Jan

ua

ry

–oc

to

be

r 2

010

an

ish

ka

poo

rti

no

seh

ga

l c

on

tem

plat

ing

th

e vo

id h

au

nte

dju

lie

meh

retu

gu

gg

enh

eim

.org

as part of the 50th anniversary cel-ebration of the newly restored Frank lloyd Wright–designed museum, the guggenheim guide has undergone its own transformation. Fully redesigned and offering a guide to exhibitions, tours, membership, and the guggenheim store, the new pocket size makes it easy to bring a part of your guggenheim ex-perience home. in addition to the special exhibitions on view — Tino Sehgal; Anish Kapoor: Memory; and Contemplating the Void: Interventions in the Guggenheim Museum—works from the guggenheim collection can be seen throughout the museum. Paris and the Avant-Garde: Modern Masters from the Guggenheim Collection features the works of artists who migrated to paris in the early twen-tieth century when the city was the inter-national hub for vanguard art. paintings by marc chagall, pablo picasso, Yves tanguy, and others are on view with sculptures by constantin Brancusi and alexander calder.

pablo picasso, Mandolin and Guitar (Mandoline et guitare), juan-les-pins, 1924. oil with sand on canvas, 140.7 x 200.3 cm. solomon r. guggenheim museum, new York 53.1358. © 2010 estate of pablo picasso/artists rights society (ars), new YorkW

elc

om

e

this exhibition is supported by a grant from the joseph and sylvia slifka Foundation.

the leadership committee for Paris and the Avant-Garde: Modern Masters from the Guggenheim Collection is gratefully acknowledged.

active since the late 1970s, anish kapoor (b. 1954, Bombay) has extended the scope and language of contemporary sculpture through his exploration of scale, color, and materiality. as the 14th commission of deutsche Bank and the solomon r. guggenheim Foundation, this sculptural installation presents a milestone in kapoor’s career and inau-gurates the deutsche Bank series at the guggenheim. compressed into the annex level 2 gallery, Memory is a 24-ton volume of cor-ten steel. Memory divides the gallery into several distinct viewing areas compelling visitors to navigate through the museum. this processional method of engaging the sculpture is intrinsic to the work. From one viewing area, a square aperture al-lows visitors to see directly into Memory’s dark interior. From a certain distance, this opening reads as a painting, confounding two- and three-dimensionality. the con-tradiction between the real and the per-ceived is one of kapoor’s central interests.

— sandhini poddar, Assistant Curator of Asian Art

visit Anish Kapoor: Memory online at guggenheim .org/kapooronline

oct 21, 2009–mar 28, 2010

this exhibition is made possible by

additional support is provided by the international director’s council of the solomon r. guggenheim museum.

the leadership committee for Anish Kapoor: Memory is gratefully acknowledged.

catalogue available

an

ish

ka

poo

r: m

emo

rYt

he

De

ut

sch

e b

an

k s

er

ies

at

th

e G

uG

Ge

nh

eim

gu

gg

enh

eim

.org

jan 29–mar 10ti

no

seh

ga

ltino sehgal (b. 1976, london) con-structs situations that defy the tradi-tional context of museum and gallery environments, focusing on the fleeting gestures and social subtleties of lived experience rather than on material ob-jects. relying exclusively on the human voice, bodily movement, and social in-teraction, sehgal’s works nevertheless fulfill all the parameters of a traditional artwork with the exception of inanimate materiality. they are presented continu-ously during the operating hours of the museum, they can be bought and sold, and, by virtue of being repeatable, they can persist over time. sehgal’s singular practice has been shaped by his formative studies in dance and economics, while using the museum and related institutions—galleries, art fairs, and private collections—as its arena. he considers visual art to be a microcosm of our social reality, as both center on identi-cal economic conditions: the production of goods and their subsequent circula-tion. sehgal seeks to reconfigure these conditions by producing meaning and value through a transformation of actions

rather than solid materials. consequently, throughout his works he explores social processes, cultural conventions, and the allocation of roles, thereby not only re-defining art production but also recon-sidering fundamental values of our social system. the fact that sehgal’s works are pro-duced in this way elicits a different kind of viewer: a visitor is no longer only a passive spectator, but one who bears a responsibility in shaping and even con-tributing to the actual realization of the piece. the work may ask visitors what they think, but, more importantly, it un-derscores an individual’s own agency in the museum environment. regardless of whether they call for direct action or ad-dress the viewer in a more subtle sense, sehgal’s works always evoke questions of responsibility within an interpersonal relationship. presented as part of the guggenheim’s 50th anniversary celebrations, sehgal’s exhibition comprises a mise-en-scène that occupies the entire Frank lloyd Wright–designed rotunda. in dialogue with Wright’s all-encompassing aesthetic, sehgal fills the rotunda floor and the spi-raling ramps with two major works that encapsulate the poles of his practice: conversational and choreographic. to create the context for the exhibition, the entire guggenheim rotunda is cleared of art objects for the first time in the museum’s history.

