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Joan Marter, Distinguished Professor of Art History, Rutgers University, discusses 1950s American sculpture as a rich, authoritative, and vibrant art. Just as Abstract Expressionist painting is now viewed in the context of the chaos and destructive forces of the atomic era, sculpture of this period shares a similar vision of the world in conflict.

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Join internationally renowned artist and educator Karen Finley as she guides viewers through single works of art from Art of Another Kind: International Abstraction and the Guggenheim, 1949–60 in this writing workshop. By providing prompts to map the vernacular of visual abstraction onto written expression, Finley leads an investigation into notions of gesture, the elusive exotic, and the perception of place. Framed by collaborative close looking and intimate gallery conversations, the workshop engages participants in textual exercises as a means of generating a personal vocabulary for contemplation and inspiration.

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View the artworks of Art of Another Kind through the eyes of this painter, interested in "markers of a space outside the verbal and within the visible." Approaching abstraction as a process that shifts, changes, and challenges closed historical definitions, explore how painting has produced multiple possibilities and voices through its vast material and conceptual topographies. By looking firsthand at work that engages "the abstract" as an action and a way to reflect life, take an intimate look at how different artists have addressed the variables of material investigation and the illusiveness of perception to expand what painting can and continues to be.

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Looking at Art of Another Kind as a document of traveling pictures and ideas, the tour addresses the different modes in which abstract painting was practiced and talked about in 1950s on both sides of the Atlantic. What was the role of painting in the first decade of the Cold War and during the traumatic process of European reconstruction? What was at stake in the embrace of gestures and signs by artists as diverse as Jackson Pollock, Asger Jorn, and Georges Mathieu? The talk will explore these questions through a study of individual paintings as well as of the shared concepts and formal languages of the works on view.

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In conjunction with Rineke Dijkstra: A Retrospective, leading scholars discuss the role that empathy plays in the interactions among photographer, subject, and viewer. Organized by Jennifer Blessing, Senior Curator, Photography, and moderated by George Baker, University of California, Los Angeles.