Published by Guggenheim Museum Publications. Edited with text by Tracey Bashkoff. Contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss.
Hilma af Klint's daring abstractions exert a mystical magnetism
When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.
Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art—a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.
Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Tracey Bashkoff is Director of Collections and Senior Curator at the Solomon R. Guggenheim Museum, New York. Bashkoff joined the Guggenheim in 1993 and has contributed to over 15 special exhibitions covering a range of 20th-century subjects. She completed her graduate studies at Northwestern University where she received a Mellon Fellowship in Art Objects. In 2014, she was a fellow for the Center for Curatorial Leadership.
Tessel M. Bauduin is a postdoctoral researcher and lecturer in the Department of Cultural Studies of the Faculty of Arts at Radboud University, Nijmegen, Netherlands. Her postdoctorate project funded by The Netherlands Organization for Scientific Research, brings together medieval art and the modern avant-garde, focusing on the reception of and the construction of medieval art in modernity, specifically in Surrealism.
Daniel Birnbaum is the Director of the Moderna Museet, Stockholm. He has a doctorate in philosophy from Stockholm University. He was the Co-Curator of the 50th Venice Biennale in 2003 and the Director of the 53rd Venice Biennale in 2009. Birnbaum has held the position of Rector at the Städelschule Fine Arts Academy at Frankfurt at Maim in Germany and has also actively written for Art Forum.
Briony Fer is Professor of Art History at University College London. Her books include Gabriel Orozco: Thinking in Circles, Eva Hesse Studiowork, The Infinite Line: Re-making Art after Modernism, and On Abstract Art. She has written extensively on 20th- century and contemporary art. Fer has also curated numerous exhibitions, such as the recent show of Gabriel Orozco at the Fruitmarket Gallery in Edinburgh in 2013.
Vivien Greene has been a Guggenheim curator since 1993 and specializes in late 19th and early 20th century European art with concentrations in Italian modernism and international currents in turn-of-the-century art and culture. She most recently organized the exhibitions Italian Futurism, 1909–1944: Reconstructing the Universe (2014) and The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and Their Contemporaries (2013). She has a Ph.D. in art history, with a focus on 19th-century European art.
David Max Horowitz is Curatorial Assistant at the Solomon R. Guggenheim Museum.
Andrea Kollnitz is Assistant Professor at the Department of Media Studies at Stockholm University. She wrote her doctoral thesis on German and Austrian Modernism in Swedish Art Criticism.
BOOK FORMAT Hardcover, 8.5 x 11.25 in. / 244 pgs / 220 color.
PUBLISHING STATUS Pub Date 10/23/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2018 p. 3
PRODUCT DETAILS ISBN 9780892075430TRADE List Price: $65.00 CDN $87.00 GBP £55.00
AVAILABILITY In stock
in stock $65.00
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Published by Guggenheim Museum Publications. Edited with text by Megan Fontanella. Text by Tracey Bashkoff, Susan Davidson, Vivien Greene, Lauren Hinkson, Susan Thompson, Jeffrey Weiss.
The story of the pioneering collectors and artists behind the Guggenheim's radical collection
Visionaries: Creating a Modern Guggenheim celebrates the late 19th- and early 20th-century masterworks at the core of the institution’s holdings, and the trailblazers—artists and early patrons alike—whose contributions helped define the forward-looking identity of the Solomon R. Guggenheim Foundation. Central to Visionaries is the story of museum founder Solomon R. Guggenheim, who with support from his trusted advisor, Hilla Rebay, become a great champion of “nonobjective” art and assembled a radical collection against the backdrop of economic crisis and war in the 1930s and ’40s.
A lead catalog essay by museum curator Megan Fontanella explores Solomon Guggenheim’s fascinating activities in this period, together with that of five similarly pioneering art patrons whose personal holdings would become essential components of the foundation collection: Impressionist, Post-Impressionist and early School of Paris artworks from Justin K. Thannhauser; the eclectic Expressionist inventory of émigré art dealer Karl Nierendorf; the incomparable abstract and Surrealist paintings and sculptures from self-proclaimed “art addict” Peggy Guggenheim; and key modern examples from the estates of artists Katherine S. Dreier and Rebay. Alongside vibrant illustrations of works by such iconic artists as Alexander Calder, Marc Chagall, Vasily Kandinsky, Paul Klee, Piet Mondrian, Pablo Picasso and Jackson Pollock, Visionaries also features essays by six curators examining touchstone works from the foundation collection.
Megan Fontanella is Associate Curator of Collections and Provenance at the Solomon R. Guggenheim Museum, New York.
Vivien Greene is Senior Curator of 19th- and Early 20th-Century Art at the Solomon R. Guggenheim Museum, New York.
Jeffrey Weiss is Senior Curator at the Solomon R. Guggenheim Museum, New York.
