• John Chamberlain: Choices
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View the calendar for the most recent information, or call the Box Office at 212 423 3587. 

Members' Party and Private View
Friday, February 24, 7:30 pm
Please join us for the members' party and private view of John Chamberlain: Choices. Family members can arrive early for family activities, followed by live music and a cash bar for all members.

Members' Curatorial Tour
Thursday, February 28, 6:30 pm
YCC members are invited to join Assistant Curator Helen Hsu for a private tour of John Chamberlain: Choices. YCC members received complimentary entrance to this program with reservation. For more information, please e-mail ycc@guggenheim.org or call 212 423 3534.

Mind's Eye Tour
Saturday, March 3, 1 pm
For visitors who are deaf, please join us for a tour and discussion of John Chamberlain: Choices conducted in American Sign Language. Free. Space is limited, and advance RSVP is required by Monday, February 27. To RSVP, call 212 360 4355 or e-mail access@guggenheim.org.

Family Tour and Workshop: Building with Color
Sunday, March 4, 11 am–1:30 pm
Families with children ages 5–12. Families are invited to explore how Chamberlain uses color in building his artwork during an interactive gallery tour, and to create their own textured, colorful, mixed-media works in the Guggenheim’s studio. $30 per family (includes admission and tour for two adults and up to four children), $20 members, free for family members. Includes materials. Registration required at guggenheim.org/familyprograms.

Mind's Eye Tour
Monday, March 5, 6:30 pm
For visitors who are deaf, please join us for a tour and discussion of John Chamberlain: Choices conducted in American Sign Language. Free. Space is limited, and advance RSVP is required by Monday, February 27. To RSVP, call 212 360 4355 or e-mail access@guggenheim.org.

John Chamberlain: A Conversation
Tuesday, March 13, 6:30 pm

$10, $7 members, free for students with a valid ID. To reserve a student ticket, please e-mail boxoffice@guggenheim.org.

Engaged in explorations of shifts in scale, materials, and techniques, John Chamberlain created a body of work that ranges from monochromatic iron sculptures to experiments in foam, Plexiglas, and paper to large-scale foil works made near the end of his accomplished career. Early in his practice, Chamberlain developed a unique and well-recognized assemblage process, a method he continued to harness in over sixty-years of artistic production. Join us for a lively discussion about the inventive career of the late American artist as Susan Davidson, curator of John Chamberlain: Choices and Senior Curator of Collections and Exhibitions at the Guggenheim Museum, leads a conversation with art critic and author Dave Hickey, Distinguished Professor of Criticism in the Department of Art and Art History at the University of New Mexico, and Donna De Salvo, Chief Curator and Deputy Director at the Whitney Museum of American Art. A reception and exhibition viewing follow.

Curator's Eye Tour
Friday, March 16, 2 pm
Join Helen Hsu, Assistant Curator, for a tour of John Chamberlain: Choices.

Members' Curatorial Tour
Monday, March 19, 6:30 pm
Patrons Circle members are invited to join Susan Davidson, Senior Curator, Collections and Exhibitions, for a private tour of John Chamberlain: Choices. Patrons Circle members received complimentary entrance to this program with reservation. For more information please e-mail patronscircle@guggenheim.org or call 212 423 3624.

