Mark Dion. "The South Florida Wildlife Rescue Unit: The Uniforms," 2006. Courtesy Miami Art Museum.

In this week’s roundup Mark Dion explores Florida’s ecology, Janine Antoni receives a grant, Susan Rothenberg identifies with a toy monkey, Rashid Johnson is in a rumble, and much more.

• Mark Dion: Troubleshooting is a collection of drawings, prints and other pieces that examine the natural world, particularly in Florida.  The centerpiece of this show is Mark Dion’s South Florida Wildlife Rescue Unit—Mobile Unit, 2006, an emergency truck that could be used to save threatened species, complete with safari-like clothing and equipment.  The exhibition at USF Contemporary Art Museum closes March 3.

• Andrea Zittel, whose sculptures and installations explore how we live, what we need, and personal freedom, will give a lecture Monday, January 23, at the Portland Museum of Art (Portland, Oregon).  The 6:00 pm program is free; a book-signing will follow.

• Do Ho Suh’s work is now on view as part of Lehmann Maupin Gallery at STPI (Singapore Tyler Print Institute).  STPI is a catalyst and advocate for new ideas, dialogues and developments for contemporary art in print and paper. It collaborates with emerging and recognized artists worldwide to create artworks using its exceptional print, papermaking facilities and expertise.  This work is on view until February 11.

• Janine Antoni received a 2012 Creative Capital in Visual Arts grant, which supports artists whose work is “provocative, timely and relevant.” In Just After, Antoni will re-investigate gestures by removing the form and showing the body.  By retaining only the gesture, Antoni probes the question: Can action insinuate form?

• Susan Rothenberg’s Memory of 1951 (Self-Portrait), 2011 is on view at Sperone Westwater (NYC).  Portraits / Self-Portraits from the 16th to the 21st Century includes work by Rothenberg and other notable artists from the sixteenth century to the present.  In Rothenberg’s painting the artist identifies herself with a toy blue monkey she was given by her parents when she was hospitalized as a child.  The show closes February 25.

• Check out new work by Rashid Johnson at Hauser & Wirth New York.  RUMBLE includes painting, sculpture, installation and the film The New Black Yoga, inspired by Johnson’s attempts to learn yoga while in Berlin.  This is the artist’s first show with the gallery and a prelude to his upcoming major exhibition A Message to Our Folks, opening in April at the Museum of Contemporary Art in Chicago.  This current work is on view until February 25.

• Lucas Blalock has a group show at 7Eleven Gallery in NYC.  Alchemy is the inspiration behind the work of Blalock and seventeen other artists ­– the making of art is alchemy.  Artists have the ability to transmute ordinary objects into extraordinary works, giving new meaning to their previous purpose.  This exhibitions runs until February 18.

• MacArthur B Arthur will present Hybrid Narrative: Video Mediations of the Self and Imagined Self, a group show featuring multi-media installation and video work from the Bay area and beyond, by Shana Moulton and others.  As both maker and participant, Moulton uses the visual language of her own performative body to enact versions of herself.  The show will run February 3 – February 26.

• Laurie Anderson, with the help of Cantos Music Foundation (Calgary), led several others on an intimate and interactive tour of the priceless assortment of rare recording and musical equipment, including keyboards, organs and pianos.  Anderson is there as an Artist-in Residence for Cantos’ One Yellow Rabbit’s High Performance Rodeo.  A video of the tour can be viewed online.

Paul McCarthy, "White Snow and Dopey, Wood", 2011. Image: artobserved.com

Up until recently, I was unaware of how difficult it is for some students (and perhaps adults) to reach into their memories and use a past event, sound, place or even scent to influence the development of a work of art. A few weeks ago as part of a larger sculpture unit exploring how memories can be represented, I asked one of my classes to sketch two different memories in three different ways for a total of six small drawings. The three ways included:

1. Sketching the actual memory as best they could- no shading or intricate details necessary at first
2. Sketching an abstract representation of the memory using shape, color, texture, etc.,
3. Choosing a word that somehow describes the memory and then finding a way to draw or design the word itself as a representation of it.

