October 7, 2016–January 11, 2017
Filling the Guggenheim rotunda, this exhibition will trace Agnes Martin’s (1912–2004) career from her early experiments of the 1950s through her mature oeuvre and final paintings, making it the first comprehensive survey of the artist’s work since her death in 2004. One of the preeminent American painters of the twentieth century, Martin created subtle and evocative canvases that had a significant influence on artists of her time and subsequent generations. For more than four decades, she explored limited compositional motifs yet discovered endless nuance and variation. By 1960, she had developed her signature grid-pattern works—radical presentations of interlocking horizontal and vertical lines in pencil on large square canvases that at first seem to appear blank. Martin’s geometry, however, is never mechanical. Her hand-drawn arrangements of coordinates, lines, and stripes shift in scale and rhythm between works. Often associated with and considered an important figure of Minimalism, Martin’s work stands apart. Influenced by Asian belief systems including Taoism and Zen Buddhism and the natural surroundings of her home in New Mexico, her restrained style was underpinned by a personal conviction in the emotive and expressive power of art. The Guggenheim presentation of Agnes Martin is cocurated by Tracey Bashkoff, Senior Curator, Collections and Exhibitions and Tiffany Bell, Guest Curator. The exhibition is organized by Tate Modern, London, in collaboration with the Solomon R. Guggenheim Museum, New York; Kunstsammlung Nordrhein-Westfalen, Dusseldorf; and the Los Angeles County Museum of Art.
The Solomon R. Guggenheim Museum’s presentation of this exhibition is supported by COS. The Leadership Committee for Agnes Martin is gratefully acknowledged for its generosity: Pace Gallery, Charles and Valerie Diker, The Lauder Foundation-Leonard & Judy Lauder Fund, Mary and John Pappajohn, Anne H. Bass, Peter B. Brandt, and those who wish to remain anonymous. Funding for this exhibition is also provided by the Juliet Lea Hillman Simonds Foundation, LLWW Foundation, and the Dedalus Foundation, Inc.
Tales of Our Time
November 4, 2016–March 10, 2017
The second exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative, Tales of Our Time will display new works by artists hailing from mainland China, Hong Kong, and Taiwan: Chia-En Jao, Kan Xuan, Sun Xun, Sun Yuan & Peng Yu, Tsang Kin-Wah, Yangjiang Group, and Zhou Tao. Working in a range of mediums, including video, sculpture, installation, mixed media on paper, and participatory intervention, these artists are unified by their distinctive and independent practices that poetically balance politics and aesthetics. Featuring works commissioned for the Guggenheim’s collection, Tales of Our Time will offer a heterogeneous view of contemporary art from China and explore tensions between individual narratives and the constructions of mainstream history. The exhibition will be accompanied by a catalogue and a robust offering of educational programs and public events with artists. Tales of our Time is organized by Hou Hanru, Consulting Curator, The Robert H. N. Ho Family Foundation Chinese Art Initiative, and Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art, and led by Alexandra Munroe, Samsung Senior Curator, Asian Art and Senior Advisor, Global Arts.
The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim Museum is made possible by The Robert H. N. Ho Family Foundation.
Visionaries: Creating a Modern Guggenheim
February 10–September 2017
On the occasion of the 80th anniversary of the Solomon R. Guggenheim Foundation, more than 170 modern works from the permanent collections held in New York and Venice will fill the museum’s Frank Lloyd Wright–designed rotunda. Visionaries: Creating a Modern Guggenheim will explore the avant-garde innovations of over 70 artists from the late 19th through mid-20th centuries, including Alexander Calder, Paul Cézanne, Marc Chagall, Vasily Kandinsky, Paul Klee, Piet Mondrian, Pablo Picasso, Jackson Pollock, and Vincent van Gogh, as well as the ground-breaking activities of six allied patrons who brought to light some of the most significant artists of their day. Solomon R. Guggenheim, together with his advisor and friend, the German-born artist Hilla Rebay, became a great champion and collector of nonobjective art––a strand of abstraction with spiritual aims and epitomized by the work of Kandinsky. Guggenheim’s modern holdings were amassed against the backdrop of economic crisis and war in the 1930s and 1940s, yet his tenacity and foresight secured unparalleled works for the public institution he established in 1937. Contemporaries who shared a similar pioneering spirit subsequently shaped the Solomon R. Guggenheim Founding Collection. These major acquisitions include a group of Impressionist, Post-Impressionist, and early School of Paris masterworks from Justin K. Thannhauser; the eclectic Expressionist inventory of émigré art dealer Karl Nierendorf; the holdings of abstract and Surrealist painting and sculpture from self-proclaimed “art addict” Peggy Guggenheim, also Solomon’s niece; and key examples from the estates of artists Katherine S. Dreier and Hilla Rebay, both pivotal in promoting modern art in America. The six patrons and over 70 artists who comprise Visionaries helped to establish the Guggenheim Foundation’s identity as a forward-looking institution. Visionaries is organized by Megan Fontanella, Associate Curator, Collections and Provenance, Guggenheim Museum.
