Guggenheim Museum 2014-2015 Schedule of Exhibitions
Guggenheim Museum 2014–2015 Schedule of Exhibitions
The information below is subject to change.
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Italian Futurism, 1909–1944: Reconstructing the Universe
Through September 1, 2014
With this major exhibition, the Guggenheim organizes the first comprehensive overview of Italian Futurism to be presented in the United States. This multidisciplinary exhibition will examine the historical sweep of the movement, from its inception with F. T. Marinetti’s Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as their work evolved over a 35-year period, this chronological exhibition will integrate multiple disciplines in each section. This exhibition is organized by Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. This exhibition is made possible by Lavazza. Support is provided in part by the National Endowment for the Arts and the David Berg Foundation, with additional funding from the Juliet Lea Hillman Simonds Foundation, The Robert Lehman Foundation, and the New York State Council on the Arts. The Leadership Committee for Italian Futurism, 1909–1944: Reconstructing the Universe is also gratefully acknowledged for its generosity, including the Hansjörg Wyss Charitable Endowment; Stefano and Carole Acunto; Giancarla and Luciano Berti; Ginevra Caltagirone; Massimo and Sonia Cirulli Archive; Daniela Memmo d’Amelio; Achim Moeller, Moeller Fine Art; Pellegrini Legacy Trust; and Alberto and Gioietta Vitale. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Guggenheim UBS MAP Global Art Initiative
Under the Same Sun: Art from Latin America Today
Through October 1, 2014
Organized by Pablo León de la Barra, Guggenheim UBS MAP Curator, Latin America, this exhibition reconsiders what constitutes contemporary art in Latin America. The presentation investigates the practices of a current generation of artists and examines a diversity of creative responses to shared complex realities influenced by colonial and contemporary histories, economic crises, repressive governmental agendas, and social inequality, as well as by periods of economic development and social progress. This exhibition is part of the Guggenheim UBS MAP Global Art Initiative, a multiyear program involving curatorial residencies, acquisitions for the Guggenheim’s collection, international touring exhibitions, and far-reaching educational activities in South and Southeast Asia, Latin America, and the Middle East and North Africa. Under the Same Sun: Art from Latin America Today, which will travel to the Museu de Arte Moderna (MAM) in São Paulo, Brazil, from April to June 2015, and the Museo Jumex in Mexico City, Mexico, in fall 2015, is the second of three sets of exhibitions, each focusing on one of the specified regions.* A dynamic suite of audience-driven education programs, including online features and a series of blog dispatches by León de la Barra documenting his research travel throughout Latin America, accompanies the exhibition. The nearly 50 artworks in the exhibition by artists and artist duos from 15 countries, along with other works acquired as part of the initiative, will become part of the Guggenheim’s permanent collection under the auspices of the Guggenheim UBS MAP Purchase Fund. The Guggenheim UBS MAP Global Art Initiative is a cultural engagement of UBS.
Kandinsky Before Abstraction, 1901–1911
Through Spring 2015
The history of the Solomon R. Guggenheim Foundation is intertwined with the work of Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) more than any other artist of the twentieth century. Artist, art advisor, and the museum’s first director Hilla Rebay encouraged founder Solomon R. Guggenheim to begin collecting Kandinsky’s work in 1929, with more than one hundred fifty works ultimately entering the museum’s collection. Drawn from the Guggenheim’s holdings, Kandinsky Before Abstraction, 1901–1911 explores the launch of Kandinsky’s artistic career through an intimate presentation of early paintings and woodcuts. In 1896, Kandinsky left Moscow for Munich where he formed associations with the city’s leading avant-garde groups and quickly realized his talent for working with three classic printmaking techniques (etching, woodcut, and lithography). Such graphic elements as clearly delineated forms, flattened perspective, and the black-and-white “noncolors” of his woodcuts pervade the jewel-colored Bavarian landscapes of 1908–09. By 1913, his recognizable and recurrent motifs—including the horse and rider—were reduced to broad areas of bright, radiant color that were subsidiary to the expressive qualities of line and color. Kandinsky was finally able to evoke what he called the “hidden power of the palette” and move away from his pictorial beginnings, thus embarking on the road to abstraction. This exhibition is organized by Tracey Bashkoff, Senior Curator, Collections and Exhibitions, Solomon R, Guggenheim Museum, and Megan Fontanella, Associate Curator, Collections and Provenance, Solomon R, Guggenheim Museum.
