Ring of Remembrance
With stirrings of nationalism, combative rhetoric, and actual annexation piercing Europe’s recent, relatively peaceful status quo, there seems no better time to visit L’Anneau de la mémoire, the World World I memorial in Ablain-Saint-Nazaire, at France’s northern tip, designed by architect Philippe Prost. The striking concrete ellipse, set into the slope below the neo-Byzantine chapel of the National Necropolis, France’s largest military cemetery, is lined with 500 vertical bronze sheets bearing the engraved names of 579,606 men and women who perished on the battlefields of the Nord-Pas-de-Calais in the Great War. Those names—largely French, British, and German—are listed in alphabetical order, regardless of the country the combatants served. “Grief has given way to calm,” Prost said of the memorial. “Through our project we wished to give a shape to brotherhood, to give expression to peace, and to unite art and nature and put them at the service of memory.”
L’Anneau de la mémoire, Ablain-Saint-Nazaire, France
The new Elbphilharmonie and Elbtreppe in Hamburg
Though Hamburg has long been one of Germany’s most influential cities, it is coming into its own as a travel destination thanks to two architectural projects on the waterfront completed in the past two years. One of the late, brilliant architect Zaha Hadid’s final creations, Elbtreppe is a half-mile promenade along the Elbe River punctuated by amphitheater-like steps (Treppe) on which to sit down and take in the magnificent cityscape. It offers a great view of the nearby Elbphilarmonie, a crystalline, sail-shaped concert hall by Swiss architecture firm Herzog & de Meuron, creators of the Tate Modern, that finally opened its doors in November. (It was 14 years in the making.) Though you’re unlikely to score tickets to a performance in the foreseeable future, it’s worth visiting just to take in the 360-degree view afforded by the Plaza, the glass-enclosed panoramic ring dividing the soaring glass structure and the warehouse on which it was built. While you’re in the neighborhood, don’t miss checking out Speicherstadt, the city’s stately warehouse district, which was named a UNESCO World Heritage site in 2015.
Elbphilharmonie, Hamburg, Germany.
Antwerp Port House Tour
Sometimes a new architectural wonder comes along that is enticing enough to warrant its own trip across the ocean. Zaha Hadid’s Port House, which opened in September and was completed by the iconoclastic architect’s team posthumously, is one such building. The city of Antwerp, Belgium’s port, the second largest in Europe, had by 2007 outgrown its administrative buildings, and its employees were working in offices throughout the city. The site they envisioned for a new building that would unite them, however—Mexico Island on the Scheldt River—was occupied by a historic building already: its now defunct original fire station. Rather than tear it down, the city’s planners wanted to expand it—vertically, they hoped. The building committee was impressed with all five submissions, but smitten with Hadid’s visionary renderings, which depicted an enormous faceted, glass and metal, cantilevered oval poised over the original building like a toy spaceship balanced precariously on a building block. The resulting structure is, in real life, astonishing. And someone must have taken to heart the “If you build it, they will come” mantra, for the Port House is now open to the public for tours (conducted in Dutch; 10 euros; reservations required).
Port House, Antwerpen, Belgium.
Only an art collector with the vision, financial prowess, and largesse to match their passion for art could have brought about the creation of Potsdam’s Museum Barbarini, among the most significant new museums to open in Germany in decades. And that is just what German software company SAP cofounder Hasso Plattner brought to the table when he sought permission to restore the baroque Prussian Barbarini Palace in Potsdam’s Alter Markt square, which was originally modeled after Rome’s Palazzo Barberini and all but destroyed in a WWII air raid, and turn it into a world-class art destination.
After recreating the building—including replicating the sandstone facade to the exact specifications Frederick the Great ordered in 1771, a requirement imposed by city—Plattner finally has a 17-gallery home for his vast art collection. Its two kickoff exhibitions are “Impressionism: The Art of Landscape,” which showcases works by Monet, Sisley, Renoir and Pissarro, and “Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky,” whose undoubted star is Edvard Munch’s Girls on the Bridge (1899), which Plattner is believed to have bought at Sotheby’s last November for $54.5 million (both shows run through May 28). Now you know where you have to go on your visit the German capital; the royal city on the Havel River is just an hour away from Berlin.