The Hugo Boss Prize 2016
Founded in 1996, the Hugo Boss Prize is a biennial award administered by the Solomon R. Guggenheim Museum that honors significant achievement in contemporary art. Selected by a jury of international curators and critics, the finalists for the tenth iteration of the prize are Tania Bruguera, Mark Leckey, Ralph Lemon, Laura Owens, Wael Shawky, and Anicka Yi. The winner will be announced on October 20, 2016, and a solo exhibition of that artist’s work will be presented at the Guggenheim in the spring of 2017. A catalogue featuring portfolios contributed by the finalists and essays discussing each artist’s practice, as well as a special section to commemorate the 20th anniversary of the prize, will be published in advance of the announcement. Previous recipients of the prize include Matthew Barney (1996), Douglas Gordon (1998), Marjetica Potrč (2000), Pierre Huyghe (2002), Rirkrit Tiravanija (2004), Tacita Dean (2006), Emily Jacir (2008), Hans-Peter Feldmann (2010), Danh Vo (2012), and Paul Chan (2014). The Hugo Boss Prize 2016 is organized by Katherine Brinson, Curator, Contemporary Art, Solomon R. Guggenheim Museum, and Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum, and is made possible by HUGO BOSS.
Mystical Symbolism: The Salon de la Rose†Croix in Paris, 1892–1897
June 30–October 4, 2017
From June 30 to October 4, 2017, the Guggenheim Museum presents Mystical Symbolism: The Salon de la Rose†Croix in Paris, 1892–1897, the first exhibition to examine the cultish Joséphin Péladan (1859–1918) and the often-overwrought art of his Salons de la Rose†Croix. In 1892, Joséphin Péladan, an eccentric critic, author, and self-proclaimed high priest of Rosicrucianism, founded the annual Salon de la Rose†Croix in Paris to showcase mystical Symbolist art. Péladan favored an occult and religious vein of Symbolism prevalent during the 1890s, a time when such practices frequently intertwined. Mysterious, visionary, and mythical themes prevailed in the art at his salons, with images of femmes fragiles and fatales, androgynous creatures, chimeras, and incubi often represented. Sinuous lines, attenuated figures, and anti-naturalistic forms characterized the paintings and sculptures. International in scope, the salons featured artists from France, Belgium, Holland, Finland, Italy, and Switzerland, among other countries. Emile-Antoine Bourdelle, Jean Delville, Charles Filiger, Ferdinand Hodler, Fernand Khnopff, Gaetano Previati, Georges Rouault, Alexandre Séon, Jan Toorop, Ville Vallgren, and Félix Vallotton were among the artists that participated, and composers such as Erik Satie were also involved early on. After extensive forensic art-historical research to identify actual works exhibited at the salons, Mystical Symbolism will present nearly 40 artworks highlighting the salons’ history, as well as a selection of related ephemera and a musical component. The exhibition will be organized around common themes in the works, such as the role of Orpheus, the adulation of the Primitives, and the cult of personality—groupings that, in turn, will underscore the diverse and sometimes opposing concepts that informed Symbolism in the 1890s. A fully illustrated catalogue will feature essays on the salon and its mystical/sacred nexus; the contemporary reception of the Salon; and the connections between Rose†Croix Symbolist tenets and those of early 20th-century avant-garde artists. Curated by Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, Mystical Symbolism will portray a fascinating, transnational cross section of artists, some better known than others, and allow for a fresh look at late 19th-century Symbolist art. After the New York presentation, the exhibition will travel to the Peggy Guggenheim Collection, Venice, October 27, 2017–January 7, 2018.
Art and China after 1989: Theater of the World
October 6, 2017–January 14, 2018
Art and China after 1989: Theater of the World is a full-rotunda exhibition of work by Chinese-born contemporary artists that spans 1989 to 2008—arguably one of the most transformative periods of modern Chinese and recent world history. The largest show of this subject ever mounted in North America, Art and China after 1989 offers an interpretative survey of Chinese experimental art framed by the geopolitical dynamics resulting from the end of the Cold War, the spread of globalization, and the rise of China. This international historical perspective informs the Guggenheim’s show, which presents Chinese artists as both agents and skeptics of their country’s emergence as a global presence. Before 1989, China experienced three great 20th-century transformations: the collapse of the imperial order leading up to 1911, the overturning of long-standing feudal structures throughout Mao Zedong’s various campaigns after 1949, and the wholehearted turn toward a market society since 1979. Each of these unleashed distinct waves of national reckoning and human tragedy, and together they have given rise to a society with a profound sense of skepticism. Beginning in the late 1980s, Chinese artists who sought ways to express and critique their reality coalesced into a movement known as experimental art. These artists, like many around the world, began looking to postmodern cultural theories and a variety of Conceptual, abstract, realist, and Pop visual languages to explore how notions of time, space, nation, politics, and identity are shaped by local and global conditions. Featuring some 150 works, both iconic and lesser known, by approximately 70 of China’s most creative and thoughtful artists and collectives , Art and China after 1989 traverses 20 years of art making and a variety of mediums, including film and video, ink art, installation art, Land art, painting, performance, photography, and social-activism documentaries. The exhibition is organized by Alexandra Munroe, Samsung Senior Curator, Asian Art and Senior Advisor, Global Arts and Guest Cocurator Phillip Tinari, Director, Ullens Center for Contemporary Art, Beijing with Consulting Curator Hou Hanru, Artistic Director MAXXI, National Museum of the 21st Century Arts, Rome.
