The Solomon R. Guggenheim Museum Announces its Schedule of Exhibitions through 2021

UPCOMING EXHIBITIONS

The Fullness of Color: 1960s Painting, December 18, 2019–August 2020, Tower Gallery 5

The title of this exhibition was inspired by Systemic Painting, the 1966 Guggenheim exhibition where curator Lawrence Alloway pointed to the emergence of an artistic style that “combined economy of form and neatness of surface with fullness of color.” The Fullness of Color presents artists whose style embodied Alloway’s description. Helen Frankenthaler had pioneered in 1952 the “soak stain” technique, whereby she manipulated thinned acrylic washes into the unprimed cotton fabric of the canvas to produce rich, saturated surfaces. Those who followed over the next decade similarly handled paint as a dye that penetrates the fibers of the canvas rather than as a topical layer brushed over it. Morris Louis and Jules Olitski poured, soaked, or sprayed the paint onto canvases, thus eliminating the gestural stroke that had been central to Abstract Expressionism. Figure and ground became one and the same, united through color. Painters in the 1960s likewise approached relationships between form and color through geometric languages, as shown in works by Kenneth Noland and Paul Feeley. The Fullness of Color is a reflection of the Guggenheim’s historical engagement with this period, highlighting the varied and complex course abstraction followed in the twentieth century through examples of works now characterized as Color Field, geometric abstraction, hard-edge, or systemic painting. This presentation is organized by Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Museum.

The Solomon R. Guggenheim Museum, New York
Photo David Heald © The Solomon R. Guggenheim Foundation, New York

Marking Time: Process in Minimal Abstraction, December 18, 2019–July 2020, Tower Gallery 7

During the 1960s and 70s, many artists working with abstraction turned toward minimal approaches. As some of them pared compositional, chromatic, and virtuosic flourishes from their work, a singular emphasis on their physical engagement with materials emerged. The pieces they created—whether characterized by interlocking brush strokes, a pencil moved through wet paint, or a pin repeatedly pushed through paper—call on viewers to imaginatively reenact aspects of the creative process. It is a distinctly empathetic mode of engagement that relies on an awareness of one’s own body, as inhabited and inhabiting time, and, perhaps even more important, a consciousness of the embodied experiences of others. Featuring an international array of paintings and works on paper by Agnes Martin, Roman Opałka, Park Seo-bo, and others, this presentation selected from the Guggenheim Museum’s collection explores this tendency, while considering its rise in multiple milieus and how artists used it to individualized ends. This exhibition is organized by David Horowitz, Assistant Curator, Solomon R. Guggenheim Museum.

Countryside, The Future, February 20–August 14, 2020, Rotunda

Countryside, The Future, is an exhibition addressing urgent environmental, political, and socioeconomic issues through the lens of architect and urbanist Rem Koolhaas and Samir Bantal Director of AMO, the think tank of the Office for Metropolitan Architecture (OMA). A unique exhibition for the Guggenheim Museum, Countryside, The Future will explore radical changes in the rural, remote, and wild territories collectively identified here as “countryside,” or the 98% of the earth’s surface not occupied by cities, with a full rotunda installation premised on original research. The project presents investigations by AMO, Koolhaas, with students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University, Netherlands; and the University of Nairobi. The exhibition will examine the modern conception of leisure, large scale planning by political forces, climate change, migration, human- and non-human ecosystems, market driven preservation, artificial and organic coexistence and other forms of radical experimentation that are altering the landscapes across the world. Countryside, The Future is organized by Troy Conrad Therrien, Curator of Architecture and Digital Initiatives, Solomon R. Guggenheim Museum, in collaboration with Rem Koolhaas and Samir Bantal, Rita Varjabedian, Anne Schneider, Aleksander Zinovev, Sebastian Bernardy, Yotam Ben Hur, Valentin Bansac, with Ashley Mendelsohn, Assistant Curator, Architecture and Digital Initiatives, at the Guggenheim. Key collaborators include Niklas Maak, Stephan Petermann, Irma Boom, Janna Bystrykh, Clemens Driessen, Lenora Ditzler, Kayoko Ota, Linda Nkatha, Etta Mideva Madete, Keigo Kobayashi, Federico Martelli, Ingo Niermann, James Westcott, Jiang Jun, Alexandra Kharitonova, Sebastien Marot, Fatma al Sahlawi and Vivian Song.

Away from the Easel: Jackson Pollock’s Mural, March 28, 2020–February 28, 2021, Thannhauser Gallery 4

This focused exhibition is dedicated to Jackson Pollock’s 1943 Mural, the artist’s first large-scale painting. Mural has not been on view in New York in over twenty years, and this occasion marks its debut at the Guggenheim since the extensive research and restoration project undertaken by the Getty Conservation Institute and the J. Paul Getty Museum. Visionary collector Peggy Guggenheim commissioned Mural for the first floor entrance hall of her Manhattan townhouse, prior to Pollock’s first solo exhibition at her museum-gallery Art of This Century later that same year. Guggenheim’s early support of Pollock’s work arguably established his career. The year 1943 likewise represents a pivotal moment in the evolution of Pollock’s artistic style; though not yet working on the floor and from all sides, the artist began to challenge traditional notions of painting, combining the technique of easel painting with that of mural production, all while further experimenting with abstraction. Away from the Easel: Jackson Pollock’s Mural is organized by Megan Fontanella, Curator, Modern Art and Provenance. Generous funding for Away from the Easel: Jackson Pollock’s Mural is provided in part by Mnuchin Gallery.

