As of October 3, 2020, the Solomon R. Guggenheim Museum is open with required timed ticketing and new safety enhancements. Dates listed below are subject to change. Please contact the Guggenheim Press Office before publishing exhibition dates.
Re/Projections: Video, Film, and Performance for the Rotunda
March 19–September 6, 2021
Conceived in the wake of the COVID-19 outbreak, these projects rethink the Guggenheim’s iconic rotunda as a site of assembly, reflection, and amplification. The series opens with a screening program of videos from the museum’s permanent collection, then turns to focus on singular interventions into the museum’s architecture by three of the most compelling artists working today. Each of these varied presentations draws on the building’s unique capacity for distanced gathering to create frameworks for dialogue and mutual care. As audiences convene in the Guggenheim’s landmark space, they encounter new paradigms for navigating tensions between collective and individual experience, asking how we might live together better in an increasingly polarized world.
In Between Days: Video from the Guggenheim Collection
March 19–April 19, 2021
Opening one year after the Guggenheim first closed due to the COVID-19 pandemic, this screening program highlights recent acquisitions that have gained new resonance during this time of uncertainty and upheaval. The featured works evoke themes of isolation, confrontation, and occupation—states of being that have, for so many, set the terms of daily life for the past year. As such, these videos serve as a prelude for the solo projects to follow, while offering a glimpse into the museum’s rich collection of video and time-based media. The list of included artists will be announced soon.
Christian Nyampeta: Sometimes It Was Beautiful
April 30–June 21, 2021
Artist Christian Nyampeta conceives and organizes convenings, screenings, performances, pedagogical experiments, and publications as hosting structures for collective feeling, cooperative thinking, and mutual action. At the Guggenheim, Nyampeta transforms the iconic rotunda into a “night school,” drawing on Senegalese writer and film director Ousmane Sembène’s notion of cinema as cours du soir. Sembène considered such “evening classes” as providing a learning environment for the working class, informed by the traditions of orality, sensuality, and conviviality within social struggles and hopes in his region and beyond. At the center of the museums’ rotunda, Nyampeta presents the US premiere of his 2018 video Sometimes It Was Beautiful, in which a group of friends convene to watch and critique films made by Swedish cinematographer Sven Nykvist in the Congo between 1948 and 1952. The group discussion highlights enduring tensions surrounding social conversion, cultural property, and who has the right to representation. Mirroring the video’s discursive structure, furniture and graphic interventions on the museum’s ramps play host to a program of interludes animated by the artist’s guests and collaborators. Through music, poetry, readings, screenings, and conversations, Nyampeta’s project considers new models for globalism based in reparation and the possibility of a common world in an age dominated by difference. Drawing from the fundamental precariousness shared across the immense variety and geographic expanses of the African diasporic experience, the program will lend an ear to proposals for reimagining the earth as a whole and shelter for all who inhabit it, human and otherwise. This presentation is organized by Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator.
Ragnar Kjartansson: Romantic Songs of the Patriarchy
July 2–12, 2021
Following the work’s 2018 premiere at C Project in San Francisco, Ragnar Kjartansson (b. 1976, Reykjavik) stages a new version of Romantic Songs of the Patriarchy at the Guggenheim. In this durational and immersive performance, female singer-guitarists stationed throughout the museum play popular love songs by some of the world’s greatest songwriters. This playlist, however, harbors a dark side: mostly written by men about women, the songs gently—and not so gently—reveal a culture shaped by chauvinism, objectification, and gender violence. As each musician repeats a song for hours at a time, she must personally confront the emotional and physical burden of its content, yet she also joins in a collective ritual that imagines new possibilities for endurance, reclamation, and even joy. At once a live mash-up celebrating pop music and a charged environment of critique, Romantic Songs of the Patriarchy creates a space where contradictions—between individual and group, oppression and liberation, rhythm and chaos—exist together within a community of collaboration and mutual support. This presentation is organized by Nat Trotman, Curator, Performance and Media, with Terra Warren, Curatorial Assistant.