Getting students to think about the two memories in three different ways, I had hoped, would allow them to explore what they recalled in more detail. But I was amazed- no, floored- at the number of students who “couldn’t think of a memory to try” or students who bitterly complained they “didn’t want to draw a memory.” I kept thinking that the assignment, which was part of an introduction to representing memory three-dimensionally, was broad enough to have students reach back as far as they liked in order to share a fun, funny, bizarre, bitter or celebratory memory and influence their initial brainstorming. But getting these first sketches done was pure agony for some.

Now that we’re further into this particular unit, I look back on that first week and wonder how I may have started off differently. I thought a lot about what students needed in the beginning in order to more freely explore their own memories and share them. In the end it was no surprise that I came up with basically my own advice, given to other educators many times before… Share better examples and do more “front-end” work.

While I had asked students to draw two different memories to start, I hadn’t shared very many artists at that point who use memory to inspire their own work. I also hadn’t asked students to talk with their parents or family members about what they remembered about their own childhood, just as a way to trigger certain ways of thinking. Sure, we had discussed and briefly looked into works that gave specific memories form, such as the Iwo Jima Memorial and Janine Antoni’s “Moor”. We even had the opportunity to talk about how memory is constructed and the fact that specific events can be remembered very differently by people who experience them together. But we didn’t do enough to get good quality ideas going in and as a result I have quite a few half-baked sculptures (both literally and figuratively) that explore memories even the students themselves consider inconsequential.

Looking back a few weeks, and looking forward to trying this again in the future, I would share a more diverse range of artists and art works that specifically deal with memory in various ways. I would consider sharing Josiah McElheny’s work and paintings by Susan Rothenberg. I’d (carefully) select works by Paul McCarthy and perhaps Judy Pfaff, Mark Bradford and Mike Kelley. I would even include a range of works by surrealists such as René Magritte.

Working with memory presents challenges, like many themes and ideas we choose to teach with, that are terribly difficult to get rolling without an organized, broad and juicy introduction. Still, the great thing about teaching is that we get to continuously reflect on our work and make it better for the next time around.

Hiroshi Sugimoto. A selection from the "Lightning Fields" series, 2009. Photo courtesy the artist.

In this week’s roundup, Mel Chin commemorates 9-11, Hiroshi Sugimoto creates art with lightning, Mike Kelley delves into Superman, Oliver Herring throws art parties, Kiki Smith creates with paper, and much more.

• Mel Chin‘s 9-11/9-11, which premiered in New York and Santiago, Chile, on Sept. 11, 2007, is part of an exhibition at the Louisville Visual Art Association (Kentucky).  The film follows the family and intimate relationships of a small circle of people involved in the attacks in New York, as well as others touched on that same date in 1973, when a presidential coup led to the violent rule of dictator Augusto Pinochet.

• Hiroshi Sugimoto‘s selections from the Lightning Fields series are currently on view at the Edinburgh International Festival (Scotland).  Lightning Fields is a series of dramatic photographs produced through violent electrical discharges on photographic film. The images suggest a range of associations, from lightning flashes to strange forms of primordial life.  The show closes on September 25.

• Barry McGee participated in Art & About Sydney 2011, a project that aims to transform the Australian city into a canvas, or a living gallery.  As part of the Laneway Art program McGee joins a select group of artists and created an “evocative work that teeters between the free spirit of graffiti, the random energy of the urbane and the pure intent of controlled artistry.”  This work is on view from September 23 – January 31, 2012, and is free to the public.

• Art by Vija Celmins, Allan McCollum, Bruce Nauman, John Baldessari, and Eleanor Antin are part of the Getty Center’s online archive, Pacific Standard Time.  This collection provides materials about hipsters and happenings at venues in postwar Los Angeles, and documents where all the action took place through images and first-hand accounts from the artists.

• Pieces by Louise Bourgeois and Andrea Zittel are featured in Contemporary Works from the Permanent Collection at the Palm Springs Art Museum (California).  This exhibition includes Prototype for A-Z Cool Chamber by Zittel and Spider II by Bourgeois.  The show is ongoing.

• John Baldessari, Matthew Barney, Jenny Holzer, Barbara Kruger, Martin Puryear, Susan Rothenberg, Kiki Smith and more are occupying all three floors of the Fisher Landau Center for Art in Long Island City, NY.  The Center has extended LEGACY: Selections from Emily Fisher Landau’s Gift to the Whitney Museum of American Art, through Sunday, October 9, 2011.