this exhibition is made possible by the international director’s council of the solomon r. guggenheim museum.

additional funding is provided by the institut für auslandsbeziehungen, the juliet lea hillman simonds Foundation, and the consulate general of the Federal republic of germany.

the leadership committee for Tino Sehgal is gratefully acknowledged.

gu

gg

enh

eim

.org

aristotle famously suggested that nature abhors a vacuum. though technically incorrect, this idea continues to res- onate culturally in the realm of art and architecture. the impulse to permeate any given space reveals an anxiety about the vacant, the open, the uncultivated. in his design for the guggenheim museum, Frank lloyd Wright flaunted that fear, leaving the center of his build-ing tantalizingly empty. over the years, when invited to create site-specific in-stallations or exhibition designs in this radical building, artists and architects have invariably responded to the central void with the desire to imbue it with their work. the chasmlike rotunda has in-spired several unforgettable installations by artists and architects alike, includ-ing matthew Barney, angela Bulloch, daniel Buren, cai guo-Qiang, Frank gehry, jenny holzer, and nam june paik, among others. For the last in a series of exhibi-tions celebrating the building’s 50th anniversary, we invited artists, architects, and designers to imagine their dream interventions in the spiral, encouraging them to leave practicality or even reality

everyday space for shopping and doing laundry. and although many proposals deal with pleasure and play, a roughly equal number find in the rotunda the potential for escape into stillness and repose. conceived as a self-reflexive folly, Contemplating the Void confirms how truly catalytic the architecture of the guggenheim can be. seen collectively, these myriad ideas go beyond the mere qualities and possibilities of architecture by generating a kaleidoscopic view onto contemporary life itself.

— nancy spector, Chief Curator and david van der leer, Assistant Curator of Architecture and Design

behind. submissions were received from around the world from a wide range of emerging and established practitioners. in this exhibition of their ideal projects, certain themes emerge: the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the con-crete structure, and the impact of sound on the environment. many participants also seek to process the trauma of ter-rorism, revisit urban grid patterns and social housing, criticize the larger-than-life tendencies in art and popular culture, consider the museum as institution, and provide guidelines for mass behavior at demonstrations and festivals held inside the museum. a number of contributors indulge in fantasies of weightlessness and more fluid structural systems, while others reposition the museum as the ultimate

paul pfeiffer, New Roof, Berlin Olympic Stadium, 2009. digital print, 8.9 x 15.2 cm. © 2010 paul pfeiffer

FeB 12–apr 28

co

nte

mpl

atin

g

the

void

interventions in the guggenheim museum

the leadership committee for Contemplating the Void: Interventions in the Guggenheim Museum is gratefully acknowledged.

visit Contemplating the Void: Interventions in the Guggenheim Museum online at guggenheim.org/voidonline (beginning Feb 12).

gu

gg

enh

eim

.org

began screenprinting snapshots and press photographs into their paintings in the early 1960s, they established not only a new mode of visual production but also a new conception of the artwork as a re-pository for autobiographical, cultural, and historical information. in the ensuing years a number of artists, including Bernd and hilla Becher, sarah charlesworth, Felix gonzalez-torres, douglas gordon, luis jacob, richard prince, and cindy sherman, have pursued this archival im-pulse, amassing fragments of reality ei-ther by creating new photographs or by appropriating existing ones. Documentation and Reiteration: since

at least the 1970s, photographic docu-mentation, including film and video, has existed as an important complement to the art of live performance, often set-ting the conditions by which events are staged and sometimes obviating the need for a live audience altogether. the power of the document to reiterate the past has inspired artists such as marina abramović, christian Boltanski, tacita dean, joan jonas, christian marclay, ana mendieta, and gina pane to use photography not only to restage per-formative acts, but often to revisit the bodily experience of historical events. along the way, many have reconsidered h