Museum Barbarini, Potsdam, Germany
Tippet Rise Art Center
The coupling of art and stunning outdoor scenery is nothing new (witness sculpture gardens and summer music festivals), but the Tippet Rise Art Center, which kicks off season two this summer, takes it to a whole new level. Set on a 10,000-plus-acre working sheep and cattle ranch in a corner of Montana where snow-capped mountains intercept the meeting of verdant pastureland and azure sky, Tippet is an idea as much as it is a place. Founders Peter and Cathy Halstead, both of whom are artists and art benefactors, say they were inspired by New York’s Storm King to bring music, art, architecture, and nature together.
Site-specific sculpture and land art works by Alexander Calder, Mark di Suvero, Patrick Dougherty, Stephen Talasnik, and the group Ensamble Studio are scattered throughout the expansive landscape and can be viewed solo, on foot or by bike, or via scheduled tours in a carbon-neutral van (Fridays through Sundays), while intimate concerts with contemporary classical music luminaries like Yevgeny Sudbin, Jenny Chen, and the Ariel String Quartet take place in the Olivier Music Barn or out in the open alongside an outdoor sculpture. If you’re heading west in September, step off the beaten path and book tickets for Tippet’s Architecture & Design Film Festival (Sept 22–24), the center’s last event of the year.
Tippet Rise Art Center, Fishtail, Montana
Chagall: Colour and Music
This major survey of the exuberant Marc Chagall had its beginnings in an unlikely place: Cite de la Musique, a group of institutions in Paris’ 19th Arondissement. But it makes sense when, at the show’s culmination, visitors take in a projection of the ceiling of the Paris Opera, a masterpiece Chagall completed in 1964. It turns out music played a huge role throughout the itinerant master’s life, from his Russian childhood to his exile in New York and his many international collaborations with stage productions—the ballets Aleko (1942, Mexico City), The Firebird (1945, New York), and Daphnis and Chloe (Brussels-Paris, 1958-1959) and the opera The Magic Flute (New York, 1966-1967)—as set and costume designer. The galleries of the exhibition, whose themes unfold chronologically, are at times filled with music Chagall is known to have loved. It is the humble violin, however, which his brother played, that returns over and over again in Chagall’s work, perhaps because of its symbolism as the spirit of an exiled people who could take it but little else with them on their journeys in search of a better life.
Montreal Museum of Fine Arts, Montreal, Quebec. Through June 11.
Rita Kernn-Larssen: Surrealist Paintings
In 1938, Peggy Guggenheim invited the Danish artist Rita Kernn-Larssen, whom she had met a year earlier in Paris, where the artist lived, to exhibit her Surrealist paintings in a solo show at Guggenheim Jeune, Guggenheim’s London gallery. It is fitting, then, that the Peggy Guggenheim Collection in Venice is once again introducing the little-known Kernn-Larssen to international art aficionados, in a show that inaugurates the museum’s two new Project Rooms and overlaps with the 57th Venice Biennale.
The late artist, who left Denmark in 1929 out of dissatisfaction with the country’s art training, became the star pupil of post-Cubist artist Fernand Léger in Paris, and her work went on to be exhibited in 1930s Surrealism surveys alongside that of Magritte, Dalí, and Picasso. More than half of the works on view in Venice were part of the London show, including her 1937 masterpiece Self-Portrait (Know Thyself), whose blood-red and gray palette, gorgeous renderings, and arresting spatial play leave you wondering why she’s never been on your radar before.
Peggy Guggenheim Venice, Venice, Italy, Through June 26.
Mike Perry: All the Colors at Once
Brooklyn-based artist Mike Perry, an animator, designer, creative director, author, brand consultant, and poet, takes up residence in the Gallery at Ace Hotel this month in an event that is bound to be as exuberant, energetic, and colorful as the artist himself. The exhibition is cosponsored by Adobe’s 99U as part of its annual New York conference for creative professionals. Critical to Perry’s process is the notion that art is the result of an unfurling of iterations, culminating in pieces that have found their moment through often winding processes. Perry says of the exhibition, “As time has no destination, we can see what was and what is to come if only we can see everything at once for what it really is.”
The Gallery at Ace Hotel New York, New York City. June 7–30.
