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Thu, Feb 9, 2012

Mark Bradford exhibition at the Museum of Contemporary Art Chicago; photo: Nathan Keay © MCA Chicago

With the winter exhibitions under way, we thought we'd check in on two of our exhibitions that have been making their way across the country.

Mark Bradford, which was organized by and premiered at the Wexner Center in 2010, continues its massive tour of the country. Shortly it will be on the West Coast, at the San Francisco Museum of Modern Art (February 18–June 17, 2012), concurrent with a presentation of three Bradford works at the nearby Yerba Buena Center for the Arts, including Bradford's Detail,his "ark" of sorts for Hurricane Katrina. In a review in the San Francisco Chronicle , Kenneth Baker called it an "impressive solo show," and notes that "Bradford shows that in the new century lineages such as painting and installation thrive not by mimicking their ancestry, but by reimagining it." Before that, the exhibition, called "light and fleet" by The New York Times, was at the Institute of Contemporary Art in Boston in late fall 2010/winter of 2011, the Museum of Contemporary Art in Chicago in summer 2011, and the Dallas Museum of Art in the fall. In Chicago, the exhibition was called "gorgeous, thick, meditative, relevant" (Huffington Post), while he left his mark in Boston with works "quietly radiating meanings, emotions, and no end of visual satisfactions" (Boston Globe­). D Magazine in Dallas took note of the exhibition, catalogue, and microsite: "That's the kind of generative impact that just a handful of institutions can have on the larger art world."

Elliott Hundley: The Bacchae, which was organized by the Wex and premiered here in the fall, is currently at the Nasher Sculpture Center in Dallas. In a recent review, Dallas's D Magazine wrote about Hundley's intricate mixed-media works inspired by The Bacchaetragedy: "Their complexity practically defies description, and the range of materials is remarkable." The Fort-Worth Star-Telegram described it as  "veritable bacchanalia of textures and found objects." And the Dallas Morning News called the exhibition "thoroughly au courant." Along with the exhibition itself, the lush and fully illustrated catalogue produced by the Wexner Center "give[s] you the opportunity for further ogling and education" (alive!).

And speaking of traveling shows, mark your calendars for Alina Szapocznikow: Sculpture Undone, 1955‒1972, which opens May 19 at the Wexner Center, on the heels of a Los Angeles run at the Hammer Museum, where it's on view now through the end of April. The show, featuring about 100 works in polyester resin and other materials by the late Polish sculptor, premiered in Brussels at WIELS Contemporary Art Centre in the fall of 2011. The exhibition earned an Artforum cover feature in November 2011, and Frieze writes, "A place for Szapocznikow within the canon of art history is firmly being made." The exhibition makes its way to MOMA in New York later this year. But before New York, Columbus.
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