• Kiki Smith is co-curating and has work represented in Papertails at NYU Steinhardt’s 80WSE Galleries (NYC).  The exhibition includes examples that range from printmaking and collage to photography, painting, and sculpture.  The show will open Sept. 14 for a special viewing from 6 to 8 p.m. and remains on view during regular gallery hours through November 5.

• Mike Kelley‘s Exploded Fortress of Solitude is currently on view at the Gagosian Gallery (London).  The Kandors series, which Kelley initiated in 1999, are sculptural depictions of Superman’s birthplace Kandor.  Selecting 20 examples from the myriad two-dimensional renderings of the famous fictional city, Kelley has created three-dimensional Kandors and variant works.  This exhibition closes on October 22.

• Oliver Herring is traveling the U.S. throwing parties involving a game called TASK, a straightforward activity with very few rules.  Its open-ended, participatory structure creates almost unlimited opportunities for a group of people to interact with one another and their environment.  Herring is throwing a new party on October 21 at Gallery 210 at the University of Missouri–St. Louis.

• Susan Rothenberg has new work on view at Sperone Westwater (NYC).  The exhibition features 13 paintings, including one of a raven perched on a tree branch and a large profile of a head outlined in grey and black. The artist mines the tactility of her medium to extract emotional truths about perception, memory and the human condition.  The show closes on October 29.

• Sally Mann‘s Proud Flesh is on view at Jackson Fine Art (Atlanta, GA). Using the human body as her main subject, Mann’s photography explores familial and spousal relationships.  This exhibition is on view until October 29.

• To mark her 100th birthday, the Fondation Beyeler in Basel, Switzerland is featuring an homage to Louise Bourgeois.  The exhibition represents a concentrated selection from the artist’s collection and addresses its key themes: an involvement with other artists, a concern with her own biography, and the translation of emotions into objects of art.  This exhibition is on view until August 1, 2012.

Kalup and Franco, "Turn It Up" EP, 2011. Courtesy Dutty Artz.

In this week’s roundup, NYCU’s Kalup Linzy teams up with James Franco, Barry McGee is featured, Trenton Doyle Hancock does all he can in Atlanta, Shahzia Sikander pays a tribute to a sultan, and more.

• New York Close Up (NYCU) artist Kalup Linzy is teaming up with actor/performer James Franco to form a duo called Kalup and Franco and the pair has an EP coming out. The EP, “Turn It Up,” will feature two songs, “Turn It Up (So We Can Turn It Out)” and “Rising (Both Sides Now),” and will be available as a digital download and as a limited edition” on July 12.  They’ll release their debut EP Turn It Up on Dutty Artz.  Here’s a preview of the collaboration.

• Barry McGee is featured in Street, 2011, a video for MOCA LA documenting Art In the Streets. Filmmaker Felipe Lima directed this piece and the full roster who helped build the installation are Todd James, Barry McGee, Stephen Powers, Devin Flynn, Josh Lazcano, Dan Murphy, and Alexis Ross.

• Fisher Landau Center for Art (New York) is pleased to announce LEGACY: Selections from Emily Fisher Landau’s Gift to the Whitney Museum of American Art, on view from June 12 – September 12, 2011.  This exhibition highlights 86 artists who have shaped the course of American Art, including John Baldessari, Matthew Barney, Jenny Holzer, Barbara Kruger, Martin Puryear, Susan Rothenberg and Kiki Smith.

• New York Close Up (NYCU) artist Shana Moulton’s Whispering Pines series was recently screened at The Black Lodge which is part of the Winnipeg Film Group in Canada.  Check out this video.

• National Black Arts Festival (NBAF) is partnering with Savannah College of Art and Design (SCAD) in Atlanta, GA to present Trenton Doyle Hancock: WE DONE ALL WE COULD AND NONE OF IT’S GOOD.  The exhibition by Hancock will present a spectrum of works executed across a wide variety of media, including painting, collage, sculpture, and print.  The show will run from June 27 – August 28.

