Photographer: Frank Bowling. Courtesy of the Rennie Collection, Vancouver.


The Top 10 Museum Exhibitions You Need to See This Summer

When everyone's on vacation, museums still step it up.

Museums have a reputation for saving their “serious” exhibitions for the winter, spring, and fall—the Whitney Biennial, the Shchukin Collection at the Fondation Louis Vuitton, the David Hockney retrospective at the Tate, for instance. Summer, when patrons and donors and critics are on vacation, is supposedly the time for low-budget follies. 

But spared the spotlight of international scrutiny or the pressure of serving as a ticket-office bonanza, many museums make use of their excellent, often unseen permanent collections to create quiet, highly creative shows that are well worth a visit.

The following 10 exhibitions are all cases in point: They range in scope and scale and content, but each, in its own way, is proof that summer is still a season for art.

Eduardo Arroyo: Dans le Respect des Traditions at the Fondation Maeght, Saint-Paul de Vence, France

La mujer del minero Prez Martinez llamada Tina es rapada por la policia, 1970.
Source: DR; Adagp Paris 2017

The Fondation Maeght, a private exhibition space perched on a mountainside in the south of France, has been a destination since it was founded in 1964 by the art dealers Marguerite and Aimé Maeght. Its permanent collection, which includes a terrace full of sculptures by Giacometti and a “labyrinth” designed by Joan Miro, is always a draw, but its temporary shows are equally good.

This collection of work by the Spanish painter Eduardo Arroyo (b. 1937 in Madrid) showcases one of the giants of postwar painting who, for whatever reason (geography, and the fact that they can’t be easily categorized, most probably), has been undervalued by the art world for decades. That probably won’t last long.

Eduardo Arroyo up now through November 19. 

The Henkin Brothers: A Discovery at the Hermitage, St. Petersburg

A photograph by one of the Henkin brothers.
Photographer: Olga Maslova Walther

Rarely has an exhibition made more sense, or seemed more clever, than the juxtaposition of photographs by the brothers Evgeny and Yakov Henkin. Born in Rostov-on-Don, a port city in southern Russia on the border of Ukraine, in 1900 and 1903, respectively, the brothers split up after the October Revolution, one moving to Berlin, the other Moscow.

The Hermitage, a museum known for its unparalleled collection of old master paintings, has organized an exhibition that contrasts the trajectory (and parallels) of the two brothers’ lives as their respective cities transitioned from the comparatively ebullient 1920s to the increasingly despotic and bellicose 1930s. 

The Henkin Brothers on view now through September 24.

China and Egypt: Cradles of the World at the Neues Museum, Berlin

A Chinese jade burial suit.
Photographer: Sandra Steiß; Ägyptisches Museum und Papyrussammlung - Staatliche Museen zu Berlin

In a very different example of contrasting timelines, this show comprises 250 objects spanning nearly 4,000 years and charts the development of the two earliest and most sophisticated societies on the planet. The exhibition’s objects include a full Chinese burial suit made out of jade blocks from about 200 B.C.E., a perfectly preserved polychrome Egyptian stella from about 1350 B.C.E., and a gorgeously filigreed 13th century B.C.E. Chinese wine vessel in the shape of an ox, on loan from the Shanghai Museum.

A bonus: the Neues Museum’s beautifully designed interiors by starchitect David Chipperfield. 

China and Egypt on view now through December 3.


Female Images from Biedermeier to Early Modernism at the Leopold Museum, Vienna

Franz Rumpler, Mädchen mit entblter Schulter, 1880.
Source: Leopold Museum; Wien; 2017

In a prime example of a museum making excellent use of its extensive permanent collection, the Leopold Museum, Vienna’s pantheon of Germanic modernism, has dug into its own holdings and organized a thematic show around “female images.” While any mandate that sweeping runs the risk of falling flat, reassessing the evolution (or lack thereof) of depictions of gender feels timely.

The first part of the show is organized around themes (mother and child, young/old, formal portraits, etc.), while the latter part includes works created by female artists.

Female Images from Biedermeier to Early Modernism on view now through September 18.

Soul of a Nation: Art in the Age of Black Power at the Tate Modern, London

Carolyn Lawrence, Black Children Keep Your Spirits Free, 1972.
Source: Courtesy of Carolyn Mims Lawrence

Perhaps it requires a British arts organization to truly interrogate what it meant to be a black American artist. This sweeping show—which includes work by Romare Bearden, Norman Lewis, Sam Gilliam, and more than 50 others—seeks to articulate a relatively fresh narrative from the race riots of the 1960s through the early 1980s and the establishment of the Black Power movement.

