Guggenheim Museum Publications,U.S. – förlag

A groundbreaking study of visionary artist Hilma af Klint. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than a thousand paintings and works on paper that she kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint’s radically abstract painting practice – one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction.Accompanying the first major survey exhibition of the artist’s work in the United States, Hilma af Klint represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of the artist’s life and work. Essays explore the social, intellectual, and artistic milieu of af Klint’s 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars, and curators considers af Klint’s sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art – a wish that finds a fortuitous answer in the Guggenheim Museum’s rotunda, the site of the forthcoming exhibition.

In the mid-1980s, Robert Rauschenberg's creative attentions turned toward the visual and plastic properties of junk metal when he began to assemble found metal objects and screenprint his photographic images onto aluminum, bronze, brass and copper. His first body of work in this vein was Gluts, a series begun in 1986 and continued intermittently until 1995, in which ornate metalwork seemingly derived from a bedpost might attach to a slice of mesh wire, or twisted petals of yellow metal might sprout from the remains of an eviscerated toaster. Asked to comment on his novel use of the word "gluts," Rauschenberg said, "It's a time of glut. Greed is rampant... I simply want to present people with their ruins... I think of the Gluts as souvenirs without nostalgia." Published to accompany the Peggy Guggenheim Collection's exhibition Robert Rauschenberg: Gluts (the first show to focus on Rauschenberg's sculpture since 1995), this fully illustrated catalogue features a selection of approximately 40 sculptures drawn from the holdings of institutions and private collections in the United States and abroad. It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

This catalogue presents an important new trend in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize them within the history of art and culture. Drawing deeply on the legacies of conceptual and commercial photography, these artists pursue a largely studio-based approach to still-life photography that centres on the representation of objects, often printed matter such as books, magazines and record covers. The result is an image imbued with poetic and evocative personal significance – a sort of displaced self-portraiture – that resonates with larger cultural and historical meanings. Driven by a deep interest in the medium of photography, these artists investigate the nature, laws and magic of film photography at the moment of its disappearance in our digital age. They attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies, and by creating photo-sculptures and installations. Artists include Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag and Sara VanDerBeek.

The Robert H. N. Ho Family Foundation Chinese Art Initiative presents Tales of Our Time, an exhibition and accompanying catalogue of commissioned works by seven artists based in mainland China, Hong Kong or Taiwan. The exhibition’s title is inspired by Lu Xun’s Old Tales Retold, a 1930s collection of short stories that use narrative and myth to comment on times of political and social upheaval. Working in a range of mediums, including video, sculpture, installation, mixed media on paper and participatory performance, these artists are unified by their distinctive and independent practices that poetically balance politics and aesthetics. The exhibition offers a heterogeneous view of contemporary art from China and highlights tensions between individual narratives and the constructions of mainstream history. The catalogue serves as a key conceptual extension of the exhibition, functioning as a hybrid of a traditional art exhibition publication and a fiction collection. Featuring two scholarly essays, artwork descriptions and artist biographies, this volume presents an unconventional examination of the artists whose practices actively reposition and challenge current dialogues about Chinese art. In seven commissioned short stories, Chinese and American writers explore contemporary society through the art of storytelling.

The Guggenheim Museum’s sold-out publication Maurizio Cattelan: All is returning to print. Hailed as a provocateur, prankster and tragic poet of our times, Maurizio Cattelan (born 1960, Padua, Italy) has created some of the most unforgettable images in contemporary art – most notoriously `The Ninth Hour’ (1999), a sculpture of Pope John Paul II struck by a meteorite. Derived from popular culture, history and organized religion, Cattelan’s subjects range widely, and his work, while bold and irreverent, is deadly serious in its scathing cultural critiques. The second edition of All updates the catalogue that accompanied the Solomon R. Guggenheim Museum’s 2011–12 retrospective survey of the artist. For this exhibition, Cattelan sidestepped the totalizing effect of a retrospective by devising a site-specific installation in which his entire oeuvre was suspended from the oculus of the museum’s iconic rotunda. This book offers an equally unique response to the conventions of the catalogue. It is a faux-leather-bound hardcover with gold stamping and thin paper that is designed to resemble an old textbook or bible. The volume details almost every work of Cattelan’s from the late 1980s to the present within a double-column page format, featuring full-colour reproductions and accompanying entries. The revised edition describes the artist’s return to art making after a five-year `retirement’ with a special, ongoing project opening at the Guggenheim in May 2016. It also features a redesigned cover and installation images of the exhibition All. Nancy Spector has augmented her critical overview of Cattelan – which documents not only his artistic output but also his ongoing activities as a curator, editor and publisher – with a new coda. Since its original publication, All has become the Cattelan bible, and this revised edition exploring the latest chapter of the artist’s influential career ensures it will remain the definitive source on his work for years to come.

Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers’s abstract works on canvas and paper. `Mexico is truly the promised land of abstract art’, Josef Albers once wrote to Vassily Kandinsky. Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers’s abstract works on canvas and paper. With his wife, the artist Anni Albers, he visited Mexico and other Latin American countries more than a dozen times from 1935 to 1968, where he toured pre-Columbian archeological sites and monuments. On each visit, Albers took blackand- white photographs of the pyramids, shrines, sanctuaries and landscapes in and around these ancient sites, often grouping multiple images printed at various scales onto 8 x 10 inch sheets. The result was nearly 200 photo-collages that illustrate formal characteristics of the pre-Columbian aesthetic. Albers in Mexico brings together rarely exhibited photographs, photo-collages, prints and significant paintings from the Homage to the Square and Variants/Adobe series from the Guggenheim Museum collection and the Anni and Josef Albers Foundation. This catalogue includes two scholarly essays, Albers’s poetry from the period and an illustrated map, as well as rich colour reproductions of paintings and works on paper.

When Justin K. Thannhauser (1892–1976) brought his collection of modern art to the Solomon R. Guggenheim Museum in 1965, it was his crowning achievement after more than a half century as one of Europe’s most influential and distinguished collectors and dealers. The collection’s formal bequeathal to the Guggenheim in 1978 represents a watershed moment for the museum – today its Thannhauser Collection constitutes the core of the Guggenheim’s Impressionist, Post-Impressionist and School of Paris holdings, including thirty-two works by Pablo Picasso.This lavishly illustrated volume presents the astonishing collection in full, offering a concentrated survey of works by such modern masters as Georges Braque, Paul Cézanne, Edgar Degas, Paul Gauguin, Édouard Manet, Picasso, Camille Pissarro, and Vincent van Gogh, among others. Throughout, artworks are given rich context and detail with historical installation views and high-tech conservation images. Short essays on collection highlights by current and former Guggenheim curators and conservators illuminate the artists’ stylistic innovations as they sought to liberate art from academic genres and techniques. The book also features extensive technical analyses, offering rare insight into the artists’ materials and processes based on the latest advances in conservation technology. A lead essay by Megan Fontanella recounts the genesis of Thannhauser’s collection and its eventual transfer to the Guggenheim Museum.

An exploration of a formative chapter in Basquiat’s brief career through the lens of his identity and the role of cultural activism in New York City during the early years of the 1980s Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) in 1983 to commemorate the death of a young, black artist who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway station. Published to accompany a focused exhibition of Basquiat’s response to anti-black racism and police brutality, this catalogue explores a chapter in the artist’s career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s. With an introduction by Chaédria LaBouvier, Nancy Spector, and Joan Young, and an essay by Johanna F. Almiron are supplemented by commentary from artists, activists, and other cultural figures who were part of this episode in the city’s history, which invokes today’s urgent conversations about state-sanctioned racism. Ephemera related to Stewart’s death, including newspaper clippings and protest posters, and samples of artwork from Stewart’s estate are also featured along with paintings and prints made by other artists from Keith Haring, Andy Warhol, David Hammons, in response to Stewart’s death.