Knotted, Torn, Scattered: Sculpture after Abstraction Expressionism, March 28, 2020–February 28, 2021, Robert Mapplethorpe Gallery/Tower 4

In the spring of 2020, the Guggenheim will include Jackson Pollock’s groundbreaking, large-scale painting Mural (1943) in the exhibition Away from the Easel: Jackson Pollock’s Mural. In conjunction with this presentation, Knotted, Torn, Scattered: Sculpture after Abstraction Expressionism will consider the legacy of Pollock’s influential painting through work by Guggenheim collection artists from the 1960s and early 1970s, including Lynda Benglis, Robert Morris, Senga Nengudi, Richard Serra, and Tony Smith. The exhibition offers a unique opportunity to view sculptures and installations by a generation of artists who saw in Pollock’s visionary practice urgent questions about scale, materials, process, and environment. This exhibition is organized by Lauren Hinkson, Associate Curator, Collections.

Gego: The Emancipated Line, October 9, 2020–March 21, 2021, Rotunda

In fall 2020, the Solomon R. Guggenheim Museum will present the first major New York museum retrospective devoted to the work of Gertrud Goldschmidt, also known as Gego (b. 1912, Hamburg, Germany; d.1994, Caracas, Venezuela). The exhibition within the first five ramps of the rotunda will chart the evolution of the artist’s distinctive approach to abstraction through her organic forms, linear structures, and systematic, spatial investigations. This chronological and thematic survey will include approximately 200 works of historical significance from the early 1950s to the early 1990s, including sculpture, drawings, prints, artist books, and textiles. A trained architect and engineer at the Technische Hochschule of Stuttgart, Gego fled Nazi persecution in 1939 and immigrated to Venezuela, where she remained for the rest of her life. This presentation will showcase her development across multiple disciplines as well as ground her practice within the emerging artistic movements of the second half of the twentieth century. The exhibition and its accompanying catalogue will demonstrate Gego’s significant formal and conceptual contributions to modern and contemporary art, highlighting her intersections with key transnational art movements including Geometric Abstraction and Kinetic Art in the 1950-60s, and Minimalism and Post-minimalism in the 1960-70s. The Guggenheim Museum has a distinguished history of presenting groundbreaking solo exhibitions of modern and contemporary artists whose work aligns with the founding mission championing abstract art, including Ellsworth Kelly, Agnes Martin and James Turrell. Expanding upon this legacy, the presentation aims to advance the understanding and appreciation of Gego’s work within the larger global context of twentieth century modernism. Gego: The Emancipated Line is organized by Pablo León de la Barra, Curator at Large, Latin America, and Geaninne Gutiérrez-Guimarães, Associate Curator, with the support of Kyung An, Assistant Curator, Asian Art, Solomon R. Guggenheim Museum.

Sarah Sze, October 9, 2020–March 21, 2021, Rotunda Ramp 6 and Tower Gallery 7

In fall 2020, the Solomon R. Guggenheim Museum will present a special exhibition by Sarah Sze (b. 1969, Boston) that will immerse visitors in today’s generative proliferation of images through painting, sculpture, print, sound, video and photography. Beginning on the sixth ramp of the rotunda, a site-specific installation of works created by the artist will trace the museum’s architecture and culminate at the apex of the Frank Lloyd Wright building in Tower 7, with the New York premiere of Timekeeper (2016), from the museum’s collection. Monumental, multisensory, and kaleidoscopic, Timekeeper combines everyday objects—a table from the artist’s studio, scraps of paper, shards of mirrored glass, potted plants—with whirling video projections of things in motion—a bird in flight, churning waves, a running cheetah. Embedded in this living scaffolding of experience and memory are digital clocks indicating time from around the world, underscoring the multiple simultaneities of human existence. This presentation brings together the diverse elements that embody the artist’s meditation on the various ways in which the passage of time is experienced and attests to Sze’s unprecedented approach to materials and space. With this exhibition, the museum builds upon its distinguished history of championing the visionary engagements of living artists with Frank Lloyd Wright’s unique architecture. This presentation is organized by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator with Kyung An, Assistant Curator, Asian Art.

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2019 Holiday Travel: New, Record-Setting “Mile High Tree” Anchors Denver’s Mile High Holidays Festivities

Denver’s Newest Holiday Attraction – A 110-Foot Digital Tree – Amplifies The Excitement Around The City’s Seasonal Blockbuster Exhibitions, Events And Performing Arts

This year, along with hundreds of holiday traditions and festivities, The Mile High City will feature two brand-new lighting attractions illuminating downtown, making the city look and feel more festive than ever. The Mile High Tree – the tallest digital tree in North America – will feature pre-programmed LED light shows choreographed to multicultural holiday music; and Night Lights Denver – an outdoor projection mapping installation featuring local artists – will also light up the city skyline.

VISIT DENVER, The Convention & Visitors Bureau logo. (PRNewsFoto/VISIT DENVER, The Convention & Visitors Bureau)

These new attractions complement the already robust programming that makes up Denver’s Mile High Holidays. There are also world-class exhibitions, like Claude Monet: The Truth of Nature and The Science Behind Pixar, at the city’s museums; innovative and immersive performing arts like Camp Christmas and movies with the Colorado Symphony; and plenty of local gifts to be found in neighborhoods, galleries, boutique shops and marketplaces.

Below are just a few experiences to be found during Mile High Holidays. For more information on how to spend a night or a long weekend in Denver, and to take advantage of holiday hotel deals starting at $99, visit www.MileHighHolidays.com.

Blockbuster Exhibitions

Claude Monet: The Truth of Nature, through February 2, 2020

The Denver Art Museum is the sole U.S. venue for the most comprehensive exhibition of Monet paintings in more than two decades. The exhibition features more than 100 paintings spanning Monet’s entire career and focuses on the celebrated French impressionist artist’s enduring relationship with nature and his response to the varied and distinct places in which he worked. In connection with Denver Art Museum, several hotels have created VIP packages that include untimed, skip-the-line tickets, which allow access to the exhibition even if the date is sold out to the general public; these packages can be found at https://monetindenver.com.

