Highlights:

Morphoses Performs Two Commissioned Works by Jessica Lang and Pontus Lidberg Set to the Same Music by David Lang

U.S. Premiere of Kaija Saariaho’s Ballet MAA with Choreography by Luca Veggetti

American Ballet Theatre’s New Nutcracker

Three Newly Commissioned Works by Jonah Bokaer, Maray Gutierrez, and Judith Sanchez Ruiz

Isaac Mizrahi Narrates Peter & the Wolf and George Manahan Conducts the Juilliard Ensemble, with Visual Installation by Rei Sato of Kaikai Kiki Co., Ltd., the Art Production Company of Takashi Murakami

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(New York, NY – August 16, 2010) —Works & Process at the Guggenheim is pleased to announce its 2010 fall season. Since 1984 and in over 300 programs, New Yorkers have been able to see, hear, and meet the most acclaimed artists in the world, in an intimate setting unlike any other. Each 80-minute long program informs artistic creation through stimulating artist discussion and performance and is presented in the Guggenheim’s Frank Lloyd Wright– designed 285-seat Peter B. Lewis Theater. Each season Works & Process champions new works and offers unprecedented access to leading creators and performers. After most programs, the artists continue the discussion at a reception in the rotunda of the museum. Described by the New York Times as “a popular series devoted to shedding light on the creative process,” Works & Process is produced by founder Mary Sharp Cronson.

Lead funding provided by The Peter Jay Sharp Foundation with additional support from The Christian Humann Foundation, Leon Levy Foundation, and Rockefeller Brothers Fund, Inc.

This program is supported by public funds from the New York State Council on the Arts, a state agency, and New York City Department of Cultural Affairs.

2010 FALL SEASON SCHEDULE

MAA: A BALLET BY KAIJA SAARIAHO
CHOREOGRAPHY BY LUCA VEGGETTI
Mon, Sept 20, 7:30 pm
Coproduced by Works & Process, this program features excerpts from composer Kaija Saariaho’s only ballet, MAA, prior to its U.S. premiere at Miller Theatre. International Contemporary Ensemble performs this evocative and dreamlike, but little-known score, paired with new choreography by Luca Veggetti. Miller Theatre Director Melissa Smey moderates a discussion with Saariaho and Veggetti. In addition to the Works & Process event, the full production will be presented at Miller Theatre at Columbia University, 116th St and Broadway on Wed, Fri, and Sat, Sept 22, 24, and 25, 8 pm; tickets: $40 ($24 Guggenheim Members). Miller Theatre Box Office: 212 854 7799 or millertheatre.com.

GOTHAM CHAMBER OPERA – EL GATO CON BOTAS
Thurs, Sept 23, 7:30 pm
Prior to the U.S. premiere at the New Victory Theater, excerpts of composer Xavier Montsalvatge’s El Gato con Botas (Puss in Boots) will be performed, featuring Japanese Bunraku puppetry designed and executed by London’s renowned Blind Summit Theatre (Metropolitan Opera’s Madama Butterfly). Gotham Chamber Opera Artistic Director Neal Goren discusses the production with the creative team.

NEW YORK CITY OPERA – A QUIET PLACE
Sun, Sept 26, 7:30 pm
New York City Opera previews musical selections from their new production of A Quiet Place by Leonard Bernstein, one of America’s most influential composers. Bernstein’s final stage work contains some of his most daring music, yet it has never before been performed in New York. NYCO’s George Steel moderates a discussion with director Christopher Alden and members of the creative team.

THE MUSIC OF DAVID LANG INTERPRETED
NEW CHOREOGRAPHY BY JESSICA LANG AND PONTUS LIDBERG, PERFORMED BY MORPHOSES
Sun, Oct 3, 2 pm Enter via ramp at 5th Ave and 88th St; no reception
Sun, Oct 3, 7:30 pm Benefit Performance, enter via main entrance (see below)
Mon, Oct 4, 7:30 pm Enter via main entrance
Choreographers Jessica Lang and Pontus Lidberg each create new works, set to the same pieces of music by Pulitzer Prize-winning composer David Lang. The world premiere performances by Morphoses are interspersed with a discussion with the artists moderated by Nancy Dalva.
Created in partnership with Vineyard Arts Project and Morphoses.

BENEFIT PERFORMANCE
Sun, Oct 3, 7:30 pm
This special evening celebrates the opening of a new season at Works & Process. Following this performance of The Music of David Lang Interpreted, guests are invited to meet the artists at a champagne reception and buffet in the museum's rotunda. Proceeds will support Works & Process to continue to commission new work and foster exciting artistic collaborations.
Tickets are $300. To order benefit tickets, please call 212 758 0024.

VOICES AND DANCE WITHIN THE AMERICAS
Sun and Mon, Oct 24 and 25, 7:30 pm
Works & Process presents three new commissions inspired by the Latino multicultural landscape in the Americas. Ballet Hispanico’s Artistic Director Eduardo Vilaro has paired Cuban choreographer Maray Gutierrez and Peruvian American composer Gabriela Lena Frank to create a work that explores identity and cultural fusion. Cuban American artist Anthony Goicolea joins choreographer Jonah Bokaer for the multimedia collaboration TRICK, created especially for this program. Cuban choreographer Judith Sanchez Ruiz and Korean visual artist Sun K. Kwak premiere I Will Stay With You Even If You Are Not Here, a collaborative work inspired by the life and work of Cuban visual artist Ana Mendieta, with original music by Cuban composer Dafnis Prieto. Wendy Perron, editor-in-chief of Dance Magazine, moderates the discussion.

ABT’S NEW NUTCRACKER
Sun and Mon, Nov 7 and 8, 7:30 pm
American Ballet Theatre offers a special sneak peek of The Nutcracker by Alexei Ratmansky, prior to its world premiere at the Brooklyn Academy of Music. ABT dancers perform excerpts and the artistic staff discusses the process of mounting this new production.

VERTICAL OPERA [AN UNREALIZED PROJECT]
Sun and Mon, Nov 14 and 15, 7:30 pm
Ilya Kabakov, one of the most important Russian artists to have emerged in the twentieth century, has produced an impressive collaborative body of work with his wife, Emilia. Vertical Opera, one of their unrealized “Utopian Projects,” was specifically imagined for the Guggenheim’s rotunda space. The Kabakovs discuss and present this project as a visual performance with music in the Peter B. Lewis Theater.

POETIC RESPONSES TO WAR
Sun and Mon, Dec 5 and 6, 7:30 pm
Poets Brian Turner and Bruce Weigl, who respectively served in the Iraq and Vietnam Wars, read selected works and join a discussion moderated by pianist Sarah Rothenberg. Soprano Elizabeth Farnum and pianist Alan Feinberg perform musical selections from composer George Flynn’s Songs of Destruction.

PETER & THE WOLF
Sat, Dec 11, 2:30 and 4 pm
Sun, Dec 12, 11 am and 12:30 pm
Fri–Sun, Dec 17–19, 2:30 and 4 pm
Enter via ramp at 5th Ave and 88th St
Isaac Mizrahi narrates Sergei Prokofiev’s children’s classic. New York City Opera’s George Manahan conducts the Juilliard Ensemble. A newly commissioned visual art installation by artist Rei Sato of Kaikai Kiki Co., Ltd., the art production company of Takashi Murakami, brings the story to life.*
The audience is invited to view the artwork following the program.
*Presented in conjunction with Carnegie Hall’s Japan festival, JapanNYC.

FREE HOLIDAY CONCERT
Sun and Mon, Dec 19 and 20, 6:30 pm
The public is invited to celebrate the season with the joyous sound of holiday music in the museum’s Frank Lloyd Wright–designed rotunda. George Steel conducts the Vox Vocal Ensemble and the Graham Ashton Brass Ensemble in what has become a revered annual tradition for holiday enthusiasts of all ages.

LOCATION: The Peter B. Lewis Theater at the Solomon R. Guggenheim Museum
1071 Fifth Avenue at 89th Street
Subway—4, 5, 6 train to 86th Street
Bus—M1, M2, M3, or M4 bus on Madison or Fifth Avenue

TICKETS: $30/$25 Guggenheim Members/$10 Students
212 423 3587, M–F, 1–5 pm or visit worksandprocess.org

#1169
August 16, 2010

FOR ADDITIONAL INFORMATION

Duke Dang
General Manager
Works & Process at the Guggenheim
212 758 0024
ddang@worksandprocess.org

Lauren Van Natten
Senior Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

For publicity images visit guggenheim.org/pressoffice
User ID: photoservice
Password: presspass

Full rotunda show includes painting, sculpture, photography, architecture, film, fashion, and decorative arts, featuring many works never shown before in the United States

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(NEW YORK, NY – August 5, 2010)––Rising from the ruins and horror of World War I, European art and culture returned to the classical past, seeking tranquility, order, and enduring values. Artists turned away from prewar experimentalism and embraced the heroic human figure and rational organization. Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 is the first exhibition in the United States to focus on the vast transformation in European culture between the world wars. With approximately 150 works by more than 80 artists, comprising painting, sculpture, photography, architecture, film, fashion, and the decorative arts, this thematically organized exhibition examines the return to order in its key manifestations: the poetic dream of antiquity in the Parisian avant-garde; the politicized revival of the Roman Empire under Benito Mussolini; the functionalist utopianism of International Style architecture that originated at the Bauhaus; and, ultimately, the chilling aesthetic of nascent Nazi society.

The exhibition presents works by established masters of the period, including Georges Braques, Carlo Carrà, Giorgio de Chirico, Otto Dix, Fernand Léger, Aristide Maillol, Henri Matisse, Ludwig Mies van der Rohe, Pablo Picasso, Gio Ponti, Emile-Jacques Ruhlmann, and August Sander, as well as works by artists lesser known outside of their home countries, such as Julius Bissier, Felice Casorati, Achille Funi, Marcel Gromaire, Auguste Herbin, Anton Hiller, Heinrich Hoerle, Ubaldo Oppi, and Milly Steger. Many works included in Chaos and Classicism have never before been shown in the United States.