• The Los Angeles County Museum of Art (LACMA) presents Gifts of the Sultan: The Arts of Giving at the Islamic Courts which includes the work of Sadegh Tirafkan, Shahzia Sikander, and Ahmed Mater. These three artists have been commissioned to produce new work interpreting the theme of Gifts of the Sultan.  Following its presentation at LACMA (June 5 – September 5, 2011), Gifts of the Sultan travels to the Museum of Fine Arts Houston (October 23, 2011 – January 15, 2012).

Oliver Herring, " Seniors: Center Stage," 2010. Production still. Photo courtesy of the artist.

In this week’s roundup, Oliver Herring brings senior citizens center stage, Cindy Sherman shows us her favorites, Matthew Ritchie celebrates MIT’s anniversary, Susan Rothenberg straddles divide,s and more.

• Oliver Herring‘s Seniors: Center Stage, made its American debut at Goddard House in Wocerster (MA).  This short art video film was shot at three retirement communities and documents the artist working with a segment of the population that is often overlooked in contemporary art.  The film was created for the Aichi Triennale, in Nagoya, Japan, last year.

• Cindy Sherman: Works from Friends of the Bruce Museum features works, drawn from ten local, private collections in Greenwich (CT) and the surrounding communities of Cindy Sherman herself.  The exhibit is comprised of 30 artworks, including large-scale black-and-white and color photographs, and features the artist’s favored themes.  The show closes April 23.

• John Feodorov will be a part of Portland State University’s MFA Lecture Series.  These free public art lectures take place almost every Monday night of the school year. Feodorov’s lecture will be on February 14.

• Mark Dion visited Portland State University to research the concept of museum. As a result of this activity an exhibition is scheduled to open on May 14, 2010 as part of the Open Engagement conference in Portland, OR.

• Matthew Ritchie is part of MIT’s 150th anniversary celebration, a three-month festival that showcases groundbreaking projects.  A forum moderated by Professor Caroline A. Jones explored MIT’s artistic culture in the late 1960s, when concepts like cybernetics, systems theory and artificial intelligence were reverberating throughout the art world. Ritchie, a contributor to MIT’s public art collection, was a panelist.

• Susan Rothenberg debuts at Miami Art Museum in Susan Rothenberg: Moving in Place, an exhibition that straddles the “divide between the figurative and abstract with works depicting animals and humans rendered from odd perspectives, often in midstride.” This selection of 25 canvases spans Rothenberg’s 35-year career. The exhibition is on view until March 6.

• Vija Celmins: Prints and Works on Paper is at the Senior & Shopmaker Gallery (NY). The exhibition features prints by Vija Celmins such as Star Field, a luminous night sky dense with stars; Amerique, an illusionist recreation of an antique map in color aquatint; and Web 5, a filmy mezzotint of a spider web.  This exhibition closes March 26.

Vija Celmins, "Burning Man," 1966. Courtesy of the artist.

In this week’s roundup, Mark Bradford repurposes South L.A. urban detritus, Allora & Calzadilla perform at MoMA, Raymond Pettibon goes hard in the paint, artists have a couple of firsts, and much more.

• Mark Bradford: Alphabet features new work relating to an ongoing poster project in which Mark Bradford repurposes messages from advertisements his finds in South L.A. as social commentary.  This exhibition is currently on view at The Studio Museum in Harlem until March 13, 2011.

• William Wegman and Fay: Polaroids 1987 – 1995 is now on view at the Senior & Shopmaker Gallery.  This show features the photography of William Wegman and includes an e-catalog for online viewing.  This exhibition closes on December 24.

• An exhibition preview of the work of Vija Celmins will be on display as part of the Menil Collection on November 18.  Vija Celmins: Television and Disaster, 1964-66 explores a specific time frame and subject matter of the artist’s work and will uncover groundwork that helped build her career.  This exhibition is on view from November 19, 2010 – February 20, 2011.

• Miami Art Museum presents Susan Rothenberg: Moving in Place, the artist’s first museum show in over a decade and the first exhibition in South Florida. The exhibition features the work of Susan Rothenberg, including work ranging from her early horse paintings of the mid-1970s to more recent pieces.  This show is on view until March 6, 2011.

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Episode #105: Susan Rothenberg describes the blend of studio time and ranch work that she shares with her husband, the artist Bruce Nauman, at their New Mexico home.

