The Renaissance Society
March 13–May 1, 2011

This show will address the lingering cultural fallout of the 1960s, in particular its effect on a generation of younger artists and their engagement with the period as it becomes more somberly remote. Fifteen years ago Newt Gingrich said the 1960s would come to be seen as a “temporary aberration” within the overall trajectory of U.S. history.

Tate Modern
Friday, 4 March–Sunday, 27 March 2011

This programme maps the intangible connections within the largely unknown heritage of personal, artistic and experimental cinema from the Arab world. Ranging from acclaimed masterworks to the rare and recently rediscovered, this series showcases inspiring films from Algeria, Egypt, Iraq, Lebanon, Morocco, Palestine and Syria.

Kunsthaus Graz
Universalmuseum Joanneum
5 February – 15 May 2011

The term “anti-form” in the 1960s represented the abandonment of the traditional concept of art and sculpture. It was a radical challenge that opened doors to new aesthetic worlds, and was followed in the 1980s and 1990s by a further wave of novel sculptures whose influence is still perceptible today.

The largest retrospective ever dedicated to the work of German artist Joseph Beuys in Brazil arrives at the Museum of Modern Art of Bahia, in Salvador, after being seen by 40,000 people at SESC Pompeia, in São Paulo. Joseph Beuys – We are the revolution features over 250 works, including posters, multiples, actions and documentaries produced in the 1960s, 1970s and 1980s.

Badischer Kunstverein
24 September – 21 November 2010

From the 1960s until today, Stephen Willats has developed a pioneering practice based on collaboration, interactivity and participation within the variables of social relationships and settings. Willats creates multi-sensory, multi-dimensional environments to encourage viewers to engage with their own creative and cognitive processes, to re-examine and transform the way they perceive existing reality.

Dia:Beacon

This presentation of works by Franz Erhard Walther will feature a selection of Handlungsstücke (Action Pieces) from the early 1960s, including the complete presentation of 1. Werksatz (First Work Set), 1963–69. Acquired by Dia in 1978, this work comprises fifty-eight fabric elements, or “instruments,” meant to be activated by visitors to the museum, drawing attention to the body as material form.

Office for Contemporary Art Norway
15 September – 15 December 2010

The Office for Contemporary Art Norway presents ‘BIG SIGN – LITTLE BUILDING’, an exhibition that looks at the expanded temporal and spatial field for cultural production resulting from the modern shift in the notion of landscape from the Kantian sublime to the space of leisure time. This enquiry was pursued by the radical artists and architects who throughout the 1960s and into the 70s explored how the aesthetic experience of nature within modernity arrived at the perception of the expressiveness of nature through the expressiveness in things.

Lunds konsthall
18 September – 14 November 2010

Michel Auder was born in France in 1944, but he has been living and working in New York since the late 1960s. His oeuvre, both incisive and generous, is now assuming its rightful place in an updated overview of recent art history, thanks to a series of ambitious solo exhibitions and participations in biennials or other larger-scale events.

Gallerist Sande Webster talks about starting her gallery in the 1960s with a racially-mixed group of artists.  Today, 44 years later, Sande Webster Gallery continues to be a vibrant, successful and community-spirited enterprise on Walnut St.   Sande is a great story-teller.  Here’s a sample. Sande Webster 30 second clip Listen Monday, Aug. 30, to [...]

In this context, two things keep coming up: Julio García
Espinosa’s “cine imperfecto” (imperfect cinema) and Franz Kafka’s “minor
literature,” and its contemporary applications. Espinosa’s text “Por un cine
imperfecto” (For an imperf…