Guillermo Kuitca, "Mozart—da Ponte" I,
1995, mixed media on canvas, 71 x 92". © Courtesy Sperone Westwater,
New York. ALBRIGHT-KNOX ART
GALLERY BUFFALO, NY Through May 30 Curated by Douglas
DreishpoonEmploying motifs such as maps, architectural plans,
and genealogical charts, Guillermo Kuitca makes borders and links—as
well as their political and personal mediation—central to his practice.
Miami is thus a fitting location to launch this touring midcareer
survey, which traces the contours of the Argentinean artist’s oeuvre
with some seventy drawings and paintings. One standout is Untitled,
1992 (on view for the first time in the United States), an arrangement
of twenty child-size beds with road maps of Europe painted directly onto
their mattresses—elegantly cleaving public and private.
Mark Bradford, A Truly Rich Man is One Whose
Children Run Into His Arms When His Hands are Empty, 2008, mixed
media collage on canvas, 102 x 144". WEXNER CENTER FOR
THE ARTS COLUMBUS Through August 15 Curated by Chistopher
BedfordAn incisive archaeologist of the street, Mark Bradford is
best known for his wall-size, often cartographic paintings
incorporating the collage and décollage of scavenged urban
detritus. This ten-year survey will foreground those works while
highlighting significant new pieces in sculpture, film, and other media.
The rough-hewn installation Pinocchio Is on Fire, 2010, for
example, employs sound and mock interviews to unearth historical events
and cultural phenomena that have affected the African-American community
in Los Angeles. The accompanying catalogue includes essays by Robert
Storr, Hilton Als, and the curator, among others. Eadweard Muybridge, Cannonballs and San
Francisco Bay, Alcatraz Island, 1869, stereoscopic
black-and-white photographs on studio card, 3 3/8 x 7". CORCORAN GALLERY OF
ART WASHINGTON DC Through July 18 Curated by Philip
BrookmanEadweard Muybridge’s fame rests largely on the 1887
publication and popular dissemination of Animal Locomotion, in
which marvelously matter-of-fact images of men, women, children, horses,
elephants, birds, and anything else he could wrangle into his studio
are arranged in 781 sequential grids like frames in a film. That project
has nearly eclipsed a career of experimentation and innovation that
began in San Francisco twenty years earlier and involved virtually every
sort of photographic subject, process, and format. This retrospective,
the first devoted to the full range of Muybridge’s work, focuses new
attention on his pioneering western landscapes, including unusually
large-scale views of Yosemite and detailed panoramas of San Francisco,
as well as the devices Muybridge invented to capture and project motion.
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