Artistic License: Six Takes on the Guggenheim Collection
May 24, 2019–January 12, 2020
Press Kit

Installation View: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, May 24, 2019– January 12, 2020. Photo: David Heald. © Solomon R. Guggenheim Foundation

Table of Contents

Artistic License: Six Takes on the Guggenheim Collection News Release	2
Image Sheet	8
Introductory and Section Wall Texts	13
Reading Room Artist-Curator Information Text	20
Extended Labels	26
Object Labels	78
Exhibition Checklist	271
Lavazza Statement	336

GUGGENHEIM
NEWS RELEASE

Guggenheim Presents First Artist-Curated Exhibition,
Artistic License: Six Takes on the Guggenheim Collection

Guggenheim Celebrates 60th Anniversary of Frank Lloyd Wright Building with New Perspectives on the Collection by Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems

Exhibition: Venue: Location: Dates:

Artistic License: Six Takes on the Guggenheim Collection Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York Rotunda Levels 1-6
May 24, 2019-January 12, 2020

(NEW YORK, NY- May 23, 2019)-The Solomon R. Guggenheim Museum presents Artistic License: Six Takes on the Guggenheim Collection, the first artist-curated exhibition ever mounted at the museum. On view from May 24, 2019, through January 12, 2020, this full-rotunda presentation celebrates the Guggenheim's extensive collection of twentieth-century modern and contemporary artworks, with an exhibition selected by six contemporary artists, all of whom have contributed to shaping the Guggenheim's history with their own pivotal solo shows. Curated by Cai Guo-Oiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems, the presentation brings together collection highlights and rarely seen works from the turn of the century to 1980. On view during the 60th anniversary of the G uggenheim's iconic Frank Lloyd Wright-designed building, Artistic License honors the museum's artist-centric ethos and commitment to art as a force for upending expectations and expanding perspectives. This exhibition offers a critical examination of the
G uggenheim 's collection on the occasion of a significant milestone in its history.

Artistic License is organized with the artists by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator; supported by Ylinka Baratto, Assistant Curator; with Tracey Bashkoff, Director of Collections and Senior Curator; and Joan Young, Director, Curatorial Affairs.

Creating unique and timely dialogues with the Guggenheim's history-and with the broader history of modern and contemporary art-the six artist-curators each interpret the collection through their own individual perspectives. Working with the museum's curators and conservators, they have probed the

Solomon R. Guggenheim Museum and Foundatio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

Guggenheim collection in storage, encountering renowned artworks while also bringing to light singular contributions by lesser-known artists. Artistic License presents nearly 300 paintings, sculptures, works on paper, and installations, some never before exhibited, that engage with the cultural discourses of their time-from the utopian aspirations of early modernism to the formal explorations  of mid-century abstraction to the sociopolitical debates of the 1960s and '70s. Drawing on their own practices, influences, and concerns, each of the artist-curators has selected thematically, conceptually, or formally relevant artworks to  populate one of the six ramps in the museum's rotunda, creating markedly distinctive sections  and new readings  of the collection. As a whole, the exhibition provides an opportunity to reflect on the museum's own history, challenge accepted understandings of twentieth­ century art, and reveal eclectic, even eccentric, comparisons and juxtapositions.

Cai Guo-Qiang: Non-Brand 3FdhW4!­
High Gallery and Rotunda Level 1
This presentation explores the primordial passion that ignites the creation of art by examining early figurative and otherwise unpredictable  paintings and works on paper by artists known for their abstract or conceptual practices. Featured artworks, which will be installed salon style, include Vasily Kandinsky's Munich (ca. 1901-02), Piet Mondrian's Blue Chrysanthemum (ca. early 1920s), Mark Rothko's still life Untitled (Still-Life with Rope, Hammer and Trowel) (ca. 1937), and works on paper by artist Hilla Rebay, who was also the Guggenheim's first director. In addition to exhibiting such "unbranded" works by renowned artists-artworks that predate the iconic periods in these artists' careers, as well as works by artists who did not enter the art-historical canon-Cai includes examples of his own early figurative painting. On the occasion of this exhibition, he is also creating new gunpowder paintings in homage to select iconic abstract canvases in the Guggenheim collection. These new works comment on Cai's own trademark style, wittingly revealing the complicity of artists, curators, and museums in the exhibition of brands so sought-after by visitors.