Gego infused her art with architecture and engineering to create unique works of delicate suspenseAccompanying the first major museum retrospective exhibition of Gego’s work in the US in more than 15 years, this expansive, definitive catalog charts the evolution of Gego’s singular approach to abstraction through organic forms, linear structures and systematic spatial investigations. Featuring nearly 300 images, including more than 160 sculptures, drawings, prints, artist’s books, textiles and installations made between the early 1950s and the early 1990s, this volume also presents 11 illustrated essays by experts in the field of modern and contemporary Latin American art that trace Gego’s artistic development across various mediums and disciplines, including her significant contributions to architecture and design; ground her practice in various art movements that materialized in Latin America, Europe and the US during her lifetime; and consider the pedagogical influence of her two-decade teaching career in Caracas. An illustrated chronology tracks Gego’s life and artistic progression as well as her exhibition history, contextualized within the rich cultural milieus in which she lived and worked. Also featured are images of Gego’s Reticulárea, an environmental installation widely considered to be her magnum opus, and a series of photographs taken by the artist’s partner at their shared home and studio in Caracas. Gego remains little known in the US today, despite her unique and striking formal and conceptual contributions. This essential publication advances an expanded understanding and appreciation of the artist’s work within the context of 20th-century modernism.Gego (Gertrud Goldschmidt, 1912–94) came of age as an artist in the midst of Venezuela’s development as a modern state, emerging as a vital figure in Latin American modern art whose work intersected with major transnational art movements of the 20th century while remaining distinctly her own. Born in Hamburg and trained as an engineer and architect in Germany, Gego immigrated to Venezuela in 1939, fleeing Nazi persecution. In her new home of Caracas, she worked as an architect and a designer before embarking on her artistic career, which she pursued until her death in 1994.

Twenty-first-century Kandinsky: a reappraisal of the Russian abstractionist’s art, life and thought through the extraordinary collection of the iconic museumOne of the foremost artistic innovators of abstraction in the 20th century, Vasily Kandinsky sought to liberate painting from its ties to the natural world and promote the spiritual in art. This richly illustrated publication looks at Kandinsky anew, through a critical lens, reframing our understanding of this vital figure of European modernism, who was also a prolific aesthetic theorist and writer.A series of thematic essays considers his engagement with avant-garde artistic communities including the Bauhaus, his relationship to improvisation and music, his travels in Europe and Russia, and the influences behind his self-declared anarchist mode of abstraction, among other topics. Tracing Kandinsky’s life and work through his years in Moscow, several cities in Germany, and Paris, the texts offer striking new insights into an artist whose creative production and style were intimately tied to a sense of place—and displacement—and evolved amid the political and social upheavals catalyzed by the Russian Revolution and World Wars I and II.Kandinsky’s history is closely linked to that of the Guggenheim Museum. Solomon R. Guggenheim began collecting the artist’s work in 1929; a year later, they met at the Bauhaus, in Dessau. This book features more than half of the museum’s deep holdings of works by Kandinsky, presenting the full arc of his artistic development and career. Included are paintings in oil and oil with sand, reverse-glass paintings, as well as woodcuts, watercolors and drawings on paper. An illustrated chronicle of Kandinsky’s life and career, including selected exhibitions and publications, rounds out the volume.

A pioneering survey of Korea’s dynamic postwar avant-garde, with new translations of manifestos, articles and primary sourcesThe 1960s and 1970s marked a period of exceptional change in Korea, propelled by rapid urbanization and modernization, and influenced by an authoritarian state at home and a globalizing world beyond. Young artists of the era were not immune to these unprecedented socioeconomic, political and material conditions, responding with a groundbreaking and genre-defying body of avant-garde art known broadly as Experimental art (silheom misul). Both as individuals and in collectives, these artists broke definitively with their predecessors, redefining the boundaries of traditional painting and sculpture while embracing innovative—and often provocative—approaches to materials and process through performance, installation, photography and video.Only the Young: Experimental Art in Korea, 1960s–1970s accompanies the first exhibition in North America to examine this influential but understudied period. Featuring incisive new scholarship and lavish photography of works drawn from public and private collections across the globe, the volume also brings together translations of articles, artist manifestos and other primary sources that offer a firsthand perspective on the ideas and discourses then shaping Korean art. What emerges is the story of how this generation of young Korean artists harnessed the power of art to confront and reimagine an ever-shifting present.Artists include: Choi Boonghyun, Choi Byungso, Chung Chanseung, Ha Chong-Hyun, Han Youngsup, Jung Kangja, Kang Kukjin, Kim Hanyong, Kim Kulim, Kim Tchahsup, Kim Youngjin, Lee Hyangmi, Lee Hyeonjae, Lee Kang-So, Lee Kun-Yong, Lee Seungjio, Lee Seung-taek, Lee Taehyun, Limb Eungsik, Moon Bokcheol, Nam Sanggyun, Park Hyunki, Shim Moon-seup, Shin Hakchul, Song Burnsoo, Suh Seungwon, Sung Neungkyung and Yeo Un.