au

nte

dmar 26–sept 6

much of contemporary photography and video seems haunted by the past, by the history of art, by apparitions that are re-animated in reproductive mediums, live performance, and the virtual world. By using dated, passé, or quasi-extinct stylis-tic devices, subject matter, and technolo-gies, such art embodies a melancholic longing for an otherwise unrecuperable past. Haunted documents this obsession, examining myriad ways photographic imagery is incorporated into recent prac-tice, and in the process underscores the unique power of reproductive media. While much of the work exhibited was created after 2001, the show traces the extensive incorporation of photography into contemporary art since the 1960s. Within this context, Haunted is orga-nized around a series of formal and con-ceptual threads that are woven through the artworks on view: Appropriation and the Archive: When robert rauschenberg and andy Warhol

tacita dean, Merce Cunningham performs STILLNESS (in three movements) to John Cage’s composition 4'33" with Trevor Carlson, New York City, 28 April 2007 (six performances; six films), 2008 (detail). six 16mm color films, installation, with sound, 4 min., 33 sec. each, dimensions variable, edition 2/4. solomon r. guggenheim museum, new York, purchased with funds contributed by the international director’s council and executive committee members 2008.48. © 2010 tacita dean. photo: ken goebel © dia art Foundation

contemporarY photographY/video/ perFormance

this exhibition is made possible by the international director’s council of the solomon r. guggenheim museum.

additional support is provided by a grant from the robert mapplethorpe Foundation and the William talbott hillman Foundation.

the leadership committee for Haunted: Contemporary Photography/Video/Performance is gratefully acknowledged.

gu

gg

enh

eim

.org

events, can take on the force of the un-canny. artists such as thomas demand, stan douglas, anthony goicolea, sarah anne johnson, jeff Wall, and gillian Wearing exploit this effect, constructing fictional scenarios in which the pains and pleasures of personal experience return with eerie and foreboding qualities. Death, Publicity, and Politics: When Warhol created his silkscreen paintings of marilyn monroe in the wake of her death, he touched on the darker side of a burgeoning media culture that, during the vietnam War, became an integral part of everyday life. today, with vastly expanded channels for the propaga-tion and reproduction of images, events as varied as the terrorist attacks at the World trade center and the deaths of celebrities such as princess diana and michael jackson have the capability of becoming traumatic on a global scale. as this new cultural condition has taken hold, many artists, including adam helms, nate lowman, adam mcewen, cady noland, and anri sala, have reex-amined the strategy of image appropria-tion Warhol pioneered, attending closely to the ways political conflict can take on global significance.

— jennifer Blessing, Curator of Photography and nat trotman, Associate Curator

visit Haunted: Contemporary Photography/Video/Performance online at guggenheim.org/huantedonline (beginning mar 26).

andy Warhol, Orange Disaster #5, 1963. acrylic and silkscreen enamel on canvas, 269.2 x 207 cm. solomon r. guggenheim museum, new York, gift, harry n. abrams Family collection 74.2118. © 2010 the andy Warhol Foundation for the visual arts, inc./artists rights society (ars), new York

the document itself as an object embed-ded with history, closely attending to its material specificity in their works. Landscape, Architecture, and the Passage of Time: in addition to docu-menting people and events, one of pho-tography’s primary historical functions has been to record sites where signifi-cant, often traumatic, events have taken place. these images are doubly arrest-ing, for they capture past spaces where something has already occurred. as viewers, we are left with only traces from which we hope to reconstruct the absent occurrences in the fields, forests, homes, and offices we see. With this condition in mind, many artists, among them james casebere, spencer Finch, ori gersht, roni horn, luisa lambri, an-my lê, sally mann, and hiroshi sugimoto, have turned to empty spaces in landscape and architecture, creating poetic reflections on time’s inexorable passing, and insist-ing on the importance of remembrance and memorialization. Trauma and the Uncanny: photogra-phy has not only profoundly impacted our understanding of history; it has al-tered, or as some theorists argue, com-pletely reconfigured, our sense of per-sonal memory. From birth to death, all aspects of our lives are reconstituted as images alongside our own experience of them. this repetition, which is mirrored in the very technology of the photo-graphic medium, effectively produces an alternate reality in representation that, especially when coping with traumatic catalogue available

haunted

gu

gg

enh

eim

.org

maY 14–oct 6

the term “gray area” speaks to a condition of indeterminacy, a liminal state in which something is not clearly defined or per-haps impossible to define. julie mehretu (b. 1970, addis ababa, ethiopia) adapts such an enigmatic circumstance as a tool to engage the viewer in her complex compositions of meticulously drawn me-chanical renderings, spontaneous ges-tural markings, and colorful interjections. the images seem to exist at a horizon where the work could either plunge into dense obscurity or nearly disappear into an ethereal cloud of dust. Yet a remark-able sense of pictorial space always exists in mehretu’s paintings, created not just by their layering but also by the contrasts inherent in them. What appears abstract