Cai Guo-Oiang (b. 1957, Ouanzhou, Fujian Province, China) draws upon Eastern philosophy and contemporary social issues as the conceptual basis of his art; through a site-specific approach, the artist aims to respond to  the history of local cultures. His explosion art and installations  are imbued with a force that transcends the two-dimensional plane to engage with society and nature. Cai's solo exhibition at the Guggenheim, I Want to Believe (2008), revealed his nuanced explorations of art's relationship to the cosmos and his methodological approach, which attempts, through visible means, at representations of the unseen world.

Paul Chan: Sex, Water, Salvation, or What Is a Bather?
Rotunda Level 2
This presentation investigates the theme of bathers in Western art history and attendant ideas about water, relationships between pleasure and the human body, and exile in the canon of twentieth-century art. Chan's selections range from Fernand Leger's late painting Starfish (1942) to Lawrence Weiner's conceptual work TO THE SEA/ ON THESEA/ FROM THE SEA/ AT THESEA/ BORDERING
THE SEA (1970), and from Willem de Kooning's canvas ...Whose Name Was Writ in Water (1975) to
Laurie Simmons's photographs of dollhouse-scale bathroom scenes from the 1970s.

Paul Chan (b. 1973, Hong Kong) is known for a diverse practice that ranges from animated video projections to charcoal drawings, public performances, and haunting pneumatic sculptures, and for

Solomon R. Guggenheim Museum and Foundatio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

founding the experimental publishing house Badlands Unlimited in 2010. The artist's solo exhibition at the Guggenheim, The Hugo Boss Prize 2014: Paul Chan, Nonprojections for New Lovers (2015), presented an installation that reimagined the very concept of the moving image and the illusory nature of representation.

Jenny Holzer: Good Artists
Rotunda Level 6
This presentation illuminates gender disparity and the exclusion of women from the art-historical canon. Holzer has selected works made exclusively by female artists including Lee Bontecou's sculptural relief Untitled (1966), Louise Nevelson's monumental wall sculpture Luminous Zag: Night (1971), Adrian Piper's performative self-portrait The Mythic Being: Smoke (1974), and a selection of Chryssa's neon works and a canvas from the 1960s and '70s.

Jenny Holzer (b. 1950, Gallipolis, Ohio) has used language to deconstruct how meaning is created in Western culture's patriarchal, consumer-oriented society for much of her career, whether on wheat­ pasted posters, electronic signage, light projections, or paintings of redacted documents. Her 1989-90 retrospective at the Guggenheim consisted of a site-specific LED sign that wound its way around the interior walls of the museum's rotunda, creating a dizzying electronic arcade of aphorisms and declarations comprising all of her work to date. This installation was accompanied by the artist's granite and marble benches inscribed with darkly poetic statements.

Julie Mehretu: Cry Gold and See Black
Rotunda Level 4
This presentation reflects on how trauma, displacement, and anxiety in the decades after World War II found expression across cultural boundaries and in a wide range of art. Featured works include Francis Bacon's Three Studies for a Crucifixion (March 1962), Romare Bearden's gelatin silver print (photostat) Evening 9:10, 461 Lenox Avenue (1964), Matta's painting Years of Fear (1941), and David Hammons's body print Close Your Eyes and See Black (1969)-a recent acquisition.

Julie Mehretu (b. 1970, Addis Ababa, Ethiopia) is best known for large-scale paintings and works on paper that layer and integrate abstract forms and schematic architectural imagery. Mehretu's work is inspired by the topography, energy, and sensibility of global urban landscapes, political unrest, and modernist history. Her Guggenheim exhibition Julie Mehretu: Grey Area (2010) featured a suite of large-scale paintings commissioned by the Deutsche Guggenheim in Berlin.