From Dawoud Bey and Lorna Simpson to Sondra Perry and Kerry James Marshall, a multiethnic group of artists explores what it means to be seen, not seen or erased in the world through formal experimentations with the figureGoing Dark brings together a multigenerational group of contemporary artists who engage the "semi-visible" figure—representations that are partially (or fully) obscured, including, in some cases, literally darkened—and suggests that the concept of going dark is a tool that has been used by artists for decades to probe enduring questions surrounding both the potential and the discontents of social visibility. Across mediums—painting, photography, sculpture, video and installation—Going Dark names, charts and makes meaning of the semi-visible figure, arguing for its significance in contemporary art as a genre of unique conceptual and formal power. Approximately 120 works in all of these mediums by more than 25 artists are featured.Essays by such curators as Legacy Russell and Jordan Carter, and professor Abbe Schriber, among others, contextualize the histories that inspired these works. In addition, four award-winning poets and three acclaimed graphic designers have contributed works.Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems and Charles White.

The first publication of its kind, connecting a constellation of artists working at the forefront of abstraction in the early 20th centuryOrphism emerged among a cosmopolitan group of artists active in Paris in the early 1910s, as the innovations of modern life radically altered conceptions of time and space. Engaged with ideas of simultaneity in kaleidoscopic compositions, these artists investigated the transformative possibilities of color, form and motion. Often featuring disks of brilliant color, their work evoked multisensory experiences. When pushed to its limits, Orphism signaled total abstraction. The poet Guillaume Apollinaire, a contemporary, coined the term “Orphism” to describe this move away from Cubism, toward a physically and spiritually transcendent art. His concept referred back to the Greek mythological poet and lyre player Orpheus, whose music thwarted death.The first in-depth examination of the Orphist avant-garde, this revelatory exhibition catalog contextualizes Orphism, tracing its roots, exploring its cross-disciplinary reach and considering its transnational reverberations across 16 illustrated texts by a multigenerational group of authors from different fields. Incisive essays offer new perspectives, delineating Orphism’s connection to music, dance and poetry, and investigating the historical and cultural circumstances that shaped its ethos. More than 90 artworks in multiple mediums are punctuated by micro-narratives that view select artists through the Orphist lens, presenting original scholarship on well-known figures such as Robert Delaunay, Sonia Delaunay, František Kupka and Francis Picabia while also illuminating lesser-known ones such as Mainie Jellett, Morgan Russell and Amadeo de Souza-Cardoso.

A collection of Jenny Holzer’s texts, presented as layout drawings for stone benches, that trace and illuminate our complex worldPublished on the occasion of the exhibition Jenny Holzer: Light Line, a reimagining of the artist’s landmark 1989 installation at the Guggenheim Museum in New York, this artist’s book will provoke and inspire. Each page features a phrase chosen by Holzer from three of her text series—Truisms, Living and Survival—in the form of drawings she has used for many years to create her iconic stone benches. All interior pages are vellum, a physical and conceptual layering that invites novel readings of Holzer’s work. This unique volume extends her practice with a material presentation of real and imagined works that weaves new connections through its pages.Holzer harnesses the power of words to convey joy, sorrow, contemplation, rage and everything in between. Her work presents writing—both her own and that of others—in an array of mediums, including electronic signs, plaques, paintings and stonework. Starting in the 1970s with her New York City street posters, and continuing through her more recent light projections, mobile LED signs and experiments with artificial intelligence, her practice rivals ignorance and violence with humor, kindness and courage. The public dimension is integral, and the surprising sites where her work appears range from city streets to stadium scoreboards, memorials, T-shirts and condom wrappers. The thought-provoking and indelible words she chooses highlight the pressing issues of our time.For over 40 years, Jenny Holzer (born 1950) has presented her work in public places and international exhibitions, including Times Square, the Venice Biennale and the Guggenheim Museums. She received the Golden Lion at the Venice Biennale in 1990, the US State Department’s International Medal of Arts in 2017 and the Wall Street Journal’s Art Innovator Award in 2022. She lives and works in New York.