Wu Tsang: Anthem [working title]
July 23–September 6, 2021
Specially conceived for the Guggenheim by the artist Wu Tsang (b. 1982, Worcester, Mass.), Anthem (2021) is a large-scale film installation that transforms the rotunda’s architecture into a sonic sculptural space. The work’s title is not intended as a clarion call for action. Instead, Tsang sounds out the complexities and manifold meanings associated with the word “anthem” at different places and times in history, ranging from medieval call-and-response hymns to Proto-Indo-European linguistic suggestions of shimmering voices. Sitting at the intersection of multiple temporalities, Tsang’s anthem invites visitors to think beyond the conventional definition of the word and decentralize the familiar. The installation provides a resonant space for sharing and survival, where audiences can assemble in this moment of anxiety and uncertainty. This presentation is organized by X Zhu-Nowell, Assistant Curator.
Off the Record
April 2–September 27, 2021
Tower 2 Gallery
The collectively accepted communicators of “truth,” historical, documentary, state, and other records assume their authority through their perceived objectivity and comprehensiveness: telling a story from a place of remove, with all relevant details presumed to be included therein. Off the Record challenges this pretense, bringing together the work of contemporary artists from the Guggenheim’s collection who interrogate, revise, or otherwise query dominant narratives and the transmission of culture through a turn to the “record,” both text-based and photographic.
Drawn from the context of journalist reportage, the phrase “off the record” here refers to accounts that have been left outside of or live beyond mainstream chronicles. The exhibition’s title can also be understood in its verb form: to undermine or “kill” the record as a gesture of redress. Featuring works primarily made after 1990, this intergenerational exhibition begins with Sarah Charlesworth (b. 1947, East Orange, NJ; d. 2013, Falls Village, Conn.), whose foundational redacted-newspaper series Herald Tribune: November 1977 (1977) which underscores the show’s investment in Conceptual, photo-conceptual, archival, language-based, and other art historical legacies. Also included are artists Lorna Simpson (b. 1960, Brooklyn, NY), who implicates the photographic portrait in race-based cultural formations, and Sadie Barnette (b. 1984, Oakland, Calif.), who turns to the FBI file to speak back to the language and reach of the state. Across various manipulations of “records,” artists in this exhibition seek to call out the power dynamics obscured by official or mainstream documentation, complicate the idea of objectivity and truth, and surface new narrative possibilities.
Off the Record features the work of thirteen artists: Sadie Barnette, Sarah Charlesworth, Sara Cwynar, Leslie Hewitt, Tomashi Jackson, Glenn Ligon, Carlos Motta, Lisa Oppenheim, Adrian Piper, Lorna Simpson, Sable E. Smith, Hank Willis Thomas, and Carrie Mae Weems. The exhibition is organized by Ashley James, Associate Curator, Contemporary Art.
A Year with Children 2021
April 30–June 20, 2021
Tower 5 Gallery
Learning Through Art (LTA), the pioneering arts-education program of the Guggenheim Museum is celebrating its fiftieth anniversary by presenting A Year with Children 2021, an exhibition that showcases selected artworks by New York City public-school students in second through sixth grade. These students participated in a year-long artist residency, which partners professional teaching artists with classroom educators in each of the city’s five boroughs to design collaborative projects that explore art and ideas related to the classroom curriculum. This year, LTA was done entirely remotely due to the pandemic. The exhibition tells the story of both this unique year and the program’s fifty-year history as a hallmark arts education program serving NYC public schools.
Learning Through Art and A Year with Children 2021 are generously supported by the New York City Department of Cultural Affairs in partnership with the City Council.
Additional funding is provided by Guggenheim Partners, LLC; The Seth Sprague Educational and Charitable Foundation; Gail May Engelberg and The Engelberg Foundation; The Cornelia T. Bailey Foundation; Libby and Daniel Goldring; Anna Kovner and Seth Meisel; Con Edison; the Sidney E. Frank Foundation; JPMorgan Chase; the Sylvia W. and Randle M. Kauders Foundation; the Milton and Sally Avery Arts Foundation, Inc.; the Henry E. Niles Foundation, Inc.; and an anonymous donor.
