Exhibition History T H E S O L O M O N R . G U G G E N H E I M F O U N D A T I O N Edited by Florencia Malbran, Hilla Rebay International Fellow 2007–08, and Alexandra Tommasini, PGC Intern 2008–09. July 2009. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 2 1982 I. Title: Venezia – New York. Dates: January 23 - March 28, 1982. Venues: Pinacoteca Capitolina, Rome. Curator: Thomas M. Messer. Artists: Jean Arp, Giacomo Balla, Max Beckmann, Georges Braque, Constantin Brancusi, Alexander Calder, Marc Chagall, Giorgio de Chirico, Salvador Dalí, Robert Delaunay, Theo van Doesburg, Marcel Duchamp, Max Ernst, Alberto Giacometti, Juan Gris, Alexej Jawlensky, Vasily Kandinsky, Ernest Ludwig Kirchner, Paul Klee, Oscar Kokoschka, Fernand Léger, René Magritte, Kazimir Malevich, Franz Marc, Joan Miró, Amadeo Modigliani, Piet Mondrian, Robert Motherwell, Antoine Pevsner, Francis Picabia, Pablo Picasso, Jackson Pollock, Mark Rothko, Gino Severini, Kurt Schwitters, Clyfford Still, and Yves Tanguy. Exhibition description: The exhibition was held at the Pinacoteca Capitolina in Rome and comprised sixty works from the Peggy Guggenheim Collection in Venice and the Solomon R. Guggenheim Museum in New York. It marked the first joint exhibition of works from both Guggenheim collections. Thomas M. Messer remarks in his exhibition preface: “Le due Collezioni che oggi fanno parte della fondazione Guggenheim hanno due origini completamente diverse, scaturite da motivazioni completamente diverse, e devono la loro esistenza a personalità completamente diverse fra loro, anche se il nome Guggenheim le sovrasta entrambe come un ombrello. La grande, starei per dire storica importanza di questa mostra fatta sotto gli auspici del Comune di Roma nelle sale della Pinacoteca Capitolina è che per la prima volta sono esposte insieme opere provenienti dalla due Collezioni Guggenheim […] La selezione fatta per questa mostra e presentata al pubblico della Pinacoteca Capitolina comprende 32 opere di pittura e di scultura provenienti dalla Collezione Peggy Guggenheim e 28 opere provenienti dalla Collezione permanente del Museum Solomon R. Guggenheim. Ai fini che la mostra si prefiggeva l’arco cronologico di questa rassegna è stato limitato alla prima metà del secolo: i primi dieci anni del Novecento e le opere più recenti portano una data che è molto vicina alla scadenza della metà del secolo.” Catalogue: Thomas M. Messer, Guggenheim Venezia-New York: sessanta opere, 1900-1950. Milan: Electa, 1982. Catalogue in Italian. Includes two forewards by Ugo Vetere (Mayor, City of Rome) and Peter Lawson (President, Solomon R. Guggenheim Foundation), preface by Thomas M. Messer, introduction by Renato Nicolini (Committee Chairman, City of Rome), and an essay by Maurizio Calvesi. Library Location: GUGG PGC 1982 .04 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 3 1983 No temporary exhibitions in 1983. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 4 1984 II. Title: Jackson Pollock 1942-1947 alle Gallerie dell´Accademia di Venezia. Dates: January 16 - April 1, 1984. Venues: Galleria dell’Accademia, Venice. Curator: Philip Rylands. Artists: Jackson Pollock. Exhibition description: The Solomon R. Guggenheim Foundation, in collaboration with the Soprintendenza ai Beni Artistici e Storici di Venezia, presented a series of exhibitions during the winter season featuring many works from the Peggy Guggenheim Collection. This first exhibition was dedicated to ten works by Jackson Pollock, completed by the artist between 1942 and 1947. Philip Rylands observes in the exhibition brochure: “Jackson Pollock met Peggy Guggenheim in New York early in 1943 when he was still an unknown and struggling, young painter. He made an immediate impression: in April and again in May of that year she exhibited his paintings at her gallery, Art of This Century. Pressed by the Surrealist painter Matta and by her secretary-assistant Howard Putzel, Peggy gave Pollock a year’s contract paying him $150 a month to enable him to devote himself full time to his painting. She was to continue this support through 1947.” Catalogue/Brochure: Rylands, Philip. Jackson Pollock 1942-1947 alle Gallerie dell´Accademia di Venezia. Padua: Grafiche Muzzio, 1984. Library Location: GUGG PGC 1984 .04 III. Title: The Moderns. Dates: February 7 - March 24, 1984. Venues: Art Gallery of New South Wales, Australia. Curator: Thomas M. Messer. Artists: Josef Albers, Jean Arp, Francis Bacon, Giacomo Balla, Max Beckmann, Georges Braque, Constantin Brancusi, Victor Brauner, Alexander Calder, Marc Chagall, Giorgio de Chirico, Salvador Dalí, Robert Delaunay, Paul Delvaux,Theo van Doesburg, Marcel Duchamp, Max Ernst, Lyonel Feininger, Alberto Giacometti, Albert Gliezes, Arshile Gorky, Juan Gris, Alexej Jawlensky, Vasily Kandinsky, Ernest Ludwig Kirchner, Paul Klee, Oscar Kokoschka, Fernand Léger, René Magritte, Kazimir Malevich, Franz Marc, Louis Marcoussis, André Masson, Henri Matisse, Matta, Jean Metzinger, Joan Miró, Amadeo Modigliani, Piet Mondrian, Robert Motherwell, Amédée Ozenfant, Antoine Pevsner, Francis Picabia, Pablo Picasso, Jackson zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 5 Pollock, Mark Rothko, Gino Severini, Kurt Schwitters, Clyfford Still, Yves Tanguy, Goreges Vantongerloo, Friedrich Vordemberge-Gildewart. Exhibition description: The exhibition, held at the Art Gallery of New South Wales in Sydney Australia, brought together eighty works from the Solomon R. Guggenheim Museum and the Peggy Guggenheim Collection. This exhibition inspired cultural exchange providing Australian audiences an opportunity to view works by such artists as Picasso, Matisse, Braque, and Kandinsky. Thomas M. Messer affirms in his catalogue foreward: “This selection of eighty paintings that constitutes the current exhibition of the Art Gallery of New South Wales has been drawn in equal parts from two great collections that have the Guggenheim name in common […] Such presentation in Sydney seems particularily important and timely to us: important since works of such caliber do not frequently travel as far as these have, to be seen, as we hope, not only by residents of Sydney, but by Australians from other areas who surely will want to avail themselves of this rare opportunity; timely, because this appears to be a moment of expansiveness and assertion for Australian art, for which The Moderns should provide a strong and beneficial stimulus.” Catalogue: Messer, Thomas. The Moderns. New South Wales: Art Gallery of New South Wales, 1984. Catalogue in Italian. Includes preface by Edmund Capon (Director, Art Gallery of New South Wales), foreword by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation), sponsor’s foreword by J.F Kirk (Chairman and Managing Director, Esso Australia), and essay by Thomas M. Messer. Library Location: GUGG PGC 1984 .05 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 6 1985 1. Title: Tauromaquia: Goya – Picasso. Dates: March 3 - April 8, 1985 and November 1 - December 30, 1985. Venues: Peggy Guggenheim Collection. Milan: Padiglione d'Arte Contemporanea, May 5 - July 26, 1985; Bari: Castello Svevo, April 5 - May 31, 1986; London: Warwick Arts Trust, September 24 - October 26, 1986; Paris: Musée Picasso, December 10, 1986 - January 26, 1987; Madrid: Museo del Prado, Cason del Buen Retiro, April 30 - June 6, 1987; Barcelona: Palau de la Verreina, June 30 - August 25, 1987; New Brunswick: Fredericton: Beaverbrook Art Gallery, May 15 - August 29, 1993. Curator: Fred Licht (exhibition organized by the Arthur Ross Foundation, New York). Artists: Francisco de Goya y Lucientes and Pablo Picasso. Exhibition description: Tauromaquia: Goya – Picasso was the first temporary exhibition at the Palazzo Venier dei Leoni. The show confronted Goya’s and Picasso’s different treatments of the bullfight, a traditional scene from their Spanish homelands. Featuring monochrome etchings, this exhibition posited the “tauromaquia” as a combination of beauty and violence, fusing triumphal heroicism with dark drama. Such a union allowed Goya and Picasso, two pivotal modern artists, to contemplate various visual compositions, as well as to express different contours of human experience. Thomas Messer observed in his catalogue introduction: “The theme of the bullfight would seem to offer, through unintended happenstance, a reference to the person in whose name all activities at the Palazzo Venier dei Leoni are conducted. For, by depiction of fateful daring that through Picasso's and Goya's genius emerges from the surfaces here assembled, Tauromaquia evokes a mood also reflected in Peggy Guggenheim's tragic, grave and majestic life. The initiation of an exhibition program in Peggy Guggenheim's name is consonant with the Founder's art orientation which at the outset of her activities in London, later in New York and initially in Venice remained didactic and dynamic. To exhibit works of art on constantly shifting perspectives and thereby open eyes and sharpen viewers sensibilities was for Peggy Guggenheim a strong and explicit motivation. It is fitting therefore to continue in a mode that will present new insights and ideas to our ever growing practice.” Catalogue: Licht, Fred. Tauromaquia. Venice: the Solomon R. Guggenheim Museum and Arnoldo Mondadori Editore, 1985. Two separate catalogues, in English and Italian. Catalogues include introductions by Clifford Ross (Executive Vice President, Arthur Ross Foundation) and Thomas M. Messer (Director, Solomon R. Guggenheim Museum), essays by Fred Licht and Dore Ashton, as well as the exhibition checklist. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 7 Library location: GUGG PGC 1986 .09, GUGG PGC 1986 .05 (Italian) ; GUGG PGC 1985 .04, GUGG PGC 1985 .07 (English) Each venue published a version of the catalogue: Spanish (library location: GUGG PGC 1987 .03), Catalan (library location: GUGG PGC 1987 .02), French (GUGG PGC 1986 .05) and English (GUGG PGC 1993 .02). 2. Title: Six Modern Masters from the Guggenheim Museum New York. Dates: March 10 - April 8, 1985. Venues: Peggy Guggenheim Collection. Travelled in modified form to Milan, Padiglione d'Arte Contemporanea, under the title I Maestri del Guggenheim, May 12 - July 26, 1985. Curator: Thomas M. Messer. Artists: Alexander Calder, Robert Delaunay, Naum Gabo, Vasily Kandinsky, Franz Marc and Pablo Picasso. Exhibition description: This exhibition was the first presentation at the Palazzo Venier dei Leoni of art drawn solely from the holdings of the Solomon R. Guggenheim Museum. The show united a group of pieces by Kandinsky, Marc, Picasso, Delaunay, Gabo and Calder, highlighting by inference parallel works existing in Peggy Guggenheim's collection through the use of key sections of the Solomon R. Guggenheim Museum's collection. Thomas Messer stated in his catalogue introduction: “The exhibition presented here is based upon a collection and in this sense bears some resemblance to the permanent displays that have in the past and will in the future fill the spaces of the Palazzo Venier dei Leoni during the Venetian summer. Like Peggy Guggenheim's priceless bequest, the thirty-nine selected paintings here assembled are also drawn from an already classical period in twentieth century art and may therefore be viewed and admired from a distance as are all treasures of a past age. Furthermore, among the six artists on view, no fewer than four reiterate Peggy Guggenheim's predilections as a collector while the two remaining ones convey related but separate sensibilities. Lastly, while the permanent collection in the Venetian palazzo approximates a survey of the century's first six decades, the current guest performance has made it its objective to show the work of a small number of painters and sculptors in some depth. ‘Six Modern Masters from the Guggenheim Museum in New York’ must therefore be understood as a temporary installation through which Peggy Guggenheim's permanent collection will be complemented and enhanced.” Catalogue: Messer, Thomas M. Six Modern Masters from the Guggenheim Museum New York. