Giorgio Morandi: 1890–1964, Metropolitan Museum, New York, NY. Sept. 16–Dec. 14.
“When the master of quiet still lifes died in 1964, he was unfashionable in New York and London yet revered in Italy. Today, Morandi’s pastel paintings of bottles give the illusion of time stilled—the visual equivalent of slow food.”
Alfred Kubin Drawings, 1897–1909, Neue Galerie, Sept. 25–Jan. 26.
“Nearly 50 years after his death, Kubin gets his first major American museum show. Wispy, surreal pencil drawings and watercolors are reminiscent of a haunted, Austrian Edward Gorey.”
Live Forever: Elizabeth Peyton and Mary Heilmann: To Be Someone, New Museum, New York. Oct. 8–Jan. 11 (Peyton) and Oct. 22–Jan. 26 (Heilmann):
“With this doubleheader, the New Museum pays tribute to these two quiet, trendsetting women, neither of whom, incredibly, has ever had a proper retrospective here.”
Carol Rama, Maccarone, Oct. 25–Dec. 20.
“The racy Italian nonagenarian, muse to Man Ray and Warhol, gets a rare American show featuring her sex drawings and bright abstractions.”
Read New York Magazine’s “Season at a Glance” column.
At The New Yorker, Morandi, Peyton, and Heilmann are also fall preview picks. Additionally, they highlight Joan Miró: Painting and Anti-Painting 1927–1937 at MoMA, opening November 2. From the press release:
“Taking his notorious claim—’I want to assassinate painting’—as its point of departure, the exhibition explores twelve of Miró’s sustained series from this decade, beginning with a 1927 group of works on canvas that appear raw and concluding with 1937’s singular, hallucinatory painting, Still Life with Old Shoe. Acidic color, grotesque disfigurement, purposeful stylistic heterogeneity, and the use of collage and readymade materials are among the aggressive tactics that Miró used in pursuit of his goal. By assembling in unprecedented depth the interrelated series of paintings, collages, objects, and drawings of this decade, this exhibition repeatedly poses the question of what painting meant to Miró and what he proposed as its opposite. In the process, it reveals the artist’s paradoxical nature: an artist of violence and resistance who never ceased to be a painter, a creator of forms.”