Susan Rothenberg’s early work—large acrylic, figurative paintings—came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories. The first body of work for which she became known centered on life-sized images of horses. Glyph-like and iconic, these images are not so much abstracted as pared down to their most essential elements. The horses, along with fragmented body parts (heads, eyes, and hands) are almost totemic, like primitive symbols, and serve as formal elements through which Rothenberg investigated the meaning, mechanics, and essence of painting. Rothenberg’s paintings since the 1990s reflect her move from New York to New Mexico, her adoption of oil painting, and her new-found interest in using the memory of observed and experienced events (a riding accident, a near-fatal bee sting, walking the dog, a game of poker or dominoes) as an armature for creating a painting. These scenes excerpted from daily life, whether highlighting an untoward event or a moment of remembrance, come to life through Rothenberg’s thickly layered and nervous brushwork. A distinctive characteristic of these paintings is a tilted perspective in which the vantage point is located high above the ground. A common experience in the New Mexico landscape, this unexpected perspective invests the work with an eerily objective psychological edge.

The exhibition Susan Rothenberg: Moving in Place is currently on view at the Georgia O’Keeffe Museum in Santa Fe, New Mexico (through May 16, 2010). Co-organized by the Museum of Modern Art Fort Worth, the exhibition’s installation in Santa Fe showcases the relationship between O’Keeffe and Rothenberg: “each has established a significant place and artistic identity in the American Southwest, an area initially defined as a male domain in that the majority of its early Anglo visitors and inhabitants — explorers, ethnographers, photographers, traders, cattle ranchers, and cowboys — were men.”

Susan Rothenberg is featured in the Season 3 (2005) episode Memory of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online via Hulu.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Robert Elfstrom & Dyanna Taylor. Sound: Jim Gallup & Ray Day. Editor: Paulo Padilha. Artwork Courtesy: Bruce Nauman & Susan Rothenberg. Special Thanks: Bruce Nauman.

Episode #099: Filmed at her home and studio in New Mexico, artist Susan Rothenberg explains how she transforms personal experiences and feelings into works that can become an “emotional moment” for the viewer. While discussing the loss of her dog, Rothenberg describes the process of recovering a memory of her pet through the act of painting.

Susan Rothenberg’s early work—large acrylic, figurative paintings—came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories. The first body of work for which she became known centered on life-sized images of horses. Glyph-like and iconic, these images are not so much abstracted as pared down to their most essential elements. The horses, along with fragmented body parts (heads, eyes, and hands) are almost totemic, like primitive symbols, and serve as formal elements through which Rothenberg investigated the meaning, mechanics, and essence of painting. Rothenberg’s paintings since the 1990s reflect her move from New York to New Mexico, her adoption of oil painting, and her new-found interest in using the memory of observed and experienced events (a riding accident, a near-fatal bee sting, walking the dog, a game of poker or dominoes) as an armature for creating a painting. These scenes excerpted from daily life, whether highlighting an untoward event or a moment of remembrance, come to life through Rothenberg’s thickly layered and nervous brushwork. A distinctive characteristic of these paintings is a tilted perspective in which the vantage point is located high above the ground. A common experience in the New Mexico landscape, this unexpected perspective invests the work with an eerily objective psychological edge.

The exhibition Susan Rothenberg: Moving in Place is currently on view at the Georgia O’Keeffe Museum in Santa Fe, New Mexico (through May 16, 2010). Co-organized by the Museum of Modern Art Fort Worth, the exhibition’s installation in Santa Fe showcases the relationship between O’Keeffe and Rothenberg: “each has established a significant place and artistic identity in the American Southwest, an area initially defined as a male domain in that the majority of its early Anglo visitors and inhabitants — explorers, ethnographers, photographers, traders, cattle ranchers, and cowboys — were men.”

Susan Rothenberg is featured in the Season 3 (2005) episode Memory of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online via Hulu.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Dyanna Taylor. Sound: Jim Gallup. Editor: Paulo Padilha. Artwork Courtesy: Susan Rothenberg.

Doris Salcedo. Left: "Untitled," 1998. Wood, concrete and metal, 74 x 44 x 21 1/2 inches. Collection of Albright-Knox Art Gallery, Buffalo. Photo: David Heald. Right: "Shibboleth," detail, 2007. Installation at Turbine Hall; Tate Modern, London Concrete and metal, 548 feet long. Photo: Tate Photography, London. Courtesy of the Artist and Alexander & Bonin, New York.