from afar is replete with detailed drawing when viewed up close. and just as one is able to glean some bit of information in order to identify a rendering, it vaporizes into an indefinability that compels the viewer to look again and again. the paintings in this exhibition were produced as the 15th commission of deutsche Bank and the solomon r. guggenheim Foundation. inspired in part by Berlin, the city in which mehretu created the works, the paintings evoke the psychogeography of a place and the effects of the built environment on indi-viduals, while at the same time contem-plating the past and the surviving traces of lived history. Walking through Berlin,

where one still encounters the vestiges of war, an american such as mehretu might recall that such destruction is currently perpetrated in the conflicts in afghanistan and iraq. a society at war often does not think of the lasting ef-fects of its actions, and to see memories preserved after decades of recovery is a poignant reminder. these paintings are imbued with the ghostly traces of past and current transformations in the urban landscape.

— joan Young, Associate Curator of Contemporary Art

julie mehretu, Atlantic Wall, 2008–09. ink and acrylic on canvas, 304.8 x 426.7 cm. commissioned by deutsche Bank in consultation with the solomon r. guggenheim Foundation for the deutsche guggenheim, Berlin. © 2010 julie mehretu. photo: mathias schormann

juli

e m

ehre

tu:

gre

Y a

rea

th

e D

eu

tsc

he

ba

nk

se

rie

s a

t t

he

Gu

GG

en

he

im

catalogue available

this exhibition is made possible by

the leadership committee for Julie Mehretu: Grey Area is gratefully acknowledged.

gu

gg

enh

eim

.org

tou

rs

Educator’s EyEdaily at 11 am and 1 pmjoin guggenheim museum educators for tours and interactive discussions of current exhibitions and the permanent collection.

curator’s EyEselect fridays, 2 pmjoin guggenheim museum curators for tours of current exhibitions.

paris and the avant-garde: modern masters from the guggenheim collectionfeb 19 megan Fontanellamar 12 tracey Bashkoffjuly 23 megan Fontanella

anish kapoor: memoryfeb 5 sandhini poddar

haunted: contemporary photography/video/performanceapr 30 nat trotmanmay 21 jennifer Blessingjune 18 nat trotmanjuly 9 jennifer Blessing

julie mehretu: grey areajune 4 joan Youngaug 13 joan Young

consErvator’s EyEselect fridays, 2 pmjoin guggenheim museum conservators for an exhibition tour focusing on preservation materials and techniques.

haunted: contemporary photography/video/performancejune 11 jeffrey Wardasept 10 joanna phillips

Mind’s EyEselect mondays, 6:30 pmfeb 15 | mar 15 | apr 12 | may 10join guggenheim museum educators georgia krantz, guthrie nutter, and ellen edelman for a tour and discussion of current special exhibitions. separate programs are presented through verbal imaging and touch and in american sign language.

tours are free with museum admission

on viEW in thE sacklEr cEntEr hilla rebay: art educatorjan 29–aug 22Hilla Rebay: Art Educator documents the guggenheim museum’s first director’s progressive efforts to provide a variety of audiences with opportunities to learn about nonobjective art. hilla rebay implemented gallery talks, hung paintings low on gallery walls, and provided comfortable seating and classical music to encourage sustained contemplative viewing of artworks. visitors were encouraged to share their responses in comment books. study prints and poster reproductions were sent to schools free of charge. many of rebay’s initiatives exist today as standard art museum education practices.

special thanks to gary snyder Fine art, new York, for the gift of study prints, posters, and brochures.sa

ckl

er c

ente

r

Film

s

scrEEnings in thE nEW MEdia thEatEr fridayscheck the electronic signboard at the admissions desk or visit guggenheim.org/publicprograms for a complete schedule.

gu

gg

enh

eim

.org

sho

p n

oW

join

no

W

bEcoME a MEMbEr today join today for as little as $75 to help support the guggenheim’s exhibitions, programs, and essential operations and receive the following benefits of mem-bership:

Bypass ticket lines for free admission to all guggenheim museums

New York, Venice, Bilbao, Berlin

invitations to evening preview receptions and members’ morning private views

personalized e-mail updates and special offers

10% discount at the guggenheim store, the Wright, and cafe 3

special members’ prices on all public programs, including Works & process

vasily kandinsky, Several Circles (Einige Kreise), january–February 1926. custom-made archival print, framed, 50.8 x 40.6 cm

fivE Ways to joinon site membership desk or guggenheim storeonline guggenheim.org/membershipphone 212 423 3535fax 212 423 3772mail membership office | solomon r. guggenheim museum | 1071 Fifth avenue | new York, nY 10128

thrEE Ways to shopon site main entrance and rotunda level 6online guggenheimstore.orgphone 800 329 6109

custoM archival prints shop our exclusive selection of custom-made archival prints based on works from the guggenheim collection. From $35.

members at the opening party for The Third Mind: American Artists Contemplate Asia, 1860–1989, january 30–april 19, 2009. photo: christine Butler © srgF

vasilY kandinskY Franz marc roBert delaunaY and more...