Chaos and Classicism is on view at the Solomon R. Guggenheim Museum in New York from October 1, 2010, through January 9, 2011, and will be presented at the Guggenheim Museum Bilbao, Spain, from February 21 through May 15, 2011.

This exhibition is supported in part by grants from the National Endowment for the Arts and The David Berg Foundation.

Chaos and Classicism is organized by New York University Professor of Modern Art Kenneth E. Silver, a renowned authority on European art between the wars, assisted by Helen Hsu, Curatorial Assistant, Solomon R. Guggenheim Museum, with Vivien Greene, Curator of 19th- and Early-20th- Century Art, Solomon R. Guggenheim Museum, as curatorial adviser.

Exhibition Overview
The years after World War I were marked by a striking modernist avowal of traditional aesthetics: a retour à l’ordre (return to order) in France, a ritorno al mestiere (return to craft) in Italy, and Neue Sachlichkeit (New Objectivity) in Germany. Picasso was a leader of this new historicism and proved to be particularly influential in promulgating a classical aesthetic from 1918 to 1936.

Picasso, although Spanish, was based in France from 1904 onward, and his great classical figure paintings of the early 1920s demonstrate how decisively the Parisian avant-garde adopted the new post–World War I aesthetic. Chaos and Classicism presents several of his works, as well as other examples of this style, such as Léger’s canvases of mechanized figures and commedia dell’arte paintings by André Derain and Paris-based Gino Severini. The notion of a Latinate civilization comes to the fore in the emerging influence of Jean Cocteau, and the exhibition features excerpts from his 1930 film The Blood of a Poet (Le sang d’un poète, 1930). Le Corbusier’s architecture and design, as well as the Purist paintings he created alongside Amédée Ozenfant, forge a visual link with abstraction and Synthetic Cubism. Madeleine Vionnet’s neo-Greek fashion designs and Art Deco objects by Ruhlmann translate the more abstruse aspects of classicizing art and theory into functional items.

In Italy, de Chirico’s paintings, along with those of Carrà, bridge the transition to the New Sobriety of Italian art immediately after the war. De Chirico’s essay “Il ritorno al mestiere” (“The Return to Craft”), published in 1919 in the influential journal Valori Plastici, was especially vital for this classicizing moment as it renewed interest in the Italian Renaissance painters Fra Angelico and Piero della Francesca. Chaos and Classicism also includes paintings by artists such as Massimo Campigli and Giorgio Morandi. Architectural models and design objects, including a version of Giuseppe Terragni’s Casa del Fascio in Como, Italy, and porcelain by Ponti, demonstrate the power of the neoclassical paradigm for postwar Italian modernists. Sculpture, the quintessential classical medium, was especially strong in interwar Italy and is represented throughout the exhibition.

In Germany, Mies van der Rohe’s synthesis of classical form and modern technology was central to the ethos that challenged Expressionism in interwar Germany: iconic elements of his Barcelona Pavilion (1929), including Georg Kolbe’s Morning (Der Morgen, 1925), the life-size nude sculpture so well known from original photos of Mies’s seminal structure, are featured in the exhibition. Renowned Bauhaus teacher Oskar Schlemmer’s modernist figurative paintings testify to the German translation of the Italian revival (Schlemmer was deeply influenced by the art of Piero della Francesca, among others). Moreover, after the perceived excesses of Expressionist art, the Neue Sachlichkeit movement represented the search for aesthetic Klarheit (“clarity”) in Weimar Germany. Works by Dix, Georg Scholz, Georg Schrimpf, and Wilhelm Schnarrenberger reveal this rationalist approach along with August Sander’s radically pared-down photographic portraits. However, modern German aesthetics also leads viewers toward the exhibition’s dramatic conclusion. As the Weimar Republic collapsed and Adolf Hitler came to power in 1933, the new classicism—Parisian myths, Italian role-playing, and the German search for objectivity—was monstrously transformed into a quasiscientific doctrine of human perfection under the Nazis.

Exhibition Installation
The exhibition is organized into eight sections that illuminate the dominant concerns and subliminal drives of European art and thought in this highly charged period. The themes are developed in a loosely chronological installation that winds up the Guggenheim Museum’s ramps and on two Annex level galleries.

High Gallery: In the Shadow of War: Chaos and Classicism
An introductory section installed in the High Gallery features a selection of 15 prints from Dix’s portfolio The War (Der Krieg, 1924), which recollect the destruction and trauma of World War I. These graphic depictions of the horrors of war are juxtaposed with works by Maillol and Picasso, as well as Italian and German sculptors such as Campigli and Hiller whose classical works can be viewed as an aesthetic rehabilitation of the ravaged body according to antique balance and measure.

Ramp 1: A More Durable Self
This section examines artists’ enthusiasm for depicting sculpture from antiquity or incorporating sculptural models into their compositions as exemplars of the human form—as more durable versions of the self, epitomized in Bissier’s painting Sculptor with Self-portrait (Bildhauer mit Selbstbildnis, 1928). Other artists represented include Hoerle, Suzanne Phocas, and Scholz.

Ramp 2: The Avant-Garde Looks Backward
In the years after World War I, the fragmentation and optical experiments of Cubism strikingly contrast with Picasso’s voluptuous, Grecian-robed women, ambling in the Mediterranean sun, or seated in peaceful repose, and Braque’s monumental canéphores (basket carriers). The postwar subjects of the classicizing artists, including Léger and Matisse, as well as photographer Edward Steichen, indicate a renewed interest in the roots of civilization, in Greece and Rome and their ruins. Several of Picasso’s most important works of this period are on view in this section, including The Source (La Source, 1921), on loan from Moderna Museet, Stockholm, and Woman in White (Femme assise, les bras croisés, 1924), from the Metropolitan Museum of Art, New York.

Ramp 3: Classical Bodies, New Humanity
The postwar search for a reassuring artistic language from the past led logically to sculpture. The idealized human form was reconceived by an international group of major sculptors including Kolbe, Maillol, and Arturo Martini. This fascination with the whole and intact body lent itself to politicized idealizations in the work of Hans Belling, Gromaire, and Léger on the left, and to the Italian Fascist art of Campigli and Oppi on the right.

Ramp 4: Crazy for Classicism
The revived interest in Greek and Roman history and myth, which had long provided the West with a shared narrative and archetypes, proved inspirational in not only painting and sculpture, but also photography, film, fashion, and the decorative arts. This section includes a film excerpt by Cocteau, photographs by Florence Henri and George Hoyningen-Huene, design objects by Ponti, furniture by Ruhlmann, and dresses by Edward Molyneux and Vionnet.

Annex Level 5: The Constructors
This section focuses on the architectural interpretations of classicism and the metaphors of construction and reconstruction that became ubiquitous in the wake of World War I’s devastation. The new modernist language sought a resolution of architecture’s past with the industrial present. Platonic ideas of geometric harmony and the beauty of new materials, especially glass and metal, were brought together in unprecedented combinations. Examples include Le Corbusier’s architecture and design, as well as the Purist paintings he created with Ozenfant. Works on view also consist of newly fabricated models of buildings by Le Corbusier and Terragni, objects and furniture designed for Mies’s Barcelona Pavilion, and chairs by Piero Bottoni for the Casa Minerbi in Milan.

Ramp 5: Classicizing the Everyday
Still lifes and portraits crystallizing the German Neue Sachlichkeit and Italian Novecento (1900s) movements demonstrate these rigorous approaches to representation and the desire to capture objective reality. The exhibition presents traditional painted portraits and self-portraits by Fridel Dethleffs- Edelmann, Dix, Carl Hofer, Morandi, Picasso, and Luigi Trifoglio, among others, as well as Sander’s typological photographic portraits, all of which assert classic fixity amid the flux of modern life.

Ramp 6: Performance/Anxiety
The performing body became a key element of modern culture between the wars. Developed, remade, and “perfected,” the body was the new measure of objective value, in contrast to the mind, now considered too abstract and subjective. Artists as stylistically and politically diverse as Willi Baumeister, Franco Gentilini, Gromaire, Albert Janesch, and Lorenzo Lorenzetti invoked the theme of sport in their work of the late 1920s and early 1930s. Circus, carnival, and commedia dell’arte imagery was treated by an equally diverse group including Derain, Antonio Donghi, Juan Gris, Erich Heckel, Hoerle, and Severini.

Annex Level 7: The Dark Side of Classicism
The exhibition concludes with a sobering look at the nationalistic pursuit of cultural roots and perfection, as gradually appropriated by the political right. Among the most notorious modern portrayals of antique Rome were paintings of gladiators by de Chirico, who was attacked by the Surrealists for his artistic collusion with the Fascist regime. The 1936 Olympic Games in Berlin were a classicizing spectacle, recorded and refashioned by the greatest Nazi propagandist, filmmaker Leni Riefenstahl in her Olympia (1936–38), excerpts of which are in this final section.

Exhibition Catalogue
Chaos and Classicism is accompanied by a 192-page, illustrated catalogue published by the Guggenheim, with an overview essay by Kenneth E. Silver; additional essays by James Herbert, Professor of Art History and of Visual Studies, University of California at Irvine; Emily Braun, Distinguished Professor, Hunter College; and Jeanne Nugent, independent art historian; and thematic plate entries by Helen Hsu. Priced at $55 in a hardcover edition and $35 for the softcover, the exhibition catalogue can be purchased at the Guggenheim Store or online at guggenheimstore.org beginning in mid- September.

Education Programs
A full schedule of educational programs is being presented under the auspices of the Sackler Center for Arts Education during the run of Chaos and Classicism. For updated information regarding ticketed programs, contact the Box Office at 212 423 3587 or visit guggenheim.org/education.

On View at the Sackler Center for Arts Education
Vox Populi: Posters of the Interwar Years
September 1, 2010–January 9, 2011
The 1920s and 1930s were among the greatest years in the history of poster design. The popular voice of manufacturers, political movements, and the travel and entertainment industries, the poster was an immensely refined art created for a vast public. Vox Populi: Posters of the Interwar Years presents a selection of six posters from France, Italy, and Germany.