Melancholy photographs, bronze truisms, museum interventions, a giant battleship, and more in today’s roundup:

• Tonight at 6pm, Season 5 artist Doris Salcedo will speak at the Americas Society in New York City. The event is part of Vis-à-vis, a series of conversation between artists, curators, and critics from the Western Hemisphere. Salcedo (who created a colossal crack in the floor of Tate Modern’s Turbine Hall in 2007) is among the nearly 200 artists, architects, and designers invited to imagine interventions in the Guggenheim’s famed rotunda for the exhibition Contemplating the Void. According to Artistbloc.com, Salcedo’s “mash-up art piece [at the Guggenheim] combines a downward view of the rotunda with a photograph of a New York tenement by the German-born artist Hans Haacke. The tenement photograph, part of his series documenting the holdings of a local real-estate baron, was scheduled to be featured in the 1971 Haacke show at the Guggenheim that was canceled for what were widely believed at the time to be political concerns by the museum’s director.” At the Americas Society Salcedo, and artist Javier Téllez, will discuss their work, artistic visions, and related issues in contemporary art. Click here to register for the event.

• On March 26, Guggenheim New York will open Haunted: Contemporary Photography/Video/Performance, a two-part exhibition that surveys photographic imagery since the 1960s that “seems to view history with melancholy or mourning.” Drawn primarily from the Guggenheim Museum collection, Haunted will feature recent acquisitions, many of which will be exhibited by the museum for the first time. Included in the show are works by Art21 artists Sally Mann (Season 1), Roni Horn, Hiroshi Sugimoto (both Season 3), An-My Lê (Season 4), and Cindy Sherman (Season 5). Haunted, part one, runs through September 6. Part two opens June 4.

• On March 24 at 4pm, Season 4 artist Alfredo Jaar will lecture at the University of Connecticut about his work around the Rwandan genocide. His six-year investigative piece, The Rwanda Project, 1994-2000, was created in response to “the criminal indifference of the world community in the face of a genocide that claimed one million lives.” Eight years after Jaar completed The Rwanda Project, he was invited to create a monument to victims of the genocide. As part of his design process, he visited existing memorials and accumulated new visual materials that are at the center of his new work, We wish to inform you that we didn’t know, a three-channel video, on view at the University of Connecticut’s Contemporary Arts Gallery through April 22.

• Season 5 artist Yinka Shonibare MBE is making history with a new commission for the Fourth Plinth of London’s Trafalgar Square. According to Sun News, his installation will be the first commission to reflect specifically on the historical symbolism of the Square, which commemorates the Battle of Trafalgar. It is also the first of such commissions by a black artist. Scheduled to be unveiled on May 24, Nelson’s Ship in a Bottle is a 16 x 8 foot replica of the battleship HMS Victory set in a giant bottle. Listen to the artist discuss the project here.

• Season 4 artist Jenny Holzer is recipient of the 6th Award to Distinguished Women in the Arts, presented by The Museum of Contemporary Art, Los Angeles (MOCA). Established in 1994 to recognize “the many gifted women providing leadership and innovation in the visual arts, dance, music, and literature,” the bronze plaque given to each recipient was designed by Holzer and features one of her truisms: “It is in your self-interest to find a way to be very tender.” An award luncheon will be held in Holzer’s honor on April 28.

• About Jenny Holzer (2009), a documentary film about the artist, will screen at Montreal’s Festival International of Films on Art (FIFA). Directed by Claudia Müller, who followed Holzer over a ten-year period, the film traces the artist’s career from the late 1970s to her LED installations of today. FIFA continues through March 28. (Also screening at FIFA is “Transformations,” the Season 5 episode of Art:21 – Art in the Twenty-First Century featuring Cindy Sherman, Paul McCarthy and Yinka Shonibare MBE.)

• How to Appear Invisible (2009), a film by Allora & Calzadilla (Season 4) that documents the demolition of a prominent landmark of the former German Democratic Republic, is showing at the Emily Carr University of Art and Design in Vancouver through April 25. The piece is part of the group exhibition After the Gold Rush, which explores post-event “afterness.” The show is meant to call attention to Vancouver’s own experience post-Olympic Games.