The Science Behind Pixar, through April 5, 2020

Enjoy a unique look into the Pixar process, and explore the science and technology behind some of the most beloved animated films and their characters with The Science Behind Pixar at Denver Museum of Nature & Science. This interactive exhibition showcases the science, technology, engineering, art, and math concepts used by the artists and computer scientists who help bring Pixar’s award-winning films to the big screen. With more than 50 interactive elements, the exhibition’s eight sections each focus on a step in the filmmaking process to give you an unparalleled view of the production pipeline and concepts used at Pixar every day. Participate in fun, engaging hands-on activities, listen to firsthand accounts from members of the studio’s production teams, and even come face-to-face with re-creations of your favorite Pixar film characters, including Buzz Lightyear, Dory, Mike and Sulley, Edna Mode, and WALL•E.

Extreme Sports: Beyond Human Limits, through April 12, 2020

Visitors will be put to the test as they jump, fly, dive, climb and explore some of the riskiest activities in the world at this Denver Museum of Nature & Science exhibition. Physical, multimedia and creative challenges place guests inside the minds and bodies of extreme athletes and their passions such as wingsuit flying, ice and rock climbing, parkour, and free diving. Amid exhilarating speeds, breathtaking heights, and profound depths, the stories of these passionate athletes will leave visitors inspired to push their own personal limits.

Beer Here! Brewing the West, through August 9, 2020

Explore Colorado’s brewing industry from the saloons of the Gold Rush through Prohibition to today’s booming craft beer scene at History Colorado Center‘s Beer Here! Brewing the West. Learn about the Centennial State’s brewing past, present and future through historical artifacts, interactive elements and more.

Holiday Performing Arts

Celebrate the Theater, Music and Dance in Denver

Camp Christmas, November 21, 2019 – January 5, 2020

The newest indoor immersive installation from Denver Center for the Performing Arts, Camp Christmas, will feature mesmerizing displays of decorations that shift time and reality. Performed at Stanley Marketplace, Camp Christmas is Denver’s newest holiday experience, where yuletide traditions of the past and present get merrily mashed together in a massive 10,000-square-foot wonderland. All ages are welcome at this family-friendly experience.

The Hip Hop Nutcracker, November 23-24

Innovative digital graffiti and visuals transform the landscape of E.T.A. Hoffmann‘s beloved story from traditional 19th Century Germany to the vibrant, diverse sights and sounds of contemporary New York City. Through this re-mixed and re-imagined version of the classic, performed at Buell Theater in the Denver Performing Arts Complex, the dynamic performers of The Hip Hop Nutcracker take audience members on a journey that celebrates love, community and the magic of a New Year.

The Nutcracker, November 30 – December 29

Children and adults will enjoy Colorado Ballet‘s 58th annual production of the classic Christmas ballet The Nutcracker, held at the Ellie Caulkins Opera House and featuring unforgettable characters, classic choreography, exquisite sets, dazzling costumes and Tchaikovsky’s extraordinary arrangement performed live by the Colorado Ballet Orchestra.

Dr. Seuss’ How the Grinch Stole Christmas! The Musical, December 3-8

Dr. Seuss’ How The Grinch Stole Christmas! The Musical returns to the Buell Theatre in Denver to steal Christmas after a blockbuster debut in 2014. More than 2.5 million theatre-goers across America have been delighted by this heart-warming holiday musical, featuring the hit songs “You’re A Mean One Mr. Grinch” and “Welcome Christmas” from the original animated TV special. Max the Dog narrates as the mean and scheming Grinch, whose heart is “two sizes too small,” decides to steal Christmas away from the holiday-loving Whos. Magnificent sets and costumes inspired by Dr. Seuss’ original illustrations transport audiences to the whimsical world of Whoville and helps remind them of the true meaning of the holiday season.

Movie at the Symphony: Home Alone in Concert, November 29; Love Actually in Concert, December 6

A holiday classic, Home Alone will feature renowned composer John Williams‘ charming and delightful score performed live by the Colorado Symphony at Boettcher Concert Hall as the film is shown on large suspended screens in Boettcher Concert Hall. Macaulay Culkin stars as Kevin McCallister, an eight-year-old boy who is accidentally left behind when his family leaves for Christmas vacation, and who must defend his home against two bungling thieves (Joe Pesci and Daniel Stern). Hilarious and heartwarming, Home Alone is holiday fun for the whole family.

Love Actually is the ultimate romantic holiday comedy. Featuring an all-star cast, the film will take audiences on a tour of love’s delightful twists and turns. The score will be performed by the Colorado Symphony and conductor Christopher Dragon.

Granny Dances to a Holiday Drum, December 7-22

For 28 years, Cleo Parker Robinson Dance Ensemble has been blending dance, live music, spoken word and seasonal celebrations and customs from around the world into a memorable holiday tradition like no other. A Denver original, Granny Dances to a Holiday Drum is a family favorite that inspires audiences of all ages to discover, celebrate and honor the holiday traditions of cultures from around the world.

Celtic Woman: The Best of Christmas Tour, December 8

The celestial voices of multi-platinum Irish singing group, Celtic Woman, will be coupled with the Colorado Symphony in Denver’s stop of The Best of Christmas Tour. The performance at Boettcher Concert Hall will feature music from the all-female ensemble’s most favorite Yuletide songs.

Moscow Ballet’s Great Russian Nutcracker, December 13-14

The one and only Moscow Ballet will present the Great Russian Nutcracker at Denver’s Paramount Theatre. Featuring world class Russian artists, hand-painted sets, Russian Snow Maidens, and jubilant Nesting Dolls – Great Russian Nutcracker brings the Christmas spirit to life for all ages.

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Walker Art Center presents SQÜRL Live Performance to Silent Films by Man Ray

Director Jim Jarmusch and composer Carter Logan (aka avant-garde post-rock duo SQÜRL) perform live to four surrealist and dreamlike silent films by artist Man Ray. They’ll create the semi-improvisational scores onstage in Walker Cinema, with loops, synthesizers, and effected guitars that display the band’s experimental, ambient, and drone-like tendencies. Featuring Le retour à la raison (Return to Reason) (1923), Emak Bakia (1926), L’étoile de mer (The Starfish) (1928), and Les mystères du château de dé (The Mysteries of the Château de Dé) (1929). 68 min.