Performance
Coup de Foudre: Based on The Blood of a Poet by Jean Cocteau
A Collaboration between Paul D. Miller aka DJ Spooky and Corey Baker, Co-Artistic Director of Ballet Noir
Saturday, October 9, 2010, 8 pm
Sunday, October 10, 2010, 6 pm
In conjunction with Chaos and Classicism, the Guggenheim Museum is pleased to premiere Coup de Foudre, a contemporary art and performance project based on a reinterpretation of Jean Cocteau’s classic film The Blood of a Poet (Le sang d’un poète, 1930) by Paul D. Miller aka DJ Spooky and Corey Baker, resident choreographer of the New York–based company Ballet Noir, and featuring the Telos Ensemble. Cocteau’s work in film, painting, sculpture, poetry, and theater has engaged many themes that continue to drive today’s digital and multimedia contemporary art. In the eyes of Miller and Baker, The Blood of a Poet examines the role of language in relation to cinema and dance and creates a milieu where poetry becomes imagist at every level. For Miller, Cocteau’s sense of interdisciplinary production anticipates the DJ mix through the French artist’s use of musicality and the insertion of classical forms into modern contexts. Baker sees Cocteau’s use of movement in film as animating the inanimate by setting simple images into motion. Coup de Foudre explores the ambiguous relationship between modern compositional strategies, based on sampling and digital media, and an art experience tied to cinematic history and contemporary times. Tickets are $30, $25 for members, $10 for students, and are available at guggenheim.org/publicprograms.

Lectures
Lateness and the Politics of Media
Tuesday, October 12, 6:30 pm
Peter Eisenman
Principal, Eisenman Architects
Charles Gwathmey
Professor in Practice, Yale School of Architecture
The celebrated architect, theorist, and author of Giuseppe Terragni: Transformations, Decompositions, Critiques (2003) posits that we are in a late moment in history in which design is controlled by the media to promote consumption. Where does that leave architecture, which, he argues, is the antithesis of design? Tickets are $10, $7 for members, and free for students, and are available at guggenheim.org/publicprograms.

Scuttura Lingua Morta: Sculpture's Forbidden Languages
Wednesday, November 10, 6:30 pm
Penelope Curtis
Director, Tate Britain
Penelope Curtis, a noted scholar of modern sculpture from Fascist Italy and the Third Reich, shares new thoughts in the context of Chaos and Classicism. Tickets are $10, $7 for members, and free for students, and are available at guggenheim.org/publicprograms.

Constructing Classicism in Fashion
Tuesday, December 7, 6:30 pm
Patricia Mears
Deputy Director, The Museum at FIT
Between the world wars, women such as Madeleine Vionnet dominated fashion design in Paris and New York. Charting the embrace of classicism, Patricia Mears, a renowned costume historian and style expert, discusses clothing innovations that defined fashion in the 1930s, changed the course of modern dress, and continue to influence couture today. Tickets are $10, $7 for members, and free for students, and are available at guggenheim.org/publicprograms.

Guided Tours
Curator’s Eye Tours
The exhibition’s curators lead tours of Chaos and Classicism. Free with museum admission.

Helen Hsu: Friday, November 12, 2 pm
Kenneth E. Silver: Friday, December 3, 2 pm

Mind’s Eye
As part of the museum’s free programs for partially sighted, blind, and deaf visitors, Guggenheim museum educators, led by Georgia Krantz, guide an interactive tour and discussion focusing on Chaos and Classicism, broken down into two parts and followed by a private reception. Free admission with advance RSVP required at access@guggenheim.org.

Part I: Monday, October 11, 6:30 pm
Part II: Monday, November 8, 6:30 pm

Fall Family Day
Sunday, November 14, 2–5 pm
The public is invited to celebrate the museum’s architecture and fall exhibitions, including Chaos and Classicism. Activities include a scavenger hunt, artmaking projects, performances, and storytelling. Recommended for families with children ages 4–10. $15 per family; $10 for members; free for Family members, Cool Culture families, and Guggenheim partner schools. No registration needed.

Chaos and Classicism: A Workshop for Educators
Saturday, October 16, 10 am–1 pm
In the interwar period, many artists turned to classicism as a means of expression. Through encounters with painting, sculpture, photography, architecture, film, and fashion, this workshop traces the progression of classicism from optimistic to ominous during these years. $20 includes curriculum materials. Registration required at 212 423 3637.

Online Forum
This fall in the Guggenheim Forum, a new, diverse group of panelists will address art and politics in a program that accompanies the Chaos and Classicism exhibition. Visit guggenheim.org/forum for complete information and to join the conversation.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open 2013.

VISITOR INFORMATION

Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free. Admission includes an audio tour of Chaos and Classicism available in English, and of highlights of the Guggenheim’s permanent collection, available in English, Spanish, French, German, and Italian.

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. For general information, call 212 423 3500 or visit guggenheim.org.

#1168
August 5, 2010

FOR ADDITIONAL INFORMATION CONTACT
Betsy Ennis, Director of Media & Public Relations
Lauren Van Natten, Senior Publicist
Claire Laporte, Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

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Celebrated figures from the worlds of art, design, film, and music join selection process for world’s most inclusive biennial of creative online video

Jury includes Laurie Anderson, Animal Collective, Darren Aronofsky, Douglas Gordon, Ryan McGinley, Marilyn Minter, Takashi Murakami, Shirin Neshat, Stefan Sagmeister, and Apichatpong Weerasethakul

Download a PDF of this press release.

(NEW YORK, NY, and SAN BRUNO, CA – July 23, 2010) — The Solomon R. Guggenheim Foundation and YouTube, the world’s largest online video community, today announced the distinguished jury for YouTube Play, a biennial of creative video presented in collaboration with HP and Intel and conceived to discover and showcase the most exceptional talent working in the ever-expanding realm of online video. The jury includes performance artist and musician Laurie Anderson; music group Animal Collective, featuring Deakin (Josh Dibb), Geologist (Brian Weitz), and Panda Bear (Noah Lennox); filmmaker Darren Aronofsky; visual artists Douglas Gordon, Ryan McGinley, Marilyn Minter, and Takashi Murakami; artists and filmmakers Shirin Neshat and Apichatpong Weerasethakul; and graphic designer Stefan Sagmeister, with Guggenheim Chief Curator and Deputy Director Nancy Spector serving as jury chairperson.

Since YouTube Play was announced on June 14, 2010, more than 6,600 videos have been submitted from around the world, attracting more than 2.6 million viewers to the YouTube Play channel to date. The deadline for submissions is July 31, 2010, at 3 pm EDT/12 pm PDT.

The Jury Process
According to jury chair Nancy Spector, “We will be looking for work that will test, elevate, and experiment with video as it is manifest online. We are less interested in what’s ‘now’ than in what’s next.” YouTube Play is open to students and amateur video makers, artists, and creative professionals. Submissions may include animation, motion graphics, narrative, nonnarrative, documentary, and music videos. The jury will review a short list of up to two hundred video works that have been prescreened by the Guggenheim from the pool of videos submitted by the international YouTube community and uploaded to youtube.com/play. From the short list, the jury will select up to twenty that they deem the most creative and inspiring, regardless of genre, technique, or budget. The short-listed videos will be on the YouTube Play channel (youtube.com/play) beginning in September 2010.

The Jury

Laurie Anderson
One of today’s most prolific performance artists, Laurie Anderson is renowned as a musician, inventor, and filmmaker. Her performance practice is diverse, ranging from riveting monologues to sophisticated multimedia events that combine and harmonize visual and aural elements. At once experimental and entertaining, Anderson’s work resists categorization, as the novel-inspired performance Songs and Stories for Moby Dick (1999–2000) illustrates. The impact of Anderson’s creative work has been acknowledged by NASA, which named her its first artist-in-residence in 2004. A traveling retrospective of Anderson’s visual work, The Record of the Time: Sound in the Work of Laurie Anderson, was organized by the Musée d’Art Contemporain de Lyon in 2003. Recently Anderson released the album Homeland (her first in ten years) and premiered the new performance work Delusion at the Vancouver 2010 Cultural Olympiad.

Animal Collective, featuring Deakin (Josh Dibb), Geologist (Brian Weitz), and Panda Bear (Noah Lennox)
Hailing from Baltimore, Animal Collective is a decade-old group of musicians composed of childhood friends Avey Tare (Dave Portner), Panda Bear (Noah Lennox), Geologist (Brian Weitz), and Deakin (Josh Dibb). Known for their experimental sound and mysterious, psychedelic, and sometimes disorienting live performances, the band has produced eight studio records, one live record, and a variety of critically acclaimed side projects while touring extensively nationally and internationally.

Darren Aronofsky
Born and raised in Brooklyn, New York, director Darren Aronofsky won the Director’s Award at the 1998 Sundance Film Festival and an Independent Spirit Award for Best First Screenplay for his first feature, π. In 2000 Aronofsky premiered Requiem for a Dream at the Cannes International Film Festival. The film was named to more than 150 Top Ten lists, including those of the New York Times, Rolling Stone, Entertainment Weekly, and the American Film Institute. His third feature, The Fountain, a science-fiction romance that he wrote and directed, starred Hugh Jackman and Rachel Weisz. Aronofsky’s most recent film, The Wrestler, premiered in 2008 at the Venice International Film Festival, where it won the Golden Lion, making it only the third American film in history to win this prize. Among his honors, the American Film Institute has awarded Aronofsky the prestigious Franklin J. Schaffner Alumni Medal, and the Stockholm Film Festival presented him the Golden Horse Visionary Award. His next release, Black Swan, is a horror film set in the world of ballet that stars Natalie Portman and Mila Kunis, forthcoming in late fall 2010.