The Leadership Committee for Learning Through Art and A Year with Children 2021 is gratefully acknowledged for its support.
The Hugo Boss Prize 2020: Deana Lawson
May 7–October 11, 2021
Tower 7 Gallery
Deana Lawson (b. 1979, Rochester, NY) has been named the recipient of the 2020 Hugo Boss Prize, a biennial award administered by the Guggenheim Museum that honors significant achievement in contemporary art. The first photographer to receive the prize, Lawson creates medium- and large-format works that channel vernacular, art-historical, and documentary traditions within the medium. Picturing individuals she encounters over the course of her everyday life in staged domestic or natural settings, she choreographs scenery, lighting, and pose to create images of Black diasporic identity that powerfully evoke the agency and divinity of her subjects. At once dream-like and entrenched in the mundane, her works cohere into an overarching vision of the human capacity for both embodied connection and spiritual transcendence. Lawson’s solo exhibition of new and recent work will be presented in spring 2021 and is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, and Ashley James, Associate Curator, Contemporary Art.
The Hugo Boss Prize and the exhibition are made possible by HUGO BOSS.
Etel Adnan; Jennie C. Jones; Cecilia Vicuña; and Vasily Kandinsky (title to be announced)
October 8, 2021–August 2, 2022
The Guggenheim Museum presents a series of solo exhibitions in a section of the rotunda, each featuring the work of distinguished contemporary artists Etel Adnan (b. 1925, Beirut), Jennie C. Jones (b. 1968, Cincinnati), and Cecilia Vicuña (b. 1948, Santiago). Presented concurrently and throughout all three of these shows is an exhibition dedicated to the work of Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-Sur-Seine, France) drawn primarily from the Guggenheim’s extensive holdings. Addressing the legacies of abstraction through critical inflections, these exhibitions explore themes of language, sensory experience, identity, and spirituality.
October 8, 2021–August 1, 2022
Organized by Megan Fontanella, Curator, Modern Art and Provenance
Three solo exhibitions to be presented between Oct 8, 2020–August 1, 2022, with dates for each to be announced:
Organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, and Lauren Hinkson, Associate Curator, Collections
Jennie C. Jones
Organized by Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, and Lauren Hinkson, Associate Curator, Collections
Organized by Pablo León de la Barra, Curator at Large, Latin America, and Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao
Gillian Wearing: Wearing Masks
November 5, 2021–April 4, 2022
The photographs, videos, and public sculptures of Gillian Wearing (b. 1963, Birmingham, UK) probe the tensions between self and society in an increasingly media-saturated world. Candid and psychologically intense, Wearing’s work extends the traditions of photographic portraiture initiated by August Sander, Weegee, and Diane Arbus, yet it also foreshadows the cultural transformations wrought by reality TV and social media. For her landmark piece Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–93), Wearing photographed strangers with placards of their own making. In so doing, she changed the terms of documentary street photography and performance art by giving voice to the subjects of her art. Confess all on video. Don’t worry, you will be in disguise. Intrigued? Call Gillian (1994) continued this theme of confession and self-exposure, exemplifying what would become a keystone of the artist’s practice: asking a diverse group of volunteers to represent their authentic selves from behind protective masks, a process that highlights distinctions between public and private; documentary and fictional realism; and spontaneous versus rehearsed behavior.
Gillian Wearing: Wearing Masks is the first retrospective of Wearing’s work in North America. Featuring over 100 pieces installed across all four of the Guggenheim’s Tower Level galleries, it traces the artist’s development from her earliest Polaroids and videos to her latest photographic self-portraits, which destabilize fixed notions of selfhood and explore the performative nature of identity. Organized by Jennifer Blessing, Senior Curator, Photography, and Nat Trotman, Curator, Performance and Media, the show will be accompanied by a comprehensive monograph that will survey the artist’s three-decade career with a particular focus on her work of the last decade, including a recent series made in response to the COVID-19 pandemic, and a new monument dedicated to Arbus.
