Andy Warhol: The Last Decade features nearly 50 works by Warhol and examines how he simultaneously worked with the screened image and pursued a reinvention of painting in his late work. Created amidst the bustle of Warhol's Pop celebrity, the works included illustrate the artist’s vitality, energy, and renewed spirit of experimentation. During those final years, Warhol produced more works, in a greater number of series, than at any other time.
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The work of Norwegian-born Gardar Eide Einarsson often explores the complex relationship between individuals and institutions, and the painful limits of transgressing society-imposed boundaries.
The artist also has an interest in commonly used graphics and signs and how we collectively read and relate to them. Logo, 2008, for example, is an eerie black-and-white representation of the HSBC bank’s logo, conveying a dark and apt take on the banking industry.
Susan Rothenberg and Michael Auping, the Chief Curator at the Modern, have identified a select group of paintings—from the early horse paintings of the mid-1970s, to her most recent body of work, which explores a number of central motifs that have occurred throughout her 35-year career.
William Kentridge: Five Themes, a comprehensive survey of the contemporary South African artist's work, features more than 75 works in a range of media—including animated films, drawings, prints, theater models, sculptures, and books. The exhibition is co-organized by SFMOMA and the Norton Museum of Art in West Palm Beach, Florida, and curated by Mark Rosenthal, adjunct curator of contemporary art at the Norton Museum of Art, in close collaboration with the artist.
Painter and native Texan Rosson Crow’s upcoming FOCUS exhibition features her large-scale, vivid depictions of nostalgia-laden interiors that blend aspects of history with theatricality. Interior spaces are the foundation upon which Crow constructs her hotly colored, dripping tableaus. Often including Modernist architectural triumphs, and/or places with mythic backstories, Crow’s subjects range from Los Angeles’s Koenig House to Fort Worth’s White Elephant Saloon.
As a young painter in the mid-1980s, Texas-based artist Jeff Elrod focused on creating ironic works that addressed American postwar abstraction. “I was conflicted,” the artist explains, “I was trying to find a clever way to approach painting because I felt like it wasn’t acceptable to earnestly make abstract work, even though I was earnest about it. I was searching for a relevant form of present-day American abstraction—for a while I collaborated with another artist, and then I made paintings that were components of larger installations.
Ranjani Shettar creates large-scale, abstract sculpture by combining manmade and natural materials such as wood, beeswax, cloth, thread, rubber, PVC pipe, wire, steel, and beads. Her works, which appear to be as impulsive and random as they are patterned and logical, are frequently arranged as sculptural installations that interact with and articulate the space around them.
The Swiss/American artist duo Teresa Hubbard (born 1965 in Dublin, Ireland) and Alexander Birchler (born 1962 in Baden, Switzerland) live and work in Austin, Texas. In a career of more than fifteen years, they have become known for their picturesque, color-saturated photographic series and their deliberately slow-paced video installations, which feature slow pan shots, endless loops, and puzzling plot lines. Starting with their early staged photographs, No Room to Answer presents key works from 1991 to 2008.
My Complement, My Enemy, My Oppressor, My Love, the first full-scale American museum survey of the work of artist Kara Walker, features works ranging from her signature black cut-paper silhouettes to film animations to more than 100 works on paper.
Kehinde Wiley creates larger-than-life-size portraits that mix historical Western European painting styles such as French Romanticism, Rococo, and Baroque with images from contemporary urban streets. The resulting monumental works are painted in Wiley’s characteristic, flamboyant style and presented in ornate gold frames. While the artist evokes important and highly recognizable paintings from the past, he replaces those works’ elite white sitters with African-American men.