Paul McCarthy, "(White Snow) Dwarf Heads (detail)", 2009. Set of 7 drawings, pencil on vellum, tape. Courtesy Hauser & Wirth.

• White Snow, a solo exhibition of work by Season 5 artist Paul McCarthy, opens at Hauser & Wirth, New York on November 5. The gallery will debut pieces from a new body of work that draws upon the famous 19th century German folk tale Snow White (Schneewittchen), and comments on Snow White and the Seven Dwarfs, Disney’s 1937 interpretation of the story. A reception will be held at the gallery on Thursday, November 4, 6-8pm.

• McCarthy’s work is also on view at Dean Gallery in Edinburgh, Scotland. His 1995 video Painter, a satire of the artist as lonely genius in his studio, is shown next to the gallery’s permanent installation Paolozzi Studio, a recreation of Scottish artist Eduardo Paolozzi’s working space. By juxtaposing Painter and Studio, the gallery aims to “cast a second glance at how museums present the making of art.” Continues through February 14, 2010.

• Opening November 17 at Hauser & Wirth, London, After Awkward Objects brings together works by Louise Bourgeois (Season 1), Lynda Benglis, and Alina Szapocznikow. The exhibition is inspired by Awkward Objects, a presentation of pioneering women artists at the Museum of Modern Art, Warsaw earlier this year.

• Nexus New York: Latin/American Artists in the Modern Metropolis, at the newly remodeled El Museo del Barrio, highlights key artists from the Caribbean and Latin America who lived in New York City before World War II and participated in the development of the American avant-garde. A sculpture by Season 1 artist Pepón Osorio titled La Cama (The Bed) is pictured in the New York Times review. Nexus New York continues through February 28, 2010.

• The first major exhibition of works by Jenny Holzer (Season 4) to be held in a Swiss museum is on view at The Fondation Beyeler through January 24, 2010. The exhibition includes important works from various phases of Holzer’s career, but focuses on recent works, some of which will be shown in Europe for the first time. In addition to the museum space, the exhibition will extend to the public, with light projections planned for buildings and sites in Basel and Zurich.

• Moving in Place is an exhibition of 25 paintings by Season 3 artist Susan Rothenberg at the Museum of Modern Art Fort Worth, Texas. Though Rothenberg is best known for her horse paintings (the Obamas have borrowed one from the National Gallery of Art for the White House), the Modern’s Chief Curator, Michael Auping says, “Rather than focusing on Rothenberg’s famous early horse paintings as the beginning of a symbolic, figurative evolution, we are looking at the artist’s work from a more holistic, formal standpoint, identifying her unusual way of organizing pictorial space, regardless of the figurative content.” Continues through January 3, 2010.

• Works by Gabriel Orozco (Season 2), Roni Horn (Season 3), Francis Alÿs, Peter Fischli and David Weiss, Rodney Graham, On Kawara, Thomas Nozkowski, Laura Owens, Dieter Roth, and Franz West are included the exhibition Continuous Present at Yale University Art Gallery. Sebastian Smee of the Boston Globe writes, “Everything that is most endearing about the current state of contemporary art and much that niggles rises to the surface of Continuous Present.” Read Smee’s review here.

• Over the weekend, Krzysztof Wodiczko (Season 3) was also featured in the Boston Globe for his video installation, The Veterans Project, at the Institute of Contemporary Art (ICA), Boston. Wodiczko has focused on veterans engaged in active combat in Iraq, as well as Iraqi civilians, looking at their shared experience of chaos and confusion brought about by the war. On Veterans Day, November 11, ICA Director of Programs David Henry will moderate a discussion between Wodiczko and project participants.

• Five Themes, a solo exhibition of work by Season 5 artist William Kentridge, opens at the Norton Museum of Art in Miami on November 7. This comprehensive survey gathers nearly 75 works of animated film, drawing, print, sculpture and other forms, and is structured around five primary themes in Kentridge’s work, such as apartheid and imperialism. Co-organized by the San Francisco Museum of Modern Art (SFMOMA), a web-based interactive for the exhibition is available on the SFMOMA website. Five Themes is on view at the Norton through January 17, 2010.