BRANCUSI: THE
WHITE WORK
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.
GIUSEPPE SPAGNULO. AND IF THERE
WERE A GUST OF WIND?
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.
NO LIMITS, JUST EDGES: JACKSON
POLLOCK PAINTINGS ON PAPER
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.
AFFINITIES.
WORKS FROM THE ULLA AND HEINER PIETZSCH COLLECTION
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.
‘IL DIAFRAMMA’
OF LANFRANCO COLOMBO. MASTERS OF PHOTOGRAPHY
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.
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