Douglas Gordon
Scottish-born artist Douglas Gordon utilizes a variety of mediums, including installation, video, and photography, to investigate memory and time. For his landmark video 24 Hour Psycho (1993), he slowed Alfred Hitchcock’s 1960 film to last an entire day; the tension of this famous thriller was heightened by the mesmerizing, protracted action. In 2006, Gordon collaborated with artist Philippe Parreno on Zidane: A 21st Century Portrait, a film that presents the movements of French soccer star Zinedine Zidane in real time over the course of a single match to create a complex study of portraiture and mediated spectacle. Exhibited globally, Gordon's work has been the subject of considerable critical attention. Gordon received the 1996 Turner Prize, the Duemila Prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. In 2008 he received the Roswitha Haftmann Prize and served as an International Juror at the 65th Venice International Film Festival.

Ryan McGinley
Ryan McGinley is a photographer whose work celebrates raw youth, with all its connotations of revolt, hedonism, and subversion. Subjects have ranged from fans of the musician Morrissey (in the series Irregular Regulars, 2004– 07), to nude young men and women playing and living in nature (I Know Where the Summer Goes, 2007–08) or captured in intimate studio portraiture (Everybody Knows This Is Nowhere, 2010). In 2003, at the age of twenty-five, McGinley became the youngest artist to have a solo show at the Whitney Museum of American Art. McGinley has been the recipient of two important photographic prizes, the ICP Infinity Award for best young photographer from the International Center of Photography in 2007 and American Photo magazine’s Photographer of the Year award in 2003. In addition to projects in which he documents his own friends and community, McGinley has created editorial portfolios for such publications as Index, Esquire, and the New York Times Magazine, for which he has photographed athletes at the 2004 summer and 2010 winter Olympic games, 2007 Oscar nominees, and the singer M.I.A

Marilyn Minter
Artist Marilyn Minter merges high art with commercial imagery throughout her practice, which includes painting, video, and photography. Minter’s work frequently focuses on the female body, creating hyperrealistic artworks that offset sensuality with lurid colors. Her second video work, Green Pink Caviar (2009), has been screened in locations around the world, including Sunset Boulevard in Los Angeles, Times Square in New York, Madonna’s 2009 European tour, and, at present, the lobby of the Museum of Modern Art, New York. The manipulation of glamour and desire, recurrent themes for Minter, converged in her appropriation of Pamela Anderson’s iconic pin-up image in a 2007 series of photographic portraits. Minter has exhibited internationally, with notable solo shows organized by the San Francisco Museum of Modern Art (2005); Center for Contemporary Art, Cincinnati (2009); and La Conservera, Centro de Arte Contemporáneo, Murcia, Spain (2009).

Takashi Murakami
World-renowned Japanese artist Takashi Murakami blurs the boundaries between East and West, past and present, in his paintings, sculptures, and videos. Influenced by such varied traditions as Japanese manga, anime, and classical nihonga painting and Western Pop art, Murakami has developed a unique practice that situates the artist at the cusp of high art and mass culture. In his work as a curator, Murakami has organized such seminal exhibitions of contemporary Japanese art and culture as Superflat (2000) and Little Boy: The Art of Japan’s Exploding Subcultures (2005). As an entrepreneur, he promotes emerging artists through his art production and management company Kaikai Kiki Co. Having exhibited widely throughout the world, Murakami is currently preparing for an exhibition at the Château de Versailles in September 2010.

Shirin Neshat
Shirin Neshat is an Iranian-born artist/filmmaker living in New York. Neshat’s early photographic works, including the Unveiling (1993) and Women of Allah (1993–97) series, explored notions of gender in relation to Islamic fundamentalism and militancy. Her subsequent video works departed from overtly political content or critique in favor of more poetic imagery and narratives. Neshat recently directed her first feature-length film, Women without Men, which received the Silver Lion Award at the 66th Venice International Film Festival in 2009. Neshat has been the subject of numerous solo exhibitions at galleries and museums internationally, including the Stedelijk Museum in Amsterdam, the Serpentine Gallery in London, Hamburger Bahnhof in Berlin, the Walker Art Center in Minneapolis, and the Musee d’Art Contemporain de Montreal.

Stefan Sagmeister
Stefan Sagmeister is one of today’s most innovative and influential graphic designers. His conception and application of graphic design goes above and beyond traditional notions of the practice, taking it to the realm of performative, conceptual, and installation-based art. Sagmeister is most widely known for his album cover artwork for bands like the Rolling Stones, Talking Heads, and Lou Reed, and for books like Mariko Mori’s Wave UFO for the Kunsthaus Bregenz, which function as sculptural objects.

Apichatpong Weerasethakul
Working in both feature-length and short forms, Apichatpong Weerasethakul plays with various narrative devices and nonlinear structures in his profoundly expressive, lyrical films, which are produced in his native Thailand. Exploring memory, political oppression, and spiritual quests, the works blend naturalism with stylized, dreamlike sequences. Weerasethakul’s Syndromes and a Century was the first Thai film to be selected for the Venice International Film Festival, where it premiered in 2006 at the 63rd festival. Recent screenings and exhibitions of his films and installations include Phantoms of Nabua, Wexner Center for the Arts, Columbus, Ohio; Moderne de la Ville de Paris/ARC (2009); and at Life on Mars, 55th Carnegie International, Pittsburgh (2008– 09), at which he was awarded the inaugural Fine Prize. His feature films have won several prizes from the Cannes International Film Festival, including the Prix Un Certain Regard (2003), the Prix du Jury (2004), and for his most recent film, Uncle Boonmee Who Can Recall His Past Lives, the prestigious Palme d’Or (2010).

Nancy Spector, Jury Chair
Nancy Spector is the Deputy Director and Chief Curator of the Solomon R. Guggenheim Museum, where she oversees the acquisition strategy for the permanent collection and the global exhibition calendar for the institution and its affiliates. She has organized exhibitions on conceptual photography, Felix Gonzalez-Torres, Richard Prince, Tino Sehgal, and Matthew Barney’s Cremaster cycle. She was adjunct curator of the 1997 Venice Biennale and coorganizer of the first Berlin Biennale in 1998. She has contributed to numerous books on contemporary visual culture with essays on artists such as Maurizio Cattelan, Luc Tuymans, and Lawrence Weiner.

Special Event and Public Presentation
On October 21, 2010, the creators of the twenty selected videos and their work will be presented on HP technology at a celebratory event at the Guggenheim Museum in New York. The videos will remain on view to the public October 22–24 in the Tower 2 Gallery of the museum. The videos will also be highlighted for a worldwide audience on the YouTube Play channel at youtube.com/play beginning October 21. In addition, the selected videos will be on view at the Deutsche Guggenheim, Berlin; the Guggenheim Museum Bilbao; and the Peggy Guggenheim Collection, Venice.

YouTube Play Blog: The Take
The Take, a new blog on guggenheim.org, launched on July 15 to provide a critical, interactive context for YouTube Play. The Take will be updated weekly through November 1 with posts on topics including the history of video art off- and online; online identity and “vlogging”; how museums and art institutions approach online video; and artists’ uses of YouTube. Drawing on the global scope of YouTube Play, the Take will feature a series of guest bloggers to stimulate worldwide discussions among both professional and amateur video makers and enthusiasts. The public is encouraged to read and comment on posts at guggenheim.org/thetake.

YouTube Play Friends and Affiliates Program
YouTube Play is reaching out internationally to local experts through theYouTube Play Friends and Affiliates Program, which includes select art institutions, nonprofits, and art schools around the world. Currently, nearly thirty global affiliates from countries including Canada, China, France, India, Israel, Japan, Mexico, the Netherlands, Poland, Sweden, the United Kingdom, and the United States are serving as local representatives of the project by sharing information about YouTube Play with their respective communities. A full list of the affiliates can be found at youtube.com/play.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and provides programming and management for the Guggenheim Museum Bilbao. The Deutsche Guggenheim in Berlin is the result of a collaboration, begun in 1997, between the Guggenheim Foundation and Deutsche Bank. In 2013 the Guggenheim Abu Dhabi, a 450,000-square-foot museum of modern and contemporary art designed by Frank Gehry, will open on Saadiyat Island, adjacent to the main island of Abu Dhabi, the capital of the United Arab Emirates.

About YouTube
YouTube is the world’s largest online video community, allowing millions of people to discover, watch, and share originally created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original-content creators and advertisers large and small. YouTube, LLC is based in San Bruno, California, and is a subsidiary of Google Inc.

About HP
HP creates new possibilities for technology to have a meaningful impact on people, businesses, governments, and society. The world’s largest technology company, HP brings together a portfolio that spans printing, personal computing, software, services, and IT infrastructure to solve customer problems. More information about HP (NYSE: HPQ) is available at hp.com.

#1167
July 23, 2010

FOR ADDITIONAL INFORMATION CONTACT

Solomon R. Guggenheim Museum
Eleanor Goldhar / Lauren Van Natten
212 423 3840
youtubeplayPR@guggenheim.org

Google
Victoria Grand
press@google.com

HP
Steve Biondolillo
650 520 4289
steve.biondolillo@ar-edelman.com

For more information on YouTube Play, go to youtube.com/play

For publicity images, go tohttp://www.guggenheim.org/new-york/press-room/press-images
User ID = photoservice
Password = presspass

Download a PDF of this press release.

(NEW YORK, NY – July 9, 2010) – From October 1, 2010, to January 9, 2011, the Solomon R. Guggenheim Museum will present Intervals: Ryan Gander, the third installment of its contemporary art series designed to reflect the spirit of today’s most innovative practices. For his Intervals project, Ryan Gander (b. 1976, Chester, United Kingdom) has created a new, site-specific installation for the museum’s Aye Simon Reading Room.

Organized by Katherine Brinson, Assistant Curator, this exhibition is presented in conjunction with the Public Art Fund’s commission of a major new sculpture by Gander, The Happy Prince, on view beginning September 15, 2010, at Doris C. Freedman Plaza, Fifth Avenue and 60th Street.

From the utopian ambitions of the modernist movement to the overlooked details of daily experience, Gander’s work ranges across a dizzying spectrum of forms and ideas. His meticulously researched projects–which have included such diverse conceptual gestures as an invented word, a chess set, a television script, and a children’s book–engage familiar historical narratives and cultural paradigms only to unravel their structures and assumptions, presenting elusive scenarios that abound with interpretive potential.

