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Richard Serra 's exibition

from 3 June - 10 September in The Museum of Modern Art, New York. see also : Richard Serra 's exibition

 

Neither New nor Correct: New work by Mark Bradford

Whitney Museum of American Art New York on view September 14, 2007-November 25, 2007

Mark Bradford is the recipient of the 2006 Bucksbaum award. His work appeared in the 2006 Whitney Biennial, and in a one-person exhibition, Very Powerful Lords, at the Whitney Museum of American Art at Altria in 2003. Bradford's large scale pieces express ideas about the processes of urban excavation and archaeology. Tearing down the advertising posters that build up in layers on walls, windows, and light posts in South Central Los Angeles, he references the informal economic patterns of this community. From his found urban material, he creates "collages" -- works made of paper but with the visual impact of painting. Water, which can hide by covering up, reveal by erosion, or act as a medium for mixing disparate elements, has become a powerful metaphor in his present series, which suggests the interpenetration between urban social EXCHANGE AND PHYSICAL STRUCTURES. Major support for Neither New nor Correct: New Work by Mark Bradford is provided by an endowment from the Martin Bucksbaum Family Foundation. This exhibition is made possible, in part, by Altria Group, Inc.

Lines, Grids, Stains, Words

Museum of Modern Art New York June 13–October 22, 2007

Lines, Grids, Stains, Words presents drawings from the 1960s to the present that conflate the simple and seemingly impersonal formal and compositional vocabularies of Minimal art with references to the physical and the bodily. Concerned with issues of scale and perception rather than content, Minimal art often utilizes industrial fabrication techniques and materials, and its hallmark compositional strategies include straight lines and geometric forms organized in rows, grids, and sequences. But Minimal art's relation to the body, while ever present in the medium of sculpture, is often difficult to discern in studies, sketches, and other related works on paper. This exhibition traces the ways in which remnants of the physical can be found in Minimalist works on paper, beginning in the early 1960s, when the formal conventions were defined and tested, and follows the applications of these vocabularies in reference to the body through the present day.

see : moma.org

Repicturing the Past/Picturing the Present

Museum of Modern Art New York June 13–November 5, 2007

This exhibition examines how artists from the late nineteenth century to today have explored contemporary concerns by challenging, redeeming, or personalizing historical subjects. Many of the works take a narrative approach, referring to events in history, ancient mythology, the Bible, or centuries-old fables. Traditionally, artists have used printmaking's serial format to build such narratives; more recently, artists have exploited printmaking's ability to easily reproduce and alter existing images to interject their own commentary. This selection of works includes key print cycles and individual prints from earlier periods by Max Beckmann, James Ensor, Pablo Picasso, and others, as well as contemporary prints by such artists as Christian Boltanski, Anselm Kiefer, and William Kentridge. The installation culminates in a gallery devoted to Kara Walker's monumental series of prints Harper's Pictorial History of the Civil War (Annotated) (2005), which confronts the legacy of slavery and is a new addition to the Museum's collection.

see: repicturing the past

Present Tense: Photographs by JoAnn Verburg

Museum of Modern Art New York July 15–November 5, 2007

This exhibition of approximately sixty photographs will survey the twenty-five-year career of American photographer JoAnn Verburg (b. 1950), who often works in simultaneous series of different subjects–composed and "found" still lifes, portraits, and landscapes. Verburg slowly explores these subjects' pictorial possibilities. Her methodical process includes the use of diptychs and triptychs that demonstrate how the content of a picture can be enriched by using more than one photograph at a time, while maintaining coherence through the close formal and referential relationship of individual exposures. Verburg's use of a 5 x 7-inch-format camera and a radiant color palette make her photographs pleasurable balancing acts that describe the sensuality and physicality of her subjects, and capture those spaces and moments suspended in the reverie that precedes action.