Chaos and Awe: Painting for the 21st Century
International survey of Artists, Showing at 2 venues:
Frist Center, Nashville, TN - June 22nd, 2018 through September 18th, 2018
Chrysler Museum of Art, Norfolk, VA - November 18th, 2018 through April 28th, 2019
Catalog Essay by Malcolm Morely
Artnet - Top 28 Exhibitions in Spring of 2018:
Chaos and Awe: Painting for the 21st Century includes paintings by an international array of artists that induce feelings of disturbance, mystery, and expansiveness through the portrayal of forces shaping and hastening social transformation in ways that are increasingly difficult to predict. Curated by Mark Scala.
Franz Ackermann, Ahmed Alsoudani, Ghada Amer, Korakrit Arunanondchai, Radcliffe Bailey, Ali Banisadr, Matti Braun, Dean Byington, Anoka Faruqee, Barnaby Furnas, Ellen Gallagher, Adrian Ghenie, Wayne Gonzales, Wade Guyton, Rokni Haerizadeh, Peter Halley, Guillermo Kuitca, Heather Gwen Martin, Jiha Moon, Wangechi Mutu, James Perrin, Pat Steir, Neo Rauch, Matthew Ritchie, Barbara Takenaga, Dannielle Tegeder, Kazuki Umezawa, Charline von Heyl, Corinne Wasmuht, Sue Williams.
About the curator
Organized by Mark Scala, chief curator, Chaos and Awe follows a series of exhibitions on the subject of the human body in contemporary art: Paint Made Flesh, a consideration of post–World War II paintings in Europe and the United States (including works by Francis Bacon, Lucian Freud, Jenny Saville, and others); Fairy Tales, Monsters, and the Genetic Imagination, which linked the impulse to create composite bodies in myth and folklore to recent developments in science, such as genetic hybridization and prosthetics (including works by David Altmejd, Patricia Piccinini, Kiki Smith, and others); and Phantom Bodies: The Human Aura in Art, featuring artists who represent longing, loss, and the desire for transcendence through the image of the shadow, mask, and imprint (including works by Magdalena Abakanowicz, Christian Boltanski, Ana Mendieta, Shirin Neshat, and others). InChaos and Awe, the preceding exhibitions’ considerations of biological instability extend outward to invoke the collective mind and body of the culture.