In the Intervals installation for the Aye Simon Reading Room, a small library and study space located on Rotunda Level 2, visitors will encounter a scene of apparent catastrophe that relates to Gander’s ongoing exploration of the schism between the Dutch artists Piet Mondrian (1872–1944) and Theo van Doesburg (1883–1931). These friends and creative collaborators severed their relationship in 1924 due to van Doesburg’s belief in the diagonal line as a valid element in abstract art, which conflicted with Mondrian’s insistence on a reductive visual language consisting of only gridded horizontals and verticals. Gander imagines this artistic dogmatism provoking a violent struggle between the two men that sends them crashing through a stained-glass window in the home of Frank Lloyd Wright, the architect of the Guggenheim Museum. In a mysterious temporal and spatial discontinuity, the debris from this accident has landed in the Reading Room, showering fragments of glass and lead over the books about Wright’s life and work that are customarily available in the space. Accompanying this relic from the annals of art history is an artifact that has been transported to the museum from the future: a “quarter centi-dollar” representing the inflated worth of a contemporary quarter to $25 by the year 2032, that has been glued to the floor in reference to a classic practical joke.

The leadership committees for the Intervals series and Intervals: Ryan Gander are gratefully acknowledged.

Ryan Gander and Public Art Fund
Public Art Fund presents a new commission by Ryan Gander entitled The Happy Prince, on view in Doris C. Freedman Plaza at the southeast corner of Central Park, September 15, 2010–April 10, 2011. Drawing inspiration from Oscar Wilde’s beloved children’s story, Gander will transform the final moments of the tale–the scene of the fallen statue–into a lyrical sculpture reminiscent of a romantic ruin. Using a sophisticated casting process with glass-reinforced concrete, the artist depicts the scene of the fallen statue at life size, but unlike the fragments of an actual ruin, Gander’s work is one single, massive form. The Happy Prince is Gander’s first public art commission in the United States. The artist will also launch the fall 2010 Public Art Fund Talks series with one of his celebrated Loose Associations presentations on Thursday, September 16, at 6:30 pm at The New School’s John Tishman Auditorium. In a narrated PowerPoint presentation, the artist will string together a series of images, memories, facts, and histories in an engaging and often comedic, hybrid performance-lecture. Visit publicartfund.org for more information.

About Ryan Gander
Ryan Gander lives and works in London. He received his BA from Manchester Metropolitan University, United Kingdom (1999) and undertook post-graduate studies at Jan van Eyck Akademie, Maastricht, Netherlands (2000) and Rijksakademie van beeldende kunsten, Amsterdam (2002). Gander’s work has been widely exhibited internationally, including recent solo presentations at Haus Konstruktiv, Zurich (2010); Villa Arson–Centre national d’art contemporain, Nice (2009); Museum Boijmans Van Beuningen, Rotterdam (2009), South London Gallery (2008); Ikon Gallery, Birmingham, United Kingdom (2008); and Stedelijk Museum, Amsterdam (2007). Group exhibitions include Production Site: The Artist’s Studio Inside-Out, Museum of Contemporary Art, Chicago (2010); Chasing Napoleon, Palais de Tokyo, Paris (2009–10); Space as Medium, Miami Art Museum (2009–10); and The Generational: Younger than Jesus, New Museum of Contemporary Art, New York (2009) as well as Wouldn’t it be nice . . . Wishful thinking in art and design, Somerset House, London (2008); Museum für Gestaltung, Zurich (2008); and Centre d’art contemporain, Geneva (2007). The Intervals exhibition and the Public Art Fund program mark Gander’s first solo institutional presentations in New York.

About Intervals
Fast-paced and modest in scale, Intervals is an experimental series launched in spring 2009 that allows the museum to respond quickly to innovations and new developments in contemporary art as they arise. Conceived to take place in the interstices of the museum’s exhibition spaces, in individual galleries, or beyond the physical confines of the building, the program invites a diverse range of artists to create new work for a succession of solo presentations.

The exhibition series is funded by the generous contributions of the Intervals Leadership Committee. Chaired by Young Collectors Council member Jeremy E. Steinke, the group comprises high-level Guggenheim members who are committed to the realization of Intervals projects and who enjoy a privileged insight into the curatorial processes behind them.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi Museum, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open in 2013.

Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free. Admission includes audio tour.

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. For general information call 212 423 3500 or visit guggenheim.org.

#1166
July 9, 2010

FOR ADDITIONAL INFORMATION CONTACT
Lauren Van Natten, Senior Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

For publicity images go to guggenheim.org/new-york/press-room/press-images
User ID = photoservice
Password = presspass

Featuring Beirut, Andrew Bird and Ian Schneller, and The Cinematic Orchestra

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(NEW YORK, NY – June 24, 2010) –– On July 15 the Guggenheim will launch Dark Sounds, a three-part series of live music performances accompanying the exhibition Haunted: Contemporary Photography/Video/Performance, currently on view at the museum through September 6. Produced by Sam Brumbaugh, Special Events Consultant, and Bronwyn Keenan, Associate Director of Special Events, the series takes its thematic cue from the conceptual threads that weave through Haunted, aiming to evoke the exhibition’s elements of melancholy, ghostliness, the uncanny, and our collective and individual obsession with accessing the past. The series title is borrowed from the writings of Montague Rhodes James (1862–1936), who is often described as the father of the modern ghost story.

Dark Sounds kicks off with the richly modernized Balkan gypsy folk of Beirut on Thursday, July 15; followed by Andrew Bird & Ian Schneller’s Sonic Arboretum, a site-specific performance involving violin, looped passages, and a landscape of horn speakers on Thursday, August 5; and then by the deeply melodic, electronic, and jazz-improvised sound of The Cinematic Orchestra on Friday, September 3.

The Dark Sounds series is made possible in part by Dr. Martens.

Doors open at 8 pm and guests are encouraged to view the museum exhibitionsHaunted: Contemporary Photography/Video/Performance and the Deutsche Bank Series at the Guggenheim Julie Mehretu: Grey Area before the performances, which start at 10 pm in the museum’s famed Frank Lloyd Wright–designed rotunda.

Ticketing
Priced at $25 for members and $30 for nonmembers, tickets are limited and available through advance online ticket sales only at guggenheim.org/darksounds. Beirut tickets will go on sale June 24 for members and June 25 for nonmembers.

Dark Sounds membership package
The museum offers a Dark Sounds membership package, which includes tickets to all three events plus all the benefits of Guggenheim membership for one year, including free, unlimited admission to the museum; invitations to parties and private viewings; and savings at the Guggenheim Store, the Wright, Cafe 3, and on all public programs. The Dark Sounds membership package is available for $125 for one person or $250 for two people and can be purchased by phone at 212 423 3535 or by e-mail at membership@guggenheim.org.

Beirut
Multi-instrumentalist Zach Condon is behind the critically acclaimed American band Beirut, which he formed in Albuquerque in 2006, recruiting friends for the recording of the debut album Gulag Orkestar. Inspired by Condon’s European travels,Gulag Orkestar is deeply influenced by Balkan folk and gypsy music, and features an eclectic array of instruments such as trumpets, ukuleles, glockenspiels, mandolins, violins, and cellos. The album was almost entirely recorded in Condon’s bedroom. For Beirut’s second full-length album, The Flying Club Cup (2007), Condon drew from the Gallic tradition of Chanson Française to produce an LP that revisits and reinterprets the wistful genre through a unique blend of rich vocals and layered accordions, horns, violins, piano, brass, and bass. Beirut also produced a full-length double EP, March of the Zapotec/Holland (2009), and three additional EPs. Known for its memorable live shows, Beirut performs with a varying number of members, ranging from 6 to 10.

Andrew Bird and Ian Schneller
Andrew Bird is a Chicago-based multi-instrumentalist and lyricist known for his experimental forays into pop music that incorporate elements of gypsy jazz, classical, folk, and country blues traditions. Bird has released nine albums since 1996. In a live setting, passages of violin, guitar, voice, and glockenspiel are looped and layered, crafting melodic hooks and rhythms from spontaneous stabs and strums. For Dark Sounds, Bird will collaborate with sculptor, inventor, and luthier Ian Schneller of Specimen Products to present Andrew Bird & Ian Schneller’s Sonic Arboretum, an audiovisual landscape featuring audio sculptures scattered around the rotunda floor that project sound skyward. Schneller has been designing and building his own line of custom guitars, tube amplifiers, and audio horn speakers for more than 25 years. With a master’s degree in sculpture from the School of the Art Institute of Chicago, his creations are sonic, kinetic, structural investigations that blend modern and vintage aesthetics and technology. Alone, the sculptures vaguely resemble a union of Victrola speakers and plant life, while Sonic Arboretum’s cumulative effect evokes a symphonic field of poppies, a prairie of sound, a forest floor of hornlings––all parts of one “ecosystem.”

The Cinematic Orchestra
For Jason Swinscoe, founder of the Cinematic Orchestra, working life began at Ninja Tune, the London-based independent record label. By day, Swinscoe distributed records while by night he developed a unique sound that would eventually evolve into the Cinematic Orchestra. Swinscoe introduced other likeminded musicians to the act and soon after, a string of albums emerged. Following their 1999 debut album Motion they have released Every Day (2002), Man With A Camera (2003), and Ma Fleur (2007), as well as the soundtrack The Crimson Wing for DisneyNature (2009), Live at the Royal Albert Hall (2008), Remixes 1998–2000 (2000), and Late Night Tales, a compilation (2010). The Cinematic Orchestra’s diverse, imaginative, jazz-improvised, electronic approach was praised by Uncut magazine as “every hard-boiled, neon-lit Hollywood thriller you’ve ever seen.”

The Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open in 2013.

