Rineke Dijkstra, Joan Mitchell et al.
Five Ways In: Themes from the Collection (group show)
Walker Art Center, Minneapolis
14 February 2019 – 26 September 2021
This exhibition, drawn from the Walker’s world-renowned collections, looks backward and forward at contemporary art in our time, showcasing both cornerstone works that have built the collection and works by a younger generation that point to new strengths and directions. The exhibition presents collection highlights within five approaches to subject matter long explored by artists: portraiture; the interior scene; landscape and the observed environment; still life and the everyday; and abstraction, areas that serve as thematic sections for unexpected groupings of works from the collection.
Featuring more than 100 works, the exhibition includes examples ranging from painting and sculpture to drawing, collage, video, photography, prints, and installations. Many of the works on view are longtime favorites for Walker visitors, presented alongside newer acquisitions, many on view for the first time in this context. Works by Joan Mitchell and Rineke Dijkstra are included.
Walker Art Center
Fierce Beauty (solo show)
Baltimore Museum of Art, Baltimore, 13 September – 13 December 2020
San Francisco Museum of Modern Art, San Francisco, 2020
Solomon R. Guggenheim Museum, New York, 2021
The Baltimore Museum of Art (BMA) and San Francisco Museum of Modern Art (SFMOMA) announced that they are co-organizing a comprehensive Joan Mitchell retrospective. The exhibition will bring together an array of paintings, drawings, and prints from public and private collections in the U.S. and Europe. The exhibition is co-curated by Katy Siegel, BMA Senior Programming & Research Curator and Thaw Chair of Modern Art at Stony Brook University, and Sarah Roberts, SFMOMA Andrew W. Mellon Associate Curator of Painting and Sculpture. It will open in Baltimore in April 2020, travel to San Francisco in September 2020, and then move to the Solomon R. Guggenheim Museum in New York in February 2021.
Curators Katy Siegel and Sarah Roberts noted in the museums' announcement: "The exhibition and catalogue will be based on deep primary research and will present new scholarship on Mitchell's life and her extraordinary body of work. We also are convening emerging and established scholars, curators, conservators, writers, and artists to reconsider Mitchell's role in the postwar artistic interchange between the U.S. and France, and to study intensively her materials and process.”
Among the planned exhibition highlights are Mitchell's vibrant response to New York City, East Ninth Street (1956); the abstracted and lush French landscapes Mon Paysage (1967) and No Rain (1976); the grand three-panel painting Bracket (1989); plus a selection of her intensely declarative late paintings from 1991-92. The Joan Mitchell Foundation Archives will also lend a selection of the artist’s sketchbooks and archival photographs, animating both her process and her daily life.
Rineke Dijkstra et al.
Observations – Highlights of the Centre Pompidou New Media Collection (group show)
Centre Pompidou x West Bund Museum Project, Shanghai
West Bund Museum, Hall 1
8 November 2019 – 29 March 2020
“Observations” is the first of a series of exhibitions devoted to the various sections of the permanent collection at the Musée National d’Art Moderne, Centre Pompidou. It features 15 artists from the New Media collection, with works from the early days of video, at the turn of the 1970s, through to contemporary experiments with digital imagery. Rineke Dijkstra's work "I see a Woman Crying (Weeping Woman)" will be presented in the section "Time Suspended".
As an act of knowledge, observation has always been a mainspring driving the development of arts and sciences. In either domain, it consists in focussing the gaze to achieve an attentive perception of things in order to question not only the changes they undergo but also the development of the tools we study them with. “Machines of vision” such as telescopes, microscopes and cameras can influence our representations of the reality they open up to us and contribute to giving them their unique shape. As such, they contribute to cultures of observation.
The analogue camera lens provided our eyes with a sophisticated instrument to support human vision by concentrating our attention thanks to a constructed frame and perspective. With digital technology, the transformation of images into strings of coded data has shaken up the visual systems of representation which have accompanied the constitution of a body of knowledge since the invention of photography in the early 19th century. Images no longer need an author or even a human viewpoint; they access reality via their own path and produce other forms of knowledge.
Employing a retrospective eye, this exhibition reveals how artists have approached and embraced these developments. Starting with early real-time images produced by television through to the debate on intimacy in public places brought about by increasing camera networks, from aesthetic contemplation where the sense of time seems to be suspended, to the transformation of real images by big data, the exhibited works playfully and poetically stretch and repurpose the media, exercising critical lucidity. They speak of our capacity to gaze, pay attention, and create new conditions for a visual experience, to write alternative accounts of the world.
Featuring a variety of works in a non-linear pathway that leaves room for visitors to take their own initiatives, this project has adopted an open approach, attentive to everybody’s role in the shared experience of images.
Centre Pompidou x West Bund Museum Project