The Avant-garde: Experimental Art in South Korea, 1960s–70s [working title]
Late Spring 2022
Tower 4, Thannhauser 4, Tower 5, and Tower 7 Galleries
Opening in 2022, the Guggenheim Museum presents The Avant-garde: Experimental Art in South Korea, 1960s–70s. This is the first exhibition in North America to explore the influential experimental art practices that emerged in South Korea in the decades following the Korean War (1950–53). Spanning the 1960s and the ’70s, it examines a group of loosely affiliated artists whose artistic production reflected and responded to the rapidly changing and globalizing sociopolitical and material conditions that shaped South Korea. The Guggenheim’s show presents the artists’ pioneering approach to materials, process, and performance, and feature seminal pieces across various media including painting, outdoor sculpture, ceramics, video installation, and film to illustrate how artists harnessed the power of contemporary languages of art to explore pressing sociohistorical and metaphysical issues. The Avant-garde: Experimental Art in South Korea, 1960s–70s offers an unprecedented opportunity to experience the creativity and breadth of this remarkable generation of Korean artists. The exhibition is the result of a collaborative research effort between the Solomon R. Guggenheim Museum, New York, and the National Museum of Modern and Contemporary Art, Korea (MMCA). It is co-organized by Kyung An, Assistant Curator, Asian Art, Guggenheim, and Soojung Kang, Senior Curator, MMCA.
Exhibitions On View
Away from the Easel: Jackson Pollock’s Mural
Through September 19, 2021
Thannhauser 4 and Monitor 4 Galleries
This focused presentation is dedicated to Jackson Pollock’s 1943 Mural, the artist’s first large-scale painting. Mural has not been exhibited in New York in over twenty years, and this occasion marks its debut at the Guggenheim since the extensive research and restoration project undertaken by the Getty Conservation Institute and the J. Paul Getty Museum. Visionary collector Peggy Guggenheim commissioned Mural for the first floor entrance hall of her Manhattan townhouse, prior to Pollock’s first solo exhibition at her museum-gallery Art of This Century later that same year. Guggenheim’s early support of Pollock’s work arguably established his career. The year 1943 likewise represents a pivotal moment in the evolution of Pollock’s artistic style; though not yet working on the floor and from all sides, the artist began to challenge traditional notions of painting, combining the technique of easel painting with that of mural production, all while further experimenting with abstraction. Away from the Easel: Jackson Pollock’s Mural is organized by Megan Fontanella, Curator, Modern Art and Provenance.
Generous funding for Away from the Easel: Jackson Pollock’s Mural is provided in part by Barbara Slifka; Acquavella Galleries Inc.; Mary and John Pappajohn, Des Moines, Iowa; Audrey and David Mirvish, Toronto; and Mnuchin Gallery.
Additional funding is provided by the Terra Foundation for American Art, LLWW Foundation, Helen Frankenthaler Foundation, and the Pollock-Krasner Foundation.
Knotted, Torn, Scattered: Sculpture after Abstraction Expressionism
Through August 2, 2021
Tower 4 Gallery
In conjunction with the exhibition Away from the Easel: Jackson Pollock’s Mural, also on view at the Guggenheim, Knotted, Torn, Scattered: Sculpture after Abstraction Expressionism will consider the legacy of Pollock’s influential painting through work by Guggenheim collection artists from the 1960s and early 1970s, including Lynda Benglis, Robert Morris, Senga Nengudi, Richard Serra, and Tony Smith. The exhibition offers a unique opportunity to view sculptures and installations by a generation of artists who saw in Pollock’s visionary practice urgent questions about scale, materials, process, and environment. This exhibition is organized by Lauren Hinkson, Associate Curator, Collections.
Generous funding for Knotted, Torn, Scattered: Sculpture after Abstract Expressionism is provided by the Edlis-Neeson Foundation, LLWW Foundation, Sotheby’s, Helen Frankenthaler Foundation, and the Pollock-Krasner Foundation.