Jim Jarmusch and Carter Logan of Sqürl, 2019. Photo courtesy Sara Driver.

SQÜRL is an enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores. SQÜRL began in 2009 when Jim Jarmusch and Carter Logan teamed with producer/engineer Shane Stoneback to record some original music for the film The Limits of Control.

Following these scoring sessions Jarmusch, Stoneback, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. In 2014, SQÜRL collaborated with Dutch lutenist Jozef Van Wissem to compose and perform the score for the film Only Lovers Left Alive. Bridging ancient and modern sounds, the score serves as a reflection of the distinct textures of Detroit and Tangier. Following their work on Only Lovers Left Alive, Jarmusch and Logan began a new live sonic exploration: scoring four silent films by American Dada and Surrealist artist Man Ray. The performance had its live debut in NYC in 2015 and SQÜRL have continue to tour with the films to this day. With their 2016 score for the film Paterson, SQÜRL dove deeper into the ocean of ambient electronic music on a quest for new ecstatic sounds to enrich the poetry of the film. The following year, the band released EP #260 on Sacred Bones Records, embracing their darker approach to density, tension, elation and release.

Jim Jarmusch and Carter Logan of Sqürl. Photo courtesy the artists.

The band’s most recently released recording—the score to the The Dead Don’t Die—is a true expression of where SQÜRL stand at the center of a decade of sonic exploration. It is the culmination of their passion for analog synthesis and guitar violence. It is at once a tribute to the classic sounds of horror and sci-fi, as well as a decapitation of traditional film scores. It is naturally supernatural.

2020 will find SQÜRL back on the road and in support of their upcoming release: a tribute to the legendary cinematographer Robby Müller.


Films by Man Ray, Music by SQÜRL
 
takes place Friday, February 7 at 7 pm in the Walker Cinema. Tickets are $25 ($20 Walker members, students, and seniors). Visit walkerart.org/cinema for tickets and info.

These titles by Man Ray are also in the Walker Art Center’s Ruben/Bentson Moving Image collection. Major support to preserve, digitize, and present the Ruben/Bentson Moving Image Collection is generously provided by the Bentson Foundation.

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The Whitney Announces 2020 Exhibition Schedule

It looks as if it will be another banner year of thought-provoking and wide-ranging exhibitions during the coming year at The Whitney Museum of American Art. (And one should not expect any less.) Announcing the schedule for 2020 at the Whitney Museum of American Art, Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, noted: “In 2020 the Whitney will celebrate its ninetieth anniversary and fifth year downtown, so we’ve created a program that truly honors the spirit of artistic innovation both past and present. We remain focused on supporting emerging and mid-career artists, while finding fresh relevance in historical surveys from across the twentieth century. Also turning ninety, Jasper Johns closes out the year with an unprecedented retrospective that will reveal this American legend as never before to a new generation of audiences.”

Exterior shot of the The Whitney building. Photograph by Ben Gancsos ©2016

On February 17 the Museum opens Vida Americana: Mexican Muralists Remake American Art, 1925–1945, a major historical look at the transformative impact of Mexican artists on the direction of American art from the mid-1920s until the end of World War II. On October 28, in collaboration with the Philadelphia Museum of Art, a landmark retrospective of the work of Jasper Johns goes on view simultaneously at both museums, paying tribute to the foremost living American artist. In addition, the Whitney will devote exhibitions to Julie Mehretu and Dawoud Bey, prominent midcareer artists. The Mehretu exhibition, co-organized by the Whitney with the Los Angeles County Museum of Art, encompasses over two decades of the artist’s work, presenting the most comprehensive overview of her practice to date. In November, Dawoud Bey, one of the leading photographers of his generation, will receive his first full-scale retrospective, co-organized by the Whitney and the San Francisco Museum of Modern Art (SFMOMA).

The Whitney Museum of American Art

The Museum will also present Agnes Pelton: Desert Transcendentalist—organized by the Phoenix Art Museum—the first exhibition of work by the visionary symbolist in nearly a quarter century; and Working Together: The Photographers of the Kamoinge Workshop, an unprecedented exhibition organized by the Virginia Museum of Fine Arts, which chronicles the formative years of this collective of Black photographers who lived and worked in New York City. The year will also bring a range of focused exhibitions dedicated to emerging and midcareer artists, including Darren Bader, Jill Mulleady, Cauleen Smith, and Salman Toor, as well as Dave McKenzie and My Barbarian, who continue the Whitney’s commitment to performance and its many forms.

In September the Museum will also unveil David Hammons’s monumental public art installation Day’s End on Gansevoort Peninsula, across the street from the Whitney. The debut of this public artwork will be preceded by an exhibition entitled Around Day’s End: Downtown New York, 1970–1986, which will present a selection of works from the Museum’s collection related to the seminal work that inspired Hammons’s sculpture: Gordon Matta-Clark’s Day’s End (1975).

MAJOR EXHIBITIONS AND EVENTS

Vida Americana: Mexican Muralists Remake American Art, 1925–1945”, February 17–May 17, 2020

Jacob Lawrence. Panel 3 from The Migration Series, From every Southern town migrants left by the hundreds to travel north.,1940–41. Casein tempera on hardboard 12 × 18 in. (30.5 × 45.7 cm). The Phillips Collection, Washington, DC; acquired 1942. © 2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

The cultural renaissance that emerged in Mexico in 1920 at the end of that country’s revolution dramatically changed art not just in Mexico but also in the United States. With approximately 200 works by sixty American and Mexican artists, Vida Americana reorients art history, acknowledging the wide-ranging and profound influence of Mexico’s three leading muralists—José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945. By presenting the art of the Mexican muralists alongside that of their American contemporaries, the exhibition reveals the seismic impact of Mexican art, particularly on those looking for inspiration and models beyond European modernism and the School of Paris.