From his early self-portraits to his site-specific installations, this volume underscores Rashid Johnson's fearless engagement with the central themes, questions and aesthetics of the contemporary eraCo-organized by the Guggenheim New York and the Modern Art Museum of Fort Worth, A Poem for Deep Thinkers is a three-decade survey of Rashid Johnson’s artistic career. It situates the artist within three interconnected spheres: as a scholar of art history; as a mediator of Black popular culture and its widespread commodification; and as an artist engaged with the globalization of contemporary art. The exhibition and accompanying catalog feature nearly 90 artworks, including early photographs, Cosmic Slops, spray-painted text works, collage paintings, Broken Men mosaics, film projects, and key sculptures and installations that incorporate materials such as shea butter, black soap, plants, ceramic vessels and wax. These explorations demonstrate Johnson’s uncommon fluency with multiple materials and forms as well as a nuanced ability to synthesize the condition of the human psyche.Lavishly produced with gold block edges and illustrated with more than 200 images, the publication offers creative meditations on excerpts by literary icons Toni Morrison, Gwendolyn Brooks, Jean Genet, Paul Beatty and Amiri Baraka, interspersed among insightful essays and an interview that further illuminate Johnson’s work.Born and raised in Chicago, Rashid Johnson (born 1977) received fine arts degrees from Columbia College Chicago and the School of the Art Institute of Chicago. At the age of 24, his work was included in Thelma Golden’s 2001 exhibition Freestyle at the Studio Museum in Harlem. Johnson made his directorial debut with his 2019 adaptation of Richard Wright’s Native Son.

A new look at a vanguard modernist artist who reimagined the still life, landscape and portrait genresThis landmark publication coincides with the major Guggenheim New York exhibition of works by the remarkable German Expressionist Gabriele Münter. Münter’s painting practice between 1908 and 1920 is the central focus of the exhibition and accompanying book. The study also illuminates her lesser-known later work and includes significant examples of her photography taken during earlier extensive travels in the United States. Münter was notably a cofounder of Der Blaue Reiter (The Blue Rider), a loose and transnational confederation of progressive artists and other creatives, with whom she probed the expressive potential of color and the symbolic resonance of forms. Her introspective portraits during World War II capture the “new woman” and explore questions of gender identity.Highlighting more than 90 paintings, drawings and photographs, this publication not only traces Münter’s pioneering and understudied practice but also challenges accepted historical narratives that have tended to sideline women artists. Reproductions of archival material appear alongside choice selections of the artist's sketches, prints and reverse glass paintings. Thematic texts by renowned scholars explore identity, place, belonging and the embodied experience of modernist women artists during this period.Gabriele Münter (1877–1962) was at the forefront of the German avant-garde in the early 20th century and exhibited extensively at galleries and salons throughout Europe during her lifetime. Along with her artistic colleague and one-time partner, Vasily Kandinsky, Münter was a founder of the influential Expressionist group of artists, Der Blaue Reiter.

Each copy of this two-volume overview of Bove’s work is made unique through a different diamond-shaped paper element hand-cut by the artist.Accompanying the first museum survey of Carol Bove's multidisciplinary work, this two-volume catalog traces pivotal shifts across the artist's 25-year career, ranging from her fugitive early drawings to her compositions of scrap metal and manipulated steel tubing known as "collage sculptures." Bove's inventive work spans many mediums and formal approaches but is unified by an exacting play of material, scale, color and space. She places these elements in dialogue with cultural histories to create the conditions for a resonant perceptual encounter.The publication is housed in a die-cut slipcase inspired by Bove's distinctive use of geometry and color. For the first edition, these cases feature paper ephemera elements the artist has personally selected and hand cut into diamond shapes, making each copy a unique object. Contained within are two books that offer complementary but autonomous perspectives on Bove's ever-evolving body of work. The first contextualizes her practice across seven generously illustrated scholarly essays, accompanied by an extensive selected exhibition history and bibliography. The second, an artist's book conceived by Bove, features immersive photographic details of her works printed at the precise scale of the objects they represent, interleaved with a series of recent paper collages. Together, the two volumes present the first comprehensive survey of Bove's career in the form of a book-object, realized in tandem with the most expansive presentation of the artist's work to date.The work of Geneva-born American artist Carol Bove (born 1971) spans sculpture, drawing, collage, painting and installation. Bove has been the subject of solo exhibitions at the Kunstverein in Hamburg (2003); Blanton Museum of Art, Austin (2006); Museum of Modern Art, New York (2013–14); Metropolitan Museum of Art, New York (2021); and Nasher Sculpture Center, Dallas (2021), among others.