ZERO: Countdown to Tomorrow, 1950s–60s
October 10, 2014–January 7, 2015
ZERO: Countdown to Tomorrow, 1950s–60s is the first large-scale survey in the United States dedicated to the history of the German artist group Zero (1957–66), founded in 1957 by Heinz Mack and Otto Piene and joined in 1961 by Günther Uecker, as well as a larger network of like-minded artists from Europe, Japan, and North and South America—including Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni, Jan Schoonhoven, and Jesús Rafael Soto—who shared the group’s aspiration to transform and redefine art in the aftermath of World War II. The exhibition explores the experimental practices developed by this extensive ZERO network of artists, whose work anticipated aspects of Land art, Minimalism, and Conceptual art. ZERO encompasses a diverse range of media—painting, sculpture, works on paper, installations, and archival materials including publications and filmic documentation—and is organized around the defining events and artistic strategies that comprise these artists’ shared history. The redefinition of painting, the introduction of movement and light as artistic media, and the use of space as both subject and material are among the themes to be explored. At once a snapshot of a specific group and a portrait of a generation, the show celebrates the pioneering nature of both ZERO art and the international vision advanced by the network of artists formed during this pivotal decade in the history of art. The exhibition is organized by Valerie Hillings, Curator and Manager, Curatorial Affairs, Abu Dhabi Project, Solomon R. Guggenheim Foundation, with Edouard Derom, Curatorial Assistant. ZERO: Countdown to Tomorrow, 1950s–60s is supported by the exhibition’s Leadership Committee, with special thanks to The George Economou Collection, the committee’s Founding Member, as well as to Larry Gagosian, Axel Vervoordt Gallery, and Stefan Edlis and Gael Neeson. Additional funding is provided by Rachel and Jean-Pierre Lehmann, the Swiss Arts Council Pro Helvetia, Mondriaan Fund, The David W. Bermant Foundation, and an anonymous donor. Support for this exhibition is also provided by Sperone Westwater; Beck & Eggeling International Fine Art; Cees and Inge de Bruin; Patrick Derom; Yvonne and Edward Hillings; Dominique Lévy Gallery; Nicole and Jean-Claude Marian; The Mayor Gallery; Mnuchin Gallery; Achim Moeller, Moeller Fine Art, New York; David Zwirner, New York/London; Institut für Auslandsbeziehungen e.V. Stuttgart; Walter and Nicole Leblanc Foundation; Consulate General of the Federal Republic of Germany New York; The Government of Flanders through Flanders House New York; and Netherland-America Foundation.
V. S. Gaitonde: Painting as Process, Painting as Life
October 24, 2014–February 11, 2015
The Guggenheim presents V. S. Gaitonde: Painting as Process, Painting as Life, the first retrospective and museum exhibition of the work of seminal Indian-born modernist Vasudeo Santu Gaitonde (1924–2001). Featuring 45 major paintings and works on paper drawn from 30 public and private collections across Asia, Europe, and the United States, the exhibition will chart the artist’s development, from his first Paul Klee–inspired watercolors of the early 1950s and signature oil paintings of the 1960s and ’70s to a suite of works completed in his last decade. The nonrepresentational works explore an avid, voracious worldview that spans the traditions of nonobjective painting, Indian miniatures, Zen Buddhism, and East Asian hanging scrolls and ink paintings. Gaitonde stated, “Painting is a struggle— you have to inquire, you have to have a thinking mind. . . . A painting always exists within you, even before you actually start to paint.” V. S. Gaitonde: Painting as Process, Painting as Life will open at the Guggenheim Museum, New York, in fall 2014, followed by a presentation at the Peggy Guggenheim Collection, Venice, in 2015. The exhibition is organized by Sandhini Poddar, Adjunct Curator, Solomon R. Guggenheim Museum, with Amara Antilla, Curatorial Assistant, Solomon R. Guggenheim Museum. This exhibition is supported in part by Christie’s. The Leadership Committee for V. S. Gaitonde: Painting as Process, Painting as Life is gratefully acknowledged for its support, including Aicon Gallery, Marguerite Charugundla and Kent Srikanth Charugundla, Mr. and Mrs. Rajiv J. Chaudhri, Pheroza Jamshyd Godrej, Gujral Foundation, Mukeeta and Pramit Jhaveri, Sangita and Sajjan Jindal, Shanthi Kandiah and Brahmal Vasudevan, Peter Louis and Chandru Ramchandani, Sanjay and Anjna Motwani, Shiv and Kiran Nadar, Smita and Ramesh Prabhakar, Pundole Art Gallery, Talwar Gallery, Vadehra Art Gallery, Cynthia Hazen Polsky and Leon Polsky, and those who wish to remain anonymous.