Diego Rivera. The Uprising, 1931. Fresco on reinforced cement in a galvanized-steel framework, 74 × 94 1/8 in. (188 × 239 cm). Collection of Marcos and Vicky Micha Levy © 2019 Banco de México–Rivera–Kahlo/ARS. Reproduction authorized by the National Institute of Fine Arts and Literature (INBAL), 2019

Works by both well-known and underrecognized American artists will be exhibited, including Thomas Hart Benton, Elizabeth Catlett, Aaron Douglas, Marion Greenwood, Philip Guston, Eitarō Ishigaki, Jacob Lawrence, Isamu Noguchi, Jackson Pollock, Ben Shahn, Thelma Johnson Streat, Charles White, and Hale Woodruff. In addition to Orozco, Rivera, and Siqueiros, other key Mexican artists in the exhibition include Miguel Covarrubias, María Izquierdo, Frida Kahlo, Mardonio Magaña, Alfredo Ramos Martínez, and Rufino Tamayo.

María Izquierdo. My Nieces, 1940. Oil on composition board, 55 1/8 × 39 3/8 in. (140 × 100 cm). Museo Nacional de Arte, INBAL, Mexico City; constitutive collection, 1982 © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Organized by Barbara Haskell, curator, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant. (See previously-posted article here.)

Julie Mehretu, June 26–September 20, 2020

Julie Mehretu, Invisible Sun (algorithm 4, first letter form), 2014, ink and acrylic on canvas 119 1⁄2 × 167 in., private collection, © Julie Mehretu, photograph by Carolina Merlano
Julie Mehretu, Black City, 2007. Ink and acrylic on canvas, 120 x 192 in. (304.8 x 487.7 cm). François Pinault Collection, Paris | Photo credit: Tim Thayer

This mid-career survey of Julie Mehretu (b. 1970; Addis Ababa, Ethiopia), co-organized by The Whitney with the Los Angeles County Museum of Art (LACMA), covers over two decades of the artist’s career and presents the most comprehensive overview of her practice to date. Featuring approximately forty works on paper and more than thirty paintings dating from 1996 to today, the exhibition includes works ranging from her early focus on drawing and mapping to her more recent introduction of bold gestures, saturated color, and figuration. The exhibition will showcase her commitment to interrogating the histories of art, architecture, and past civilizations alongside themes of migration, revolution, climate change, and global capitalism in the contemporary moment. Julie Mehretu is on view at LACMA November 3, 2019–March 22, 2020, and following its presentation at the Whitney from June 26 through September 20, 2020, the exhibition will travel to the High Museum of Art, Atlanta, GA (October 24, 2020–January 31, 2021); and the Walker Art Center, Minneapolis, MN (March 13–July 11, 2021).

Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 96 × 120 in., Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle; gift of George Economou, 2019, © Julie Mehretu, photograph by Tom Powel Imaging
Julie Mehretu, Stadia II, 2004, ink and acrylic on canvas, 108 × 144 in., Carnegie Museum of Art, Pittsburgh, gift of Jeanne Greenberg Rohatyn and Nicolas Rohatyn and A. W. Mellon Acquisition Endowment Fund 2004.50, © Julie Mehretu, photograph courtesy of the Carnegie Museum of Art

Julie Mehretu is curated by Christine Y. Kim, associate curator in contemporary art at LACMA, and Rujeko Hockley, assistant curator at the Whitney.

Jasper Johns, Opens October 28, 2020

Jasper Johns (b. 1930), Three Flags, 1958. Encaustic on canvas, 30 5/8 × 45 1/2 × 4 5/8 in. (77.8 × 115.6 × 11.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura-Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum’s 50th Anniversary 80.32. Art © Jasper Johns/Licensed by VAGA, New York, NY

Jasper Johns (b. 1930) is arguably the most influential living American artist. Over the past sixty-five years, he has produced a radical and varied body of work marked by constant reinvention. In an unprecedented collaboration, the Philadelphia Museum of Art and the Whitney will stage a retrospective of Johns’s career simultaneously across the two museums, featuring paintings, sculptures, drawings, and prints, many shown publicly for the first time. Inspired by the artist’s long-standing fascination with mirroring and doubles, the two halves of the exhibition will act as reflections of one another, spotlighting themes, methods, and images that echo across the two venues. A visit to one museum or the other will provide a vivid chronological survey; a visit to both will offer an innovative and immersive exploration of the many phases, facets, and masterworks of Johns’s still-evolving career.

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Culture Watch: Solomon R. Guggenheim Foundation Announces Short List for the 2020 Hugo Boss Prize

Six artists have been short-listed for the Hugo Boss Prize 2020, the biennial award for significant achievement in contemporary art. The short list is selected by a panel of international curators and critics in recognition of artists whose work is transforming the field. Since its inception in 1996, the prize has consistently functioned as a platform for the most relevant and influential art of the present, and has become a cornerstone of the Guggenheim’s contemporary programming.

On the occasion of the thirteenth Hugo Boss Prize, I’m delighted to announce the finalists for the 2020 cycle,” said Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, Solomon R. Guggenheim Museum and Foundation, and jury chair. “After a rigorous examination of today’s artistic landscape, the jury identified a group of artists whose practices are beacons of cultural impact. While diverse in their approaches and themes, they each exemplify the spirit of experimentation and innovation that the prize has always championed.

Solomon R. Guggenheim Museum, New York logo

The Hugo Boss Prize recognizes the achievements of both emerging and established artists, and sets no restrictions in terms of age, gender, nationality, or medium. The winner, who will receive a $100,000 honorarium, will be announced in the fall of 2020 and will present a solo exhibition at the Solomon R. Guggenheim Museum in spring 2021.