Richard Prince: Four Paintings Looking Right
Rotunda Level 3
This presentation investigates the uncannily coherent formal qualities of the museum's international holdings of abstract painting and sculpture from the 1940s and 'sos, questioning, ultimately, how taste is formed. Featured works include those by Martin Barre, Conrad Marca-RelIi, Georges Mathieu, Kenzo Okada, and Judit Reigl, among others. Prince has also included two canvases by Stuart Sutcliffe (an early member of the Beatles), whose work emulates and contributes to the abstract style of his time, as well as a formerly attributed Jackson Pollock painting once in the collection of Pollock's close friend, the artist and collector Mercedes Matter.

Solomon R. Guggenheim Museum and Foundatio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

Richard Prince (b. 1949, Canal Zone, Panama) is a member of the group of conceptual artists known as the Pictures Generation, pioneering the use of appropriation in his early photo-based works and "Monochromatic Joke" paintings to comment upon the way desire is created and perpetuated in the mass media. His survey exhibition at the Guggenheim, Richard Prince: Spiritual America (2007-08), featured artworks from this critical early chapter in his career, and from his subsequent forays into the history of twentieth-century painting-including meditations on the work of Pablo Picasso and Willem de Kooning-as well as an embrace of pulp imagery.

Carrie Mae Weems: What Could Have Been
Rotunda Level 5
This presentation focuses on the formal and metaphoric resonances of a strictly black-and-white palette across different decades, mediums, and genres, and as a conduit to expose inherent biases of museum collections focused on the Western art-historical canon. Featured works include Joseph Beuys's installation Virgin (April 4, 1979); Franz Kline's Painting No. 7 (1952); Mark Rothko's Untitled (Black on Gray) (1969/70); examples from Ana Mendieta's Silueta Series, which she began in 1973; and Martin Puryear's sculpture Bask (1976).

Carrie Mae Weems (b. 1953, Portland, Oregon) is known for her artistic interrogations of systems as they relate to the constructions of power, race, gender, and class in visual representation. The survey exhibition Carrie Mae Weems: Three Decades of Photography and Video (2014) at the Guggenheim Museum traced the evolution of Weems's career over thirty years, from her early documentary and autobiographical photographic series to the conceptual and philosophically complex works that have placed her at the forefront of contemporary art.

Guggenheim Tuesdays: Conversation Reflections on Artistic License
Select Tuesdays, 6:30 pm
Solomon R. Guggenheim Museum, Peter B. Lewis Theater
In this series of conversations organized by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, each of the six artist-curators of Artistic License-Cai Guo-Oiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems-reflects on their interpretations of the collection and the themes that informed their curatorial selections.

June 18: Cai Guo-Oiang July 30: Jenny Holzer September 24: Julie Mehretu October 8: Paul Chan
November 19: Carrie Mae Weems
December 17: Richard Prince

$25, $20 members, $18 students. Ticket includes same-day museum admission and admission to extended hours on Guggenheim Tuesda ys. Program subject to change. For more information and tickets, visit guggenheim.org.

Solomon R. Guggenheim Museum and Foundatio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

Exhibition Support
Artistic License: Six Takes on the Guggenheim Collection is made possible by Lavazza. Major support is provided by Bank of America.
Support is also provided by The Kate Cassidy Foundation.

The Leadership Committee for Artistic License: Six Takes on the Guggenheim Collection is gratefully acknowledged for its support, with special thanks to Stefan Edlis and Gael Neeson; Larry Gagosian; Fundaci6n Almine y Bernard Ruiz-Picasso para el Arte; Marian Goodman Gallery; Nahmad Contemporary; Peter Bentley Brandt; Oded Halahmy Foundation for the Arts, Inc.; Hauser & Wirth; Allison and Neil Rubier; and those who wish to remain anonymous.

