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"The Season's Best Museum Shows\nFrom Maurizio Cattelan's high jinks at the Guggenheim to Jean Paul Gaultier's haute couture at the Dallas Museum of Art, AD surveys a dozen must-see exhibitions across the U.S.\n\"New Formations: Czech Avant-Garde Art and Modern Glass from the Roy and Mary Cullen Collection\"\n\n The Museum of Fine Arts, Houston\n\n Two decades ago the MFA Houston's acclaimed \"Czech Modernism\" exhibition inspired local collectors Mary and Roy Cullen to embark on their own rediscovery of an artistic legacy that had been largely hidden behind the Iron Curtain. This fall the museum is presenting more than 150 highlights from the Cullens' collection of Czech avant-garde artworks, artists' books, and periodicals\u2014a trove that's especially rich in material from the country's homegrown Artificialism and Poetism movements of the 1920s and fantastical surrealist work from the '30s. A special section traces the evolution of Czech glass from the graceful forms of Art Nouveau to clean-lined Functionalist pieces.\n\n November 6, 2011\u2013February 5, 2012; mfah.org\n\"Maurizio Cattelan: All\"\n\n Guggenheim Museum,\n\nNew York\n\n True to Maurizio Cattelan's provocateur persona, his first full retrospective will be anything but conventional. The puckish Italian-born artist, famous for darkly humorous sculptures that pinprick religious, political, and artistic pieties, is leaving the Guggenheim's spiraling ramps completely bare. Instead he's hanging everything\u2014128 pieces spanning the past 22 years\u2014from cables attached to metal trusses at the top of the museum's glass-domed rotunda. The show is purportedly Cattelan's swan song, as he has declared his intention to stop making art. If the retirement talk does turn out to be more than just a passing midlife crisis (he's 51) and not just another Duchampian gambit, this will be a spectacular last hurrah.\n\n November 4, 2011\u2013January 22, 2012; guggenheim.org\n\"The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk\"\n\n Dallas Museum of Art\n\n Fashion enfant terrible Jean Paul Gaultier turns 60 next year, and he's getting the full-dress museum treatment in this comprehensive survey of his eccentrically beautiful couture, ready-to-wear, and accessories collections from 1976 to 2011. Many of the French designer's iconic creations, such as Madonna's conical corset from her \"Blond Ambition\" tour and his controversial Virgin Mary\u2013inspired 2007 collection, are included among the 130 pieces on view. Around 30 of the designs are modeled by talking mannequins whose faces are animated by video projections, ensuring that the exhibition (which travels to San Francisco's de Young Museum in March) will be nearly as lively as Gaultier's runway shows.\n\n *November 13, 2011\u2013February 12, 2012;\n\ndm-art.org*\n\"Thomas Struth\"\n\n High Museum of Art, Atlanta\n\n One of the major figures who helped push large-scale color photography to the forefront of contemporary art, Thomas Struth is best known for his images of people looking at art inside museums. His pictures are about the personal and collective act of seeing, but with the scale and sweep of history paintings, they're also objects of pure visual pleasure. Struth's museum photographs are one of four bodies of his work highlighted in an exhibition at the High. The others are his portraits, his \"Paradise\" images of forests, and his recent photographs that document nuclear plants, pharmaceutical factories, and scientific-research facilities, lifting the veil on typically off-limits techno-industrial spaces. October 29, 2011\u2013January 15, 2012; high.org\n\"Duncan Phyfe: Master Cabinetmaker in New York\"\n\n The Metropolitan Museum of Art, New York\n\n The Met is billing this as the first retrospective in 90 years of the Scottish-born cabinetmaker Duncan Phyfe, whose neoclassical designs were must-haves for the early-19th-century American elite. Nearly 80 items of furniture, including rarely seen masterworks and pieces passed down through Phyfe's family, trace the evolution of his often-imitated style, which included such signature classical motifs as harps and lyres. A selection of drawings, documents, and personal possessions sheds new light on the man and his milieu.\n\n December 20, 2011\u2013May 6, 2012; metmuseum.org\n\"Rembrandt and Degas: Two Young Artists\"\n\n Sterling and Francine Clark Art Institute, Williamstown, Massachusetts\n\n Besides being revered as two of art history's greats, the 17th-century Dutch master Rembrandt van Rijn and the French Impressionist Edgar Degas wouldn't seem to have much in common. But as this intimate exhibition shows, Rembrandt was a major influence on Degas, who studied his work and even made exact copies of his prints. Striking similarities in technique and composition are evident in side-by-side comparisons of self-portraits created by both artists early in their careers. First seen at Amsterdam's Rijksmuseum, the exhibition travels to New York's Metropolitan Museum of Art in February. November 13, 2011\u2013February 5, 2012; clarkart.edu\nClyfford Still Museum, Denver\n\n During his lifetime the notoriously cantankerous American artist Clyfford Still, known for his Abstract Expressionist canvases featuring jagged fields of fiery and earthy colors, sold or donated few of the roughly 2,500 works he created. In his will he stipulated that everything had to go to