#1165
June 24, 2010

FOR ADDITIONAL INFORMATION CONTACT
Claire Laporte, Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

For publicity images go to guggenheim.org/new-york/press-room/images
User ID = photoservice
Password = presspass

Distinguished jury to select videos from YouTube global community for presentation at Guggenheim museums worldwide on October 21, 2010

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(NEW YORK, NY; and SAN BRUNO, CA – June 14, 2010) — The Solomon R. Guggenheim Foundation, together with YouTube, the world’s largest online video community, today announced the launch of YouTube Play. A Biennial of Creative Video. A collaboration with HP, YouTube Play was conceived to discover and showcase the most exceptional talent working in the ever-expanding realm of online video. Open to the global online community,YouTube Play is the most inclusive international search for new creative video. A jury of experts comprising celebrated figures from the worlds of art, design, film, and entertainment will select up to 20 videos submitted from around the world to be presented at the Solomon R. Guggenheim Museum on October 21, 2010, with simultaneous presentations at the Guggenheim museums in Berlin, Bilbao, and Venice. The works will also be available to a worldwide audience on the special YouTube Play channel at youtube.com/play.

“The Guggenheim, YouTube, and HP share a view that creative online video is one of the most compelling and innovative opportunities for personal expression today,” said Richard Armstrong, Director of the Solomon R. Guggenheim Foundation and Museum. “The project team came together to inspire and encourage the creation and celebration of this art form. YouTube Play demonstrates this is within the reach of anyone who uses a computer and has access to the Internet.”

“With this online global initiative, we’re not looking for what’s ‘now,’ we’re looking for what’s next,” said Nancy Spector, Deputy Director and Chief Curator of the Guggenheim Foundation. “In the last two decades, there has been a paradigm shift in visual culture. The moving image has been fully absorbed into critical contemporary art practices, and now we are witnessing the power of the Internet to catalyze and disseminate new forms of digital media, including online video. This collaborative project with YouTube and HP will highlight some of the most innovative work being produced today and will draw on the Guggenheim’s ongoing commitment to new media.”

“YouTube has redefined media culture by changing the way the world creates, distributes, and watches video,” said Ed Sanders, Senior Marketing Manager at YouTube. “By collaborating with the Guggenheim and HP, it is our desire to recognize and celebrate the originality and innovation of our vast community of creators in every corner of the globe and to elevate creative video to a new art form.”

In 2009, the YouTube Symphony Orchestra gave everyone with access to the Internet a chance to play in Carnegie Hall, and in 2007, the CNN/YouTube debates gave everyone a chance to ask a question of U.S. presidential candidates. With YouTube Play, YouTube is now expanding upon the traditional curatorial process in a way that gives every video creator a shot at international artistic recognition.

“The power of YouTube and the reputation of the Guggenheim form the perfect stage for the artistic expression possible on PCs,” said Tracey Trachta, Director of Marketing Communications Initiatives, Personal Systems Group, HP. “HP is moved by the imagination of digital artists, and we want to encourage the creation, sharing and appreciation of online video as an art form.”

Upload Creative Video
The goal of this unprecedented project is to discover and celebrate work that expands the notion of what video can be. Submissions may include any form of creative video, including art, animation, motion graphics, narrative and non-narrative work, or entirely new art forms. YouTube Play hopes to attract innovative, original, and surprising videos from around the world, regardless of genre, technique, background, or budget. Participants can be art students or amateur video makers as well as creative professionals.

To help video creators generate the best possible submissions, the YouTube Play channel will post HP Make tutorials, featuring editing, sound, and other video-making techniques.

How to Participate
Participants are invited to submit new or existing videos created within the last two years to a YouTube Play channel at youtube.com/play. The maximum running time for a video is ten minutes. Each participant will be asked to provide a written statement regarding his or her work. Only one video per participant will be considered. The deadline for submission is July 31, 2010, 12:00 p.m., Pacific Time, 3:00 p.m., Eastern Standard Time.

Selection Process
The Guggenheim will identify up to 200 videos which will be viewable on theYouTube Play channel at youtube.com/play. From the 200, up to 20 videos will be selected by a jury of experts, comprised of distinguished artists, filmmakers, designers, and musicians, to be presented at the Guggenheim Museum in New York during a special event on October 21, 2010.

Public Presentation
The creators of the jury-selected videos will be invited to participate in the October 21 event in New York, and the videos will be on view to the public from October 22 through 24 in the Tower 2 Gallery of the museum. The video presentations will also be available to a worldwide audience on the YouTube Play channel at youtube.com/play. In addition, the selected videos will be on view at the Deutsche Guggenheim, Berlin; the Guggenheim Museum Bilbao; and the Peggy Guggenheim Collection, Venice.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and provides programming and management for the Guggenheim Museum Bilbao. The Deutsche Guggenheim in Berlin is the result of a collaboration, begun in 1997, between the Guggenheim Foundation and Deutsche Bank. In 2013, the Guggenheim Abu Dhabi, a 452,000-square-foot museum of modern and contemporary art designed by Frank Gehry, will open on Saadiyat Island, adjacent to the main island of Abu Dhabi city, the capital of the United Arab Emirates.

About YouTube
YouTube is the world’s largest online video community, allowing millions of people to discover, watch, and share originally created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original-content creators and advertisers large and small. YouTube, LLC is based in San Bruno, California, and is a subsidiary of Google Inc.

About HP
HP creates new possibilities for technology to have a meaningful impact on people, businesses, governments, and society. The world’s largest technology company, HP brings together a portfolio that spans printing, personal computing, software, services, and IT infrastructure to solve customer problems. More information about HP (NYSE: HPQ) is available at hp.com.

#1164
June 14, 2010

FOR ADDITIONAL INFORMATION CONTACT

Solomon R. Guggenheim Museum
Betsy Ennis / Eleanor Goldhar
212 423 3840
youtubeplayPR@guggenheim.org

Google
Aaron Zamost
press@google.com

HP
Steve Biondolillo
steve.biondolillo@ar-edelman.com
(650) 520-4289

For more information on YouTube Play go to YouTube.com/Play

For publicity images go to http://www.guggenheim.org/new-york/press-room/images
User ID = photoservice
Password = presspass

Featuring Work by Thomas Demand, Stan Douglas, Christian Marclay, and Jeff Wall, with Performances by Sharon Hayes, Joan Jonas, and Tris Vonna- Michell and a Symposium on Performance June 17–18

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(NEW YORK, NY – June 3, 2010) –– On June 4, the Solomon R. Guggenheim Museum opens two additional galleries to complete its presentation of the full-rotunda exhibition Haunted: Contemporary Photography/Video/Performance. Newly featured works by Thomas Demand, Stan Douglas, Christian Marclay, and Jeff Wall as well as live performances by Sharon Hayes, Joan Jonas, and Tris Vonna-Michell extend the exhibition’s investigation into themes of memory, trauma, repetition, and appropriation through the use of reproductive media. Ongoing public programs including a symposium on performance on June 17–18 will complement the exhibition.

Haunted: Contemporary Photography/Video/ Performance is organized by Jennifer Blessing, Curator of Photography, and Nat Trotman, Associate Curator.

This exhibition is made possible by the International Director’s Council of the Solomon R. Guggenheim Museum. Additional support is provided by grants from The Robert Mapplethorpe Foundation and the William Talbott Hillman Foundation. The Leadership Committee for Haunted: Contemporary Photography/Video Performance is gratefully acknowledged.

The schedule for performances and summer public programs offered in conjunction with Haunted is as follows:

The Elaine Terner Cooper Education Fund
Conversations with Contemporary Artists
Stan Douglas
Wed, June 9, 6:30 pm
Artist Stan Douglas (b. 1960, Vancouver) will speak about his work. Douglas uses forms of popular entertainment—cinema and television—to destabilize narratives that depict society as a unified, homogeneous front with one history, one set of desires, and one value system. His film installation Der Sandmann (1995), on view in Haunted, investigates the intersection of history and memory as witnessed against the backdrop of post–Cold War Germany. Projected as two separate but intersecting 16mm films that show a community garden in use during the 1970s and as a construction site some 20 years later,Der Sandmann contemplates temporality and the transformative effects of history. Following the program, guests are invited to enjoy a private exhibition viewing and reception. Tickets are $10, $7 for members, and free for students. For tickets, visit guggenheim.org/publicprograms, or call the Box Office at 212 423 3587.

Thinking Performance at the Guggenheim
Artist Performance by Joan Jonas
Thurs, June 17, 8 pm
Symposium
Fri, June 18, 2 pm
Five years after the groundbreaking (Re)Presenting Performance symposium held at the Guggenheim Museum, artists, curators, and theorists gather to discuss issues manifested in recent performance-based work presented at the Guggenheim. Covering topics including site specificity, live action, the place of memory, and the role of the document, focused presentations provide an opportunity to think deeply about specific practices in contemporary art. To inaugurate the symposium, Joan Jonas (b. 1936, New York) re-presents her seminal 1969 performance Mirror Piece I, newly expanded specifically for the Guggenheim’s Frank Lloyd Wright–designed rotunda. Symposium participants include Marina Abramović, Claire Bishop, Jennifer Blessing, Chrissie Iles, Joan Jonas, Carrie Lambert-Beatty, Susan Philipsz, Rebecca Schneider, Nancy Spector, and Nat Trotman. Tickets are $30, $20 for members, and $10 for students. For tickets, visit guggenheim.org/publicprograms or call the Box Office 212 423 3587.

Artist Performance by Sharon Hayes
Sat, July 24, 3–7:45 pm
Sharon Hayes (b. 1970, Baltimore) uses video, installation, and performance to delve into the politics of language, desire, and protest, as manifest in both personal and public realms. Through a practice of “respeaking,” her work highlights uncanny instances of resonance between recorded historical texts and our present political moment. As part of Haunted, Hayes will stage a unique sonic event on the Guggenheim’s Rotunda floor in which she will act as a DJ, spinning vintage spoken-word records that refer to moments from throughout the history of the twentieth century. Free with museum admission.