Dickie Landry: SOLO
Monday, March 26, 8 pm

Louisiana-born saxophonist, artist, and composer Dickie Landry performs one of his legendary site-specific SOLO concerts on tenor saxophone as a tribute to John Chamberlain, visual artist and jazz enthusiast, who was known for having taken up the saxophone himself at the age of 74. In a 60-minute SOLO in the museum rotunda, Landry uses original sound and delayed repeats to explore textured, abstract layers of sound within Frank Lloyd Wright's iconic architecture. There will be no seating and the audience may move around freely through the John Chamberlain: Choices exhibition during the performance. Landry was an original member of the Philip Glass Ensemble in 1969, and also collaborated with the Talking Heads, Laurie Anderson, Bob Dylan, and Robert Wilson. Landry started his SOLO performances in 1972, often in gallery and museum settings including the Stedelijk Museum in Amsterdam, the National Gallery in Washington, DC, and most recently for the opening of the Crystal Bridges Museum of American Art, Bentonville, Arkansas, in 2011. Landry was commissioned to compose a Mass for the Rothko Chapel for the inauguration of the Menil Collection, Houston, in 1987, and he frequently performed at Robert Rauschenberg's exhibition openings. In the theater, his collaborations include work with Trisha Brown (Astral Convertible, 1989) and Robert Wilson (1433, 2010). Landry made many seminal recordings and soundtracks and his photographs, drawings, videos and paintings have been included in exhibitions at the Whitney Museum of American Art, the Sao Paulo Biennial, the Los Angeles County Museum of Art, and the San Francisco Museum of Modern Art.

Eye to Eye Tour: DeWitt Godfrey
Monday, April 16, 6:30 pm

Single Eye to Eye tour: $20, $15 members, $10 students

Series of three Eye to Eye tours: $50, $40 members, $30 students.

DeWitt Godfrey's large abstract sculptures mark a trajectory that shifts away from the declarative, autonomous object to structures that emphasize the relation between form and context: material, process, and environment. Godfrey is an associate professor in the Department of Art and Art History at Colgate University, New York. A reception immediately follows. The tour is limited to 30 participants.

AbEx3D (Abstract Expressionism in Sculpture)
Saturday, April 21, 10 am–4 pm
Taught by artist and conservator Corey D’Augustine, this daylong workshop includes an introductory slide presentation and a gallery tour of John Chamberlain: Choices. In the afternoon, participants experiment with three-dimensional materials and studio exercises using assemblage, collage, and sculptural experiments of the 1950s and ‘60s. No experience required. $75, $60 members and students (limited to 10 participants). To register visit guggenheim.org/courses.

Family Tour and Workshop: Reduce, Reuse, Recycle!
Sunday, April 22, 11 am–1:30 pm
Families with children ages 5–12. Chamberlain often uses found materials in his art. Participants tour John Chamberlain: Choices before making sculptural works using found objects in the Guggenheim’s studio. $30 per family (includes admission and tour for two adults and up to four children), $20 members, free for family members. Includes materials. Registration required at guggenheim.org/familyprograms.

The World of John Chamberlain
Sunday and Monday, April 22 and 23, 7:30 pm
Presented by Works & Process at the Guggenheim, this program explores the poetic and musical influences on Chamberlain’s work, with Susan Davidson, Senior Curator, Collections and Exhibitions. Featuring jazz great Bill Charlap, Morton Feldman’s 1962 work “For Franz Kline,” and newly commissioned works by composers Drew Baker and Jason Eckardt, this program includes a private viewing of the exhibition prior to the performance. For more information visit worksandprocess.org.

Eye to Eye Tour: Huma Bhabha
Monday, April 30, 6:30 pm

Single Eye to Eye tour: $20, $15 members, $10 students.

Series of three Eye to Eye tours: $50, $40 members, $30 students. 

Working with found and cast-off materials, Huma Bhabha imbues her sculptures with reliquary-like power. For this Guggenheim tour, Bhabha will incorporate her interest in the abject and alien when discussing Chamberlain's work, taking into consideration the primitive, the modern, the contemporary, and the global. Bhabha lives and works in Poughkeepsie, New York. A reception immediately follows. The tour is limited to 30 participants.

Eye to Eye Tour: Amy Sillman
Tuesday, May 8, 6:30 pm

Single Eye to Eye tour: $20, $15 members, $10 students.

Series of three Eye to Eye tours: $50, $40 members, $30 students.

Intuitively imaginative, Amy Sillman's gestural paintings occupy her canvases with effusively hybrid delights. Masterfully drawing upon a rich repertoire of modern art vocabularies, from Willem de Kooning to Philip Guston, yet distinctively idiosyncratic, Sillman's thickly chromatic compositions are at once both intimate and momentous. Sillman currently lives and works in Brooklyn, New York, and is co-chair of the Painting Department every summer for the MFA program at Bard College in New York.