Wang Jianwei: Time Temple
October 31, 2014–February 16, 2015
The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim Museum, launched in early 2013, strives to advance the achievements of contemporary Chinese artists and expand the discourse on contemporary Chinese art by commissioning Chinese artists to create major works that will be exhibited in the museum and enter its permanent collection. Selected for the first commission, Beijing-based artist Wang Jianwei (b. 1958, Suining, Sichuan Province) is recognized throughout Asia and Europe for his bold conceptual experiments in installation art, new media, performance, and video. His highly innovative artworks examine the intersection between art and everyday life, considering space and time in elaborate ways. Working from the notion that the production of art can be a continuous rehearsal, Wang connects film, theater, and visual art. Wang Jianwei: Time Temple is the artist’s exploration into multiple dimensions of time and space in our daily experiences. This exhibition will comprise a multifaceted space and a time-based installation that includes film, painting, sculpture, and a theatrical production, which will explore new areas of participatory and relational art from China. Wang Jianwei: Time Temple is the first of three exhibitions presented by The Robert H. N. Ho Family Foundation Chinese Art Initiative. Each exhibition will be accompanied by a scholarly publication, notable lectures, and education programs. The exhibition is organized by Thomas J. Berghuis, The Robert H. N. Ho Family Foundation Curator of Chinese Art, as part of the Guggenheim Museum’s Asian Art Initiative, which is under the direction of Alexandra Munroe, Samsung Senior Curator, Asian Art. Stephanie Kwai, Curatorial Assistant, Asian Art, has provided curatorial support. Wang Jianwei: Time Temple is made possible by The Robert H. N. Ho Family Foundation.
February 6–May 3, 2015
Through the application of radically restricted means, the art of On Kawara engages nothing less than the personal and historical consciousness of place and time. Kawara’s work is often associated with the rise of Conceptual art. Yet in its complex wit and philosophical reach, it also stands well apart. Organized with the close cooperation of the artist, On Kawara—Silence will be the first full representation of Kawara’s practice from 1966 to the present, the ongoing production of paintings and other kinds of work that serve to identify the date and place of the artist’s whereabouts on any given day. The exhibition will include every category of the artist’s output: Date Paintings (the Today series), postcards (I Got Up), telegrams (I Am Still Alive), maps (I Went), lists of names (I Met), newspaper cuttings (I Read), an inventory of his paintings (Journals), and the “calendars” (One Hundred Years and One Million Years). It will also feature rare works from 1964 and 1965, which heralded the emergence of the practice for which Kawara would later become well known. The Guggenheim will organize a continuous live reading of Kawara’s One Million Years, which will occur at the museum several days each week for the duration of the exhibition. The exhibition is organized by Jeffrey Weiss, Senior Curator, Solomon R. Guggenheim Museum, with Anne Wheeler, Curatorial Assistant, Solomon R. Guggenheim Museum. The Leadership Committee for On Kawara—Silence is gratefully acknowledged for its support.
The Hugo Boss Prize 2014
Founded in 1996, the Hugo Boss Prize is a biennial award administered by the Solomon R. Guggenheim Museum that honors significant achievement in contemporary art. Selected by a jury of international curators and critics, the finalists for the tenth iteration of the prize are Paul Chan, Sheela Gowda, Camille Henrot, Hassan Khan, and Charline von Heyl. The winner will be announced in November 2014, and a solo exhibition of that artist’s work will be presented at the Guggenheim in spring 2015. A catalogue featuring portfolios contributed by the finalists and essays discussing each artist’s practice will be published in advance of the announcement. Previous recipients of the prize include Matthew Barney (1996), Douglas Gordon (1998), Marjetica Potrč (2000), Pierre Huyghe (2002), Rirkrit Tiravanija (2004), Tacita Dean (2006), Emily Jacir (2008), Hans-Peter Feldmann (2010), and Danh Vo (2012). The Hugo Boss Prize 2014 is organized by Katherine Brinson, Associate Curator, Solomon R. Guggenheim Museum, and Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum, and is made possible by HUGO BOSS.
Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings 1974–2014
March 13–June 3, 2015
Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror works and Drawings 1974–2014 will be the first U. S. museum exhibition of mirror works and drawings by the Iranian artist Monir Shahroudy Farmanfarmaian (b. 1924). The presentation will focus on Monir’s sculptural and graphic oeuvre over a career of more than forty years. Infinite Possibility will include early wood, plaster, and mirror reliefs, a series of large-scale geometric mirror sculptures, and an impressive body of works on paper. The majority of the selected works are from the artist’s own collection; many have not been publicly displayed since the 1970s. Monir’s prolific oeuvre is characterized by the merging of visual and spatial experience coupled with the aesthetic traditions of Islamic architecture and decoration, allowing for, in the artist’s words, “infinite possibility.” Considered in relation with the Guggenheim’s historical commitment to abstraction and internationalism, this presentation will offer a timely opportunity to contemplate the artist’s rich body of work in its own right and as part of an increasingly transnational perspective on artistic production and its reception. The exhibition is organized by Funda..o de Serralves—Museu de Arte Contempor.nea, Porto, Portugal, where it was on view from October 9, 2014–January 11, 2015, before traveling to the Guggenheim Museum in New York. The Leadership Committee for Infinite Possibility is gratefully acknowledged for its support.
Storylines: Contemporary Art from the Guggenheim Collection (working title)
Featuring nearly one hundred works from the Guggenheim’s contemporary collection, this full-rotunda exhibition will examine the diverse ways in which artists today engage with storytelling through installation, painting, photography, sculpture, video, and performance. Opening with examples from the mid-1990s by Matthew Barney, Felix Gonzalez-Torres, and Catherine Opie, the core of the presentation will focus on work made since 2005 that expands and transforms the narrative strategies established in these foundational works. Moving beyond plot, character, and mise-en-scène, the artists featured in this exhibition engage the histories and cultural associations embedded in bodies, materials, and found objects. Through research, appropriation, and careful attention to techniques of display and process, they create images, objects, and performative situations intended to be read in space as well as in time. As a means of foregrounding this dynamic, the curators will invite a number of authors and poets to contribute short reflections on selected works in the exhibition. Presented in addition to standard exhibition didactics, the resulting polyphony of voices will signal the subjective interpretive potential that lies within each object on display. Artists in the exhibition will include Paweł Althamer, Kevin Beasley, John Bock, Carol Bove, Trisha Donnelly, Simon Fujiwara, Rachel Harrison, Camille Henrot, Rashid Johnson, Matt Keegan, Mark Manders, Josephine Meckseper, R. H. Quaytman, Alexandre Singh, Agathe Snow, Danh Vo, and Haegue Yang, among others. The exhibition is organized by Katherine Brinson, Associate Curator; Nancy Spector, Deputy Director and Chief Curator; Nat Trotman, Associate Curator; and Joan Young, Director, Curatorial Affairs, Solomon R. Guggenheim Museum.
This major retrospective will survey the searing, deeply poetic work of Doris Salcedo (b. 1958, Bogotá, Colombia). Over the past three decades, Salcedo has created a body of work that addresses the traumatic history of modern-day Colombia, as well as wider legacies of suffering stemming from colonialism, racism, and other forms of social injustice. Originating in lengthy research processes during which the artist solicits testimonies from the victims of violent oppression, her sculptures and installations eschew the direct representation of atrocities in favor of open-ended confluences of forms that are fashioned from evocative materials and intensely laborious techniques. Many of her works transmute intimate domestic objects into subtly charged vessels freighted with memories and narratives, paradoxically conjuring that which is tragically absent. The Guggenheim’s presentation of Doris Salcedo will occupy four levels of the museum’s Annex galleries. It will feature the artist’s most significant series from the late 1980s to the present, as well as a video documenting her remarkable site-specific public projects and architectural interventions. Doris Salcedo is organized by the Museum of Contemporary Art, Chicago. The New York presentation is curated by Katherine Brinson, Associate Curator, Solomon R. Guggenheim Museum. The Leadership Committee for Doris Salcedo is gratefully acknowledged for its support, with special thanks to Chair Tiqui Atencio Demirdjian.