Artist Performance by Tris Vonna-Michell
Thurs, July 29, 7 pm and 8 pm
The performance work of Tris Vonna-Michell (b. 1982, Rochford, England) unleashes a barrage of words and images that mine the boundaries of personal memory and narrative fiction. His live, uninterrupted soliloquys, accompanied by 35mm slide projections from his personal archive, often take the form of erratic travelogues that rapidly plunge into alliteration and free association, intertwining history and autobiography. For Haunted, Vonna-Michell will perform recent work in an intimate setting just off the museum’s spiraling ramps. Tickets are limited; further information to be announced soon.

Guggenheim Forum: On Repeat
Mon, June 21–Fri, June 25
Live chat: Thurs, June 24, 3 pm
Guggenheim Forum is a continuing series of moderated online discussions inviting visitors to Guggenheim.org to consider the opinions of a panel of experts, engage in commentary, and participate in a live chat session. This installment of Guggenheim Forum takes up repetition as cultural and artistic motif. As conventionally imagined, modernity is tied to the idea of invention. But that impulse has been counterbalanced by one toward repetition and a return to the past. Our panel asks whether modern times are obsessive-compulsive; whether our psyches really require us to reenact traumatic events; why reenactment has become an important device in contemporary art; and how the relationship to repetition varies across creative mediums. The conversation will be moderated by Simon During, author of Exit Capitalism: Literary Culture, Theory and Post-Secular Modernity (2010). Panelists include Drew Daniel, author of 20 Jazz Funk Greats (2008) and member of experimental-music group Matmos; John Malpede, founder of the Los Angeles Poverty Department; and Amy Taubin, contributing editor of Film Comment and Sight and Sound, and author of Taxi Driver (2008), a BFI Film Classics book. To participate, visit guggenheim.org/forum.

Artist films presented for Haunted: Contemporary Photography/Video/Performance will be screened every Friday in July and August in the New Media Theatre. For more information, visit guggenheim.org/publicprograms.

Additional educational programs including gallery tours and family activities are being presented under the auspices of the Sackler Center for Arts Education throughout the showing of Haunted. For updated information regarding programs, visit guggenheim.org/education.

VISITOR INFORMATION

Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free. Admission includes an audio tour of Haunted, available in English, and of highlights of the Guggenheim’s permanent collection, available in English, Spanish, French, German, and Italian.

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. For general information, call 212 423 3500 or visit guggenheim.org.

#1163
June 3, 2010

FOR ADDITIONAL INFORMATION CONTACT
Lauren Van Natten, Senior Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

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Findings from The Art of Problem Solving Presented at June 3–4 Conference

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(NEW YORK, NY—June 2, 2010) – On June 3 and 4, Thinking Like an Artist: Creativity and Problem Solving in the Classroom, a conference for art and museum educators, administrators, and policy makers from across the nation, will convene in the Sackler Center for Arts Education at the Guggenheim Museum. During this conference, the Guggenheim will present key findings from The Art of Problem Solving, a four-year research initiative that evaluated the impact of its pioneering arts education program Learning Through Art (LTA) on students’ problem-solving abilities and creativity. The study and conference are funded by an Arts in Education Model Development and Dissemination grant from the U.S. Department of Education that totaled over $1 million.

For the first phase of the study, the Guggenheim’s Learning Through Art staff assembled an advisory team of artists, educators, and cognitive scientists to identify the problem-solving skills that visual arts can most powerfully teach, followed by two years of research conducted by the evaluation consultant team of Randi Korn & Associates. The final year focused on analysis and dissemination of the findings.

The two years of the study’s data collection efforts involved measures that were both quantitative and qualitative in nature, including observations of teaching artists in 18 classrooms, observations of 25 student case studies, questionnaires administered as pre- and post-test measures, interviews with 18 participating classroom teachers, and a one-on-one interview in which 447 test and control students were given an art-based problem-solving task and were asked to describe their process in completing it. The results of this research reveal that students receiving LTA instruction scored higher in three out of the six skills of problem solving as defined by the study: flexibility (the ability to revise or rethink one’s plans when faced with challenges), connection of ends and aims (the ability to reflect on whether one’s final work of art met the intended goals), and resource recognition (the ability to identify additional materials that could be applied to the completion of the project). The three other skill areas identified are imagining, experimentation, and self-reflection.

“With this study of the Learning Through Art program, we are pleased to demonstrate that arts education helps develop the skills necessary to persistently and adaptively work through problems,” said Kim Kanatani, Deputy Director and Gail Engelberg Director of Education, Solomon R. Guggenheim Foundation. “By asking students to think like artists, we are imparting 21st-century skills in encouraging them to approach problems with creativity and analytic thought rather than just recitation of facts.”

The Art of Problem Solving represents the Guggenheim’s second major U.S. Department of Education–funded study of Learning Through Art. In 2003, the Guggenheim received its first Arts in Education Model Development and Dissemination grant from the U.S. Department of Education for completion of a groundbreaking three-year research initiative that realized that LTA improved students’ literacy and critical thinking. The full research reports and executive summaries of The Art of Problem Solving and Teaching Literacy Through Art studies are available at learningthroughart.org.

Related Programs for Educators
Through the Sackler Center for Arts Education at the Guggenheim Museum, two public programs will focus on the findings of The Art of Problem Solving and will discuss how art educators can encourage the development of these skills in their students.

Thinking Like An Artist: Creativity And Problem Solving in the Classroom: Thursday, June 3, 9 am–5:30 pm, and Friday, June 4, 9 am–1 pm
What does it mean to think like an artist? What can educators learn from the work of artists? Join art and museum educators, administrators, and policy makers from across the country for a two-day forum to discuss the role of creativity in the art classroom and in the field of education as a whole. Thinking Like an Artist features artists Janine Antoni and Michael Joo; Lois Hetland and Ellen Winner, research associates at Project Zero, Harvard Graduate School of Education; Ellen Lupton, curator of contemporary design at Cooper Hewitt National Design Museum; and Jerry Saltz, senior art critic for New York Magazine. The conference also will discuss the research design, findings, and new questions raised by the Guggenheim’s four-year research initiative, The Art of Problem Solving. To view the full conference schedule, visit learningthroughart.org/conference.

This conference and the research presented have been developed under a grant from the U.S. Department of Education. However, the research and presentations do not necessarily represent the policies of the U.S. Department of Education and should not be taken as an endorsement from the federal government.

Teaching for Creativity
Thursday, June 10, 9 am–3pm
Through hands-on art making and group discussion, participants will learn strategies for planning and teaching art-based projects that promote the development of students’ problem-solving skills. Teachers of grades two through twelve in all subject areas are welcome to register. Registration is $20. For more information, or to learn about year-round opportunities for educators in all curriculum areas to learn creative strategies for incorporating visual arts in the classroom, call 212 423 3637.

About Learning Through Art
Learning Through Art was founded in 1970 by Natalie K. Lieberman in response to the elimination of art and music programs in New York City public schools. Since its inception, LTA has served more than 145,000 children and has placed hundreds of professional teaching artists in New York City public elementary schools where they collaborate with classroom teachers to lead curriculum-based art projects. The program encourages curiosity, critical thinking, and ongoing collaborative investigation. Additionally, LTA immerses students in the artistic process, includes visits to the Guggenheim Museum, and culminates in an annual A Year with Children exhibition displaying selections of art created by LTA students. A Year with Children 2010 is on view through June 20, and showcases over 120 works by students in grades two through six from ten public schools representing New York City’s five boroughs. For more information, please visit learningthroughart.org

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open in 2013.

June 2, 2010
#1162

FOR ADDITIONAL INFORMATION CONTACT:
Lauren Van Natten, Senior Publicist
Solomon R. Guggenheim Museum
Telephone: 212 423 3840 or e-mail: pressoffice@guggenheim.org

Appointment Launches the Panza Collection Conservation Initiative, a Comprehensive Evaluation of Minimalist, Post-Minimalist, and Conceptual Works from the 1960s through the 1970s in the Guggenheim’s Panza Collection

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(NEW YORK, NY – May 21, 2010) –– Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum, today announced the appointment of Jeffrey Weiss to the newly established position of Curator, Panza Collection. The creation of the position is part of the Panza Collection Conservation Initiative (PCCI), which was announced last month along with a major grant from The Andrew W. Mellon Foundation of $1.23 million to support the first phase of this project. This phase will undertake a comprehensive evaluation of the Minimalist, Post-Minimalist, and Conceptual artworks, from the 1960s through the 1970s, in the Guggenheim’s Panza Collection.

“We are enormously pleased that Jeffrey Weiss will join the Guggenheim as the first Panza Curator,” said Mr. Armstrong. “Jeffrey’s experience and stature as a curator and scholar, and his expertise in Minimalist and Post-Minimalist art makes this a particularly meaningful union. Jeffrey will help lead a team of curators, conservators, and scientists that will undertake an interdisciplinary study and dialogue as part of what is envisioned as a long-term plan of action to address all works in the Panza Collection.” Mr. Armstrong continued, “Many of the works in the collection, particularly those by Dan Flavin, Donald Judd, and Bruce Nauman, are ephemeral, thus posing unique challenges to curators and conservators who strive to accurately exhibit and sustain the work for generations to come.”

The PCCI was conceived by Solomon R. Guggenheim Foundation Deputy Director and Chief Curator Nancy Spector and Deputy Director and Chief Conservator Carol Stringari, who will remain integral to and head the project. “The Panza Collection provides a critical opportunity to explore the shifting views on preserving works that have multiple historical iterations or that can be refabricated; this inevitably raises trenchant museological issues involving institutional responsibility, collection management policies, market pressures, and artists’ rights,” they said.

“The Panza Collection Conservation Initiative is a remarkable opportunity to push our collective conversation about Minimalist and Post-Minimalist art in new directions,” said Mr. Weiss. “Everything about it falls at the center of my own recent interests as a curator and scholar. I am thrilled to be collaborating on this project with my colleagues at the museum.”

As part of the Panza Collection Conservation Initiative, Mr. Armstrong announced the appointment of Ted Mann as Assistant Curator, Panza Collection, and also announced the newly created position of Panza Conservator, which will be filled in the near future.