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1985. Messer, Thomas M. Sei maestri moderni dal Museo Guggenheim New York. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1985. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 8 Two separate catalogues, in English and Italian. Catalogues include an introduction by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation) and the exhibition checklist. Library location: GUGG PGC 1985 .01, GUGG PGC 1985 .02 (English) ; GUGG PGC 1985 .03 (Italian) IV. Title: Nove artisti della Scuola di New York. Dates: Spring 1985. Venues: Gallerie dell'Accademia, Venice. Curator: Thomas M. Messer. Artists: William Baziotes, Willem de Kooning, Sam Francis, Arshile Gorky, Robert Motherwell, Jackson Pollock, Mark Rothko, Clyfford Still, and Mark Tobey. Exhibition description: This exhibition presented a selection of works from the Peggy Guggenheim Collection for display at the Gallerie dell'Accademia, Venice. The show focused on the “New York School,” developed in the 1940s and 1950s under the patronage of Peggy Guggenheim, and featured artists who valued individual expression, spontaneity and improvisation. Philip Rylands states in the exhibition catalogue: “This is the second occasion on which The Solomon R. Guggenheim Foundation is privileged to collaborate with the Soprintendenza ai Beni Artistici e Storici of Venice in mounting a small exhibition at the Gallerie dell’Academia. This selection of paintings from the Peggy Guggenheim Collection has been devised as a sequel to the exhibition of Jackson Pollock’s paintings from the same collection which took place from January to March 1984. The nine artists, represented by eleven works, come from what has been broadly identified as the New York School. All were associated with Abstract Expressionism, a term first used in the context of American art in 1956. The movement developed during the 1940s both in terms of the maturing of a generation of young American painters, and in terms of an increasing sense of community between those artists who, if they did not share a style as such, held in common the idea of the projection of the artist’s psyche through abstract pictorial expression. This strongly individualistic credo, manifest in the diversity of the eleven paintings on the show, was rooted in the painters’ minds by their acquaintance with the European Surrealists, who moved their base of activities to New York during the Second World War.” Catalogue: Nove artisti della Scuola di New York alle Gallerie dell'Accademia di Venezia. Vicenza: Stocchiero Grafica, 1985. Bilingual catalogue, in English and Italian. Includes introduction by Francesco Valcanover (Superintendent, Beni Artistici e Storici di Venezia), preface by Philip Rylands (Administrator, Peggy Guggenheim Collection), and biographical text adapted from Lucy Flint, Peggy Guggenheim Collection: Handbook, edited by Thomas M. Messer, New York, 1983. Library location: GUGG PGC 1985 .06 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 9 1986 3. Title: Cinquant'anni di pittura europea dal Museo Guggenheim di New York / A Half- Century of European Painting 1919-1960 from the Guggenheim Museum New York. Dates: March 6 - April 14, 1986. Venues: Peggy Guggenheim Collection. Frankfurt: Schirn Kunsthalle, June 22 - August 24, 1986. Curator: Thomas Messer. Artists: Jean Arp, Max Beckmann, Georges Braque, Victor Brauner, Marc Chagall, Salvador Dalí, Robert Delaunay, Jean Dubuffet, Marcel Duchamp, Alberto Giacometti, Juan Gris, Vasily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, František Kupka, Fernand Léger, Alberto Magnelli, Franz Marc, Henri Matisse, Matta, Joan Miró, Amedeo Modigliani, László Moholy- Nagy, Piet Mondrian, Emil Nolde, Liubov Popova, Pablo Picasso, Gino Severini, Rufino Tamayo and Jacques Villon. Exhibition description: This exhibition spanned fifty years of European painting, beginning with the Cubist experiments of Picasso and Braque during the first decade of the twentieth century and ending in the postwar developments of Giacometti, Matta and Dubuffet. This survey of masterpieces from the Solomon R. Guggenheim Museum foregrounded the stylistical divergences between the artists, and traced the relationships that link them as a whole. Thomas Messer affirmed in his catalogue essay: “A Half-Century of European Painting is primarily intended as a survey of masterpieces, each individually deserving close visual scrutiny. But as the title suggests, it also carries sequential meaning encompassing many if not all of the great twentieth century painters, thereby evoking something of the complex development that by now has receded into the history of modern art, or at least that segment of it that begins towards the end of our first decade and terminates with the postwar period in 1960s.” Catalogue: Messer, Thomas M. Cinquant'anni di pittura europea dal Museo Guggenheim di New York /A Half-Century of European Painting 1919-1960 from the Guggenheim Museum New York. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editori, 1986. Bilingual catalogue in English and Italian. Includes introduction by Thomas M. Messer (Director, Solomon R. Guggenheim Collection) and the exhibition checklist. Library location: GUGG PGC 1986 .02 4. Title: Omaggio a Jean Hélion: Opere recenti / Homage to Jean Hélion: Recent Works. Dates: March 6 - April 14, 1986. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 10 Venues: Peggy Guggenheim Collection. Curators: Curated by Fred Licht and assisted by Todd Porterfield. Artist: Jean Hélion. Exhibition description: This exhibition, presented during Hélion’s lifetime, displayed his later works which were relatively unknown at the time. Conceived as an homage to Hélion, the artist was presented as a figure that refused to be conventionally categorized. As an artist and a critic, Helion’s works eschew standards applied to European and American art, both abstract and figurative. Hélion's marriage to Pegeen, Peggy Guggenheim's daughter, provided a link between the exhibition and the Peggy Guggenheim Collection. Hélion asserts in his introduction to the exhibition catalogue: “Mais que dire de ce monde contradictoire, pauvre et violent, grimaçant et luxurieux sinon que toute forme est un geste, un signal d’un sens profond qui court au fond de toute chose comme une rivière souterraine.” In his catalogue essay, Fred Licht commented on Hélion’s observation: “Light, which in Hélion's abstractions always came from a concealed source, emanates in his later works directly from the colors and becomes illumination in the metaphysical sense. It is the light as well as the extraordinary dynamic equilibrium of the linear composition which holds all these spiritual and visual polarities together. Le peintre piétiné or Le palmier de Magouche as well as most of the other works of the early 80s deal specifically with light, with consoling figures (the model, though the title describes her as trampling the artist, seems to do so with great tenderness, nudging him awake rather than inflicting pain) and recapitulates Hélion's lifelong effort to find an equilibrium between passive receptivity (the joy of seeing) with the active creativity (the joy of contributing to the glorious multiplicity of life). In Hélion's own preface to this exhibition, the detachment from the inner and outer strife mirrors the freedom with which he mingles fantasy and discipline in his last pictures.” Catalogue: Licht, Fred and Todd Porterfield. Omaggio a Jean Hélion: Opere recenti / Homage to Jean Hélion: Recent Works. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1986. Bilingual catalogue, in English and Italian. Includes introductions by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation) and Jean Hélion, and an essay by Fred Licht. Library location: GUGG PGC 1986 .01 5. Title: Peggy Guggenheim Award 1986. Dates: November 7 - 8, 1986. Venues: Peggy Guggenheim Collection. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 11 Jury: Elizabeth Baker, Roy Lichtenstein, Paolo Marzotto, Leonardo Mondadori, David Salle, and Giuseppe Santomosa. Artists: David Budd and Ruggero Savinio. Exhibition description: The Peggy Guggenheim Award 1986, jointly sponsored by Arnoldo Mondadori Editore and the Solomon R. Guggenheim Foundation, was assigned on 7th November 1986 at the Peggy Guggeheim Collection, Venice. The award was to be biannual and alternate between music, poetry and the visual arts. Through such alternating honors to creative individuals, Arnoldo Mondadori Editore and the Solomon R. Guggenheim Foundation aimed to further significant cultural exchanges in the field of contemporary art. In 1986, the award was given to one American (David Budd) and one Italian artist (Ruggero Savinio) who were honoured for their accomplishment in the field of painting. Catalogue: Peggy Guggenheim Award 1986 / Premio Peggy Guggenheim 1986. Dolo: Progetto Bobo Platania, 1986. Bilingual catalogue, in English and Italian. Includes an introduction, text by David Budd and Ruggero Savinio, and artist biographies. Library location: GUGG PGC 1986 .07 6. Title: Jean Dubuffet & Art Brut. Dates: November 16, 1986 - March 16, 1987. Venues: Peggy Guggenheim Collection. Curator: Thomas M. Messer and Fred Licht. Artists: Jean Dubuffet, Aloïse, Carlo, Paul End, Madge Gill, Laure, Raphaël Lonné, Reinhold Metz and Adolf Wölfli. Exhibition description: This exhibition paired a group of works by Art Brut practitioners with works by Jean Dubuffet. The Art Brut ensemble was originally collected by Dubuffet, who himself coined the term Art Brut, and employed this expression as part of his strategy to subvert the conventions of modern art. The show presented artworks by Dubuffet from the Solomon R. Guggenheim Museum and the Peggy Guggenheim Collection, plus other works by the artist lent by his longstanding collector Pierre Matisse and loans from the Collection d’Art Brut in Lausanne, France. Thomas Messer explains in his catalogue essay: “Dubuffet discovered that certain isolated and outcast ‘creators’ achieve their goals in a really confused, unprogrammatic way; in other words there is an art free from any formal heritage and every cultural influence, an art disdainfully indifferent to any social approbation or commercial gain and art too febrile and frenzied to lend itself to even a minimal requirement to communicate. Was it the discovery of Art Brut that launched Dubuffet’s truly original work? Or was it the abdication of his prerogative as ‘artist- zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 12 maestro’ of his works that sparked his interest in Art Brut? It is the typical academic question of the chicken and the egg and it would be idle to try to solve the question of chronological priority. Whatever it was for Dubuffet, Art Brut was not a new source of inspiration, even more anti- academic than the models; rather, Art Brut strengthened his resolve to repudiate his heritage in favor of an art without antecedents. The only lesson he learned from Art Brut was to learn no lesson, not even from Art Brut.” Catalogue: Messer, Thomas M. and Fred Licht. Jean Dubuffet & Art Brut. