February 13 sees the opening of diane arbus: in the beginning at the Hayward Gallery in London. Organized by The Metropolitan Museum of Art in New York and drawing largely on the Diane Arbus Archive, this exhibition of more than one hundred photographs focuses on the first seven years of Arbus’s career, from 1956 to 1962. This is the first solo presentation of the artist's work in the UK for twelve years, and includes many photographs that have never before been shown in Europe.
On February 16, Kerry James Marshall’s A Portrait of the Artist as a Shadow of His Former Self (1980) is presented at the Los Angeles County Museum of Art (LACMA) as part of Life Model: Charles White and His Students. A former student of White’s at the Otis Art Institute in Los Angeles, Marshall is, in his own words, "a stalwart advocate" for White’s legacy. "I took from him as a teacher that I have an obligation to tell everything that I know so my students can choose what they want to do," Marshall said in a talk at the Art Institute of Chicago in 2018; "If you left Charles White’s company, you were equipped. . . . He understood what the image was up against." Charles White: Monumental Practice opens at David Zwirner New York on January 8.
Later in February, a comprehensive retrospective of the work of Franz West travels to Tate Modern, London, from the Centre Georges Pompidou, Paris, where it debuted in September 2018. The works on view demonstrate the full breadth of West’s oeuvre, beginning with rarely seen drawings from the early 1970s and his first Passstücke (Adaptives)—the sculptures for which he became well known—to his papier-mâché works from the 1980s and Lemurenköpfe (Lemur Heads), made in the 1990s, as well his collages, furniture works, and collaborations with other artists.
In March, as part of the cycle of monographic shows dedicated to major contemporary artists, launched in 2012 and alternating with thematic exhibitions of the Pinault Collection, Palazzo Grassi in Venice presents Luc Tuymans’s first personal exhibition in Italy. Curated by Caroline Bourgeois in collaboration with the artist (Mortsel, Belgium, 1958), the show is entitled La Pelle (The Skin), after Curzio Malaparte’s 1949 novel, which also gave its name to one of Luc Tuymans’s paintings. It includes over eighty works from the Pinault Collection, international museums, and private collections and focuses on the artist’s paintings from 1986 to today.
Opening April 9 is a major solo exhibition of Oscar Murillo’s work at Kettle’s Yard in Cambridge, England. Featuring a body of new and recent work, it marks the artist’s first solo show at a UK institution since his acclaimed exhibition at South London Gallery in 2013.
Also in April, Neo Rauch: Aus dem Boden/From the Floor opens at The Drawing Center in New York, following its run at the Des Moines Art Center in Iowa (on view through January 6). The show includes more than one hundred large- and small-scale works on paper, the majority of which have not been shown before. Like Rauch’s paintings, these works are characterized by a distinctive combination of figurative imagery and surrealist abstraction. His enigmatic compositions feature an eccentric cast of human characters, animals, and hybrids within familiar-looking but imaginary settings in which scale is often arbitrary, seeming to allude to different time zones or planes of existence. While some are finished works in their own right, others are sketches that help to reveal the artist’s process or record an idea.
Toba Khedoori is one among a group of artists whose work will be shown in Resonating Spaces at Fondation Beyeler, Basel, in October. Khedoori, who is known for her precisely rendered, intricate compositions depicting familiar objects, has created her own atlas of solitary spaces, windows, doors, train compartments, and horizon lines that are always devoid of human presence. For the exhibition, an entire room will be devoted to her work.
November sees the opening of Interiorities: Leonor Antunes, Njideka Akunyili Crosby, Henrike Naumann, Adriana Varejão at Haus der Kunst in Munich. Curated by Anna Schneider, the exhibition focuses on transnational identities that are at once fragmented and complex. In treating “interior painting” as a discursive space, the featured artists explore the imagination as well as the interior as a real setting, a private retreat or shelter, and a site from which to address the sociopolitical context.
Cover Image: Luc Tuymans, Twenty Seventeen, 2017 (detail)