Georgia O’Keeffe: Living Modern
Besides being one of the last century’s most celebrated American painters, Wisconsin-born Georgia O’Keeffe was a pioneer when it came to the creation of an instantly recognizable public persona. Her artistic prowess and chiseled beauty captured the attention and the hand of photographer Edward Steichen, who was married when he met her. Yet one can’t help but notice that her striking looks went far beyond conventional beauty, and derived a great deal of their power from her deliberate aesthetic and sartorial choices, from minimalist yet romantic frocks to the poses she struck for fellow artists. This show is the first of its kind to investigate O’Keeffe’s identity as a style icon, presenting pieces of her wardrobe, and photographs taken of her by other luminaries, among them Ansel Adams, Annie Leibowitz, and Bruce Weber, alongside her artwork. The exhibition is a homecoming of sorts for O’Keeffe, who had her first-ever solo show at the Brooklyn Museum in 1927.
Brooklyn Museum, Brooklyn, New York. Through July 23.
Making Space: Women Artists and Postwar Abstraction
Art and polemics hardly ever mix well, but there is one overarching reason to catch this show of work by female postwar artists at MoMA, and that’s the exceptional, and in many instances rarely seen, art on view. The historical survey exhibits 94 works by 53 artists—all but one from the MoMA collection—created between 1942 and 1969 and grouped loosely by themes like geometric, gestural, and reductive abstraction. Among the best known of the artists it shows are painters Lee Krasner, Joan Mitchell, Agnes Martin, Helen Frankenthaler, and Yayoi Kusama, and sculptors Louise Bourgeois and Eva Hesse, nearly all of whom had a connection to the New York art scene of the 1950s. However exciting it is to see their work side-by-side, the show’s revelations come from its lesser known artists, such as Lebanese-born American Etal Adnan (a painter whose color-block abstractions evoke landscapes); D.C.-based Alma Woodsey Thomas (maker of vibrant expressionist works that artfully elude the show’s categories); New Yorkers Anne Ryan (poetic collages made of colored paper, cloth, and string) and Lenore Tawney (soaring yet intricate fiber art pieces); and German-born Brazilian Gertrudes Altschul (graphically abstract black-and-white photographs), among others. Now that introductions have been made, it’s time the all-women roundups end; they’re a bad excuse that allows the art world’s unending spotlight on the work of white male artists to continue.
Museum of Modern Art, New York. Through August 13.
Walker Evans: A Vernacular Style
This major retrospective of Walker Evans, the first of its kind to be undertaken by a French institution, is an ode to the American artist who strove not to capture beauty or even create art but to see things as they really are. What Evans saw, from the faces of individuals enduring the ravages of the Depression to the quixotic vernacular of local architecture, signage, and store displays, is nearly as magnificent as the way Evans photographed it. And in so doing he created an indelible portrait of American culture from the late 1920s to the early 1970s. The show, which gathers together close to 300 seminal works from major U.S. museums (the Art Institute of Chicago, MoMA, the National Gallery of Art) and private collectors, heads to the San Francisco Museum of Modern Art this fall (September 20–February 4, 2018).
Centre Pompidou. Through August 14.
Carlos Cruz Diez: Chroma
The Savannah College of Art and Design celebrates the life and work of Franco-Venezualan artist Carlos Cruz Diez, this year’s recipient of the school’s deFINE ART honor, with a show of works that aim to challenge and change viewers’ perception of space, light, and color. Throughout his seven-decade career, the Paris-based artist, known as much for his groundbreaking color theory as for his artwork, has explored the parameters of color through visual environments that put their audience front and center as sensory participants. Among the show’s highlights are the immersive Environnement Chromointerférent, an indoor installation created specifically for SCAD; Chromosaturation, a work housed inside a shipping container in the museum’s courtyard that transforms a series of spaces into planes of color; and a series of crosswalk designs, one of the artist’s signature series, installed near the museum. “The world of color is the world of emotion,” Cruz Diez once said, hinting at both the source of his fascination and the goal of his artistic interventions.
Savannah College of Art and Design, Savannah, Georgia. Through August 20.
Josef Frank: Against Design
Colorful exuberance isn’t what first comes to mind when you hear the words Scandinavian design—until you start thinking of those countries’ fabrics, that is. Almedahls, Lungbergs, and Marimekko fabrics are all by turns sumptuous, earthy, and riotous, adding pops of pattern to otherwise stark, monotone interiors. That entire legacy is thanks to Jewish-Austrian immigrant Josef Frank (1885–1967), who in 1933 abandoned a successful architecture career in Vienna and fled with his wife to Sweden upon sensing the growing power of the Nazis in his home country. Frank went on to have an astonishing career in his adopted country—and in New York, where he was a war exile from 1940 to 1945—as a fabric and furniture designer with interior design firm Svenskt Tenn (the company sells his work, from rugs and pillows to wallpaper, to this day). Dense, intricate and largely botanical, his designs draw you in with their striking color combinations and imaginative scenes, as if they were worlds unto themselves and completely alive. This show, the most comprehensive of his work to date, explores Frank’s increasing discontent with the strict tenets of modernism, and his subsequent embrace of a philosophy called “accidentism,” in which chaos, boundary-breaking juxtapositions, and contradictions are celebrated.