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1986. Bilingual catalogue, in English and Italian. Includes forward and acknowledgments by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation) and essays by Fred Licht, Thomas M. Messer and Michel Thévoz (Director, Collection d’Art Brut, Lausanne). Library location: GUGG PGC 1986 .08, UFFICIO 25 0009, MON DUBU JEAN 0001 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 13 1987 6. Title: Le eredità sconosciute di Peggy Guggenheim / Peggy Guggenheim's Other Legacy. Dates: October 1987 - January 1988. Venues: Peggy Guggenheim Collection. New York: Solomon R. Guggenheim Museum, March 6 - May 3, 1987. Curators: Melvin P. Lader and Fred Licht. Artists: Jean Arp, William Baziotes, Pietro Consagra, Theo Van Doesburg, Max Ernst, Claire Falkenstein, Otto Freundlich, David Hare, Jean Hélion, Morris Hirshfield, Hans Hofman, Gerome Kamrowski, Willem de Kooning, André Masson, Matta, Robert Motherwell, Irene Rice Pereira, Pablo Picasso, Jackson Pollock, Richard Pousette-Dart, Mark Rothko, Charles Seliger, Janet Sobel, and Laurence Vail. Exhibition description: This exhibition presented art that Peggy Guggenheim either showed or owned, but no longer in the possession of the Solomon R. Guggenheim Foundation. Nearly sixty works were on view, all of them at some time acquired or exhibited by Guggenheim in her gallery “Art of This Century”. This show sought to unveil new facets of Peggy’s commitment to the visual arts and of her dynamic activity as a promoter of modern art. Thomas Messer commented in his preface to the catalogue: “The proposal to search out and present, in exhibition form, collection items that Peggy had given during her lifetime to museums other than her own, came to us from Professor Fred Licht before he was appointed Curator of the Peggy Guggenheim Collection in Venice. Subsequently Professor Melvin P. Lader approached us with a project that would concentrate upon Peggy’s activities at ‘Art of This Century’. This exhibition is therefore a composite of the two, originally separate notions. Each of the originators assumed curatorial responsibility for the subject of his particular interest.” Catalogue: Lader, Melvin P. and Fred Licht. Peggy Guggenheim’s Other Legacy. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1987. Lader, Melvin P. and Fred Licht. Le eredità sconosciute di Peggy Guggenheim. Da Max Ernst a Jackson Pollock. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1987. Two separate catalogues, in English and Italian. Catalogues include foreword and acknowledgments by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation) and essays by Melvin P. Lader and Fred Licht. Library location: GUGG PGC 1987 .06, UFFICIO 26 0006 (English) ; GUGG PGC 1987 .05, UFFICIO 26 0007 (Italian) zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 14 1988 7. Title: Tre artisti italo-americani: Giorgio Cavallon, Costantino Nivola, Italo Scanga / Three Italo-American Artists: Giorgio Cavallon, Costantino Nivola and Italo Scanga. Dates: March 2 - April 4, 1988. Venues: Peggy Guggenheim Collection. Cagliari: Cittadella dei Musei, July 27 - August 28, 1988; Bari: Castello Svevo, September 10 - October 12, 1988. Curator: Fred Licht. Artists: Giorgio Cavallon, Costantino Nivola, and Italo Scanga. Exhibition description: This was the first exhibition of strictly contemporary art to be presented at the Palazzo Venier dei Leoni. The show comprised art by three artists who were born in Italy but lived and worked in the United States. Despite the fact that the artists, Giorgio Cavallon, Costantino Nivola and Italo Scanga, were established figures within the American artistic field, their work had rarely been displayed in Italy. This presentation thus set out to introduce the practice of these three artists and to promote awareness of contemporary art in Italy. Fred Licht offers a curatorial justification of the exhibition in his catalogue essay: “The main intention behind this exhibition is to present to the Italian public the work of three artists who are Italian by birth, but whose art has matured in the context of American culture. It is in America that they have established themselves, with both the critics and the public. In Italy they are known only to elite and avant-garde critics. The Italian public can hardly be expected to know their works, since the exhibitions that would make this possible have not yet taken place […] Quite apart from this first and rather obvious purpose, the exhibition is intended to raise a number of awkward questions – questions which are of considerable interest for Italy whose culture has for some time been developing not only on Italian national territory, but also in faraway places where there is by now a stable Italian population. Without wishing to arouse chauvinistic sentiments, the curator of this exhibition gives importance to enquiring into the nature and worth of the survival of certain cultural traditions in the work of Italian artists that live abroad, artistic traits that in Italy may have been transformed with time or may even have disappeared entirely.” Catalogue: Licht, Fred. Tre artisti italo-americani: Giorgio Cavallon, Costantino Nivola, Italo Scanga / Three Italo- American Artists: Giorgio Cavallon, Costantino Nivola and Italo Scanga. Venice: The Solomon R. Guggenheim Foundation and Arnoldo Mondadori Editore, 1988. Bilingual catalogue, in English and Italian. Includes introductions by Thomas M. Messer (Director, Solomon R. Guggenheim Foundation), Emanuele Sanna (President, Regional Council of Sardegna) and Federico Baroschi (President, Province of Cagliari), and an essay by Fred Licht. Library location: GUGG PGC 1988 .01, UFFICIO 25 0003, ESPO BARI 1988 .01 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 15 V. Title: Arte italiana del dopoguerra dai musei Guggenheim / Postwar Italian Art from the Guggenheim Museums. Dates: June - July, 1988. Venues: Palazzo Ducale, Mantua. Curator: Fred Licht. Artists: Afro Basaldella, Edmondo Bacci, Enrico Baj, Gianfranco Baruchello, Alberto Burri, Giuseppe Capogrossi, Sandro Chia, Francesco Clemente, Pietro Consagra, Enzo Cucchi, Piero Dorazio, Lucio Fontana, Alberto Magnelli, Ezio Martinelli, Umberto Mastroianni, Luciano Minguzzi, Guido Molinari, Vettor Pisani, Armando Pizzinato, Arnaldo Pomodoro, Attilio Salemme, Giuseppe Santomaso, Tancredi, and Emilio Vedova. Exhibition description: Arte italiana del dopoguerra dai musei Guggenheim / Postwar Italian Art from the Guggenheim Museum was organized by the Solomon R. Guggenheim Foundation for the Palazzo Ducale, Mantua. The display brought together well known artists such as Chia, Clemente and Cucchi, with lesser known figures who had only recently begun to be appreciated. The best example of this is the artist Tancredi, who was championed by Peggy Guggenheim. This exhibition illustrated the emergence of Italy as force in the development of an international avant-garde, and conveyed the openness and interest that Americans felt for Italian art during the postwar years. Fred Licht introduced the exhibition in his catalogue essay: “Though we have excellent monographs of the artists who contributed to the development of Italian 20th century art and though we have major studies of whole movements (such as Futurism, Arte Metafisica, etc…) within that development, we are still far from having available to us a history of modern Italian art that puts its immensely varied and often antagonistic tendencies into proper context within the history of modern Italy or in the still more interesting context of 20th century European and American art. The present exhibition proposes to illustrate one particularly fascinating page of such a text; it approaches the art of post-WWII Italy from the point of view of the impact it had outside Italy. By bringing together a representative selection of Italian art purchased by the Solomon R. Guggenheim Museum and the Peggy Guggenheim Collection in Venice it becomes possible to trace an outline of those tendencies and those individuals who were of special importance beyond the Italian scene.” Catalogue: Licht, Fred. Arte italiana del dopoguerra dai musei Guggenheim / Postwar Italian Art from the Guggenheim Museum. Venice: Cataloghi Marsilio and The Solomon R. Guggenheim Foundation, 1988. Bilingual catalogue, in English and Italian. Includes introductions by Ernesto Scattolini (President, Azienda di Promozione Turistica, Mantova) and Philip Rylands (Deputy Director, Peggy Guggenheim Collection), an essay by Fred Licht and the exhibition checklist. Library location: GUGG PGC 1988 .02, UFFICIO 25 0012 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 16 8. Title: Omaggio a Lucio Fontana / Homage to Lucio Fontana. Dates: November 4, 1988 - March 5, 1989. Venues: Peggy Guggenheim Collection. New York: The Murray and Isabella Rayburn Foundation, April 12 - June 16, 1989. Curator: Fred Licht. Artist: Lucio Fontana. Exhibition description: This exhibition was not only a tribute to Fontana, but also an expression of the importance that the Peggy Guggenheim Collection attached to the accession of Concetto spaziale (1965), a gift from the Fondazione Lucio Fontana. Fred Licht observed in his catalogue essay: “Now, twenty years after Fontana’s death, we can begin to hope for a more valid understanding of his vast achievement. Two major retrospectives have been organized and the enthusiastic response to both of them is proof enough that the period of hesitancy and doubt has been overcome. The present exhibition does not in any way claim to rival the monumental exhibitions (so surprisingly different in spite of their anthological character) mounted in Munich and Paris. The great retrospectives have the merit of exhibiting the range, the variety and the continuity of Fontana’s work. They are the foundation on which all future studies must rest. Only now is it possible to confront the task of characterizing and interpreting the many differing aspects of Fontana’s work. Under the impact of the past two great retrospective exhibitions, it seemed to us that it might be possible to take one small step forward in a modest but more defined consideration of Fontana’s resolution of the antagonistic tension between two- dimensional and three-dimensional imagery. Our first hope was to attack the problem by assembling the works that have always been categorized as sculpture. The impossibility of such an undertaking by a museum that disposes of relatively small spaces became immediately evident. However, examining Fontana’s paintings in relation to traditional avant-garde principles of sculpture proved almost more stimulating than the earlier course of studying Fontana’s ceramics and bonzes. At the same time, we are fully aware that the exhibition and its goal are fragmentary in many ways. We can only hope that this fragmentary nature will be understood for what it is: a change to future examinations and a small contribution to our deepening knowledge of Fontana’s maddeningly enigmatic yet satisfying work.” Catalogue: Licht, Fred. Omaggio a Lucio Fontana / Homage to Lucio Fontana. Venice: Cataloghi Marsilio, 1988. Bilingual catalogue, in English and Italian. Includes preface and acknowledgments by Thomas Krens (Director, Solomon R. Guggenheim Foundation), essay by Fred Licht, biography and the exhibition checklist. Library location: GUGG PGC 1988 .04, UFFICIO 25 0013, MONO FONT LUCI 0002 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 17 1989 No temporary exhibitions in 1989. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 18 1990 9. Title: The Guggenheim Museum Salzburg: A project by Hans Hollein / Das Guggenheim Museum Salzburg: Ein Projekt von Hans Hollein. Dates: May 22 - July 15, 1990. Venues: Peggy Guggenheim Collection. Salzburg: Residenzgalerie, July 25 - September 1, 1990. Curators: Heinrich Klotz and Thomas Krens. Architect: Hans Hollein. Exhibition description: This show was a response to the initiative of establishing a Guggenheim museum in Austria. In 1989, an architectural competition for the building of a new museum in Salzburg took place. The Solomon R. Guggenheim Foundation was considering the possibility of operating an exhibition facility in that city. Should the museum have been realized, the Zentrum für Kunst und Medientechnologie, Karlsruhe and the Solomon R. Guggenheim Foundation would have collaborated in developing a program of contemporary art exhibitions. Hans Hollein’s project had won the architectural design competition to develop the proposed museum. This exhibition was the presentation of his project. The museum was to be located in the historical centre of Salzburg inside the Mönchberg. Wieland Schmied introduces the exhibition in his catalogue essay, “The plan to establish a Guggenheim Museum in Salzburg was born at a fortunate moment. Two ideas had come together; the desire of the Guggenheim Foundation to expand its presence in Europe, and the plans of the Viennese architect Hans Hollein for a museum in Salzburg built into the rock. From the Guggenheim perspective, its operation of the Peggy Guggenheim Collection in Venice provided an incentive to balance its overall program with a stronger European presence. In Salzburg, in 1989 an architectural competition for a museum at the scale suggested by the design. Political controversies developed and the project came to a standstill. At that moment, Thomas Krens, the new director of the Guggenheim, was shown plans of the Salzburg project by friends who lived in Salzburg and was immediately fascinated. His initial doubts about the suitability of a Guggenheim Museum began to dissolve as he examined the plans and the situation in detail. He realized that the quality of the architecture offered a unique and potentially historic opportunity.” Hans Hollein states, “The project takes its inspiration not only from the purpose to which it is to be dedicated, but indeed from the rock of the Mönchberg mountain in Salzburg. The conception is deliberately based on the dialectic and the interrelations between the urban space on the outside and the spaces in the interior. The idea is to create a museum that will be visited not only for its exhibits but also for the experience of spaces in the rock. Such a concept meets the heterogeneity of the visitors and their different educational backgrounds and interests, as it invites them to confront themselves with the exhibits while at the same time exposing them to yet another experience of a natural environment.” Catalogue: zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 19 Klotz, Heinrich and Thomas Krens. The Guggenheim Museum Salzburg: A Project by Hans Hollein / Das Guggenheim Museum Salzburg: Ein Projekt von Hans Hollein. Austria: The Solomon R. Guggenheim Foundation, Zentrum für Kunst und Medientechnologie, Karlsruhe, and Residenz Verlag, 1990. Bilingual catalogue, in Italian and German. Includes acknowledgements by Heinrich Klotz (Director, Zentrum für Kunst und Medientechnologie, Karlsruhe) and Thomas Krens (Director, Solomon R. Guggenheim Foundation), essays by Thomas Krens and Wieland Schmied, and a project description by Hans Hollein. Library location: GUGG PGC 1990 .01, UFFICO 28 0010, RARI B 000 0043 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 20 1991 10. Title: Arte Moderna e Contemporanea / Contemporary Art in a Modern Context. Dates: September 9, 1990 - September 9, 1991. Venues: Peggy Guggenheim Collection. Curators: Germano Celant, Lisa Dennison and Michael Govan. Artists: Constantin Brancusi, Georges Braque, Alexander Calder, Joseph Cornell, Salvador Dalí, Max Ernst, Walter de Maria, Dan Flavin, Alberto Giacometti, Albert Gleizes, Juan Gris, Donald Judd, Jannis Kounellis, Vasily Kandinsky, Fernand Léger, Joan Miró, René Magritte, Mario Merz, Jean Metzinger, Piet Mondrian, Robert Morris, Giulio Paolini, Giuseppe Penone, Antoine Pevsner, Pablo Picasso, Michelangelo Pistoletto, Jackson Pollock, Robert Ryman, Richard Serra, Georges Vantongerloo, and Gilberto Zorio. Exhibition description: This exhibition created a series of aesthetic dialogues or confrontations by pairing contemporary art from the Solomon R. Guggenheim Museum with the modern masterpieces that belong to the Peggy Guggenheim Collection. For instance, Untitled (1963), a neon light sculpture by Dan Flavin, was displayed next to Composition No. 1, by Piet Mondrian. Like Mondrian, Flavin eschewed the limits imposed by frames, emphasizing instead elementary forms, creating non- hierarchical relationships in his compositions. But while Flavin turned to artificial, industrial light, Mondrian embraced painting as the privileged medium by which to distill the mundane world to its pure essence and achieve universality and spirituality. Germano Celant, Lisa Dennison and Michael Govan state in the exhibition brochure: “Gli storici d’arte discordano se sia preferibile fissare l’inizio dell’arte moderna con le innovazioni pittoriche avvenute alla fine dell’Ottocento o con i più radicali lessici artistici della prima parte del Novecento, riferendosi in particolare alla nascita del Cubismo. Ma delimitare la cornice temporale dell’arte moderna è compito forse meno rilevante che identificarne e definirne le caratteristiche peculiari. L’arte moderna si è distinta attraverso il rifiuto della rappresentazione tradizionale della pittura e della scultura e si è manifestata adottando nuovi, rivoluzionari stili come nel caso dell’Astratismo e del Surrealismo. L’arte moderna è strettamente legata alla comparsa di un’avanguardia a sua volta contraddistinta da una persistente innovazione nel campo dell’espressione. Implicitamente nelle sperimentazione tecniche e artistiche dell’avanguardia era spesso presente una fede utopistica nella capacità dell’arte di modificare radicalmente il sistema politico e sociale. L’evoluzione artistica dell’avanguardia riflette inoltre una più ampia e diversa consapevolezza spaziale che coincide con l’incalzante progresso tecnologico e scientifico. Le tendenze moderniste che si erano affermate a avevano trovato, nel primo quarto di secolo, la loro sede ideale in Europa, ricevettero un nuovo impulso a New York, nelle opere dei pittori dell’Espressionismo astratto. Egualmente, rimane aperto il dibattito su quando fissare il termine storico dell’epoca moderna e ancor più complicato risulta come denominare i successivi movimenti artistici. Nonostante questo, artisti, critici, e storici sono generalmente concordi che il Novecento tende a frenare l’introducibile spirito di innovazione che aveva caratterizzato il Modernismo, lasciando lentamente il posto ad un’arte più disincanta, meno ansiosa di idealizzare il progresso e più interessata invece ad interrogarsi sul modo in cui tale progresso viene misurato. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 21 […] Questa istallazione presenta opere di artisti americani e italiani del periodo compreso tra il 1960 e il 1990, in contrapposizione a opere e pittura della prima metà del Novecento. Le opere d’arte contemporanea provengono dalla collezione del museo Solomon R. Guggenheim di New York, mentre le opere d’arte moderna appartengono alla collezione Peggy Guggenheim di Venezia. In ciascuna sala di Palazzo Venier dei Leoni, il lavoro di un artista contemporaneo è messo a diretto confronto ad opere della prima metà del Novecento.” Donations: On the occasion of this exhibition, Untitled, 1989, and If the Form Vanishes Its Root Is Eternal (Se la forma scompare la sua radice è eterna), 1982-89, were donated by the artist Mario Merz to the Solomon R. Guggneheim Foundation, Venice. Catalogue: Brochure in English and Italian. Celant, Germano, Dennison, Lisa, and Michael Govan. Modern and Contemporary / Arte moderna e contemporanea a confronto. Verona: EBS, 1991. Library Location: PGC Exhibition Publications Overstock Archive (English and Italian) zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 22 1992 11. Title: Omaggio a Gastone Novelli / Homage to Gastone Novelli. Dates: January - April, 1992. Venues: Peggy Guggenheim Collection. Curator: Fred Licht. Artist: Gastone Novelli. Exhibition description: This exhibition celebrated the entry of four paintings by Gastone Novelli into the Peggy Guggenheim Collection, which had been gifted by the artist’s heirs. The paintings Linea, Dialettica, Un obelisco per la memoria and Tonnerre Printanier are dated only a few months before Novelli’s death, in 1968. The four paintings together form a compositional unit. The show placed them in the context of other works by Novelli. It focused on Novelli’s experiment with different mediums and techniques. Emphasis was placed on the artist’s language of signs, a personal symbolism related to alchemical transition, the undiscovered, the indecipherable, and different forms of journeys or voyages. Fred Licht explains in his introduction, “Without bringing the collection up-to-date, without presenting new artistic developments, any museum risks spiritual atrophy. This risk is doubtably great in the case of the Guggenheim Foundation. It was the firm resolve of its founders to champion new artistic possibilities, simultaneously maintaining the highest standards of quality and giving the collection as a whole a highly distinct and very coherent character. Every addition to the collection must therefore represent highly original directions without ever losing sight of the collection’s personality and intent. Keeping these imperatives in mind, the director turned to the Lucio Fontana Foundation three years ago and obtained the donation of a major work, thus giving greater amplitude to the dialogue between Italian painting in relation to the vast range of international art: a dialogue of particular importance also to Peggy Guggenheim. A year ago, with the same purpose in mind, we approached the heirs of Gaston Novelli. If the recently aquired Fontana opened a new chapter in this presentation of Italian art, it was only fitting to include a counterweight that would represent the manifold aspects of the Italian contribution to the development of modern art. Only Novelli, a revolutionary impelled by gentleness instead of rage, could propose a riposte to Fontana’a intransigent rigor. At the same time, Novelli was endowed with a talent that corresponds entirely to the demands and the choices of the Guggenheim Foundation. Novelli fits seamlessly alongside such artists as Calder, Kandindky, Klee and Pollock. His lyricism is extremely disciplined, his fundamental seriousness expresses itself even in moments of capricious spontaneity.” Donations: The following works by the artist were donated by Ivan Novelli to the Solomon R. Guggenheim Foundation, Venice: Dialectic (Dialettica), 1968; Line (Linea), 1968; An Obelisk for Memory (Un obelisco per la memoria), 1968; Tonnerre printanier, 1968. Catalogue: zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 23 Fuso, Annarita. Omaggio a Gastone Novelli / Homage to Gastone Novelli. Venice: The Solomon R. Guggenheim Foundation, 1992. Bilingual catalogue, in English and Italian. Includes introductions by Fred Licht and Ivan Novelli, an essay by Annarita Fuso and artist biography. Library location: GUGG PGC 1992 .01, UFFICIO 25 0008 12. Title: Arshile Gorky: Works on Paper / Opere su carta. Dates: April 16 - June 28, 1992. Venues: Peggy Guggenheim Collection. Rome: Palazzo delle Esposizioni, October 14 - November 30, 1992; Lisbon: Fundação Calouste Gulbenkian, Centro de Arte Moderna, July - August, 1993. Curators: Philip Rylands and Matthew Spender. Artist: Arshile Gorky. Exhibition description: This exhibition presented works on paper by Arshile Gorky. The show placed on view Gorky’s adaptation of different styles and the variety of his working methods with works from his whole career. Thomas Krens comments in his preface. “Both Gorky and Peggy sought to fuse the art of the Old World and the New. The first part of this exhibition demonstrates Gorky’s painstaking, even scholarly absorption of the techniques pioneered by modernism’s old masters. What emerges in Gorky’s work, and in the second half of this exhibition, is a profoundly moving art, whose depths can be found in his exceptional talent as a draughtsman and in the influences on his art of the extraordinary drama of his life and the cultural heritage of his native Armenia. Gorky’s genius allowed him a special place in the first generation of American Abstract Expressionists, whose work was to dominate Western art for a generation and whose influence is still felt today.” In his catalogue essay, Melvin P. Lader elucidates: “Gorky’s historical position thus remains problematic. He spoke of his desire to become a link in the unbroken chain of art’s evolution, to add his name to the great masters of the past who had built upon tradition and carried art into new realms. Inherent in Gorky’s hope was the belief than an artist who becomes the newest link in the chain of art also extends a hand to the artists of the future. No better analogy could be drawn to relate Arshile Gorky’s historical significance, for he provided an essential point of contact between surrealism and abstract expressionism.” Catalogue: Rylands, Philip and Matthew Spender. Arshile Gorky: Works on Paper / Opere su carta. Rome: The Solomon R. Guggenheim Foundation, 1992. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 24 Bilingual catalogue, in English and Italian. Catalogue includes preface and acknowledgements by Thomas Krens, (Director, Solomon R. Guggenheim Foundation), texts by André Breton and Arshile Gorky, and an essay by Melvin P. Lader. Each venue published a version of the catalogue: Rome (Bilingual catalogue, English and Italian, library location: GUGG PGC 1992 .11) and Lisbon (Bilingual catalogue, English and Portuguese, library location: GUGG PGC 1992 .08). Library location: GUGG PGC 1992 .10 (English) ; GUGG PGC 1992 .09 (Italian) 13. Title: Giuseppe Santomaso. Lettere a Palladio / Giuseppe Santomaso. Letters to Palladio. Dates: December, 1992 - March, 1993. Venues: Peggy Guggenheim Collection. Curator: Fred Licht. Artist: Giuseppe Santomaso. Exhibition description: This exhibition was conceived as a tribute to Giuseppe Santomaso who, along with Emilio Vedova, befriended Peggy Guggenheim upon her arrival in Venice in 1948. The show presented a group of Santomaso’s most important works: the series Letters to Palladio, 1977. According to curator Fred Licht, these seven paintings are the “summa” of Santomaso’s achievements, and should be deemed not just as “letters” from an artist to an architect, but as a “correspondence” between them, that is, a dialogue encompassing profound aesthetic appreciations. In his catalogue essay, Fred Licht analyzes this series of paintings in relation to the possible points of contact between Santomaso and Palladio: “Seizing on Palladio’s extraordinary vision, Santomaso created in his Letters to Palladio not only one of the supreme aesthetic interpretations of Venice but also made this interpretation valid and available to the world much as Palladio’s work had, in its time, given international currency to ideas and sensibilities that were originally local and narrowly circumscribed. The breadth of spatial experience and the panoramic sweep of these paintings constitute their most immediately satisfying attraction. That this effect is not superficial or ephemeral but gains in depth as we continue to contemplate Santomaso’s work is due to the intensity which the artist brought to his dialogue with the great Renaissance architect.” Catalogue: Licht, Fred. Giuseppe Santomaso. Lettere a Palladio / Giuseppe Santomaso. Letters to Palladio. Venice: The Solomon R. Guggenheim Foundation, 1992. Bilingual catalogue, in English and Italian. Catalogue includes an introduction by Thomas Krens, (Director, Solomon R. Guggenheim Museum), essays by Carlo Bertelli and Fred Licht, and an artist biography. Library location: GUGG PGC 1992 .02 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 25 1993 14. Title: Drawing the Line Against Aids. Dates: June 8 - 13, 1993. Venues: Peggy Guggenheim Collection. New York: Guggenheim Museum SoHo, October 6 - 19, 1993. Curators: John Cheim, Diego Cortez, Carmen Gimenez and Klaus Kertess. Artists: Carla Accardi, Afrika, Curtis Anderson, Giovanni Anselmo, John Armleder, Charles Arnoldi, Richard Artschwager, Frank Auerbach, Donald Baechler, Marco Bagnoli, John Baldessari, Miguel Barcelo, Matthew Barney, Jean-Michel Basquiat, Mike Bidlo, Ross Bleckner, Alighiero e Boetti, Jonathan Borofsky, Frédérick-Bruly Bouabré, Louise Bourgeois, James Brown, Grisha Bruskin, Peter Cain, Alexander Calder, Saint Clair Cemin, Sandro Chia, Francesco Clemente, George Condo, Tony Cragg, Enzo Cucchi, Hanne Darboven, Richard Deacon, David Deutsch, Braco Dimitrijevic, Jim Dine, Jiri Georg Dokoupil, Carroll Dunham, Pepe Espalieu, Lyonel Feininger, Eric Fischl, Louise Fishman, Sylvie Fleury, Günter Förg, Gilbert & George, April Gornik, Robert Graham, Robert Greene, Philip Guston, Federico Guzman, Peter Halley, Keith Haring, Georg Herold, Eva Hesse, Jenny Holzer, Rebecca Horn, Roni Horn, Shirazeh Houshiary, Ralph Humphrey, Michael Hurson, Roberto Juarez, Donald Judd, Ilya Kabakov, Anish Kapoor, Alex Katz, Mike Kelley, Ellsworth Kelly, Martin Kippenberger, R. B. Kitaj, Franz Kline, Martin Kline, Jeff Koons, Joseph Kosuth, Lee Krasner, Guillermo Kuitca, Jonathan Lasker, Annette Lemieux, Barry Le Va, Sherrie Levine, Sol Lewitt, Roy Lichtenstein, Glenn Ligon, Nino Longobardi, Robert Mangold, Brice Marden, Carlo Maria Mariani, Matta, Victor Matthews, Paul McCarthy, Suzanne McClelland, Mario Merz, Marisa Merz, Joan Mitchell, Tatsuo Miyajima, Aldo Mondino, Malcom Morley, Elizabeth Murray, Juan Muñoz, Alice Neel, Joan Nelson, Cady Noland, Manuel Ocampo, Albert Oehlen, Luigi Ontani, Mimmo Paladino, Giulio Paolini, Izhar Patkin, Giuseppe Penone, Beverley Pepper, Raymond Pettibon, Ellen Phelan, Jack Pierson, Lari Pittman, Stephen Prina, Richard Prince, Martin Puryear, Robert Rauschenberg, San Reveles, Gerhard Richter, Larry Rivers, Alexis Rockman, Andrei Roiter, Mimmo Rotella, Edward Ruscha, David Salle, Juliao Sarmento, Kenny Scharf, Tony Scherman, Julian Schnabel, Richard Serra, Joel Shapiro, Jose Maria Sicilia, Mario Schifano, Jim Shaw, Kiki Smith, Ray Smith, Tony Smith, Keith Sonnier, Ettore Spalletti, Saul Steinberg, Pat Steir, Niki de Saint Phalle, Billy Sullivan, Philip Taaffe, Antoni Tapies, Rosemarie Trockel, Alan Turner, Cy Twombly, Meyer Vaisman, Andy Warhol, Lawrence Weiner, John Wesley, Franz West, Rachel Whiteread, Sue Williams, Robert Wilson, Terry Winters, Christopher Wool, Michele Zalopany and Giloberto Zorio. Exhibition description: Drawing the Line Against Aids was a broad group exhibition organized in conjuction with Art Against AIDS Venezia, under the aegis of the 45th Venice Biennale, to benefit the American Foundation for AIDS Research (AmFAR) International and the following Italian AIDS charities: ANLAIDS, Caritas Italiana, CEIS, Forum AIDS and LILA. It was the first exhibition to be held in exhibition spaces leased from the Fondazione Levi behind Palazzo Venier dei Leoni. Catalogue: zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 26 Cheim, John, Cortez, Diego, Gimenez, Carmen and Klaus Kertess. Drawing the Line Against Aids. New York: The American Foundation for Aids Research (AmFAR), 1993. English catalogue. Includes texts by Achille Bonito Oliva (Curator, 45th Venice Biennale), Mathilde Krim (Founding Co-Chair Chairman of the Board, AmFAR), Elizabeth Taylor (Founding National Chairman, AmFAR), John Cheim, Diego Cortez, Carmen Gimenez and Klaus Kertess. Library location: GUGG PGC 1993 .05 15. Title: The Consumation of the Three Graces. Dates: June 9 - October 17, 1993. Venues: Peggy Guggenheim Collection. Curators: Rebecca Horn. Artists: Rebecca Horn Exhibition description: On the occasion of Rebecca Horn’s Guggenheim New York retrospective exhibition and the 45th Venice Art Biennale, the Peggy Guggenheim Collection presented a special installation of her work, The Consumation of the Three Graces. The work was installed in the newly established Fondazione Levi Garden located at the museum site, in front of Palazzo Venier dei Leoni. The Consumation of the Three Graces was composed of three plexiglass funnels filled with died blue water supported by a steel construction. Catalogue: No exhibition catalogue. 16. Title: Immagini Italiane. Dates: September 1 - November 1, 1993. Venues: Peggy Guggenheim Collection. Naples: Museo Diego Aragona Pignatelli Cortes, November 15, 1993 - January 9, 1994; New York: Murray and Isabella Rayburn Foundation, January - February, 1994. Curator: Exhibition organized by Aperture Foundation. Artists: Olivo Barbieri, Gabriele Basilico, Letizia Battaglia, Ernesto Bazan, Gianni Berengo Gardin, Antonio Biasiucci, Anton Giulio Bragaglia, Velio Cioni, Francesco Clemente, Fabrizio Ferri, Luigi Ghirri, Mario Giacomelli, Paolo Gioli, Paolo Giordano, Piero Guerrini, Nanda Lanfranco, Mimmo Jodice, Fosco Maraini, Martino Marangoni, Paolo Monti, Davide Mosconi, Ugo Mulas, Franco Pinna, Armando Rotoletti, Marialba Russo, Ferdinando Scianna, Tazio zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 27 Secchiaroli, Enzo Sellerio, Antonio Sferlazzo, Sergio Spinelli, Gorge Tatge, Oliviero Toscani, Giuliana Traverso, Franco Vaccari, Luigi Veronesi, Franco Zecchin and Natale Zoppis. Exhibition description: Immagini italiane showcased photography in Italy. The exhibition was articulated as a survey, considering the myriad of aspects of national photography, from the aerial views that served as fascist propaganda during the 1930s to the contemporary images captured by artists such as Luigi Ghirri and Gabriele Basilico. The show included works from all around the country and encompassed photography by journalists, artists, fashion photographers and advertising professionals. Melissa Harris, Senior Editor of Aperture magazine, comments in her catalogue introduction: “While Italian artists working in other media are touted as visionaries, Italian photography remains virtually unviewed. Yet there are countless compelling and innovative Italian photographers exploring and working in all genres. The revelation of Italian photography, the experience of Italy as seen through the sensibilities of its own photographers, and Aperture’s mission to publish work with which our audience may not be familiar – these are the forces that fueled Imagini Italiane.” Partnerships: Exhibition organized by Aperture Foundation. Catalogue: Harris, Melissa. Aperture. Immagini italiane. Milan: Aperture Foundation Inc. and Edizioni Charta, 1993. Two catalogues, in English and Italian. Includes introduction by Melissa Harris (Senior Editor, Aperture magazine) and texts by Lina Wertmuller, Ron Jenkins, Dario Fo, Massimo Di Forti, Roberta Valtorta, Paolo Costantini, Vincenzo Consolo, Giovanna Calvenzi, Antonella Russo, Carlo Bertelli, Furio Colombo and Karen Frome. Library location: UFFICIO 29 0004 (English) ; GUGG PGC 1993 .01 (Italian) 17. Title: do-it Post-it. Dates: October 16 - 22, 1993. Venues: Peggy Guggenheim Collection. Artists: Gruppo “C’è tutto novembre per pensarci” (Tommaso Amato, Anna Barile, Paolo Bocchi, Matteo Calvi, Michele Calzavara, Laura Cazzaniga, Beppe Finessi, Lorenzo Fiorini, Marco Manini, Antonio Ottoboni, Errico Rizieri Restelli and Gaddo Savi.) Exhibition description: The Peggy Guggenheim Collection hosted the initiative “do-it Post-it,” inspired by the Post-it of 3M. 3M Italy has been a friend and supporter of the Peggy Guggenheim Collection for many years. This exhibition initiative coincided with the introduction of 3M Italy into Intrapresae zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 28 Collezione Guggenheim, an association of companies that sustains the cultural activities of the Collection. Catalogue: Mendini, Alessandro. Do-it Post-it. Gruppo “C’è tutto novembre per pensarci.” Milan: Gruppo 3M Italia, 1993. Library location: GUGG PGC 1993 .07 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 29 1994 18. Title: The Artist and the Book in Twentieth Century Italy. Dates: March 23 - May 22, 1994. Venues: Peggy Guggenheim Collection. New York: Museum of Modern Art, October 15, 1992 - February 16, 1993. Curator: Ralph Jentsch. Artists: Umberto Boccioni, Alberto Burri, Massino Campigli, Giuseppe Capogrossi, Carlo Carrà, Bruno Cassinari, Pietro Consagra, Roberto Crippa, Giorgio de Chirico, Fortunato Depero, Filippo de Pisis, Lucio Fontana, Renato Guttuso, Carlo Levi, Alberto Magnelli, Marino Marini, Arturo Martini, Umberto Mastroianni, Fausto Melotti, Amedeo Modiglioni, Giorgio Moranti, Mimmo Paladino, Claudio Parmiggiani, Ottone Rosai, Giuseppe Santomaso, Emilio Scanalino, Gino Severini, Ardegno Soffici, Tancredi, Emilio Vedova, Luigi Veronese, among others. Exhibition description: This exhibition presented a selection of books illustrated by notable Italian artists of the twentieth century. The show explored the wide range of artistic expressions covered by the term “livre d’artiste,” including books illustrated by artists for texts, generally printed in limited editions, as well as books which featured manifestos or other statements written by artists who have designed the covers but not illustrated the content. The display also presented “book-objects,” books