This revised and redesigned edition of the Guggenheim Museum’s guide to its New York collection is a concise primer on art of the late 19th to the early 21st centuries Revised, updated, and completely redesigned, the fourth edition of the Guggenheim Museum’s popular guide to its New York collection is a beautifully produced volume, not only a handy overview of the museum’s holdings but also a concise, engaging primer on the art of the late 19th through the early 21st centuries. Organized alphabetically, the book consists of entries on more than 170 of the most important paintings, sculptures, photographs, videos, site-specific installations, and other works in the collection by artists from Marina Abramovic to Maurizio Cattelan to Julie Mehretu to Gilberto Zorio. Also included are definitions of key terms and concepts of modern art, from “Appropriation” to “Non-Objective” to “Postcolonial” and beyond. The Guggenheim Museum Collection is beloved for this wealth of masterpieces by leading modern artists, such as Marc Chagall, Vasily Kandinsky, and Pablo Picasso. Reflecting the recent growth in the collection, this edition of the guide includes new entries on Romare Bearden, Tacita Dean, Cao Fei, David Hammons, Catherine Opie and Adrian Piper, among many others. The text is by the museum’s curators as well as prominent authors and scholars, including Homi Bhabha, Tom Crow, Nikki Greene and Jeffrey Schnapp.

This innovatively designed publication, which accompanies the announcement of the short list for the Hugo Boss Prize 2008, features special artist-designed pages by each of the finalists--Christoph Büchel, Patty Chang, Sam Durant, Emily Jacir, Joachim Koester and Roman Signer--as well as accompanying essays.

In 1943, Frank Lloyd Wright received a letter from Hilla Rebay, the art advisor to Solomon R. Guggenheim, asking the architect to design a new building to house Guggenheim’s four-year-old Museum of Non-Objective Painting. The project evolved into a complex struggle pitting the architect against his clients, city officials, the art world and public opinion, but the resultant achievement testifies to both Wright’s architectural genius and the adventurous spirit of its founders. The Guggenheim Museum is an embodiment of Wright’s attempts to render the inherent plasticity of organic forms in architecture. His inverted ziggurat dispensed with the conventional approach to museum design, which led visitors through a series of interconnected rooms and forced them to retrace their steps when exiting. Instead, Wright whisked people to the top of the building via elevator, and led them downward at a leisurely pace on the gentle slope of a continuous ramp. The galleries were divided like the segments of an orange, into self-contained yet interdependent sections. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously. The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another. Solomon R. Guggenheim Museum: An Architectural Appreciation celebrates Wright’s crowning achievement with reflections by prominent architects, historians and critics. Paired alongside a half-century of photographs, they convey how, as Paul Goldberger has said, “almost every museum of our time is a child of the Guggenheim.”

Robert Motherwell: Early Collages, published to accompany an exhibition devoted exclusively to Motherwell's works on paper from the 1940s and early 1950s, reexamines the origins of the artist's style and his revelatory encounter with the papier colle technique that he described in 1944 as 'the greatest of our discoveries'. Motherwell's enthusiasm for and dedication to the collage medium for the remainder of his career sets him apart from other artists of his generation and went beyond the mere physical presence of pasted cut-and-torn papers. Featuring approximately sixty works and four essays that delve into artists' engagement with collage in the first half of the twentieth century, Motherwell's early career with patron Peggy Guggenheim, underlying humanitarian themes during World War II, and the artist's materials, Early Collages provides a vital reassessment of Motherwell's work in the collage medium.

Paperback edition of the authoritative Guggenheim catalog on the Italian avant-garde movementItalian Futurism was officially launched in 1909 when F.T. Marinetti published his "The Founding and Manifesto of Futurism." This catalog considerably advances the scholarship and understanding of an influential 20th-century artistic movement. As part of the first comprehensive overview of Italian Futurism to be presented in the United States, this publication examines the historical sweep of Futurism from its inception with Marinetti’s manifesto through the rise of Italian fascism and the movement’s demise at the end of World War II. Presenting over 300 works created between 1909 and 1944 by artists, writers, designers and composers such as Giacomo Balla, Umberto Boccioni, Anton Giulio Bragaglia, Fortunato Depero, Gerardo Dottori, Marinetti, Ivo Pannaggi, Rosa Rosà, Luigi Russolo, Tato and many others, this publication encompasses not only painting and sculpture but also architecture, design, ceramics, fashion, film, photography, advertising, poetry, publications, music, theater and performance.