Additional funding is provided by the Solomon R. Guggenheim Museum's Collections Council.

About the Solomon R. Guggenheim Foundation
The Solomon R. Guggenheim Foundation was established in 1937 and is dedicated to promoting the understanding and appreciation of modern and contemporary art through exhibitions, education programs, research initiatives, and publications. The Guggenheim international  constellation  of museums includes the Solomon R. Guggenheim  Museum, New  York; the Peggy Guggenheim Collection, Venice; the Guggenheim Museum Bilbao; and the future Guggenheim Abu  Dhabi. In 2019, the Frank Lloyd Wright-designed Solomon R. Guggenheim Museum celebrates 60 years as an architectural icon and "temple of spirit" where radical  art and  architecture  meet.To  learn more  about the museum and the Guggenheim's activities around the world, visit guggenheim.org .

VISITOR INFORMATION
Admission: Adults $25, students/seniors ( 65+) $18, members and children under 12 free. Listen to each artist-curator talk about their selections on the museum digital guide or at guggenheim.org/guide.

Museum Hours: Open daily 10 am-5:30 pm, Tuesdays and Saturdays extended hours until 8 pm. On Saturdays, beginning at 5 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit guggenheim.org.

For publicity images, visit guggenheim.org/pressimages Password: presspass

#Artisticlicense

#1544
May 23, 2019

FOR ADDITIONAL INFORMATION
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Solomon R. Guggenheim Museum and Founda tio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

Senior Publicist
Solomon R. Guggenheim Museum
212 423 3840
pressoffice@guggenheim.org

Solomon R. Guggenheim Museum and Founda tio n 1071 Fifth Avenue New York, NY 10128 0173 Phone 212 423 3840 pressoffice@guggenheim.org

PRESS IMAGES
Artistic License: Six Takes on the Guggenheim Collection
May 24–January 12, 2020
Solomon R. Guggenheim Museum

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Works from the Guggenheim Museum’s collection in storage, by (clockwise from top left) Jean Dubuffet, Martin Barré, Wifredo Lam, Willem de Kooning, David Hammons, Paul Wonner, Cecilia Vicuña, and Maria Helena Vieira da Silva. Barré, Dubuffet, Lam, and Vieira da Silva © 2019 Artists Rights Society (ARS), New York/ADAGP, Paris; De Kooning
© 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York; Hammons © David Hammons; Vicuña © Cecilia Vicuña; Wonner © Estate of Paul Wonner and William Theophilius Brown, Crocker Art Museum, Sacramento.
Photo: David M. Heald
| Artistic License: Six Takes on the Guggenheim Collection

Joan Miró
Prades, the Village (Prades, el poble), summer 1917 Oil on canvas, 65 x 72.6 cm
Solomon R. Guggenheim Museum, New York 69.1894
© 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

 	

Hilla Rebay
The Dog (Le chien), n.d. Paper collage, 34.9 x 43.7 cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 41.576
© 2019 The Hilla von Rebay Foundation

Lawrence Weiner TO THE SEA ON THE SEA FROM THE SEA AT THE SEA
BORDERING THE SEA 1970
Language + the materials referred to, dimensions variable
Solomon R. Guggenheim Museum, New York, Panza Collection, Gift 92.4185–89
© 2019 Lawrence Weiner / Artists Rights Society (ARS), New York

 	

Laurie Simmons
First Bathroom/Woman Kneeling, 1978 Silver dye bleach print, 8.9 x 12.7 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the International Director’s Council 2015.37
© Laurie Simmons

Georges Mathieu
Untitled, 1959
Oil on canvas, 96.5 x 161.3 cm
Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. Samuel
A. Seaver 79.2628
© 2019 Artists Rights Society (ARS), New York / ADAGP, Paris

| Artistic License: Six Takes on the Guggenheim Collection

 	

Maria Helena Vieira da Silva
Untitled, 1953
Oil on burlap, 76.5 x 125.1 cm
Solomon R. Guggenheim Museum, New York 53.1375
© 2019 Artists Rights Society (ARS), New York / ADAGP, Paris