with little or any text, just visual poetry, photographs, captions, isolated colors or blank pages. The Artist and the Book in Twentieth Century Italy was accompanied by a catalogue with the most complete bibliography of artists and illustrated books in twentieth-century Italy to date. Vincenzo Filacavai observes in his catalogue essay: “Italian artists have made a vital contribution to the development of the book over the last hundred years, and this form of artistic expression is now an inseparable part of the twentieth-century art heritage. The illustrators are artists who have figured prominently in all the Italian and non-Italian art movements of this century. Yet it is not possible to trace the history of twentieth-century art by studying ‘livres d’artiste’ in isolation, it is, however, equally unthinkable to omit such books from any serious appraisal of the art of our time.” Catalogue: Ralph Jentsch. The Artist and the Book in Twentieth Century Italy. Turin: Umberto Allemandi & C., 1992. Two catalogues, in English and Italian. Catalogues include acknowledgments and introduction by Ralph Jentsch, an essay by Vincenzo Filacavai, an appendix on Futurist books by Luciano Caruso, and a bibliography. Full catalogue with 549 artists’ books and contributions by Mirella Bentivoglio, Luciano Caruso, Lucia Chimirri, Gabriella Di Cagno, Vincenzo Filacavai, Stefania Gori and Lucia Tonini. Library location: GUGG PGC 1994 .09 (English) ; GUGG PGC 1994 .08 (Italian) zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 30 19. Title: Josef Albers. Vetro, colore e luce / Josef Albers. Glass, Color, and Light. Dates: March 30 - July 10, 1994. Venues: Peggy Guggenheim Collection. Rome: Palazzo delle Esposizioni, July 21 - October 31, 1994; Valencia: IVAM Centre Julio Gonzalez, November 3, 1994 - January 8, 1995; Bottrop: Josef Albers Museum, February 12 - April 16, 1995; New York: Guggenheim Museum SoHo, June 7 - September 17, 1995. Curators: Fred Licht and Nicholas Fox Weber. Artist: Josef Albers. Exhibition description: Josef Albers. Vetro, colore e luce was the first exhibition solely devoted to the works in glass by Josef Albers. Albers’s works in glass are central to his artistic trajectory. Glass was not only his medium of preference during the years he spent at the Bauhaus, both as student and teacher, but was also fundamental to his exploration of visual language and abstraction. Composed of over fifty pieces, most of them on loan from the Josef Albers Foundation, this exhibition displayed the manner in which Albers uniquely exploited the aesthetic posibilities of glass: transparency, light and color. Nicholas Fox Weber affirms in his catalogue essay: “As with any medium in which Josef Albers worked, the artist noticed what others were doing, but still found in it unique and unprecedented possibilities. In glass, his tireless experimentation and jubilant immersion in both abstraction and other aspects of Modernism resulted in an extraordinary and highly varied body of work, as Professor Licht explains. Glass permits the process of transformation so pivotal to Albers’s notion of the value of art. For his early assemblages, he picked up discarded fragments at the Weimar town dump. Garbage became jewels. In later works, glassmakers’ samples acquire a celestial radiance; an orderly grid becomes a source of euphoria; stencils and the machinery of sandblasting help make objects that dance with rhythmic leaps. In the opaque works, the artist achieved an illusion of translucency, so that light that is actually reflected appears to be emanating from a direct source. A cool geometry gives voice to luxuriance and freedom.” Partnerships: Exhibition organized by the Peggy Guggenheim Collection, Venice, and The Josef Albers Foundation, Orange, Connecticut. Donations: From the East, 1963, was donated by The Josef and Anni Albers Foundation to the Solomon R. Guggenheim Foundation, Venice in honor of Philip Rylands for his continued commitment to the Peggy Guggenheim Collection. Catalogue: Rylands, Philip, Fox Weber, Nicholas and Fred Licht. Josef Albers. Vetro, colore e luce. New York: The Solomon R. Guggenheim Foundation, 1994. Catalogue in Italian, English and Spanish. Includes introduction by Philip Rylands (Deputy Director, Peggy Guggenheim Collection), essays by Nicholas Fox Weber, Fred Licht and Brenda Danilowitz, the exhibition checklist, an appendix of artworks lost or destroyed and an appendix of zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 31 architectural projects in glass, a text by Josef Albers, a chronology, an exhibition history and a bibliography. Library location: MONO ALBE JOSE .0009 (English) Each venue published it own version of the catalogue: Rome (GUGG PGC 1994 .07, Italian) and Valencia (GUGG PGC 1994 .01, Spanish). 20. Title: Drawings for Peace. Dates: June 7 - 13, 1994. Venues: Peggy Guggenheim Collection. Partnerships: Exhibition organized by Il Comune di Venezia, Assessorato alla Gioventù. Catalogue: No catalogue or brochure. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 32 1995 21. Title: Le sculture di Alberto Giacometti dalle collezioni Guggenheim. Dates: February 8 - May 15, 1995. Venues: Peggy Guggenheim Collection. Curator: Fred Licht (catalogue entries by Annarita Fuso). Artist: Alberto Giacometti. Exhibition description: This exhibition brought together six works by Giacometti from the Peggy Guggenheim Collection and two works from the Solomon R. Guggenheim Museum. This group presentation sought to analyze Giacometti’s particular development in sculpture (his understanding of surrealism, existentialism and the human figure), as well as to draw attention to a core segment of the Peggy Guggenheim Collection by focusing on a single artist. This exhibition was dedicated to the memory of Sir John Pope-Hennessy. Fred Licht observes in his catalogue essay: “The Peggy Guggenheim Collection is fortunate to have each of Giacometti’s major phases documented by a work of remarkable quality. All five pieces are essential to an understanding of modern sculpture. Each aspires, explicity or implicitly, to monumentality, in the sense of the term’s origin in the Latin “monere“: to admonish, to call attention to communally important ideals. Though they can and should be seen as part of French development, they belong to the uninterrupted tradition of the Italian sculpture and should be interpreted as such. Despite the dangers inherent in considering art from a national point of view, and never confusing “national” and “nationalistic,” this exhibition aims to augment awareness of Giacometti’s significance by suggesting an alternate viewpoint regarding his origins.” Catalogue: Licht, Fred. Alberto Giacometti. Le sculture di Giacometti dalle collezioni Guggenheim. Venice: The Solomon R. Guggenheim Foundation, 1995. Italian catalogue, with a synopsis in English. Includes introduction by Philip Rylands (Deputy Director, Peggy Guggenheim Collection), essays by Fred Licht and Annarita Fuso, and a bibliography. Library location: OPUS G 000 0065 22. Title: Alberto Giacometti dalle collezioni Guggenheim e Nasher. Dates: June 7 - October 5, 1995. Venues: Peggy Guggenheim Collection. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 33 Curator: Fred Licht. Artist: Alberto Giacometti. Exhibition description: This exhibition built on the previous exhibition Le sculture di Alberto Giacometti dalle collezioni Guggenheim, bringing together further works by Giacometti, on loan from the Solomon R. Guggeheim Museum in New York and from the Patsy and Raymond Nasher Collection in Dallas Texas. The exhibition included works in gesso, bronze, wood, paper and oil on canvas. A series of three busts dedicated to the artist’s brother titled Diego (1954) and the work Femme de Venise III from the Nasher collection, which also forms part of Giacometti’s standing woman series created for the French pavilion for the 1956 Venice Biennale were featured. On loan from the Solomon R. Guggenheim Museum were two sculptures (The Nose and Spoon Woman), three drawings, and one painting (Diego). Works such as Spoon Woman, Woman with her Throat Cut, Woman Walking and Piazza drew attention to Giacometti’s sojourn in Paris during the 1920s as well as his ‘surrealist’ period from 1930 to 1935. Catalogue: Licht, Fred. Alberto Giacometti. Le sculture di Giacometti dalle collezioni Guggenheim. Venice: The Solomon R. Guggenheim Foundation, 1995. Italian catalogue, with a synopsis in English. Includes introduction by Philip Rylands (Deputy Director, Peggy Guggenheim Collection), essays by Fred Licht and Annarita Fuso, and a bibliography. Library location: OPUS G 000 0065 23. Title: Mark di Suvero a Venezia. Dates: June 11 - October 15, 1995. Venues: Seven large-scale sculptures installed in the city of the Venice, including the Peggy Guggenheim Collection. Curator: Exhibition by Enrico Martignoni and sponsored by PradaMilanoArte. Artist: Mark di Suvero. Exhibition description: The sculpture Rumi (painted steel, 7.3 x 2.7 m) was installed at the Peggy Guggenheim Collection as a part of the exhibition Mark di Suvero a Venezia. Di Suvero created seven large-scale sculptures that were placed in public sites throughout Venice, along a route that began at the Zattere, continued through the Canal Grande, and finished near the Giardini of the Biennale. The artist pursued a dialogue between contemporary art and a historical city. Such a conversation was enabled by di Suvero’s unique understanding of Venice, as he had been working in the city since 1971. Giovanni Carandente observes in his catalogue essay: “But the relationship now to be seen between the city of Venice and the works of Mark di Suvero is highly stimulating. The zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 34 peremptory, bright red gesture of Rumi, a sculpture of 1991, enlivens the pale, never completed façade of Ca’ Venier on the Grand Canal, and the way it relates to the city is more than perfect. One might risk expressing the hope that the Peggy Guggenheim Collection, which already has a work by Mark di Suvero on extended loan in its gardens, will purchase Rumi and leave it where it is, as a sentinel in front of the building, much as Marino Marini’s Angelo della Città holds guard on the terrace behind it. Seen from the water or approached from the streets, Mark di Suvero’s sculptures bring a note of gaiety and optimism to the vista of this city of Venice, to which no other can be compared. Standing to the side of its River, or beside the Canal Grande, or positioned at the Zattere, it takes no more than a few of them to create a sense of curious fusion of geometric, Mondrianesque forms and the lace-like trimmings of Venetian architecture. But more than anything else, the works set up a dialogue with all the surrounding water, which is to say with the element that reigns supreme in the world from which the structure of the city form a striking combination: the iron is strong and aggressive, and the always moving waters show a constant play of light and changing reflections.” Catalogue: Martignoni, Enrico and Giovanni Carandente. Mark di Suvero a Venezia. Milan: PradaMilanoArte and Edizioni Charta, 1995. Bilingual catalogue, in Italian and English, with preface by Patrizio Bertelli and Miuccia Prada (PradaMilanoArte), texts by Mark di Suvero and Giovanni Carandente and a biography. Associated publication: Osterwold, Tilman. Mark di Suvero a Venezia. New York: Gagosian Gallery, 1995 (published on the occasion of the 46th Venice Art Biennial exhibition, Mark di Suvero, June 11 - October 15, 1995). Library location: GUGG PGC 1995 .02 24. Title: Frank Gehry in Bilbao: The Museum in the Expanded Field. Dates: June 7 - October 15. Venues: Peggy Guggenheim Collection. Curator : Joseph Giovannini. Catalogue: No catalogue or brochure. 25. Title: Shots. Fotografie di Michel Comte / Shots. Photographs by Michel Comte. Dates: November 1 - 12, 1995. Venues: Peggy Guggenheim Collection. Curator: Exhibition organized by Pomellato Jewelry, Milan. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 35 Artist: Michel Comte. Exhibition description: The exhibition Shots: Photographs by Michel Comte was conceived as a humanitarian project. Michel Comte is a photographer who devotes his subject matter to portraits of models, cinema stars, and other celebrities. On this occasion, however, he travelled to Afghanistan and captured painful images of internal rivalry, weapons, death and poverty. Shots brought together Comte’s photographs of war and of glamour. The funds raised with this exhibition were to be donated to the International Committee of the Red Cross and for the renovation of a center for rehabilitation of the injured in Kabul. Pierre Restany explains the project in his catalogue essay: “Shots riesce a centrare due bersagli con un colpo solo, come indica il suo stesso nome: colpi d’arma da fuoco e scatti fotografici. Il progetto di comunicazione è firmato Pomellato e riflette lo stile della casa cioè quello dell’oreficeria di gran classe, eleganza e sobrietà. Al centro del dispositivo, concepito da Sergio Silvestris, in grande fotografo, Michel Comte, rittratista del jet set del cinema, dello spettacolo e della moda. I prestigiosi modelli che hanno posato per lui portano tutti gioiello Pomellato. Queste pezzi unici saranno messi all’asta all’Opera Comique de Parigi il prossimo 27 novembre. Il fotografo delle star si è trasformato per una buona causa in reporter e corrispondente di guerra in Afghanistan. Le riprese in situ saranno esposte dall’1 al 12 novembre alla Collezione Peggy Guggenheim di Venezia e la galleria di ritratti del jet set internazionale costituirà un’esposizione nell’esposizione. Si cristallizzano cosi in questo libro i due tempi di un eccezionale progetto di solidarietà umana. Il ricavato dell’intera operazione sarà devoluto, attraverso il Comitato internazionale della Croce Rossa, a un centro ortopedico di riabilitazione per i feriti della guerra afgana, per il momento l’unico esistente a Kabul.” Catalogue: Two catalogues, in Italian and French, with texts by Benedetta Barzini, Pierre Restany and Antonio Tabucchi: Barzini, Benedetta, Restany, Pierre and Antonio Tabucchi. Shots. Fotografie di Michel Comte. Milan: Editoriale Giorgio Mondadori, 1995. (Library location: GUGG PGC 1995 .05). Barzini, Benedetta, Restany, Pierre and Antonio Tabucchi. Shots. Photographies Michel Comte. Milan: Editoriale Giorgio Mondadori, 1995. (Library location: GUGG PGC 1995 .04). A book in Italian featuring only Comte’s portraits of celebreties was also published: Comte, Michel. Shots. 47 ritratti per il Comitato internazionale della Croce Rossa. Milano: Pomellato e Editoriale Giorgio Mondadori, 1995. (Library location: GUGG PGC 1995 .04 bis). 26. Title: “Gli Ori” di Giampaolo Babetto alla Collezione Peggy Guggenheim. Dates: November 16, 1995 - January 7, 1996. Venues: Peggy Guggenheim Collection. Curator: Giampaolo Babetto. Artist: Giampaolo Babetto. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 36 Exhibition description: “Gli Ori” di Giampaolo Babetto alla Collezione Peggy Guggenheim was a retrospective exhibition of the work of Italian jeweler Giampaolo Babetto. The show presented Babetto’s jewelry together with drawings and sketches. Philip Rylands introduces the exhibition in a catalogue preface: “It is with great pleasure that we welcome to the Peggy Guggenheim Collection the internationally famous jeweler-artist Giampaolo Babetto with a retrospective exhibition of his work, from 1968 to the present day: sketches and project notes as well as the finely crafted objects themselves. Giampaolo Babetto is both a designer and the craftsman of these miniature sculptures. Peggy Guggenheim was an avid collector of jewelry – artist’s necklaces, earrings, brooches and bracelets that she displayed on the walls of her bedroom. On a famous occasion, the opening of her New York gallery Art of this Century in October 1942, she wore one earring each by Alexander Calder and Yves Tanguy to demonstrate, as she wrote, ‘my impartiality between surrealist and abstract art:’ a program statement that captures with magnificent brevity one of the central qualities of her collection. I am grateful to Gheri Sackler for our introduction to Giampaolo Babetto. The opportunity to present the art of a resident of the Veneto region, which hosts the Peggy Guggenheim Collection, and whose government subsidizes the cultural programs of the museum, was eagerly taken.” Catalogue: Rylands, Philip, Dorfles, Gillo and Jiri Svestka. “Gli ori” di Giampaolo Babetto alla Collezione Peggy Guggenheim. Vincenza: Aurum Publishing, 1995. Bilingual catalogue, in English and Italian, with a preface by Philip Rylands (Deputy Director, Peggy Guggenheim Collection), texts by Gillo Dorfles and Jiri Svestka, and a biography. Library location: GUGG PGC 1995 .01 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 37 1996 27. Title: Umberto Boccioni: Dinamismo di un cavallo in corsa + case. Dates: February 3 - May 19, 1996. Venues: Peggy Guggenheim Collection. Curator: Fred Licht. Artist: Umberto Boccioni. Exhibition description: This exhibition concentrated on a single work of art, Dinamismo di un cavallo in corsa + case (1914-15), by the Futurist artist Umberto Boccioni. It highlights the importance of this work as one of the only five surviving sculptures by Boccioni. Other equestrian works (paintings and drawings) were presented as well as sculpture by Boccioni’s other Italian contemporaries. The exhibition documented the complex relations between Futurism, the civic equestrian monument in Italy, and the ‘salon’ bronze. Philip Rylands introduces the exhibition in his preface: “Umberto Boccioni’s Dynamism of a Speeding Horse + Houses is one of the more remarkable sculptures in a collection distinguished for its sculpture. It is, for one thing, a survivor: one of only five sculptures by Boccioni to have come down to us, and the only one to be made of the manifold materials that were brandished as the vehicle of plastic emotion in Boccioni’s sculpture manifesto. It marked his return to sculpture after about 18 months devoted to painting. His entire sculptural production to date was shown at the Galerie La Boëtie, Paris, in 1913. He then stopped, and only towards the end of 1914 began working on Dynamism of a Speeding Horse + Houses. One of the insights offered by the essays in this book is that Dynamism of a Speeding Horse + Houses represents a translation into sculpture, and even into the domain of reality itself, of ideas Boccioni first developed in painting. Italy’s entry into the Great War interfered with his production between 1915 and 1916, and as a consequence of his fatal fall from a horse during cavalry exercises near Verona, Dynamism of a Speeding Horse + Houses became fortuitously and tragically Boccioni’s last sculpture.” Rylands continues: “This exhibition, and its catalogue, therefore serve many purposes. It reinstates Dynamism of a Speeding Horse + Houses as an important document both of Futurism and of early 20th century modernism. It charts a fascinating methodological case study, by placing technical information at the service of the critical reading of a complex and compromised work of sculpture. It enables us, almost for the first time since it has been on public display, to measure accurately the differences between its original and present condition, and therefore to see the work correctly. It contributes to our understanding of Boccioni’s responses to contemporary artistic culture. And finally it fulfills the initial goal of this and other exhibitions still in planning stage that are intended to draw the attention of our public to works, themes and artists in Peggy Guggenheim’s collection.” Catalogue: Rylands, Philip. Umberto Boccioni. Dinamismo di un cavallo in corsa + case. Venice: Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, 1996. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 38 Bilingual catalogue, in English and Italian, with preface by Philip Rylands, essays by Sergio Angelucci, Ester Coen and Fred Licht, two documentary appendixes, a chronology and the exhibition checklist. Library location: GUGG PGC 1996 .01, UFFICIO 24 0001 28. Title: Ambroise Vollard Éditeur. Dates: March 6 - May 26, 1996. Venue: Peggy Guggenheim Collection. Bolzano: Museion di Bolzano, December 1, 1995 - February 18, 1996 Curator: Ralph Jentsch. Artists/Publisher: Ambroise Vollard. Exhibition description: This exhibition focused on the French art dealer and cultural promoter Ambroise Vollard, one of the greatest dealers and publishers of modern art. Vollard organized the first exhibitions of Picasso, Cézanne, Bonnard and Matisse, and acquired works by Dérain and Vlaminck. His Rue Laffitte Gallery was continually overflowing with art. It opened in 1895 with the first major retrospective of Van Gogh’s paintings. Vollard was a landmark figure in the field of graphics; he published his first portfolio in 1895, which included plates by Bonnard, Redon, Munch and Renoir, and was followed by forty-three other volumes. Vollard is considered to be the creator of the artist book, as he encouraged some of the greatest artists of the twentieth century to create unique livres d’artiste. In his catalogue essay, Ralph Jentsch explains the historical importance of this exhibition: “Vollard’s impact on the history of art at the turn of the century, and on the establishment and the diffusion of historic modernism, was the outcome of his considerable activity as a dealer, publisher and publicist, a commitment guided by his ‘somnambulist’ intuitions. It was essentialy thanks to Vollard that artists like Cézanne, Bonnard, and Renoir, who until that time considered themselves merely painters, began to make prints, or even, in the cases of Mailol, Degas and Picasso, bronze sculpture. Again it was Vollard who urged these artists and others of his contemporaries to produce prints for his first ‘Album des peintres-graveurs,’ published in 1896, to which a year later he added a sequel, emtitled ‘L’Album d’estampes originales de la galerie Vollard.’ These portfolios of prints, which assembled works by the major artists of their time, were commercial failures. But this did not induce Vollard to abandon the decision he had taken: to become not just an art dealer but an important publisher. Moreover, Vollard considered himself a representative of the new art not only at the commercial level, but also from another point of view: he recognized the need to help artists as a publicist. He did this by creating an absolutely new kind of book of which he was the spiritual instigator. He commisioned artists and writers, on equal terms, to write texts and create illustrations; or he would suggest well-known classics as the text for artist-illustrators, planning and deciding on even the smallest details of the design of the book, choosing both the paper and the press. To the same end Vollard planned and published the first complete monographs on Cézanne, Renoir and Degas.” Catalogue: zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 39 Jentsch, Ralph. Ambroise Vollard Éditeur. Venice: Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, 1996. Two catalogues, in English and Italian. Catalogues include essays by Ralph Jentsch and Pier Luigi Siena, and a biography by Karole Vail. Library location: GUGG PGC 1996 .07, GUGG PGC 1996 .08, GUGG PGC 1996 .09 (English) ; GUGG PGC 1996 .04, GUGG PGC 1996 .05 (Italian) 29. Title: Max Ernst: Grafica e Libri. La Collezione Lufthansa. Dates: August 31 - November 3, 1996. Venues: Stuttgart: Württembergischer Kunstvererin, May 18 - August 4, 1991; Leipzig: Museum der Bildenden Künste, August 30 - October 27, 1991; Saarbrücken: Museum St Ingbert/Saarbrücken, November 24, 1991 - January 26, 1992; Emden: Kunsthalle in Emden, Stiftung Henri Nannen February 9 - April 5, 1992; Barcelona: Museo Picasso, May 20 - September 20, 1992; Lisbon: Gulbenhian Foundation, Centro de Arte Moderna, January 20, 1993 - March 28, 1993; Copenhagen: Statens Museum for Kunst, May 8 - July 18, 1993; Prague: National Gallery, August 10 - October 1993; Osaka: Itami City Museum of Art, November 3 - December 12, 