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A fruitful autumn harvest Highlights from the season's stage, dance, architecture, books, art, classical and pop.

September 07, 2008

Martin Kersels:

Heavyweight Champion

That title may be the perfect tongue-in-cheek label for this retrospective of a 6-foot, 7-inch, 350-pound artist who presents himself as a hilariously creative lummox. A fan of Buster Keaton and a student of Paul McCarthy and Chris Burden, Kersels explores the absurdities and frustrations of human existence in performances, sculptures and photographs. The Los Angeles artist has made large photos of himself stumbling, falling and getting smacked around, literally throwing himself into his work. His mechanized sculptures include a prosthetic leg that kicks a wall in explosions of pent-up tension. The exhibition will survey Kersels' career in 33 works from 1994 to 2007. Among promised highlights are two installations with a domestic edge. "Dionysian Stage" is an enormous willow-branch nest, stuffed with household objects, that spins like a disco ball. In "Rickety," furniture and other objects are compressed under a platform, as if some great force had flattened them.

Santa Monica Museum of Art, Sept. 13-Dec. 13,

Giorgio Morandi, 1890-1964

Widely revered as a seeker of truth in quiet paintings of ordinary objects -- and occasionally dismissed as a one-note artist -- Morandi will get a full-dress retrospective at the Metropolitan Museum of Art in New York. This first complete survey of the Italian artist's work to appear in the U.S. will track his career in 110 paintings, watercolors and etchings. A native of Bologna, Morandi won prizes in prestigious international exhibitions but shunned the press. His reclusive nature and penchant for painting the same subjects over and over have confined him to the margins of Modern art history. The exhibition will champion him as an important precursor to Minimalism who experimented with Cubism and Futurism and made "metaphysical" paintings inspired by the Surrealist Giorgio de Chirico before developing the classical still lifes that epitomize his mature style.

Museum of Modern Art, New York, Sept. 16-Dec. 14,

Martin Kippenberger: Problem Perspective

Kippenberger was an infamous German prankster who died shockingly young -- he was 44 -- of liver cancer in 1997, but not before he had puzzled audiences, inspired a raft of younger artists and emerged as an apparent post-Pop successor to his great sardonic countryman, Sigmar Polke. In the paintings, sculptures, installations and works on paper gathered for this retrospective, he wrestled with the knotty question of what it meant to be an artist in a world where the idea of originality was in doubt, art market manipulation had become a dominant force, and a cult of personality had substituted the buffoonery of public celebrity for the intimacy of private biography. By the time he was emerging, circa 1980, the establishment had swallowed whole the once-radical idea of an avant-garde. An artist's social role was anybody's guess. Kippenberger's diverse art, rather like Jonah idling in the whale's smelly belly, contemplates the consequences. Sometimes it seems like a revelation and sometimes like a fraud. His friend the painter Albert Oehlen perhaps put the conflicted situation best: "Since an artist is open in any case to the suspicion of being a charlatan, the best thing for him to do is to go the whole hog, because he has nothing to lose." Kippenberger went the whole hog.

Museum of Contemporary Art, Sept. 21-Jan. 5.

Catherine Opie:

American Photographer

Few photographers, even great ones, ever make a picture that ascends into the stratosphere to rank as an icon. When she was 32, Opie did. The 1993 self-portrait shows her naked body waist-up from behind, seated before a dark green formal backdrop. Her brown hair is clipped short, and a decorative tattoo rings her upper right arm. Alarmingly, though, a childlike drawing has been cut with a blade into the freckled skin of her back. Blood trickles from a scene that shows two female stick-figures holding hands in front of a cheerful little house. The sun peeks from behind puffy clouds, while a pair of birds fly by -- a sunny avian symbol of freedom is etched in brutal pain for this same-sex domestic couple. The bloody intimation of shocking violence resonates. Most important, in the post-Robert Mapplethorpe 1990s, the tension between unconventional sadomasochistic aesthetics and conformist family bliss asserted the inherent variety within homosexual life. So it's appropriate that the Guggenheim Museum’s mid-career retrospective transforms Cathy Opie, L.A. photographer, into the more formal and cosmopolitan "Catherine Opie: American Photographer" and positions her as a descendant of such early 20th century documentarians as the Americans Dorothea Lange and Walker Evans and Germany's August Sander. One small disappointment: It will be seen only in New York.

Guggenheim Museum, New York, Sept. 26-Jan. 7,

Dialogue Among Giants: Carleton Watkins and

the Rise of Photography

in California

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