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February 19–May 22, 2005
Curated by Paola Mola and by Marielle Tabart, Curator of the Atelier Brancusi, Centre Pompidou, Paris, the exhibition presents eighty-nine of Brancusi’s photographs. In addition to being perhaps the most influential sculptor of the 20th century, Brancusi produced photographs of extraordinary quality, in both technique and imagination. Photography and Sculpture were inseparable concepts in Brancusi’s mind, although the emphasis placed on the sculptural work inhibited the appreciation of his photography. The show fills this gap and reveals how photography, for Brancusi, was more than the mere documentation of his sculpture or of his atelier. He sought a parallel visual language and not the replication of the appearances of his sculpture. The images have a spatial and temporal dimension that they share with the sculpture, but through the difference in medium, the manipulation of light, unexpected viewpoints, and technical experimentation, they become something more than two-dimensional replicas of his three-dimensional creations. The exhibition catalogue, published by Skira and the Peggy Guggenheim Collection, includes essays by Paola Mola, Marielle Tabart, and Francisca Parrino. The exhibition is organized in partnership with the Centre Pompidou, Musée national d’art moderne, Paris. The programs of the Peggy Guggenheim Collection are made possible by the Peggy Guggenheim Collection Advisory Board, Institutional Patrons and Intrapresæ Collezione Guggenheim.

March 19-May 22, 2005
Curated by Luca Massimo Barbero, the exhibition pays homage to one of the great masters of Italian sculpture by presenting an important nucleus of works on paper. While the Nasher Sculpture Garden at the Peggy Guggenheim Collection has been enriched by the installation of Giuseppe Spagnulo’s Columns, a red thread binds works on paper and sculptures, creates a continuous echo between the museum’s rooms and the garden, and brings to light that which connects the two different mediums used by the artist. Spagnulo’s works on paper enjoy full autonomy and are in themselves complete: they are not ‘studies,’ but rather an alternative means to express material energy, whether in iron, clay, or volcanic dust. The gesture, the movement, the physicality of the artist are the common denominators of his diverse expressions. Spagnulo uses not the paintbrush, but his hands, and impresses on the paper strong and sensual signs of his materials. In the sculpture it is the energy that gives form, occupying and deepening the sense of space. The ‘concreteness’ of the works on paper and the sculptures expresses the respect and passion that he nurtures in the material. The exhibition catalogue is published by Grossetti Arte Contemporanea, Milan. The exhibition is organized in collaboration with Grossetti Arte Contemporanea, Milan. The programs of the Peggy Guggenheim Collection are made possible by the Peggy Guggenheim Collection Advisory Board, Institutional Patrons and Intrapresæ Collezione Guggenheim.

June 7–July 12, 2005

June 4– September 18, 2005

Curated by Susan Davidson, Curator at the Solomon R. Guggenheim Museum, this retrospective selection of 51 works from international collections highlights the most important phases of Pollock's work, and documents the development of his drawing in a survey spanning his figurative, strongly European-influenced beginnings through to the abstract compositions of his later years. Peggy Guggenheim launched Pollock's career in the 1940s through her patronage of his work and through four solo exhibitions at her historic New York gallery, Art of This Century. During his career, Pollock produced approximately 700 works on paper in a variety of traditional drawing mediums-pencil, ink, watercolor, gouache, and collage-as well as, toward the end of his life, poured enamel. At the time of his first one-man exhibition, in Peggy Guggenheim's Art of This Century, in November 1943, the artist chose to exhibit both paintings and drawings. This was in part for practical reasons, as smaller works sold more easily. However the primary motivation was Pollock's conviction that his paintings on canvas and his works on paper deserved equal attention as expressions of his artistic aims. The exhibition catalogue, published by Guggenheim Publications, includes essays by Susan Davidson, David Anfam, and Margaret Holbern Ellis. The exhibition is sponsored by Lehman Brothers and Neuberger Berman, a Lehman Brothers Company; additional support is provided by The Pollock-Krasner Foundation, New York.

June 4–September 18, 2005

The exhibition presents a selection of 43 paintings and works on paper from the celebrated Pietzsch collection of modern art and explores the concept of ‘affinity’, of the similarity of spirit and taste between Mr and Mrs Pietzsch and Peggy Guggenheim herself. Their decision, beginning in the 1960s, to collect both the work the European Surrealists and of young American artists of the New York School not only mirrors two areas of particular strength in Peggy Guggenheim’s collection, but reminds us also of the historical role of Peggy Guggenheim, who was instrumental in bringing together the European and New York avant-gardes in the 1940s. The Surrealist works, selected by Luca Massimo Barbero, Associate Curator of the Peggy Guggenheim Collection, are installed in the main galleries of Palazzo Vener dei Leoni, in the company of comparable paintings in the museum’s permanent collection. Susan Davidson, Curator at the Solomon R. Guggenheim Museum, selected the works on paper in the Pietzsch Collection of early American Abstract Expressionism that represent not only American art in the 1940s but the link between this and Surrealism at a time when many European artists were living in exile in New York or the United States during World War II. The programs of the Peggy Guggenheim Collection are made possible by the Peggy Guggenheim Collection Advisory Board, Institutional Patrons and Intrapresæ Collezione Guggenheim.

November 12, 2005–January 8, 2006

The exhibition celebrates the photographic activity of the gallery of Lanfranco Colombo, “Il Diaframma”, founded in 1967, the first of its kind in Europe to dedicate itself completely and exclusively to photography. It brings together photographs taken by the most important photographers who have at some time exhibited in the spaces of the “Il Diaframma”, and now part of the Photographic Archive of the Fondazione 3M Italia, which includes thirty thousand transparencies, daguerreotypes, original prints and negatives. The show is a brief history of photography spanning the 60s to the present day, with images that range from works of reportage to portraiture, naturalistic photography, fashion and still life. Throughout its history, the Diaframma gallery presented the works of numerous prominent Italian photographers, whose works is showcased alongside a images by renowned international photographers, from France, the USA, the United Kingdom, Japan, Spain and Germany. The exhibition catalogue is published by the Fondazione 3M, Milan. The exhibition is organized by the Fondazione 3M, Milan.

Foro Boario, Modena, December 18–April 9, 2006

In collaboration with Fondazione Cassa di Risparmio, Modena
Catalogue, Peggy Guggenheim Collection, Venice (Italian edition)

credits: Hangar Design Group