1993; Seoul: National Museum of Contemporary Art, March 8 - April 17, 1994; Hong Kong: Hong Kong Museum of Art, May 5, 1994 - June 19, 1994; Chung Cheng: National Taiwan Art Education Institute, August 13 - Septermber 13, 1994; Beijing: Gallery of the International Art Palace, (postponed); Moscow: Pushkin State Museum of Fine Arts, May 16 - June 18, 1995; St. Petersburg: State Hermitage Museum, July 13 - September 10, 1995; Budapest: Museum of Fine Arts (Szépmüvészeti Múzeum), November 14 - January 14, 1996; Madrid: Sala de las Alhajas (Caja de Madrid) April 16 - May 25, 1996; Santiago de Compostela: Fundación Eugenio Granell, June 15 - July 31, 1996; Venice: Peggy Guggenheim Collection (Last venue of the touring exhibition organized by Lufthansa Collections, Frankfurt). Curator: Werner Spies. Artist: Max Ernst. Exhibition description: This exhibition presented graphic works and illustrated books by Max Ernst from the years 1914- 1974, the period in which the artist devoted himself most intensely to these mediums. Max Ernst: Grafica e Libri featured art from the Lufthansa Collection, on view for the first time in Italy. The survey was complemented by selected pieces that belong to Dieter Brusberg, Ernst’s grandchild. Also intended as a celebration of the centennial of Max Ernst’s birth in 1891, the inaugural show of this touring exhibition was held in Germany in 1991. Thomas Krens observes in his introduction to the catalogue: “Max Ernst ricopre un ruolo importante nella storia della Fondazione Guggenheim, oltre che per il suo matrimonio con Peggy zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 40 Guggenheim (terza de quattro mogli) negli anni ’40, per il gran numero di sue opera importanti di proprietà della Fondazione, fra le quali sono da citare Il bacio e La vestizione della sposa. Ernst, uno degli illustratori più creativi di questo secolo, è famoso per l’uso estremamente originale da lui fatto dei collage e per la varietà e la novità delle tecniche da lui impiegate.” In his catalogue essay, Werner Spies positions Ernst’s graphic innovations as achievements that are central to modern art: “La tecnica da lui adottare e sviluppate, oppure inventate, coprono infatti l’intero spettro dell’arte e dei metodi di stampa del XX secolo. Max Ernst oltrepassò i confini delle tradizionali tecniche grafiche. Fu il primo artista a produrre, nei primi anni ’20, immagini multiple realizzate con tecniche fotografiche, le edizione fotografiche dei suoi collage. Nel 1921, quando gli venne proposto dal Bauhaus di presentare una stampa per il terzo portaolio, Artisti tedeschi, annunciato nell’ottobre 1921 e pubblicato alla fine dello stesso anno, Ernst presentò un’edizione numerata e firmata di una fotografia basata sul collage Santa Conversazione, intitolata Photographik. La proposta venne rifiutata poiché, affermarono gli esperi del bauhaus, in stampa fotografica non poteva essere considerata una stampa originale.” Partnerships: Exhibition organized by Lufthansa Promozione Attività Culturali. Catalogue: Spies, Werner. Max Ernst: Grafica e Libri. La Collezione Lufthansa. Berlin: Deutsche Lufthansa AG, Promozioni Attività Culturali, 1996. Catalogue in Italian, includes an introduction by Thomas Krens (Director, Solomon R. Guggenheim Foundation), an essay by Werner Spies, the exhibition checklist and a bibliography. Library location: GUGG PGC 1996 .02 30. Title: Pablo Picasso: L'Atelier. Dates: October 30, 1996 - March 31, 1997. Venues: Peggy Guggenheim Collection. Curator: Fred Licht. Artist: Pablo Picasso. Exhibition description: This exhibition was centered on The Studio (1928), a pivotal painting by Pablo Picasso that was purchased by Peggy Guggenheim in 1942 and that is now one of the masterpieces in her collection. The Studio was presented along with other paintings by Picasso, which were either realized at the same time or depicted a similar theme. These works by Picasso were on loan from the The Museum of Modern Art (MoMA), New York, and Musée Picasso, Paris. Additional drawings, paintings and prints were borrowed from different collections and museums, in order to provide a contextual, yet focused analysis of The Studio. Philip Rylands introduces the painting and exhibition in his catalogue preface: “The Studio was also of great importance to Picasso himself. Soon after completing it, in 1928, he substantially zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 41 revised the image by overpainting extensively with white. The painting then passed to his dealer, the legendary Daniel-Henry Kahnweiler, in January 1929. Five years later Picasso was determined to have the painting back, and, in what is described by Angelica Rudenstine in her catalogue of the Guggenheim collection as an extremely unusual if not unique exchange, he gave five paintings to Kahnweiler in return for The Studio. Peggy Guggenheim was extremely lucky, then, to obtain the painting: perhaps because Picasso had abandoned any hope of retrieving it from New York at the height of World War II. It has often been said that Peggy made her collection in a ‘buyer’s market,’ and this seems to be evidence that it was. Why was the painting so important to Picasso? The answer is not at all obvious. Fred Licht, curator of this exhibition, describes it as an abstruse and difficult work: it is devoid of a number of strategies for meaning and allure − expressive brushstroke, descriptive narrative, conventional allegory, chromatic harmony, and so on. The desire to understand better this austere and enigmatic painting is the germ of this exhibition. The Museum of Modern Art, New York, and the Musée Picasso, Paris, have made the exhibition possible by the loan of important paintings that are close in date and in subject to the Guggenheim painting. In particular, the bringing together of the New York and Venice versions of The Studio, which are virtually pendant to each other, for the first time in over fifty years, has been a sine qua non.” Partnerships: Exhibition organized in collaboration with The Museum of Modern Art (MoMA), New York, and Musée Picasso, Paris. Catalogue: Rylands, Philip. Pablo Picasso. L’Atelier. Venice: The Solomon R. Guggenheim Foundation, 1996. Bilingual catalogue, in English and Italian. Includes preface by Philip Rylands (Deputy Director, Peggy Guggenheim Collection), essays by Fred Licht and Dore Ashton, a technical report by Paolo Spezzani, and the exhibition checklist. Library location: GUGG PGC 1997 .01, UFFICIO 24 0002 zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 42 1997 31. Title: George Grosz. Gli anni berlinesi / George Grosz. The Berlin Years. Dates: March 15 - May 18, 1997. Venues: Peggy Guggenheim Collection. Madrid: Fundación Colección Thyssen-Bornemisza, May 27 - September 14, 1997; Barcelona: Centre de Cultura Contemporania, October 15 - January 18, 1997. Curator: Ralph Jentsch. Artist: George Grosz. Exhibition description: George Grosz’s artistic trajectory can be divided into two distinct phases: the “Berlin Years” and the “American Period.” This exhibition covered the earlier period, addressing the manner in which Grosz represented the dark episodes of German history during the twentieth century, with paintings, drawings, sketchbooks, portfolios, journals and illustrated books. Through political picture books and educational books, as he called them, Grosz denounced the terrible events and consequences of the Great War. In his introduction to the catalogue, Ralph Jentsch comments upon the complex persona of George Grosz in relation to his art: “The picture of himself that Grosz presented to his contemporaries was multi-faceted. On one side there was Grosz the painter and drawer, on the other the Dada-marshal, the moralist and bogey of burghers, who at the evening readings of ‘Die Neue Jugend’ Could turn the entire room into an uproar. Or Grosz a dandy who, kitted out in a suit, his face powdered in white and wearing red lipstick, an elegant bamboo cane across his knees, would sit on the terraces of Berlin cafés and critically scrutinize the passers-by. And then again the immeasurably solitary figure, who in his imaginary doubles, the nonchalant aristocrat Count Ehrenfried and the American doctor and mass murderer Dr. William King Thomas gave a tangible form to quite definite dreams, ideas and inclinations. There was Grosz the hater, who angrily swore revenge for the wrong done to him in the First World War and thereupon began to employ his art as a weapon. Whereas prior to the war Grosz had still hated everything indiscriminately, afterwards his hate concentrated on those responsible for the catastrophe: the warmongerers and profiteers, the military and representatives of the Church. Nothing escaped his obsessive observation, and with his pen-point drawing he mercilessly captured everything that eye and imagination suggested.” Donations: On the occasion of the exhibition, Toilette, 1927, was by The George Grosz Estate to the Solomon R. Guggenheim Foundation, Venice. Catalogue: Jentsch, Ralph. George Grosz. The Berlin Years. Milan: Electa, 1997. Jentsch, Ralph. George Grosz. Gli anni berlinesi. Milan: Electa, 1997. Two catalogues, in English and Italian. Catalogue includes a preface by Ralph Jentsch, acknowledgments by Philip Rylands (Deputy Director, Peggy Guggenheim Collection) and zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/ 43 Tomas Llorens (Chief Curator, Fundación Colección Thyssen-Bornemisza) and a detailed book- length study of Grosz’ work between the period 1893-1933 by Ralph Jentsch. The catalogue also contains a biography, a bibliography, an exhibition history and a chronology. The Fundación Colección Thyssen-Bornemisza published its own version of the catalogue in Spanish: Jentsch, Ralph. George Grosz. Los años de Berlin. Milan: Electa, 1997 (GUGG PGC 1997 .05). Library location: GUGG PGC 1997 .02 (Italian) ; GUGG PGC 1997 .03 (English) 32. Title: Stuart Davis. Dates: June 7 - October 5, 1997. Venues: Peggy Guggenheim Collection. Rome: Palazzo delle Esposizioni, October 22, 1997 - January 12, 1998; Amsterdam: Stedelijk Museum, February 1 - April 19, 1998; Washington D. C.: National Museum of American Art, May 22 - September 7, 1998. Curator: Philip Rylands. Artist: Stuart Davis. Exhibition description: This exhibition was the first European retrospective of America’s first truly original modernist painter, Stuart Davis. He translated cubism into the syncopated jazz rhythms of 1920s New York city and heralded pop art. An aficionado of jazz, who experimented with improvisational composition in the 1920s and 1930s, Davis created a spirited American variant of Picasso’s and Braque’s synthetic cubism and anticipated key elements of pop art. Philip Rylands comments on the importance of Stuart Davis’ career in his catalogue preface: “Peggy Guggenheim’s importance in the history of twentieth century art rests with her leading role in the New York art world at the moment when a New York avant-garde of painting, later to be known as American Abstract Expressionism, came into being. The movement was both predicated on and reacting to the European avant-gardes of the previous three decades. As Rudi Fuchs points out in his contribution to this catalogue, Abstract Expressionism − most vividly personified in Peggy’s discovery, Jackson Pollock − came to dominate the European perception of American art in the immediate post-war period. Yet prior to all this, one great painter, responding to European Post-Impressionism and Cubism, developed in the 1920s the first truly original American avant-garde painting. Born in 1892, Stuart Davis was six years older than Peggy Guggenheim and a generation older than the New York school painters.” Partnerships: Exhibition organized by the Peggy Guggenheim Collection, in collaboration with the Stuart Davis Estate and the Salander-O’Reilly Galleries, New York. Donations: On the occasion of the exhibition, Color Sketch for Drake University Mural (Study for Allée), 1955, was donated by Earl Davis to the Solomon R. Guggenheim Foundation, Venice. zycnzj.com/ www.zycnzj.com zycnzj.com/http://www.zycnzj.com/