The retrospective MIRIAM CAHN—I AS HUMAN—up for three more weeks at Haus der Kunst in Munich and opening at Museum of Modern Art in Warsaw at the end of November—brings together half a century of work by this key European artist.
Curated by Jana Baumann, over 150 of Cahn’s oil paintings, sculptures, large-scale drawings, watercolors, and Super 8 films are on view.
Coincident with the exhibition, Hatje Cantz has published MIRIAM CAHN—WRITING IN RAGE, a collection of the artist’s essays, translated by Richard Humphrey.
Reinfurt’s new book provides… in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice… [and] is a reminder of Walt Whitman’s call for “a force infusion of intellect” to confront the future. — Sheila Levrant de Bretteville, director, Yale University Graduate Program in Graphic Design
A survey of Judy Chicago’s work from 1965 to 1972—made in Los Angeles and Fresno StateCollege, where, in 1970, she developed the first feminist art program in the United States—is now on view at Jeffrey Deitch.
This [exhibition, JUDY CHICAGO—LOS ANGELES,] has enormous meaning to me because we’re not only doing a comprehensive show of different aspects of my early work—painting, sculpture, fireworks, installations—and all of that has never really been put together before, but you’re also doing it in a Frank Gehry-designed building. Gehry was my first landlord in Santa Monica, and his sister married my first gallerist. Frank was not particularly interested in women artists at that time—I don’t know if he ever was…
And, as you know, I had a really difficult time in the first two decades of my career. Some of the sculptures that are going to be in the show are being reconstructed because I had to destroy them: I just couldn’t afford to store that much work. I stored some early work, fortunately, which the Getty curators unearthed for Pacific Standard Time—that began the process of people looking at my early work…
Even though I had a really difficult time in the L.A. arts scene—which was very inhospitable to women—still, L.A. nurtured me, and I feel like the foundations of my work are in what I did in that first decade and a half of professional practice in California: the development of my formal language, my color systems, my approach to and interest in a wide variety of materials…
Also, doing this show is bringing a lot of memories back, some of which were simply too painful for me to deal with at the time. Had I really acknowledged them or dealt with them, I probably would have given up. I had such a hard time and faced so much rejection and misunderstanding. Still, when I went to auto-body school, I learned for the first time that making art involved making physical objects, and I learned a sense of craft that I never had—about how you do things. I had a teacher at the auto-body school who said to me: “Judy, there’s no such thing as perfection. There’s only the illusion of perfection, and I’m going to teach you how to achieve that.” — Judy Chicago, interview with Jeffrey Deitch, Purple 32
Birnbaum and Koo will also be in Berlin a week later.
“In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre GeorgesPompidou in Paris. Though widely misunderstood at the time, the exhibition marked a ‘curatorial turn’ in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. SPACING PHILOSOPHY analyzes the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life’s work as well as a primer for the many thought-exhibitions produced in the following decades.”*
Join Afterall directors Charles Esche and Mark Lewis, editor Ute Meta Bauer, and artist and contributing editor Charles Stankievech for a celebration of two decades of the journal’s publication and the launch of issue 48—Looking Back, Looking Forward: 20 Years ofAfterall.