Flo

or

pla

nfree audio tours with museum admissionavailable in six languages. visitor guides in six languages are also available for download at guggenheim.org/visitorguide.

anish kapoor: memory oct 21, 2009–mar 28, 2010 | annex level 2

paris and the avant-garde: modern masters from the guggenheim collection

jan 23–may 12 | annex levels 5, 7 tino sehgal

jan 29–mar 10 | high gallery, rotunda levels 2–6 hilla rebay: art educator

jan 29–aug 22 | sackler center contemplating the void: interventions

in the guggenheim museum feb 12–apr 28 | annex level 4

thannhauser collection ongoing | thannhauser gallery

paris and the avant-garde: modern masters from the guggenheim collection

jan 23–may 12 | annex levels 5, 7 hilla rebay: art educator

jan 29–aug 22 | sackler center contemplating the void: interventions

in the guggenheim museum feb 12–apr 28 | annex level 4

haunted: contemporary photography/video/performance

mar 26–sept 6 | high gallery, rotunda levels 2–6 june 1–aug 29 | annex level 7

june 1–sept 1 | annex level 5 julie mehretu: grey area

may 14–oct 6 | annex level 2 learning through art

may 14–june 20 | annex level 4 collection: pre-war abstraction

july 9, 2010–jan 2011 | annex level 4 thannhauser collection

ongoing | thannhauser gallery

jan–mar

mar–oct

soloMon r. guggEnhEiM MusEuM1071 Fifth avenue (at 89th street)new York city

information and directions guggenheim.org212 423 3500

museum sun–wed 10 am–5:45 pm fri 10 am–5:45 pmsat 10 am–7:45 pm closed thurs

storesun–wed 9:30 am–6:15 pmthurs 11 am–6 pmfri 9:30 am–6:15 pm sat 9:30 am–8:30 pm

the wrightlunch mon–wed, fri–sat 11:30 am–3:30 pmbar menu fri–wed 11:30 am–5 pmdinner thurs–sat 5:30 am–11 pm sunday brunch 11 am–5 pm

cafe 3fri–wed 10:30 am–5:15 pm closed thurs

upcoMing Exhibition

chaos and classicism art in France, italY, and germanY, 1918–1936oct 1, 2010–jan 9, 2011 Chaos and Classicism will explore the classicizing aesthetic that emerged from the immense destruction of World War i, tracing key interwar artistic manifesta-tions: the poetic dream of antiquity in paris, the politicized revival of the roman empire under Benito mussolini, the func-tionalist utopianism of the Bauhaus, and, chillingly, the pseudobiological aryanism of nascent nazi society.

Fernand léger, Woman Holding a Vase (definitive state) (Femme tenant un vase [état définitif ]), 1927. oil on canvas, 146.3 x 97.5 cm. solomon r. guggenheim museum, new York 58.1508. © 2010 artists rights society (ars), new York/adagp, paris

Multimedia Lab

News Corporation New Media Theater

Studio Art Lab

Resource Center

Computer Lab

89th

Str

eet

88th

Str

eet

Fifth Avenue

The Sackler Center for Arts Education

Entrance to theater and Sackler Center

Peter B. Lewis Theater

Education o�ces (staff only)

Entrance to Café and Museum(wheelchair lift)

Annex Level 7

Annex Elevator

Rotunda Elevator

Conference Room

GuggenheimStore

Annex Level 5

Annex Level 3

Annex Level 4

Sculpture Terrace

Thannhauser Gallery

Annex Level 2

StoreGuggenheim

The Wright

Cafe 3

TheaterEntrance Rotunda

Rotunda Level 2

Rotunda Level 3

Rotunda Level 6

High Gallery

Rotunda Level 4

Reading RoomMainEntrance

Access throughMain Entrance

Rotunda Level 5

Coatroom, Wheelchairs, Baby Carriers

Lost and Found

Telephone

Water Fountain

Information

Assistive Listening Device

Restaurant

Elevator

Wheelchair Access

Unisex Restroom

Women’s Room

Men’s Room

Infant-Changing Area