ZERO: Countdown to Tomorrow, 1950s–60s, is the first large-scale historical survey in the United States dedicated to the German artist group Zero (1957–66). Founded by Heinz Mack and Otto Piene, joined by Günther Uecker in 1961, the group expanded to include ZERO, an international network of like-minded artists who shared the group’s aspiration to redefine art in the aftermath of World War II. Featuring more than thirty artists from nine countries, the catalogue explores the experimental practices developed by this extensive network of artists whose work anticipated aspects of Land art, Minimalism, and Conceptual art. The publication is organized around points of intersection, exchange, and collaboration that defined these artists’ shared history. Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea-based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology, and humankind; and the production of live actions or demonstrations. At once a snapshot of a specific group and a portrait of a generation, this title celebrates the pioneering nature of both the art and the transnational vision advanced by the ZERO network.

Because of his recourse to language, photography and systems of information, On Kawara is often described as a key figure in the history of Conceptual art. Yet his work stands apart in its devotion to painting and its existential reach. On Kawara — Silence is published in conjunction with a major exhibition of Kawara's post-1964 work at the Solomon R. Guggenheim Museum, New York. Like the exhibition itself, the structure of the book was devised in close collaboration with the late artist. The exhibition catalogue contains essays on Kawara's work by leading scholars and critics in various fields, including art history, literary studies and cultural anthropology. It also includes substantial, authoritative descriptions of every category of his production—the first time such comprehensive information has appeared in print. Richly illustrated, On Kawara — Silence reproduces many examples of the Date Paintings (Today), calendars (One Hundred Years and One Million Years), postcards (I Got Up), telegrams (I Am Still Alive), news cuttings (I Read), maps (I Went) and lists (I Met) that comprised the artist's practice beginning in the mid-1960s. Among other groups of works, the book includes images of the 97 Date Paintings (accompanied by their newspaper-lined storage boxes) that Kawara produced during a three-month run of daily painting in 1970. The catalogue also contains reproductions of paintings and drawings produced in Paris and New York in the years that precede the works for which Kawara is best known, as well as rare images of materials related to his working process. The volume is published in four differently colored covers. Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart and Anne Wheeler.On Kawara was born in Japan in 1933. During the 1950s he was a prominent member of the postwar Tokyo avant-garde, producing figurative work in a late-Surrealist style. Kawara left Japan in 1959, traveling to Mexico City, Paris and New York, where he settled in 1964. By 1966 he had devoted his work solely to the schematic representation of time and place through calendars, maps, lists, postcards and telegrams. Kawara's primary body of work, which occupied him until his death in 2014, is the Today series, a sequence of paintings produced according to strict protocols of size, color and technique. An incessant traveler, the artist produced Date Paintings in 136 cities and various languages.

Visionaries: Creating a Modern Guggenheim celebrates the late-nineteenth and earlytwentieth- century masterworks at the core of the institution’s holdings, and the trailblazers – artists and early patrons alike – whose contributions helped define the forward-looking identity of the Solomon R. Guggenheim Foundation. Central to Visionaries is the story of museum founder Solomon R. Guggenheim, who with support from his trusted advisor, Hilla Rebay, become a great champion of ‘nonobjective’ art and assembled a radical collection against the backdrop of economic crisis and war in the 1930s and ’40s. A lead catalogue essay by museum curator Megan Fontanella explores Solomon Guggenheim’s fascinating activities in this period, together with that of five similarly pioneering art patrons whose personal holdings would become essential components of the foundation collection: Impressionist, Post-Impressionist, and early School of Paris artworks from Justin K. Thannhauser; the eclectic Expressionist inventory of émigré art dealer Karl Nierendorf; the incomparable abstract and Surrealist paintings and sculptures from self-proclaimed ‘art addict’ Peggy Guggenheim; and key modern examples from the estates of artists Katherine S. Dreier and Rebay. Alongside vibrant illustrations of works by such iconic artists as Alexander Calder, Marc Chagall, Vasily Kandinsky, Paul Klee, Piet Mondrian, Pablo Picasso, and Jackson Pollock, Visionaries also features essays by six curators examining touchstone works from the foundation collection.