ArkDes, Stockholm, Sweden. Through August 27.
Frida Kahlo: Through the Lens of Nickolas Muray
Few artists elicit instant recognition and adulation quite like Mexican painter Frida Kahlo, whose stature as an artist reached epic proportions decades after her death in 1954 at age 47. One reason for this is that self-portraiture was a primary artistic pursuit of hers throughout her life, beginning with her recuperation from a near fatal accident at age 18. Yet a great many of the most iconic Kahlo portraits were taken not by the artist but by her friend and lover Nickolas Muray, a Hungarian-born color photography pioneer whom she met in 1931 while married to artist Diego Rivera and with whom she remained friends until her death. This exhibition brings together 52 of these portraits, a mix of color and black-and-white, alongside letters Muray and Kahlo wrote each other, which only heighten the intimacy of the NYC-based photographers astonishing portraits of a deeply private 20th-century giant.
Museum of Latin American Art, Long Beach, California. Through September 3.
Rei Kawakubo/Comme des Garçons: Art of the In-Between
Despite its recent managerial and financial woes, the Met is putting on its game face with this comprehensive survey of beloved fashion rebel Rei Kawakubo at the Costume Institute. The show, which marks just the second time the storied Institute has mounted a showcase featuring a living fashion creative (the first was Yves Saint-Laurent in 1983), explores the Japanese maverick’s highly original aesthetic via eight categories that align opposites—Fashion/Anti Fashion, Design/Not Design, Self/Other, and Object/Subject among them—suggesting that her sartorial creations smash boundaries, allowing the wearer to reside “in between,” and thus free of, artificial constraints that deign what is appropriate, outrageous, or doable. Expect a mix of her most iconic looks from the past 30 years, from all-black, deconstructed minimalism to brightly colored sculptural frocks that easily jump from artful to art.
Metropolitan Museum of Art Costume Institute. New York City. Through September 4.
Maureen Gallace: Clear Day
That the cutting-edge bastion of contemporary art is showcasing a series of small, quiet landscapes by a local artist seems to suggest that genre-defying multimedia, dissonance, and a disposition for neon are no longer prerequisites for being “of the moment.” New York–based artist Maureen Gallace uses a restrained palette for her quiet yet haunting landscapes that depict houses in rural settings with an abstracted shorthand that is nothing short of masterful. These abodes, many of which are devoid of windows and doors, never reveal their inhabitants and often come across as empty or abandoned. Taken together, in the largest survey of her work to date, Gallace’s works are redolent of Giorgio Morandi, her houses akin to the collection of vessels with which the Italian composed a lifetime of stunning contemplations: They are neither pure form nor specific depiction but dwell in between as the mantra-like repetitions of two singular, almost devotional painters.
MoMA PS1, Long Island City, New York. Through September 10.
Alberto Giacometti shows
In the first of two shows focused on seminal 20th-century sculptors who have been anointed in the one-name cannon (the second is Brancusi, debuting in November), the Tate Modern seemingly gathered every piece of Giacometti’s it could from the Fondation Giacometti in Paris to present as complex a picture as possible of the Swiss artist best known (some would say primarily known) for his postwar bronze castings of emaciated, elongated figures (Pointing Man, The Chariot, Falling Man). As if to point out the extent to which we do not know this artist as we think we do, an imposing collection of portrait busts from across the artist’s career greet visitors in the first gallery. Don’t miss the next section’s stunningly inventive Surrealistic sculptures with which the artist made a name for himself in Paris – from Suspended Ball (1930-31), a hanging crescent cradling a ball and enclosed in a box, and Disagreeable Object (1931), a barbed, phallic creature with an owl’s head, to Caught Hand (1932), which one can imagine as a gruesome means of torture, and Woman with Her Throat Cut (1933), an abstract bronze work that is far more fascinating than repulsive – or the eight Women of Venice, displayed for the first time since the 1956 Venice Biennale for which they were created.