Francis Bacon
Three Studies for a Crucifixion, March 1962
Oil with sand on canvas, three panels, 198.1 x 144.8 cm each Solomon R. Guggenheim Museum, New York 64.1700
© 2019 The Estate of Francis Bacon. All rights reserved. / Artists Rights Society (ARS), New York / DACS, London

 	

Romare Bearden
Evening 9:10, 461 Lenox Avenue, 1964
Gelatin silver print (photostat) on fiberboard, 68.9 x 90.3 cm Edition 2/6 (full edition unrealized)
Solomon R. Guggenheim Museum, New York, Purchased through prior gift of Julian J. Aberbach and Joachim J. Aberbach, Dr. and Mrs. Samuel
S. Mandel, and Mr. and Mrs. Nathan L. Halpern, with additional funds contributed by the Photography Council 2017.76
© Romare Bearden Foundation. Courtesy of DC Moore Gallery, New York
| Artistic License: Six Takes on the Guggenheim Collection

Joseph Beuys
Virgin (Jungfrau), April 4, 1979
Chalk on blackboard, chalk and soap bar on wood table, wood chair, electrical cable, socket, and lightbulb, dimensions variable
Solomon R. Guggenheim Museum, New York 94.4265
© 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

 	

Franz Kline
Painting No. 7, 1952
Oil on canvas, 146 x 207.6 cm
Solomon R. Guggenheim Museum, New York 54.1403
© 2019 The Franz Kline Estate / Artists Rights Society (ARS), New York

Louise Nevelson
Luminous Zag: Night, 1971
Painted wood, 304.8 x 490.2 x 27.3 cm overall
Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. Sidney Singer 77.2325
© 2019 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

 	

Adrian Piper
The Mythic Being: Smoke, 1974 Gelatin silver print, 20.3 x 25.4 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council and the International Director’s Council 2017.38
© Adrian Piper

Installation View: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, May 24, 2019– January 12, 2020
Photo: David Heald
© Solomon R. Guggenheim Foundation

| Artistic License: Six Takes on the Guggenheim Collection

 	

Installation View: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, May 24, 2019– January 12, 2020
Photo: David Heald
© Solomon R. Guggenheim Foundation

Installation View: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, May 24, 2019– January 12, 2020
Photo: David Heald
© Solomon R. Guggenheim Foundation

Installation View: Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, May 24, 2019– January 12, 2020
Photo: David Heald
© Solomon R. Guggenheim Foundation

| Artistic License: Six Takes on the Guggenheim Collection

The Guggenheim Museum’s collection has been built over the past ninety years, reﬂecting the different passions and interests of its founder, Solomon R. Guggenheim, and of the subsequent directors and curators who have tended to it. Institutional taste almost always aligns with the cultural values of any given era; collection exhibitions often serve to fulﬁll and deﬁne what we call the art-historical canon, inﬂuencing which artists’ work gets displayed and which artistic movements are deemed important. But under the surface, hidden away in a museum’s storerooms, other stories accumulate, waiting to be told. A tradition at many institutions but
a ﬁrst at the Guggenheim with the present exhibition: artists are invited to mine collections in order to construct new narratives and provide fresh perspectives on a museum’s holdings. Artists’ choices often underscore telling gaps or inherent biases in collecting practices, whether intended as institutional critique or simply as a more autonomous approach to curatorial selection. In the process, artists can uncover buried treasures, yet-to-be-fully appreciated works of art that, after many years in storage, see the light of day.

To celebrate the 60th anniversary of the museum’s Frank Lloyd Wright–designed building, Artistic License brings together the unique visions of six artists who have each had one-person exhibitions at the Guggenheim: Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems. They were invited to make individual selections from the modern and early contemporary portion of the collection, dating from circa 1900 to 1980, and asked to shape these selections into discrete presentations, one per each of the six levels in the spiraling rotunda. Their approaches range from the formal to the thematic, but all are poetic and ﬁlled with discovery.