Since its inception in 1996, the Hugo Boss Prize has been awarded to twelve influential contemporary artists: American artist Matthew Barney (1996); Scottish artist Douglas Gordon (1998); Slovenian artist Marjetica Potrč (2000); French artist Pierre Huyghe (2002); Thai artist Rirkrit Tiravanija (2004); English artist Tacita Dean (2006); Palestinian artist Emily Jacir (2008); German artist Hans-Peter Feldmann (2010); Danish artist Danh Vo (2012); American artist Paul Chan (2014); American artist Anicka Yi (2016); and American artist Simone Leigh (2018). The related exhibitions have constituted some of the most compelling presentations in the museum’s history.

Previous finalists include Laurie Anderson, Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura in 1996; Huang Yong Ping, William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in 1998; Vito Acconci, Maurizio Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le Va, and Tunga in 2000; Francis Alÿs, Olafur Eliasson, Hachiya Kazuhiko, Koo Jeong-A, and Anri Sala in 2002; Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004; Allora & Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal in 2006; Christoph Büchel, Patty Chang, Sam Durant, Joachim Koester, and Roman Signer in 2008; Cao Fei, Roman Ondák,Walid Raad, Natascha Sadr Haghighian, and Apichatpong Weerasethakul in 2010; Trisha Donnelly, Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell in 2012; Sheela Gowda, Camille Henrot, Hassan Khan, and Charline von Heyl in 2014; Tania Bruguera, Mark Leckey, Ralph Lemon, Laura Owens, and Wael Shawky in 2016; and Bouchra Khalili, Teresa Margolles, Emeka Ogboh, Frances Stark, and Wu Tsang in 2018.

The following artists are finalists for the Hugo Boss Prize 2020:

  • Nairy Baghramian (b. 1971, Isfahan, Iran)
  • Kevin Beasley (b. 1985, Lynchburg, Va.)
  • Deana Lawson (b. 1979, Rochester, N.Y.)
  • Elias Sime (b. 1968, Addis Ababa, Ethiopia)
  • Cecilia Vicuña (b. 1948, Santiago, Chile)
  • Adrián Villar Rojas (b. 1980, Rosario, Argentina)

The Hugo Boss Prize is our most prestigious engagement in the field of arts,” said Mark Langer, CEO and Chairman of HUGO BOSS AG. “We are excited about this diverse and distinguished short list for 2020 and looking forward to the announcement of the winner next fall.

HUGO BOSS PRIZE 2020 SHORT LIST

Nairy Baghramian (b. 1971, Isfahan, Iran) lives and works in Berlin. In an oeuvre that probes the boundaries between the decorative, the utilitarian, and the art object, Baghramian has illuminated new possibilities for sculpture. The artist’s disarming biomorphic forms, made with a range of materials including steel, silicon, resin, and leather, elicit various unexpected art-historical and sociopolitical references, reimagining the workings of the body, gender, and public and private space.

Nairy Baghramian, Stay Downers: Nerd, Fidgety Philip, Dripper, Truant, Backrower and Grubby Urchin, 2017. Various media, dimensions variable
Installation view: Déformation Professionnelle, Walker Art Center, Minneapolis, 2017–18. Courtesy the artist and Marian Goodman Gallery. Photo: Timo Ohler

Baghramian’s work has been presented in solo exhibitions such as Privileged Points, Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean (2019), Breathing Spell (Un respire), Palacio de Cristal del Retiro, Madrid (2018); Déformation Professionnelle, Museum der Moderne Salzburg, and Walker Art Center, Minneapolis (2017); S.M.A.K. Museum of Contemporary Art, Ghent (2016); Nairy Baghramian: Scruff of the Neck (Supplements), Zurich Art Prize, Museum Haus Konstruktiv, Zurich (2016); Hand Me Down, Museo Tamayo, Mexico City (2015); Fluffing the Pillows, MIT List Visual Arts Center, Cambridge, Mass. (2013), and Kunsthalle Mannheim, Germany (2012); and Class Reunion, Contemporary Art Gallery, Vancouver (2012).

Kevin Beasley (b. 1985, Lynchburg, Va.) lives and works in New York. Working at the intersection of sculpture, installation, and performance, Beasley constructs revelatory formal and sonic experiences. In works that embed found objects in substances such as resin, foam, and tar, or incorporate unconventionally manipulated audio equipment, he amplifies the cultural resonances of his materials to excavate personal and shared histories of class, race, and institutional power.

Kevin Beasley, Your face is / is not enough, 2016. Performance view: Liverpool Biennial, July 14, 2018. © Kevin Beasley. Photo: Pete Carr, courtesy Casey Kaplan, New York

Beasley has presented and performed in solo exhibitions such as ASSEMBLY, The Kitchen, New York (2019); a view of a landscape, Whitney Museum of American Art, New York (2018); Kevin Beasley, The Institute of Contemporary Art, Boston (2018); Movement V: Ballroom, CounterCurrent Festival, Cynthia Woods Mitchell Center for the Arts, Houston (2017); Hammer Projects: Kevin Beasley, Hammer Museum at Art + Practice, Los Angeles (2017); Rubbings, Kim? Contemporary Art Center, Riga, Latvia (2017); and inHarlem: Kevin Beasley, The Studio Museum in Harlem, New York (2016).

Deana Lawson (b. 1979, Rochester, N.Y.) lives and works in New York. Her large-format photographs channel vernacular, art-historical, and documentary traditions within the medium, in compositions that valorize black diasporic culture. Picturing individuals she encounters over the course of her everyday life within carefully staged domestic settings, Lawson choreographs every nuance of scenery, lighting, and pose to create tableaux that powerfully evoke the agency of her subjects.