Susan Thompson is Assistant Curator at the Solomon R. Guggenheim Museum, New York.
Tracey Bashkoff is Senior Curator of Collections and Exhibitions at the Solomon R. Guggenheim Museum, New York.
Lauren Hinkson is Assistant Curator for Collections at the Solomon R. Guggenheim Museum, New York.
Susan Davidson is Senior Curator of Collections and Exhibitions at the Solomon R. Guggenheim Museum, New York.
Published by Guggenheim Museum Publications. Text by Tracey Bashkoff, Megan M. Fontanella, Joan Marter.
The pioneering artists of the post–World War II era embraced artistic freedom and gesture-based styles, nontraditional materials and countercultural references. French art critic Michel Tapié even declared the existence of “un art autre” (art of another kind)--an art that entailed a radical break with all traditional notions of order and composition, in a movement toward something wholly “other.” This catalogue accompanies the Solomon R. Guggenheim Museum exhibition Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, which especially highlights works that entered into the collection during the tenure of then-director James Johnson Sweeney. Featuring nearly 100 works by Carla Accardi, Pierre Alechinsky, Karel Appel, Martin Barré, Harry Bertoia, Louise Bourgeois, Alberto Burri, Sam Francis, Grace Hartigan, Asger Jorn, Yves Klein, Franz Kline, Willem de Kooning, Conrad Marca-Relli, Kenzo Okada, Jorge Oteiza, Jackson Pollock, Ad Reinhardt, Pierre Soulages, Clyfford Still, Antoni Tàpies, Jean Tinguely, Cy Twombly, Takeo Yamaguchi and Zao Wou-Ki, among others, this collection-based exhibition and publication explore the affinities and differences between artists working continents apart, in a period of great transition and rapid creative development. The fully illustrated exhibition catalogue includes essays by Tracey Bashkoff, Megan M. Fontanella and Joan Marter; an illustrated chronology; and short biographies of the artists.
Published by Guggenheim Museum Publications. Edited by Tracey Bashkoff. Text by Vivian Endicott Barnett, Christian Derouet, Matthias Haltemann, Annegret Hoberg, Gillian McMillan.
No other artist epitomizes the character of the Guggenheim Museum quite like Vasily Kandinsky, who is closely linked to the history of the museum and has been collected in depth in the permanent collection since its founding. Kandinsky accompanies the first full-scale retrospective of the artist's career to be exhibited in the United States since 1985, when the Guggenheim culminated its trio of groundbreaking exhibitions of the artist's life and work in Munich, Russia and Paris. This presentation of nearly 100 paintings brings together works from the three institutions that have the greatest concentration of Kandinsky's work in the world: the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Städtische Galerie im Lenbachhaus, Munich; as well as significant loans from private and public holdings. This traveling exhibition's final iteration at the Guggenheim Museum will investigate both Kandinsky's formal and conceptual contributions to the course of abstraction in the twentieth century, concentrating on his innovations in painting. Kandinsky traces the artist's vision through thematic motifs such as the horse and rider, mountainous landscapes, tumultuous seascapes, apocalyptic imagery and other religious subjects.
Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum
Published by Guggenheim Museum Publications. Edited by Karole Vail. Text by Tracey Bashkoff, Don Quaintance, John Hanhardt.
Exploring the origins and early days of the Guggenheim Museum--when it was first known as the Museum of Non-Objective Painting--this volume reveals for the first time the Guggenheim's complex architectural history, drawing on extensive correspondence between Founding Director Hilla Rebay and artist Rudolf Bauer (whose work the Guggenheim collected exhaustively) to reveal the leading role Bauer played in envisioning the collection and the museum. It also explores Rebay's unusual curatorial conceptions and framing practices at the museum's early locations. Karol Vail provides biographies of many lesser-known artists in the museum's collection, while others discuss the museum's early history and ambitions. Architectural drawings, installation views, photographs and color plates of selected artworks help track the rise of this great museum.
Published by Guggenheim Museum Publications. Edited by Nancy Spector and Tracey Bashkoff. Essays by Norman Bryson, Thomas Kellein and Carol Armstrong.
New Lower Price Hiroshi Sugimoto here turns to the wax figures he first explored in his Dioramas series. Combining poetic imagination and noble elegance, this body of work presents life-size black-and-white portraits of historical figures--Henry VIII, each of his six wives and Oscar Wilde, among others--photographed in wax museums and dramatically lit so as to create haunting images. Featuring an interview with the artist by Tracey Bashkoff and essays by Carol Armstrong, Norman Bryson, Thomas Kellein and Nancy Spector, this book offers fresh insights into the work of this important contemporary artist. Portraits was created specially for the Deutsche Guggenheim Berlin and was exhibited at the former Guggenheim Soho.