Cai Guo-Qiang reﬂects upon atypical and often early works in known artists’ careers, which reveal the passion that drives innovation. To enhance his selection— installed salon-style in a nonhierarchical and ahistorical fashion—Cai created a series of his signature exploded gunpowder paintings in homage to iconic canvases in the Guggenheim’s holdings. Paul Chan contemplates the motif of the bather and its attendant representations of water and passage as a way to invoke sensations of pleasure and renewal in these troubled times. Jenny Holzer focuses exclusively on art made by women, applauding the abundance of talent she uncovered in the process. Creating meaningful new connections among the works she selected for her installation, Holzer recuperates careers lost to an art history disproportionately skewed toward men.

Julie Mehretu interrogates how artists respond aesthetically in times of political and social crisis, giving visible form to collective cultural trauma. One of her goals was to tell this story with works by artists who fall largely outside of the silo of a Western, white, male art-historical narrative. Richard Prince studies the uncannily similar compositions found in abstract art during the 1940s and ’50s, while introducing some surprise works from his own collection that contest the accepted canon from this era. And Carrie Mae Weems restricts her selections to a predominantly black-and-white palette, in a metaphoric gesture that alludes
to the relatively small number of artists of color from this period in the collection. Considered together, these six curatorial interventions weave a new narrative about the Guggenheim’s holdings and creatively challenge the museum to examine its own historical blind spots.

—Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator

This exhibition is organized with the artists by Nancy Spector; supported by Ylinka Barotto, Assistant Curator; with Tracey Bashkoff, Director of Collections and Senior Curator; and Joan Young, Director, Curatorial Affairs.

All artworks belong to the Solomon R. Guggenheim Foundation and are part of the collection of the Solomon R. Guggenheim Museum in New York, unless otherwise credited.

#ArtisticLicense

Before being recognized as inventors of the trademark styles of their eras, most pioneering artists went through lengthy explorations, the testaments to which are buried in museum coffers. The common starting points of these
explorations are realism and ﬁguration; the result is a world seemingly captured through the eyes of a newborn child. In artists’ childlike innocence, one can perceive an unyielding love of painting and a shared “primordial complex,” or ﬁxation on unprocessed, unedited fundamentals that manifest as an art that transcends both artistic movements and the pursuit of a trademark style. Such a ﬁxation can be found in Piet Mondrian’s chrysanthemum, Vasily Kandinsky’s landscapes, and Franz Kline’s self-portrait.

On the difficult path to procuring their place in art history, artists make rational decisions to create methodologies. Delving into their sensibilities to unearth new potentials, they eventually arrive at a mature style characterized by an established, recognizable trademark. Some artists express sentiments toward the natural world, which manifest in their early work and are carried into their mature stages. Abiding by their own frameworks, these artists are
nevertheless free of self-imposed constraints. This is a rebellion against the life
path regulated by social expectations. As for the rebels of art history, who are ﬁrst and foremost anxious, such fright and unease are fundamental to their deﬁance. Yet upon establishing sophisticated systems of rules, many inevitably lose this invaluable sensibility.

In our contemporary art world, artists have created exemplary instances
of images transformed in the service of a recognizable style, namely brands, which amount to easily accepted and widely admired representatives of
art history. The culture industry—which includes the art market and art museums—ﬂourishes, and as a result, cultural commodities move freely in the global capitalist system. The auction result seems to represent the value of the artwork. Art history is written around the golden careers and heartening
stories of certain artists who are advertised by museums and galleries as icons of various periods, movements, or styles. Functioning like trademarks, the
work of these artists unwittingly matches the expectations of cultural tourism.

Water represents a source of life, an instrument of cleansing, and a means of regeneration in virtually all cultures. The ancient Greeks deﬁned it as one of the four elements from which existence arose. The renowned Chinese
philosopher Laozi considered it the primordial formlessness that paradoxically stood for the highest virtue. Early Jewish and Christian traditions anointed water one of the great symbols of creation and rebirth. This is arguably why the act of immersing in water is so potent, in art and in life.