Equally refreshing, the show includes work from the birth of Black Feminism, along with less overtly political pieces, like the aesthetic photography of Roy DeCarava, the first black photographer to win a Guggenheim Fellowship. 

Soul of a Nation: Art in the Age of Black Power opens July 12 and runs through October 22. 

Fred Forest at the Centre Pompidou, Paris

Le blanc envahit la ville from the XII biennale de Sao Paulo, 1973.
Source: D.R.

Fred Forest, a French artist born in 1933, became famous (or at least art world famous) in the 1970s for his conceptual, performative, and largely incomprehensible practice. Forty years later, the theory behind much of his art remains muddled, but his embrace of new technology—he was a leading practitioner of video art—has begun to appear dramatically ahead of its time.

Given that Forest has largely disappeared from recent contemporary discourse, the Pompidou’s show is part retrospective and part introduction to a younger audience that wasn’t alive when he was first scandalizing (or sending up) the art world.

Fred Forest opens July 12 and runs through August 28.


Sarah Lucas: Good Muse at the Legion of Honor, San Francisco

Sarah Lucas, Titti Doris, 2015. 
Photographer: Jochen Littkemann; Sarah Lucas; courtesy of Contemporary Fine Arts; Berlin - Charlottenburg and Sadie Coles HQ; London

Sarah Lucas has been an art market juggernaut for the better part of 25 years, having first appeared on the scene with her peers Damien Hirst and Tracey Emin in the early 1990s under the umbrella of the much-maligned moniker Young British Artists. Unlike her peers, though, Lucas has managed to evolve, persistently creating art that feels fresh, challenging, and fun.

This show at the Legion of Honor is the result of the museum’s invitation to Lucas to create new works that “dialogue” with works from its exhibition Auguste Rodin: The Centenary Installation, which closed in April. Many of those works will remain on view alongside Lucas’s sculpture.

Sarah Lucas: Good Muse opens July 15 and runs through September 17.

Cristóbal de Villalpando: Mexican Painter of the Baroque at the Metropolitan Museum of Art, New York

Cristóbal de Villalpando, Moses and the Brazen Serpent and the Transfiguration of Jesus (detail), 1683. 
Source: Col. Propiedad de la Nación Mexicana Secretaría de Cultura; Dirección General de Sitios y Monumentos del Patrimonio Cultural; Acervo de la Catedral de Nuestra Señora de la Inmaculada Concepción; Puebla; Mexico

The Met might be in the throes of a much-publicized budget crisis and management shakeup, but you wouldn’t know it from the quality of its 2017 exhibitions.

One of the most exciting displays is a colossal painting by Cristóbal de Villalpando (c. 1649–1714), a Mexican Baroque painter. The painting is more than 28 feet tall and depicts two biblical scenes (Moses and the brazen serpent, and the Transfiguration of Jesus). Ten additional works round out the show, but the massive painting is the star: This is the first time in more than 300 years that it’s left Mexico.

Cristóbal de Villalpando opens July 25 and runs through October 15.

Playing with Fire: Paintings by Carlos Almaraz at LACMA, Los Angeles

Carlos Almaraz, Crash in Phthalo Green, 1984.
Source: © The Carlos Almaraz Estate. Photo © Museum Associates/ LACMA

It’s entirely reasonable that Carlos Almaraz’s reputation is intertwined with Los Angeles: He founded a Chicano artist collective in the city in the 1970s and subsequently created a series of prominent murals in East L.A. depicting the struggle for Chicano civil rights.

But his paintings, which are bright, vivid, and often verge on the surreal, practically beg for an international audience. This show—the first major retrospective of his work—includes more than 60 pieces from 1967 until his death from AIDS-related complications in 1989.

Playing with Fire: Paintings by Carlos Almaraz opens August 6 and runs through December 3.

The Sculpture Park at the Louisiana Museum of Modern Art, Humlebaek, Denmark

The sculpture park at the Louisiana Museum of Modern Art.
Photographer: Kim Hansen; Louisiana Museum of Modern Art; Humlebaek; Denmark

No roundup is worth its salt without a glaring exception, and there's no better exception than the Louisiana Museum’s outdoor sculpture park. Truly, it’s one of the most beautiful summertime destinations for art viewership on the planet.

Set on a rolling lawn overlooking the Öresund Sound, the park contains more than 60 sculptures dotted amid trees, flowers, and meandering paths. The park is about a half- hour drive from downtown Copenhagen and well worth the trip.

The sculpture park is open year round.

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