The Thannhauser Collection
Thannhauser Gallery 3
Bequeathed to the museum by the art dealer and collector Justin K. Thannhauser and his widow, Hilde Thannhauser, the Thannhauser Collection includes a selection of late nineteenth- and early twentieth-century paintings, works on paper, and sculpture that represents the earliest works in the Guggenheim’s holdings. Innovative artists such as Edgar Degas, Édouard Manet, Pablo Picasso, and Camille Pissarro laid the groundwork for the development of abstract art in Europe. This presentation, which surveys French modernism in particular, features highlights from the Thannhauser Collection at the Guggenheim. Among the works on display are Picasso’s Woman Ironing (La repasseuse, 1904) and Degas’s Dancers in Green and Yellow (Danseuses vertes et jaunes, 1903). The exhibition is organized by Megan Fontanella, Curator, Modern Art and Provenance.
The Fullness of Color: 1960s Painting
Through March 14, 2021
Tower 5 Gallery
In 1966, the Guggenheim mounted the exhibition Systemic Painting, in which curator Lawrence Alloway pointed to the emergence of an artistic style that “combined economy of form and neatness of surface with fullness of color.” Inspired by this historic show, The Fullness of Color: 1960s Painting presents a group of avant-garde artists whose work, embodying Alloway’s description, began to push abstraction in new directions. In 1952, Helen Frankenthaler pioneered the “soak stain” technique, whereby she manipulated thinned acrylic washes into unprimed cotton fabric of the canvas to produce rich, saturated surfaces. Those who followed over the next decade similarly handled paint as a dye that penetrates the fibers of the canvas rather than as a topical layer brushed over it. Morris Louis and Jules Olitski poured, soaked, or sprayed paint onto canvases, eliminating the gestural stroke that had been central to Abstract Expressionism. In these works, figure and ground became one and the same, united through color. Still other painters in the 1960s approached relationships between form and color through geometric languages, as shown in works by Kenneth Noland and Paul Feeley.
Through examples of works now characterized as Color Field, geometric abstraction, hard-edge, or systemic painting, The Fullness of Color charts several of the varied and complex courses nonrepresentational art followed in the 1960s and into the 1970s and is a reflection of the Guggenheim’s historical engagement with this period. This presentation is organized by Megan Fontanella, Curator, Modern Art and Provenance.
Major support for The Fullness of Color is provided by Barbara Slifka and LLWW Foundation.
Marking Time: Process in Minimal Abstraction
Through March 14, 2021
Tower 7 Gallery
During the 1960s and ’70s, many artists working with abstraction turned toward minimal approaches. As some of them pared compositional, chromatic, and virtuosic flourishes from their work, a singular emphasis on their physical engagement with materials emerged. The pieces they created—whether characterized by interlocking brush strokes, a pencil moved through wet paint, or a pin repeatedly pushed through paper—call on viewers to imaginatively reenact aspects of the creative process. It is a distinctly empathetic mode of engagement that relies on an awareness of one’s own body, as inhabited and inhabiting time, and, perhaps even more important, a consciousness of the embodied experiences of others. Featuring an international array of paintings and works on paper by Agnes Martin, Roman Opałka, Park Seo-Bo, and others, this presentation selected from the Guggenheim’s collection explores this tendency, while considering its rise in multiple milieus and how artists used it to individualized ends. The exhibition is organized by David Horowitz, Assistant Curator.
Major support for Marking Time: Process in Minimal Abstraction is provided by Elizabeth Richebourg Rea.
Countryside, The Future
Through February 15, 2021
Countryside, The Future is an exhibition addressing urgent environmental, political, and socioeconomic issues through the lens of architect and urbanist Rem Koolhaas and Samir Bantal, Director of AMO, the think tank of the Office for Metropolitan Architecture (OMA). A unique exhibition for the Guggenheim Museum, Countryside, The Future explores radical changes in the rural, remote, and wild territories collectively identified here as “countryside,” or the 98% of the earth’s surface not occupied by cities, with a full rotunda installation premised on original research. The project presents investigations by AMO, Koolhaas, with students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University, Netherlands; and the University of Nairobi. The exhibition examines the modern conception of leisure, large-scale planning by political forces, climate change, migration, human and nonhuman ecosystems, market-driven preservation, artificial and organic coexistence, and other forms of radical experimentation that are altering the landscapes across the world.