The Leadership Committee for this exhibition is gratefully acknowledged for its generous support, with special thanks to Co-Chairs Thomas and Lynn Ou and Liam Wee Tay and Cindy Chua-Tay, Trustee, as well as Karen Lo, Sophia Ma, and those who wish to remain anonymous. Major support is provided by the National Endowment for the Humanities. Funding is also provided by the W.L.S. Spencer Foundation.
Guggenheim UBS MAP Global Art Initiative
Under the Same Sun: Art from Latin America Today
South London Gallery, through September 4, 2016
Under the Same Sun: Art from Latin America Today reconsiders the state of contemporary art in Latin America, investigating the creative responses of artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress. The exhibition presents contemporary artistic responses to the past and present that are inscribed within this highly nuanced situation, exploring the assertions of alternative futures. The final presentation of Under the Same Sun opens at The South London Gallery (SLG) on June 10 and is the first to be housed in both the SLG’s main site and the ground floor of its new building, a neighboring former fire station currently under restoration. In addition, SLG and Guggenheim curatorial and educational teams have worked together to develop artist projects and customized public programs—both at the gallery and in South London. The exhibition was first presented at the Solomon R. Guggenheim Museum in New York from June 13 through October 1, 2014 and traveled to Mexico City’s Museo Jumex from November 19, 2015 to February 7, 2016. The Guggenheim UBS MAP Global Art Initiative is a distinctive program that creates direct access to contemporary art and education on a global scale. Through in-depth collaboration with artists and curators from South and Southeast Asia, Latin America, and the Middle East and North Africa, MAP has expanded the Guggenheim’s collection with more than 125 new works. Partnerships with cultural organizations such as the South London Gallery have been at the heart of the project throughout, extending its creative reach and impact both physically and digitally. Together, the Guggenheim and UBS recognize the power of contemporary art to connect and inspire communities, spark debate, enrich the present, and help shape the future. This long-term collaboration underscores a mutual commitment to supporting today’s most innovative artists by increasing visibility of their work in New York and across the globe.
The Guggenheim UBS MAP Global Art Initiative is a cultural engagement of UBS.
Currently on View
Moholy-Nagy: Future Present
Through September 7, 2016
The first comprehensive retrospective of the work of László Moholy-Nagy (1895–1946) to appear in the United States in nearly fifty years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. The exhibition presents an unparalleled opportunity to examine the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. Among his radical innovations were experimentation with cameraless photography; the use of industrial materials in painting and sculpture; research with light, transparency, and movement; work at the forefront of abstraction; and the fluidity with which he moved between the fine and applied arts. The exhibition includes more than 300 collages, drawings, ephemera, films, paintings, photograms, photographs, photomontages, and sculptures, including works from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is a large-scale installation entitled Der Raum der Gegenwart (The Room of the Present), a contemporary construction of an exhibition space originally conceived by Moholy-Nagy in 1930. It includes aspects of his exhibition and product design, including a replica of his iconic kinetic sculpture Light Prop for an Electric Stage (conceived 1929–30). Though never realized during his lifetime, The Room of the Present illustrates Moholy-Nagy’s belief in the power of images and various means by which to view them—a highly relevant paradigm in today’s constantly shifting and evolving technological world. The exhibition is organized by the Solomon R. Guggenheim Foundation, the Art Institute of Chicago, and the Los Angeles County Museum of Art. After its debut presentation in New York, the exhibition will be on view in Chicago from October 2, 2016–January 3, 2017, and in Los Angeles from February 12–June 18, 2017. Karole P. B. Vail, Associate Curator, is the Guggenheim’s organizing curator for Moholy-Nagy: Future Present.