Tate Modern, London, U.K. Through September 10.
One of Miami’s newest cultural venues showcases 25-plus works by Toba Khedoori, an Australian-born artist of Iraqi descent who has lived and worked in Los Angeles since 1990. Her largely monochromatic drawings depict everyday architectural elements seen from a distance, from building facades to hallways, and reveal a preoccupation with negative space and repetition. The power of her finest works, executed on wax-treated paper, derives from their unusual combination of painstakingly detailed draftsmanship and enormous size; they are typically 11 x 20 feet, dimensions made possible by her spacious former studio in Inglewood, California, which she left in 2008. Several shifts have taken place since she moved her studio to Venice, California; she now works in oil on linen, her artworks are decidedly smaller, and they hone in on details of such objects as tree branches rather than pull out for the expansive view. In both series, Khedoori’s work is as enigmatic as it is mesmerizing—so much so that we’re looking forward to seeing where she, and it, goes next.
Pérez Art Museum Miami, Miami, Florida. Through September 24.
Richard Deacon: Some Time
This summer, one of Europe’s preeminent sculpture gardens hosts a show of one of its preeminent sculptors: the Turner Prize–winning British artist Richard Deacon. Known primarily for enormous sculptures that, paradoxically, are often hollow, Deacon, unlike a great many sculptors, relishes using an array of materials for his work, from wood, leather, and PVC to steel, corrugated iron, and marble. The focus of the show, which features 31 works of all sizes, is variations, which references Deacon’s tendency to push his work into new territory, however temporarily. In honor of the survey, Middelheim and Deacon together undertook the “refabrication” of the sculpture Never Mind, a mysterious, zephyr-shaped work with a sensuous faceted surface that Middleheim bought back in 1993, when Antwerp was designated the Culture Capital of Europe. Wooden strips were replaced by stainless steel versions, and the base was restored, in essence creating an entirely new work—an act that’s pure Deacon.
Middelheim Open Air Sculpture Museum, Antwerp Belgium. Through September 24.
For an immersion into the visual worlds of four postwar German artists grappling with questions of form and space, it’s worth a trip to Munich’s Sammlung Goetz. The exhibition FarbRaumKörper, named after a term coined by the artist Gotthard Graubner (1930-2013) to describe his dense paintings on fabric (it means, roughly, “color/space/forms”), brings together the work of Graubner, whose work mined the tension between the ethereal and the material; Blinky Palermo (1943-1977), the artist who borrowed the name of an American mafioso and who, in his short but prolific life, experimented with the dynamics of sequential line, color, and negative space; Imi Knoebel (b. 1940), who explores shape and color through machine-cut works exhibited in series (you may have seen his 24 Colors – For Blinky at Dia: Beacon between 2008 and 2014); and Reiner Ruthenbeck (1937-2016), whose sculptures often made use of everyday objects to take on the likes of gravity. All four share a connection with the Kunstakademie Düsseldorf, the renowned art school whose alums include painters Gerhard Richter and photographers Thomas Struth and Andreas Gursky.
Sammlung Goetz, Munich, Germany. Through October 14.
Minneapolis Sculpture Garden/Walker Art Center
After a $10 million makeover and an almost two-year wait, Minneapolis’ beloved sculpture garden reopens to the public in June. The 29-year-old public green space, on the expansive campus of the lauded contemporary art–focused Walker Art Center and perhaps best known for its Spoonbridge and Cherry fountain by Claes Oldenburg and Coosje van Bruggen, has added 18 sculptures to the 42 works in its collection. Among them are Robert Indiana’s Love sculpture and six new works commissioned for the site, among them Hahn/Cock by German-born sculptor Katharina Fritsch, a 20-foot-tall ultramarine blue rooster that recalls the Midwestern weathervane while also poking fun at the notion of monumental sculpture. Yet the main stars are the park itself, which was upgraded with state-of-the-art irrigation and stormwater drainage systems, a new native plant meadow, and the addition of 300 new trees, and the Walker Art Center, which is undergoing massive renovations of its own; during the garden’s closure it added a new entry pavilion, a green roof, and an outdoor plaza designed by the late Sol LeWitt. “Katharina Fritsch: Multiples,” a solo show of the artist’s monochromatic work, is on view at the Walker through October 15.