Deana Lawson, Mama Goma, Gemena, DR Congo, 2014. Pigment print
35 x 44.125 inches (88.9 x 112.1 cm). © Deana Lawson, courtesy Sikkema Jenkins & Co., New York, and Rhona Hoffman Gallery, Chicago

Lawson’s work has been presented in solo exhibitions including Deana Lawson, Huis Marseille, Museum voor Fotografie, Amsterdam (2019); Deana Lawson: Planes, The Underground Museum, Los Angeles (2018); Deana Lawson, Carnegie Museum of Art, Pittsburgh (2018); Deana Lawson, Contemporary Art Museum St. Louis (2017); Deana Lawson, The Art Institute of Chicago (2015); and Corporeal, Light Work, Syracuse, N.Y. (2009).

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Lincoln Center Announces 2020 Season of American Songbook, January 22 – February 29

Highlights lauded singer-songwriters, groundbreaking storytellers, artists pushing the boundaries of the human voice, and creative talents of the screen and stage, including:

  • Singer-songwriter and composer Rufus Wainwright in new show Songs That Built Me; Natalie Merchant crafts intimate, acoustic career retrospective
  • Tony Award winning veteran André De Shields and leading man Brandon Victor Dixon in brand new stage shows; Tony Award winner and trailblazer Ali Stroker; and breakout composer-lyricist Joe Iconis premieres new musical numbers
  • Mezzo-soprano Stephanie Blythe performs as drag alter ego, tenor Blythely Oratonio; Experimental choral group Roomful of Teeth
  • Classically trained lyricist, composer, pioneering television writer, and trans activist, Our Lady J debuts new music
  • Legendary Cowboy Junkies play their unique brand of folk-rock off new album All That Reckoning
  • Grammy-winning, multi-talented Puerto Rican–born songwriter iLe
  • Rare East Coast appearance by Hawaiian singer-songwriter Kalani Pe’a
  • Dynamic, bluesy-folk artist Martin Sexton

Lincoln Center’s acclaimed American Songbook series returns for its 21st year, celebrating the expansive scope and intricacy of the popular music canon from January 22 – February 29, 2020. This year’s concert series includes lauded singer-songwriters, groundbreaking composers, storytellers speaking truth to power, experimental vocalists, and multitalented performers whose artistic breadth reflects the far-reaching perspectives and experiences of the essential American Songbook.

Since its launch in 1998, American Songbook has been dedicated to celebrating the extraordinary achievements of the popular American songwriter from the turn of the 20th century to the present day. Spanning all styles and genres from Tin Pan Alley and Broadway to the eclecticism of today’s songwriters working in pop, cabaret, rock, folk, and country, American Songbook traces the history and charts the course of the American song from its past and current forms to its future direction.

Our American Songbook series brings together a superb group of award-winning musicians, composers, and interpreters of song whose artistry speaks to the broad, ever-expanding facets of American song,” said Jane Moss, Ehrenkranz Artistic Director of Lincoln Center. “Each concert offers an intimate experience with some of the most celebrated and up-and-coming performers in genres from Broadway to Bolero to experimental choral work. We invite audiences to join us for artists they may have loved for decades, and to discover new voices that speak to a range of contemporary experience.”

Opening the season, vocalist, songwriter, and composer Rufus Wainwright performs a new show, Songs That Built Me – a concert experience created especially for his American Songbook debut. Delving into his celebrated catalogue, Wainwright performs the songs that have shaped his identity as an artist and previews selections from his forthcoming Spring 2020 album. Natalie Merchant, former lead singer of the folk-rock outfit 10,000 Maniacs, digs through her immense 7-album discography of solo work for a show that highlights the poetic songwriting, socially conscious songs, and outspoken political activism that has influenced a generation of up-and-coming performers. This intimate performance is entirely acoustic and accompanied by her longtime guitarist Erik Della Penna.

Broadway stars ascend onto the Appel Room stage, starting with 2019 Tony Award winner André De Shields (Hadestown) with a new original show, Old Dawg; New Tricks; On Valentine’s day, Brandon Victor Dixon (The Color Purple, Hamilton, Showtime’s Power), performs his very first solo concert with his brand of essential, powerful stagecraft; Unstoppable performer Ali Stroker (Oklahoma!, Spring Awakening) performs with the unbridled spirit and powerhouse pop soprano that made her the first actress to be nominated and win a Tony award (2019) while using a wheelchair for mobility; And the prodigiously talented writer and performer Joe Iconis, whose musical Be More Chill took Broadway by storm, brings his trademark mash-up of show-tune cabaret and rock ‘n’ roll for a set of classic tunes and brand new numbers.

The limits of the human voice are tested through the experimental, cutting-edge, and Grammy Award-winning a cappella group Roomful of Teeth. One of the most critically acclaimed mezzo-sopranos of her time, Stephanie Blythe asks what it means to transition to a new role, art form, and voice with her show “Blythely Ever After” a display of her outrageous drag alter ego, tenor Blythely Oratonio. Her bearded persona brings audiences on a unique musical journey through opera classics and rock and pop arias. Hawaiian folk-music has its American Songbook debut with the classically trained tenor Kalani Pe’a in a rare East Coast appearance. Pe’a’s versatile voice tours a range of traditional chants, Hawaiian classics, R&B tracks, and original compositions.

After a pioneering career of music composition in the classical and pop world (Sia, American Ballet Theatre) and becoming the first out trans woman to be hired in a TV writers’ room (Pose, Transparent), Emmy-nominated Our Lady J returns to NYC to debut a new catalogue of electro-pop and gospel infused music that she wrote with her collaborator Justin Tranter, one of the most successful songwriters in pop music today. Performing on the heels of her sophomore album Almadura, the rapidly rising singer-songwriter iLe makes her Lincoln Center debut. Her music simultaneously an ode to Puerto Rico and call for political action, iLe brings a tapestry of songs to the stage that include timeless boleros, Afro-Caribbean rhythms, and protest anthems.