During the first phase of the project, case studies will be constructed around the work of four artists in the Guggenheim’s Panza Collection: Dan Flavin, Donald Judd, Bruce Nauman, and Lawrence Weiner. This process will entail exhaustive research on the history and fabrication of the works, as well as extensive interviews with artists (or their estates) and former studio assistants, along with curators and conservators with related expertise. The goal is to assemble comprehensive information regarding the artists’ practices, with particular attention paid to the production and installation of works. Specific artworks from the Panza Collection will then be assembled and studied with help from a special Advisory Committee, promoting an exchange that will contribute toward the establishment of standards that will influence interpretation and long-term preservation.

Before joining the Guggenheim Museum, Mr. Weiss was an independent curator and critic based in New York. Between 2000 and 2007, he was Curator and Head of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C. From 2007 to 2008, he served as Director of the Dia Art Foundation, New York, but left to return to academic and curatorial work. Since that time he has been teaching at the Institute of Fine Arts, New York University’s graduate school of art history, where he will retain his position as Adjunct Professor of Fine Art. Mr. Weiss has organized exhibitions on Jasper Johns, Pablo Picasso, and Mark Rothko, and has contributed to and edited catalogues for those projects. At the National Gallery, Mr. Weiss also built significant museum holdings of 1960s and 1970s artwork. He was also the editor of Dan Flavin: New Light, a 2006 anthology of essays from Yale University Press. Widely published in various periodicals on modern and postwar art, Mr. Weiss’s writings are also regularly featured in Artforum. He is currently at work on a complete catalogue of the early object sculptures of Robert Morris and on Material Uncanny, a book concerning various topics in Minimalist and Post-Minimalist art. Mr. Weiss holds a Ph.D. from the Institute of Fine Arts.

From 2001 to 2008, Mr. Mann held various positions at the Guggenheim Museum, most recently that of Assistant Curator for Collections, a position in which he was responsible for curating collection exhibitions and researching and writing about the permanent collection for exhibition catalogues, Guggenheim.org, and other museum publications. Exhibitions to which Mr. Mann contributed include: The Shapes of Space (Solomon R. Guggenheim Museum, 2007); Passages: Beuys, Darboven, Kiefer, Richter (Guggenheim Museum Bilbao, 2006–07); Marc Chagall: Selections from the Collection (Guggenheim Museum, 2005–06); and Singular Forms (Sometimes Repeated): Art from 1951 to the Present (Guggenheim Museum, 2004). At the Guggenheim Museum, Mr. Mann also published essays for a variety of exhibition catalogues. Since 2008 he has been pursuing his Ph.D. at the Institute of Fine Arts.

Mr. Weiss will begin work in August and Mr. Mann in early June.

The Panza Collection Conservation Initiative (PCCI)
From 1991 to 1992, the Solomon R. Guggenheim Foundation acquired 357 works from the world-renowned collection of Giuseppe Panza di Biumo (who died earlier this year), including seminal Minimalist sculptures by artists such as Carl Andre, Dan Flavin, Donald Judd, and Robert Morris; equally strong examples of Minimalist paintings by Robert Mangold, Brice Marden, and Robert Ryman; and an in-depth selection of Post-Minimalist, Conceptual, and Environmental art by Hanne Darboven, Robert Irwin, Bruce Nauman, Maria Nordman, Richard Serra, James Turrell, and Lawrence Weiner, among others. With this unprecedented acquisition in place, the Guggenheim Museum is forging a leadership role in the study, display, and preservation of American art from the 1960s and 1970s.

The Panza Collection Conservation Initiative was conceived to ensure that Minimalist, Post-Minimalist, and Conceptual artworks of this era are thoroughly researched, preserved, and presented to the public in a manner sensitive to their historical context and material integrity. The goal of the Panza Collection Conservation Initiative will be to create a framework for the sustainability of countless other variable or ephemeral artworks (or works that can be refabricated) from the 1960s and 1970s in public collections in the United States and around the world.

The first phase of the PCCI will be organized around a series of four case studies focusing on the work of Flavin, Judd, Nauman, and Weiner. The case studies will use actual objects (and those that exist only in certificate form) to guide all research and analysis. Led by Nancy Spector, Deputy Director and Chief Curator, and Carol Stringari, Deputy Director and Chief Conservator, the project will be undertaken by Curator Jeffrey Weiss, Assistant Curator Ted Mann, and a to-be-named conservator, along with scientific consultants, and will be guided by a cross-disciplinary Advisory Committee comprising experts on Minimalism, Post-Minimalism, and Conceptual art in general and the four artists’ work in particular.

The information gathered from documentary research, preliminary interviews, and examination of the works will be presented to an Advisory Committee comprised of curators from museums with comparable collections of art from the 1960s and 1970s; art historians who have researched and published extensively on Minimalism, Post- Minimalism, or Conceptual art; conservators who have researched and treated works from this period; theorists involved with the Variable Media Initiative; representatives of artists’ foundations and estates; and attorneys familiar with traditional property rights, intellectual property law, and the Visual Artists Rights Act of 1990.

The Advisory Committee will encompass many viewpoints and represent the interests of scholars and professionals in multiple disciplines, such as art, art history, philosophy, law, science, and conservation. As several members of the committee represent other cultural institutions with similar collections, they are facing comparable issues of preservation and display. The Guggenheim Museum project team will consult with the members of the Advisory Committee on a regular basis through online forums and periodic seminars with subsets of the larger panel.

The primary goal of the project is to share expertise and reach consensus that will establish parameters for interpreting, installing, exhibiting, and preserving work that can be refabricated, and to establish norms for dealing with these works when materials become unavailable. In the case of contested works, the aim is to define their historical importance and ultimate fate. The essential goal is the preservation of the collection and the collaborative exchange of information among the immediate stakeholders and the cultural community at large.

About the Solomon R. Guggenheim Foundation Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open in 2013.

#1161
May 21, 2010

FOR ADDITIONAL INFORMATION CONTACT
Betsy Ennis
Director of Media & Public Relations
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

Download a PDF of this press release.

(NEW YORK, NY – May 19, 2010) – In honor of the late Kenneth Noland (b. April 10, 1924, Asheville, N.C.; d. January 5, 2010, Port Clyde, Maine), the Solomon R. Guggenheim Museum presents Kenneth Noland, 1924–2010: A Tribute, on view in the level 4 Thannhauser Gallery from May 21 to June 20. One of the great American abstract painters of the second half of the twentieth century, Noland had his first major retrospective at the Guggenheim Museum in 1977. Throughout a career that spanned six decades, Noland explored the essential qualities of color and surface in canvases that came to exemplify Color Field painting, a signature of postwar abstraction in the 1960s.

About the tribute exhibition, Richard Armstrong, Director of the Solomon R. Guggenheim Foundation and Museum, said: “The Guggenheim Museum, with its founding history rooted in the support of nonobjective painting, is honored to again share with the public Kenneth Noland’s contributions to the course of abstraction.”

The exhibition is organized by Tracey Bashkoff, Curator of Collections and Exhibitions, Solomon R. Guggenheim Museum.

Kenneth Noland, 1924–2010: A Tribute brings together an intimate group of four of Noland’s seminal works, from the Guggenheim Museum’s holdings and those of private collections, that represent the most distinctive hallmarks of his visual language: circles, chevrons, stripes, and shaped canvases. And Half (1959) is from Noland’s series of concentric-circle paintings, which were begun in the mid-1950s and are generally considered his first mature works. Trans Shift (1964) is an example of Noland’s hard-edged chevron forms, and The Time (1967) features a horizontally linear construction in which the contrasting colors saturate the surface of the canvas entirely—a composition typical of his works from the late 1960s and after. Later, Noland’s exploration of hard edges in his paintings led to his development of shaped canvases, of which Strand (1981) is an example.

Noland was born on April 10, 1924, in Asheville, North Carolina. He attended the nearby Black Mountain College on the GI Bill from 1946 to 1948 before leaving for Paris, where he studied with the sculptor Ossip Zadkine and was introduced to the work of Henri Matisse. During his studies at Black Mountain in the late 1940s and again in the summer of 1950, Noland was affected by the teachings of former Bauhaus master Josef Albers, who was the driving force at the school and who had brought with him from Germany an encyclopedic knowledge of twentieth-century European art. However, Noland’s commitment to pure abstraction derived primarily from his studies with painter Ilya Bolotowsky.

In the 1950s, Noland met critic Clement Greenberg, sculptor David Smith, and painters Helen Frankenthaler and Morris Louis, all of whom influenced his subsequent artistic development. Liberated from the constraints of European modernism and challenged by the groundbreaking work of the Abstract Expressionists, Noland experimented with Frankenthaler’s stain technique of applying thinned acrylic paint to unprimed canvas, fusing color and material. Starting in the early 1950s, Noland began producing a number of works that have been termed “Post Painterly Abstraction” or “Color Field painting” for their large expanses of color with emphases on clarity and control instead of the emotive gesture favored by the Abstract Expressionists.

Kenneth Noland and the Guggenheim Museum
In 1977, the Guggenheim Museum organized Kenneth Noland: A Retrospective, the first major exhibition of the artist’s work. It traveled to the Hirshhorn Museum and Sculpture Garden and the Corcoran Gallery of Art, both in Washington, D.C., and to the Toledo Museum of Art in Ohio and was accompanied by an exhibition catalogue with an essay by then–Guggenheim curator Diane Waldman. The Solomon R. Guggenheim Foundation collection includes four major works by Noland.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and also provides programming and management for two other museums in Europe that bear its name: the Guggenheim Museum Bilbao and the Deutsche Guggenheim in Berlin. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open in 2013.

VISITOR INFORMATION

Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free.

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. For general information, call 212 423 3500 or visit guggenheim.org.

May 19, 2010
#1160

FOR ADDITIONAL INFORMATION CONTACT:
Lauren Van Natten, Senior Publicist
Solomon R. Guggenheim Museum
Telephone: 212 423 3840 or e-mail: pressoffice@guggenheim.org

For publicity images, visit guggenheim.org/new-york/press-room/images
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