The bather is a theme in art with a long and storied pedigree. Artists today continue to ﬁnd inspiration in it, creating works for new generations. Why is this? Perhaps it’s because the notion of the bather evokes ideas and feelings about how the spiritual, the material, and the sensuous coincide.

In every age, overwhelming structural iniquities bring meaningless and arbitrary suffering and pain. And in every age, people organize to resist the best they can, trying to stop the calamities from claiming more lives. Progress here means the collective power to stop ourselves from what we are most in danger of becoming. But progress takes a toll, especially on those who want it most. Resistance wears down the spirit and makes a mess of the body and mind. It is a shame that it feels natural to expect suffering in oneself for the sake of ending it in others, and commonplace to accept this terrible symmetry as the price one pays for progress.

Works that take up the motif of the bather break with this symmetry by inviting us to reﬂect on how pleasure renews us. They are reminders that pleasing and being pleased—without aggression or guilt—expands our capacity for fellow feeling. Genuine pleasure is rejuvenating. And like that perfect night of sleep,
it has a clarifying quality, as if one has emerged from a kind of cleansing. This sense of being cleansed is stimulating and healing insofar as it helps renew us to more ably face what the day demands.

Progress without pleasure at heart is not progress at all. But pleasure without progress in mind is destructive, deadening, or a bore.

The works on this ramp have little to say about any of this. But then again, they were not chosen to say anything in particular. So, why these works? It is said that the longing for the new is a reminder of what is worth renewing. Consider the following artworks as spirited invitations that encourage us to recall how enlivening it is to be near or in a river, some lake, or the open sea—and maybe a ﬁgure or two, naked or clothed, alone or no, to remember all that has been lost, how close it all is to disappearing, and what it takes to go on.

With the reshuffling of the world order at the end of World War II and the simultaneous dawn of the Cold War at the end of the 1940s, American abstract painting and sculpture gained a new prominence in the international cultural consciousness. This emergent, developing art form was premised largely on an embrace of subjectivity and chance, with roots in Native American iconography, the improvisational elements of jazz, and the inﬂuence of Surrealist artists living in exile in the United States during wartime. The ascendency of American Abstract Expressionism here and abroad was catalyzed by a strategic effort
on the part of the U.S. government—the CIA in particular—to spread an ethos
of liberalism in the face of encroaching Communist ideology in Eastern Europe. The bold drip paintings of Jackson Pollock were pitted against the Socialist Realism of the USSR. Abstract Expressionism, unwittingly, became an American brand for export, a propagandistic arm of the State Department.

But what is lost in this art-historical assessment is the equally persuasive argument that postwar abstraction—as an immediate rejection of the more traditional classicism and realism that emerged during the 1920s and ’30s—was largely a transnational movement. Art Informel in France; CoBrA in Denmark, the Netherlands, and Belgium; Zero in Germany; and Gutai in
Japan all promoted the idea of abstraction as a liberating aesthetic strategy in the face of war-wrought devastation.

Four Paintings Looking Right examines examples of international abstraction in the Guggenheim’s collection through a postmodern lens, which questions the value assigned to concepts of originality and authorship. What were the dominant visual codes used in the heyday of Abstract Expressionism, and how
did they appeal to cultural stereotypes, prejudices, desires, and fears? Why is it that similar compositional formats, like a kind of horizontal scaffolding, appear across cultures and artistic movements active during the 1940s and ’50s? How is taste formed? While these questions are largely rhetorical, the inclusion of two abstract canvases by Stuart Sutcliffe playfully probes the polemic at hand. Known today as the “ﬁfth Beatle,” Sutcliffe left the band in 1961 to pursue a career in the visual arts, only to die a year later from a cerebral hemorrhage.
His relatively unknown work ﬁts perfectly into the formally cohesive selection on view here and prompts a reconsideration of the canon as we know it.