Martin Sexton‘s unpredictable voice and soulful melodies, which seamlessly mix folk, rhythm and blues, jazz, and rock, brought him from his beginnings as a street performer in Boston to prestigious stages all over the world with his musical heroes – Art Garfunkel, Jackson Browne, John Hiatt and more. The famed singer-songwriter’s honest lyrics and vocal prowess find the perfect home in The Appel Room’s intimate setting. The alternative country legends Cowboy Junkies earned a ravenous following for the quiet honesty and vulnerability of their second album The Trinity Sessions. Thirty years later, the band plays an intimate folk-rock set with their new album, All That Reckoning, a deeply personal record that speaks to contemporary society, good and bad.

We are proud to sponsor the 2020 American Songbook series and help bring this incredible array of talent and musical genres to Lincoln Center’s stage,” said Orlando Ashford, president, Holland America Line. “Supporting these performances is a perfect fit for us as we are similarly committed to bringing our cruise guests the most diverse collection of live music experiences at sea, including the exclusive Lincoln Center Stage chamber music performances. We hope that American Songbook inspires everyone who attends, as music – like travel – opens one’s mind in such a meaningful way.

The 21st American Songbook series is one of many programs offered by Lincoln Center that annually activates the campus’s indoor and outdoor spaces across a wide range of the performing arts. Additional presentations include the White Light Festival, Great Performers, Mostly Mozart Festival, Midsummer Night Swing, Lincoln Center Out of Doors, ongoing free performances at the David Rubenstein Atrium, and Live From Lincoln Center broadcasts that reach beyond the iconic campus. Lincoln Center also presents a myriad of education programs and presentations for families throughout the year.

This year’s American Songbook concerts are based in two venues at Lincoln Center. The Appel Room at Jazz at Lincoln Center, with its floor-to-ceiling windows overlooking Columbus Circle, hosts cabaret-style performances that include table seating, close proximity to the performers, and an incomparable view of the Manhattan skyline. In addition, the series returns to the warm wood-veneered stage of Alice Tully Hall.

American Songbook 2020 Schedule

Rufus Wainwright: Songs That Built Me, Wednesday, January 22, 2020 at 7:30 pm, Alice Tully Hall, Starr Theater, Adrienne Arsht Stage

With his emotionally candid melodies and “genuine originality” (New York Times), Rufus Wainwright has established himself as one of the great vocalists, composers, and songwriters of his generation. As a pop vocalist and songwriter, he has collaborated with musical giants, including Elton John, David Byrne, and Joni Mitchell. His musical output has been wondrously varied and prolific, including a historic re-creation of Judy Garland’s 1961 comeback concert that was performed to sold-out, adoring crowds in New York, Paris, Toronto, Los Angeles and London. His last album was a setting of nine Shakespeare sonnets. For this highly anticipated show in Alice Tully Hall, Wainwright delves into his catalogue, including songs that have shaped him as an artist and may preview tracks from his forthcoming pop album, to be released in Spring of 2020. Through a set list created specially for his American Songbook debut, Rufus will build a singular viewpoint of American song through his unique, unmistakable lens.

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TheMet150: “Photography’s Last Century: The Ann Tenenbaum and Thomas H. Lee Collection” at The Metropolitan Museum of Art

Opening March 10, 2020 (and running through to June 28, 2020) the exhibition, “Photography’s Last Century: The Ann Tenenbaum and Thomas H. Lee Collection” (The Met Fifth Avenue, Galleries 691–693, The Charles Z. Offin Gallery, Karen B. Cohen Gallery, and Harriette and Noel Levine Gallery) will celebrate the remarkable ascendancy of photography in the last hundred years and the magnificent promised gift to The Met of over 60 extraordinary photographs from Museum Trustee Ann Tenenbaum in honor of the Museum’s 150th anniversary in 2020. The exhibition will include masterpieces by the medium’s greatest practitioners, including Diane Arbus, Richard Avedon, Ilse Bing, Joseph Cornell, Walker Evans, Robert Frank, Andreas Gursky, Helen Levitt, Dora Maar, László Moholy-Nagy, Jack Pierson, Sigmar Polke, Man Ray, Laurie Simmons, Alfred Stieglitz, Paul Strand, Cindy Sherman, Andy Warhol, Edward Weston, and Rachel Whiteread.

Cindy Sherman (American, b. 1954). Untitled Film Still #48, 1979. Gelatin silver print, 8 x 10 in. (20.3 x 25.4 cm). Promised gift of Ann Tenenbaum and Thomas H. Lee. Courtesy of the artist and Metro Pictures, New York

The Tenenbaum collection is particularly notable for the breadth and depth of works by women artists, for a sustained interest in the nude, and for its focus on artists’ beginnings: Strand’s 1916 view from the viaduct confirms his break with the Pictorialist past and establishes the artist’s way forward as a cutting-edge modernist; Walker Evans’s shadow self-portraits from 1927 mark the first inkling of a young writer’s commitment to visual culture; and Cindy Sherman’s intimate nine-part portrait series from 1976 predates her renowned series of “film stills” and confirms her striking ambition and stunning mastery of the medium at the age of 22.

The exhibition will feature a wide range of styles and pictorial practice, combining small-scale and large-format works in both black and white and color. The presentation will integrate works starting from the 1910s to the 1930s, with examples by avant-garde American and European artists, through the postwar period, the 1960s, the medium’s boom in the late 1970s and early 1980s, and up to the present moment.

The Met Fifth Avenue

Photography’s Last Century: The Ann Tenenbaum and Thomas H. Lee Collection is curated by Jeff L. Rosenheim, Joyce Frank Menschel Curator in Charge of the Department of Photographs at The Met and will be accompanied by a fully illustrated catalogue. The catalogue is made possible in part by the Samuel I. Newhouse Foundation, Inc. The exhibition will be featured on the Museum’s website, as well as on Facebook, Instagram, and Twitter.