June 22–September 16, 2018
Chaos and Awe: Painting for the 21st Century
Wangechi Mutu (b. 1972, Nairobi; based in Brooklyn). Funkalicious fruit field, 2007. Ink, paint, mixed media, and plastic pearls on Mylar, 92 1/8 x 106 in. Collection of Glenn Scott Wright, London. Courtesy the artist and Victoria Miro, London. © Wangechi Mutu
Ali Banisadr (b. 1976, Tehran; based in New York). Contact, 2013. Oil on linen; support: 82 x 120 in. Collection Albright-Knox Art Gallery, Buffalo, New York; Gift of Mrs. Georgia M. G. Forman, by exchange, Bequest of Arthur B. Michael, by exchange, Elisabeth H. Gates Fund, by exchange, Charles W. Goodyear and Mrs. Georgia M. G. Forman Funds, by exchange, Philip J. Wickser Fund, by exchange, Gift of Mrs. Seymour H. Knox, Sr., by exchange, Gift of Miss Amelia E. White, by exchange, 2014, 2014:8. © Ali Banisadr. Photo: Tom Loonan
Franz Ackermann (b. 1963, Neumarkt-Sankt Veit, Germany; based in Berlin). Untitled (yet), 2008–9. Oil on canvas, 109 5/8 x 216 1/8 in. Mildred Lane Kemper Art Museum, Washington University in St. Louis, University purchase with funds from the David Woods Kemper Memorial Foundation, 2011, WU 2011.0001. © Franz Ackermann
Rokni Haerizadeh (b. 1978, Tehran; based in Dubai). But a Storm Is Blowing from Paradise, 2014. 1 of 10 parts exhibited from a 24-part work: gesso, watercolor, and ink on inkjet prints, 11 3/4 x 15 3/4 in. each. Solomon R. Guggenheim Museum New York, Guggenheim UBS MAP Purchase, 2015.89.10. © Rokni Haerizadeh
Ghada Amer (b. 1963, Cairo; based in New York). The Egyptian Lover, 2008. Acrylic, embroidery, and gel medium on canvas, 62 x 78 in. Collection of Miyoung Lee and Neil Simpkins, New York. © Ghada Amer. Photo: Courtesy Cheim & Read, New York 049
Chaos and Awe: Painting for the 21st Century includes paintings by an international array of artists, from Franz Ackermann to Sue Williams, 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, such as globalism, ideological conflict, technology, science, and philosophy. These forces can make people feel frightened by their ungraspable breadth and powerful influence, or inspired by their promise of a previously unimaginable understanding of connectedness. These sensations are associated with the sublime, a word that has traditionally referred to the feeling of being awed or terrified by the unfathomable nature of God and the cosmos. Chaos and Awe equates the sublime with the depth and mystery of the human mind and its extension into the world.
This exhibition was organized by the Frist Center for the Visual Arts.