Shimamoto Shōzō making a painting by hurling glass bottles of paint against a canvas at the 2nd Gutai Art Exhibition, Ohara Kaikan, Tokyo, ca. October 11–17, 1956. © Shimamoto Shōzō and the former members of the Gutai Art Association, courtesy Museum of Osaka University
Gutai: Splendid Playground
Gutai: Splendid Playground presents the creative spectrum of Japan’s most influential avant-garde collective of the postwar era. Founded by the visionary artist Yoshihara Jirō in 1954, the Gutai group was legendary in its own time.
Poklong Anading, Counter Acts, 2004 (production detail). Chromogenic transparency in lightbox, 228.6 x 365.8 cm, edition 3/3. Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.146. © Poklong Anading. Photo: Courtesy the artist.
No Country: Contemporary Art for South and Southeast Asia
The first exhibition of the Guggenheim UBS MAP Global Art Initiative focuses on contemporary art from South and Southeast Asia.
Zarina, Dividing Line, 2001. Woodcut printed in black on Indian handmade paper mounted on Arches Cover white paper, sheet: 65.4 x 50.2 cm, image: 40.6 x 33 cm. Edition 16/20. UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Friends of the Graphic Arts. Photo: Robert Wedemeyer.
Zarina: Paper Like Skin
This retrospective of Indian-born American artist Zarina Hashmi is the first major exploration of the artist’s career, charting a developmental arc from her work in the 1960s to the present and includes many seminal works from the late 1960s and early 1970s
Vasily Kandinsky, Improvisation 28 (second version) (Improvisation 28 [zweite Fassung]), 1912. Oil on canvas, 111.4 x 162.1 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 37.239. © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris
Kandinsky 1911–1913
June
25, 2012–April 17, 2013
Perhaps more than any other 20th-century painter, Vasily Kandinsky has been closely linked to the history of the Guggenheim Museum. This intimate collection exhibition highlights paintings completed at the moment the artist transitioned toward complete abstraction and published his aesthetic treatise, On the Spiritual in Art (1911). Also featured are paintings by Robert Delaunay and Franz Marc, who were included in the landmark 1912 Der Blaue Reiter exhibition held at the Moderne Galerie Heinrich Thannhauser in Munich.
Frank Lloyd Wright and David Henken reviewing architectural drawings for the pavilion, 1953. Photo: © Pedro E. Guerrero
A Long-Awaited Tribute: Frank Lloyd Wright's Usonian House and Pavilion
This presentation, comprised of selected materials from the Solomon R. Guggenheim Museum Archives, pays homage to the first Frank Lloyd Wright–designed structures in New York City.
Paul Cézanne, Still Life: Flask, Glass, and Jug (Fiasque, verre et poterie), ca. 1877. Oil on canvas, 18 x 21 3/4 inches (45.7 x 55.3 cm). Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.3
Thannhauser Collection
OngoingJustin K. Thannhauser was the son of renowned art dealer Heinrich Thannhauser, who founded the Galerie Moderne in Munich in 1909. From an early age, Thannhauser worked with his father, building an impressive program of exhibitions of Impressionism and Post-Impressionism and the art of the contemporary French and German avant-gardes. The Thannhausers’ commitment to promoting artistic progress paralleled the vision of Solomon R. Guggenheim. In recognition of this shared spirit, Justin Thannhauser ultimately bequested a significant portion of his art collection—including masterpieces by Cézanne, Gauguin, Manet, Monet, Picasso, Pissarro, Renoir, and van Gogh—which is on view in a dedicated gallery, to the Guggenheim Museum.