Countryside, The Future is organized by Troy Conrad Therrien, Curator of Architecture and Digital Initiatives, in collaboration with Rem Koolhaas and Samir Bantal, Rita Varjabedian, Anne Schneider, Aleksander Zinovev, Sebastian Bernardy, Yotam Ben Hur, Valentin Bansac, with Ashley Mendelsohn, former Assistant Curator, Architecture and Digital Initiatives, at the Guggenheim. Key collaborators include Niklas Maak, Stephan Petermann, Irma Boom, Janna Bystrykh, Clemens Driessen, Lenora Ditzler, Kayoko Ota, Linda Nkatha, Etta Mideva Madete, Keigo Kobayashi, Federico Martelli, Ingo Niermann, James Westcott, Jiang Jun, Alexandra Kharitonova, Sebastien Marot, Fatma al Sahlawi and Vivian Song.
Countryside, The Future is made possible by:
Global Partner Lavazza
Lead Sponsor American Express
Major support provided by IKEA Foundation and Sies Marjan.
Additional support provided by Northern Trust and Design Trust.
The Leadership Committee, chaired by Dasha Zhukova, is gratefully acknowledged for its support, with special thanks to the Blavatnik Family Foundation, Rachel and Jean-Pierre Lehmann, Naomi Milgrom AO, The Durst Organization, Robert M. Rubin and Stéphane Samuel, and an anonymous donor.
Additional funding is provided by Creative Industries Fund NL, the Dutch Culture USA program of the Consulate General of the Netherlands in New York, and the Netherland-America Foundation.
In-kind support for this exhibition provided by NethWork, Infinite Acres, Deutz-Fahr, 80 Acres Farms, Priva, Planet Labs Inc., Ministry of Foreign Affairs of the Kingdom of the Netherlands, Volkswagen, Gieskes-Strijbis Fonds, and AMO B.V.
Guggenheim Collection: Brancusi
Through February 8, 2021
Tower 2 Gallery
In gallery space devoted to the permanent collection, the Guggenheim is showcasing its rich holdings of the work of Constantin Brancusi (b. 1876, Hobitza Romania; d. 1957, Paris). In the early decades of the twentieth century, Brancusi produced an innovative body of work that altered the trajectory of modern sculpture. During this period, Brancusi lived in Paris, then a thriving artistic center where many modernist tenets were being developed and debated. He became an integral part of these conversations both through his relationships with other artists, such as Marcel Duchamp, Fernand Léger, Amedeo Modigliani, and Henri Rousseau, and through his own pioneering work. His aspiration to express the essence of his subjects through simplified forms and his engagement with non–Western European artistic traditions led to new stylistic approaches. In addition, his mode of presentation, which equally emphasized sculpture and base and in which works were shown in direct relation to one another, instead of as independent entities, introduced new ways of thinking about the nature of the art object.
The Solomon R. Guggenheim Museum began collecting Brancusi’s work in-depth in the mid-1950s under the leadership of its second director, James Johnson Sweeney. When Sweeney began his tenure at the museum, the collection was focused on nonobjective painting. Sweeney significantly expanded the scope of the institution’s holdings, bringing in other styles and mediums, particularly sculpture. The Guggenheim’s commitment to Brancusi during these years extended beyond its collecting priorities, and in 1955 the museum held the first major exhibition of the artist’s work. This presentation is supported in part by the Romanian Cultural Institute in New York.
Guggenheim Museum Bilbao
For the full schedule of exhibitions through 2021 at Guggenheim Museum Bilbao, please visit guggenheim-bilbao.eus/en/exhibitions
Peggy Guggenheim Collection
For the full schedule of exhibitions through 2021 at the Peggy Guggenheim Collection, please visit guggenheim-venice.it/inglese/exhibitions/mostre.php?tipo=3
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