’s sustained series from this decade, beginning with a 1927 group of works on canvas that appears to be raw and concluding with 1937’s singular, hallucinatory painting, "Still Life with Old Shoe." Acidic color, grotesque disfigurement, purposeful stylistic heterogeneity, and the use of collage and readymade materials are among the aggressive tactics that Miró used in pursuit of his goal. By assembling in unprecedented depth the interrelated series of paintings, collages, objects, and drawings of this decade, this exhibition repeatedly poses the question of what painting meant to Miró and what he proposed as its opposite, and in the process reveals the artist’s paradoxical nature: an artist of violence and resistance who never ceased to be a painter, a creator of forms."

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