The New York presentation of Moholy-Nagy: Future Present is made possible by Lavazza. Funding is generously provided by David Berg Foundation, Ministry of Foreign Affairs and Trade of Hungary, The Hilla von Rebay Foundation, William Talbott Hillman Fondation, Robert Lehman Foundation, and Sotheby’s. The Leadership Committee for the exhibition, chaired by Peter and Dede Lawson-Johnston, is gratefully acknowledged for its support, with special thanks to Stefan Edlis and Gael Neeson, Rachel and Jean-Pierre Lehmann, Rowland Weinstein, Fundación Almine y Bernard Ruiz-Picasso para el Arte, and Achim Moeller. Additional funding is also provided by the National Endowment for the Arts.
Guggenheim UBS MAP Global Art Initiative But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Through October 5, 2016
On view at Pera Museum, Istanbul Spring 2017
The third exhibition of the Guggenheim UBS MAP Global Art Initiative, But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, illuminates contemporary artistic practices in the Middle East and North Africa and the region’s diaspora. Presenting a selection of newly acquired works for the Guggenheim’s permanent collection, this exhibition features installations, photographs, sculptures, videos, and works on paper from a broad selection of artists. Following its presentation in New York, the exhibition will travel to Istanbul’s Pera Museum in 2017. The exhibition is curated by Sara Raza, Guggenheim UBS MAP Curator, Middle East and North Africa. To date, MAP’s acquisitions program has brought more than 107 works by 85 artists and collectives into the Guggenheim’s permanent collection. More than 7,000 students, teachers, families, and art enthusiasts have participated in over 80 interactive education programs, developed jointly by the Guggenheim and its institutional partners across the world specifically for local audiences. In addition, MAP’s website at guggenheim.org/MAP offers a wealth of content, including videos by artists and curators, artist profiles, blog posts by international curators and critics, and interactive learning tools.
The Guggenheim UBS MAP Global Art Initiative is a cultural engagement of UBS.
A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion
On October 22, 1953, the exhibition Sixty Years of Living Architecture: The Work of Frank Lloyd Wright opened in New York on the site where the Solomon R. Guggenheim Museum would be built. Constructed specifically for the exhibition were two Frank Lloyd Wright–designed buildings: a temporary pavilion made of glass, fiberboard, and pipe columns, and a 1,700-square-foot, fully furnished two-bedroom Usonian exhibition house representing Wright’s organic solution for modest, middle-class dwellings. This presentation, on view in the Sackler Center for Arts Education, pays homage to these two structures, which, as Wright himself noted, represented a long-awaited tribute as the first Wright buildings to be erected in New York City. This exhibition is organized by Francine Snyder, former Director of Library and Archives, Solomon R. Guggenheim Museum.
In gallery space newly devoted to the permanent collection, the Guggenheim is showcasing its rich holdings of early modernism. Featuring masterpieces by such artists as Constantin Brancusi, Marc Chagall, Vasily Kandinsky, Kazimir Malevich, Joan Miró, and Piet Mondrian, this inaugural selection illustrates many of the radical approaches to art-making that developed across Europe and Russia in the second decade of the 20th century. The works on view show artists exploring the possibilities of abstraction and making some of the first forays into nonobjective painting. In doing so, these artists would leave a resounding impact on the course of modern art. These new approaches would also come to shape the ethos of Solomon R. Guggenheim’s collection; many of the works included in the gallery were acquired for the museum by its founder. Part of the core of the museum’s holdings, the selection on view offers a snapshot of this pivotal period and the many innovations that came out of it.
The Thannhauser Collection
Bequeathed to the museum by art dealer and collector Justin K. Thannhauser, the Thannhauser Collection includes a selection of canvases, works on paper, and sculpture that represents the earliest works in the museum’s collection. The Thannhauser holdings include significant works by Paul Cézanne, Edgar Degas, Paul Gauguin, Édouard Manet, Claude Monet, Pablo Picasso, Camille Pissarro, and Vincent van Gogh. Thannhauser’s commitment to supporting the early careers of such artists as Vasily Kandinsky, Paul Klee, and Franz Marc, and to educating the public about modern art, paralleled the vision of the Guggenheim Foundation’s originator, Solomon R. Guggenheim. Among the works Thannhauser gave are such incomparable masterpieces as Van Gogh’s Mountains at Saint-Rémy (Montagnes à Saint-Rémy, July 1889), Manet’s Before the Mirror (Devant la glace, 1876), and close to thirty paintings and drawings by Picasso, including his seminal works Le Moulin de la Galette (autumn 1900) and Woman Ironing (La Repasseuse, spring 1904).
Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. Available with admission or by download to personal devices, the Guggenheim’s free app offers an enhanced visitor experience. The app features content on special exhibitions, access to more than 1,600 works in the Guggenheim’s permanent collection, and information about the museum’s landmark building. Verbal imaging guides for select exhibitions are also included for visitors who are blind or have low vision. The Guggenheim app is supported by Bloomberg Philanthropies.
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 the museum online at: guggenheim.org