Surveys experimental art in China between the years 1989 and 2008. Published on the occasion of the largest exhibition of contemporary art from China ever mounted in North America, organized by the Solomon R. Guggenheim Museum, Art and China after 1989: Theater of the World explores recent experimental art from what is arguably the most transformative period of modern Chinese and recent world history. Featuring over 150 iconic and lesser-known artworks by more than 70 artists and collectives, this catalogue offers an interpretative survey of Chinese experimental art framed by the geopolitical dynamics attending the end of the Cold War, the spread of globalization, and the rise of China. Critical essays explore how Chinese artists have been both agents and skeptics of China’s arrival as a global presence, while an extensive entry section offers detailed analysis on works made in a broad range of experimental mediums, including film and video, ink, installation, Land art, performance, as well as painting and photography. In addition, an appendix includes a selected history of contemporary art exhibitions in China, biographies of featured artists, and a bibliography.

This comprehensive survey of the work of the Swiss-born modern master Alberto Giacometti offers a fresh and incisive account of his entire creative output. Published on the occasion of Giacometti’s first major museum presentation in the U.S. in over a decade, the volume brings together nearly 200 sculptures, paintings and drawings to trace the artist’s wide-ranging and hugely innovative engagement with the human form across various mediums. While Giacometti may be best known for his distinct figurative sculptures that emerged after World War II, including a series of elongated standing women, striding men and expressive busts, this volume devotes equal attention to the artist’s early and midcareer development. It explores his lesser-known engagement with Cubism and Surrealism as well as African, Oceanic and Cycladic art, which preceded his shift to figuration, while also highlighting his remarkable talents as a draftsman and painter alongside his sculptural oeuvre. Of particular focus is Giacometti’s studio practice, which is examined through rarely seen plaster sculptures that highlight the artist’s working process, in addition to ephemera and historical photographs documenting his relationship with the Solomon R. Guggenheim Museum – which hosted the artist’s first U.S. exhibition, in 1955 – and with New York City.

Catalogues the third and final exhibition of the Robert H. N. Ho Family Foundation Chinese Art Initiative at the Solomon R. Guggenhem Museum, New York.The culmination of an ambitious multi-year commissioning and collection building initiative at the Guggenheim Museum, One Hand Clapping asks five artists from Greater China – Cao Fei, Duan Jianyu, Lin Yilin, Wong Ping and Samson Young – to investigate our changing relationships to visions of the future. From a film shot at the automated industrial facilities of mainland China to a virtual reality intervention into the Guggenheim’s iconic rotunda atrium and musical compositions for imaginary instruments that defy the laws of physics, their works identify the reflexive, poetic spaces that both escape and exist alongside the homogenizing logic of globalization.This bilingual catalogue is conceived as a critical component in the thinking and production of the exhibition. In addition to essays by the exhibition’s organizers, Xiaoyu Weng and Hou Hanru, it includes a theoretical text on technology and culture by the philosopher Yuk Hui, selected poems by millennial poets, and special sections presenting materials related to the commissioning process for each of the participating artists.

A deep dive into the Guggenheim Museum’s vast collection of Minimal art from the visionary Italian collectors Giovanna and Giuseppe Panza di BiumoWinner of the 2022 Robert Motherwell Book AwardBased upon the research of the Panza Collection Initiative, an ambitious, 10-year study project, Object Lessons focuses on four works by key figures of 1960s Minimalism and Conceptual art: Dan Flavin, Donald Judd, Robert Morris and Lawrence Weiner. Authors Francesca Esmay, Ted Mann and Jeffrey Weiss present each work from several vantages: an exhaustive chronological account conveys the surprisingly complicated history of the work’s realization, acquisition, ownership and display. An overview addresses the broad practical and conceptual implications of this information for the historical identity of the work and its consequences for the work’s future. A conservation narrative establishes the role of fabricators and the material and technical standards for the production of the object. Together, the authors explore how a previously unaddressed history of production, ownership and display has deeply influenced the life and legacy of the radical objects of Minimal art.A separate section, with contributions by Martha Buskirk and Virginia Rutledge, examines the topic of decommission, a new category of collection classification for works that are contested or compromised and are therefore no longer viable for display. Throughout, the book is copiously illustrated with photographs of the works, the exhibitions in which they appeared, and related drawings and proposals. Rounding out this volume are extensive excerpts of new interviews with artists and fabricators, key historical documents and previously unpublished correspondence.