a city that would create an exhibition space devoted exclusively to his work. That city is Denver, where the two-story, 28,500-square-foot Clyfford Still Museum is about to open. Designed by Brad Cloepfil of Allied Works Architecture, the building's simple geometries and textured-concrete exterior stand in contrast to Daniel Libeskind's angular, titanium-clad wing of the Denver Art Museum next door. Inside, the light-filled second-floor galleries will feature rotating displays of Still's work\u2014around 60 paintings, 45 drawings, and three sculptures for starters\u2014most on view for the very first time. Opens November 18; clyffordstillmuseum.org\n\"Gwathmey Siegel: Inspiration and Transformation\"\n\n Yale School of Architecture Gallery, New Haven, Connecticut\n\n It's no coincidence that Yale is honoring the work of Gwathmey Siegel &amp;amp; Associates Architects with an exhibition at Paul Rudolph Hall. The firm's founding partner, the late Charles Gwathmey, studied under Rudolph at Yale, and Gwathmey was also the architect behind the building's 2008 renovation. The project is one of eight examined in \"Inspiration and Transformation\" (previously seen at the Cameron Art Museum in North Carolina), the first in-depth show devoted to Gwathmey Siegel's architecture. Drawings, blueprints, models, and photographs highlight works ranging from the groundbreaking Gwathmey Residence and Studio in Amagansett, New York, to the firm's renovation and addition for the Guggenheim Museum in Manhattan. November 14, 2011\u2013January 27, 2012; architecture.yale.edu\n\"The Ronald S. Lauder Collection: Selections from the 3rd Century B.C. to the 20th Century/Germany, Austria, and France\"\n\n Neue Galerie, New York\n\n For its special tenth anniversary exhibition, the Neue Galerie looked no further than its cofounder and driving force, Ronald Lauder. A prolific collector whose interests extend beyond the German and Austrian works that are the Neue Galerie's focus, Lauder has never before shown so much of his art at once. Many of the signature Klimts and Schieles that draw visitors to the museum's jewel-box galleries remain on view, but there are also examples of medieval art, arms and armor, Old Master paintings, and modern and contemporary works by artists ranging from Paul C\u00E9zanne to Gerhard Richter\u2014all handpicked by Lauder himself.\n\n October 27, 2011\u2013April 2, 2012; neuegalerie.org\n\"Liberty, Equality, and Fraternity\"\n\n The Wolfsonian-FIU, Miami Beach, Florida\n\n Every fall this South Beach institution rolls out a new exhibition to coincide with the Art Basel Miami Beach and Design Miami fairs. This year it has trained its eye on France, connecting design objects from the past several decades with the political, economic, and social contexts in which they were made. Included among the 100-plus works of furniture and industrial design from the Centre National des Arts Plastiques in Paris are such icons as the Herm\u00E8s Kelly handbag, named for Grace Kelly after she was photographed using an Herm\u00E8s bag to shield her pregnancy from paparazzi, and Pierre Paulin's 1970 Elys\u00E9e sofa, a piece he created for the presidential palace of Georges Pompidou during the politically charged period that followed the student and worker revolts of the late '60s. Even the exhibition's design is based on the Modulor, Le Corbusier's famous 1943 system of proportions, with everything painted in the red, white, and blue colors of the French flag. November 25, 2011\u2013March 26, 2012; wolfsonian.org\n\"Youth and Beauty: Art of the American Twenties\"\n\n Brooklyn Museum, New York\n\n With influences ranging from Henry Ford to Sigmund Freud, Jazz Age artists captured the dramatic changes in modern life following the First World War. This exhibition (which moves to the Dallas Museum of Art in March) is billed as the first wide-ranging examination of American art from that period, presenting 138 works by 67 painters, sculptors, and photographers working in a variety of modern realist styles. The first part of the show examines how the liberation that brought about the flapper also begot Imogen Cunningham's intimate, sensual photographs of nudes and the modern, athletic physiques painted by Thomas Hart Benton. Another section tackles artists' responses to the new world of speed and industry, ranging from Charles Demuth's Precisionist paintings of factory sites to the remote landscapes of Georgia O'Keeffe and Edward Hopper.\n\n October 28, 2011\u2013January 29, 2012; brooklynmuseum.org\n\"Light Years: Conceptual Art and the Photograph, 1964\u20131977\"\n\n The Art Institute of Chicago\n\n In the creative free-for-all of the late '60s and early '70s, numerous Conceptual artists began picking up the camera\u2014sometimes to document ephemeral works and performances but often adopting photography as a medium for experimentation in its own right. That moment, which put photography on par with painting and sculpture for the first time, is the subject of this sprawling exhibition. The more than 140 works by 57 artists range from Ed Ruscha's iconic photo book indexing buildings on L.A.'s Sunset Strip to Hans Haacke's politically driven photos of slumlord properties to Christian Boltanski's evocative installations using photographic images as sculpture. December 13, 2011\u2013March 11, 2012; artic.edu"^^<http://www.w3.org/2001/XMLSchema#string>
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