Alberto Burri: The Trauma of Painting (working title)
October 2015–January 2016
This major retrospective exhibition—the first in the United States in more than 35 years and the most comprehensive ever mounted—will showcase the pioneering work of Italian artist Alberto Burri (1915–1995). Exploring the beauty and complexity of Burri’s oeuvre, the exhibition will position the artist as a central and singular protagonist of post–World War II art. Burri is best known for his series of sacchi (sacks), works with their angst-ridden surfaces of ripped and patched burlap, seams, and sutures. Far less familiar to American audiences are his subsequent series, which will be represented in depth at the Guggenheim: legni (scorched wood reliefs), ferri (welded irons), melted plastics, cretti (induced craquelure), and cellotex (flayed fiberboards). Burri’s work both demolished and reconfigured the Western pictorial tradition, while reconceptualizing modernist collage. As an originator of a materials-based art, he broke from the conventional paint, canvas, and mark making of American Abstract Expressionism and European Art Informel. Burri’s unprecedented approaches to manipulating humble substances—and his abject picture-objects—also profoundly influenced Arte Povera, Neo-Dada, and Process art. Alberto Burri: The Trauma of Painting (working title) is organized by Emily Braun, Distinguished Professor, Hunter College and the Graduate Center, and Guest Curator, Solomon R. Guggenheim Museum, with support from Megan Fontanella, Associate Curator, Collections and Provenance, Solomon R. Guggenheim Museum. This exhibition is made possible by Lavazza. The Leadership Committee for Alberto Burri is gratefully acknowledged for its support.
November 2015–February 2016
This group exhibition and its accompanying catalogue will examine an important new trend in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture. Drawing on the legacy of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance—a sort of displaced self-portraiture—that resonates with larger cultural and historical meanings. Driven by a profound engagement with the medium of photography, these artists investigate the nature, traditions, and magic of photography at a moment characterized by rapid digital transformation. They attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies, and creating photo-sculptures and installations. While they are invested in exploring the processes, supports, and techniques of photography, these artists are also deeply interested in how photographic images circulate. Theirs is a sort of photo poetics, an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object. This exhibition is organized by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum, with Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum.
ALSO ON VIEW
A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion
On October 22, 1953, the exhibition Sixty Years of Living Architecture: The Work of Frank Lloyd Wright opened in New York on the site where the Solomon R. Guggenheim Museum would be built. Constructed specifically for the exhibition were two Frank Lloyd Wright–designed buildings: a temporary pavilion made of glass, fiberboard, and pipe columns, and a 1,700-square-foot, fully furnished two-bedroom Usonian exhibition house representing Wright’s organic solution for modest, middle-class dwellings. This presentation on view in the Sackler Center for Arts Education pays homage to these two structures, which, as Wright himself noted, represented a long-awaited tribute as the first Wright buildings to be erected in New York City. This exhibition is organized by Francine Snyder, former Director of Library and Archives, Solomon R. Guggenheim Museum.
The Thannhauser Collection
Bequeathed to the museum by art dealer and collector Justin K. Thannhauser, the Thannhauser Collection includes a selection of canvases, works on paper, and sculpture that represents the earliest works in the museum’s collection. The Thannhauser holdings include significant works by Paul Cézanne, Edgar Degas, Paul Gauguin, Édouard Manet, Claude Monet, Pablo Picasso, Camille Pissarro, and Vincent van Gogh. Thannhauser’s commitment to supporting the early careers of such artists as Vasily Kandinsky, Paul Klee, and Franz Marc, and to educating the public about modern art, paralleled the vision of the Guggenheim Foundation’s originator, Solomon R. Guggenheim. Among the works Thannhauser gave are such incomparable masterpieces as Van Gogh’s Mountains at Saint-Rémy (Montagnes à Saint-Rémy, July 1889), Manet’s Before the Mirror (Devant la glace, 1876), and close to 30 paintings and drawings by Picasso, including his seminal works Le Moulin de la Galette (autumn 1900) and Woman Ironing (La Repasseuse, spring 1904).
Admission: Adults $22, students/seniors (65+) $18, members and children under 12 free. Available with admission or by download to personal devices, the Guggenheim’s free app offers an enhanced visitor experience. The app features content on special exhibitions, access to more than 1,500 works in the Guggenheim’s permanent collection, and information about the museum’s landmark building. Verbal imaging guides for select exhibitions are also included for visitors who are blind or have low vision. The Guggenheim app is sponsored by Bloomberg.
Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. Extended hours from 10 am–7:45 pm will be offered on Sun, June 24 and Mon, June 25. For general information call 212 423 3500 or visit the museum online at:
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January 21, 2015 (Updated from July 7, 2014)
FOR ADDITIONAL INFORMATION CONTACT
Lauren Van Natten, Associate Director, Media and Public Relations
Molly Stewart, Media and Public Relations Associate
Solomon R. Guggenheim Museum
212 423 3840
*The Solomon R. Guggenheim Museum and Foundation and the Museu de Arte Moderna (MAM) in São Paulo have mutually decided that the Guggenheim’s exhibition Under the Same Sun: Art from Latin America Today will not be shown at MAM in 2015, as had been previously announced.