The term postwar art has most typically been used to describe art created in the aftermath of World War II within a North American or Western European context. The advent of the atomic age—initiated by the United States’ bombing of Hiroshima and Nagasaki in 1945—and the atrocities of the Holocaust, perpetuated by Adolf Hitler’s Third Reich, challenged artists and intellectuals
to invent new languages and forms that could respond to the un-representable.
The disjunction between Western ideologies and the realities of violence and devastation led many European and North American artists to embrace non-Western aesthetics and modes of thought.

In the visual arts, abstraction provided an experimental vocabulary with which to signify the magnitude of destruction caused by the war and the gravity
of horrors unleashed by the nuclear bomb. It also offered artists an open- ended approach to envisioning other psychic or emotional states, as a respite and refuge from the harsh realities of the present. Simultaneously, ﬁguration and performance art ﬂourished, as artists sought to portray the radical fragmentation of the body—a result of the violence wrought against it and
the environment, the cityscape, and the countryside. Art offered both a critique of and an escape from a war-weary world.

What has not been recognized fully within art history is how this period was one of global turmoil. The war itself spread across six continents, with upwards of ﬁfty million casualties. In the West, a profound reckoning with the ethical dilemma of the Holocaust shed new light on the immorality of colonialization and its attendant impacts: the extraction of resources and cultural annihilation. Many celebrated Western postwar artists mined the very cultures that had been colonized—cultures that were having their own rich responses to the violence of war and decolonization. An art history written from a global perspective must acknowledge the myriad and diverse artistic voices of the postwar era, and the poetic and miraculous inventions of those who fought
for independence and civil rights around the world.

The title Cry Gold and See Black amalgamates the names of discrete artworks on view: Isamu Noguchi’s sculpture The Cry (1959), Robert Rauschenberg’s Untitled (Gold Painting) (ca. 1953), and David Hammons’s body print Close Your Eyes and See Black (1969). The references range from the existential suffering caused by the war, to the Gold Coast in West Africa (now Ghana), which won its independence from Britain in 1957, to the U.S. civil rights movement. This presentation contemplates how individual artists have responded to times of great conﬂict, giving form to catastrophe, and reﬂects upon the insistence
of creative production and the imagining of other futures. Art witnesses and
demands accountability, but it also envisions the possible.

A strictly black-and-white palette is utilized here as a formal organizing principle, uniting a disparate selection of paintings, drawings, photographs, and sculptures by many different artists working across several decades. This reductive, chromatic statement makes visible intriguing connections among works of art—both abstract and ﬁgurative—that are rarely displayed together and collectively create a coherent, harmonic installation. Joseph Beuys’s Virgin (Jungfrau) (April 4, 1979)—with its simple table and chair, chalkboard, and suspended lightbulb—functions as the cornerstone of the entire ramp, from which ideas radiate outward in circular motion. Emulating a classroom, the installation suggests a space for contemplation, a location
dedicated to learning and analysis. What, then, is being taught or questioned?

Many Western museums of modern and contemporary art, including this one, tell partial stories about art history. When examining the collection from 1900 to 1980, one is compelled to ask: Where are the artworks by black artists
and brown artists, and by women in general? While the Guggenheim Museum owns many wonderful, jewellike objects, it lacks the complexity of truly diverse representation within its holdings. Given this reality, the black-and-white palette employed here also functions as a metaphor for what could have been if the collection more effectively reﬂected the broader creative community.

The symbolic resonance of black-and-white has been used to parse these curatorial questions at least once before. In 1965, Spiral—a New York–based collective of African American artists—limited their ﬁrst group exhibition
to monochromatic works. Whether this strategic decision was meant to comment on the urgent need for integration across all aspects of society, or to interrogate the absence of artists of color from major museum collections, the palette struck a metaphoric chord. As the overarching motif for this installation, black-and-white serves as a prompt to ponder the possibilities
of a more enlightened approach to art history. Its use, though, is entirely open to interpretation, with many layers of potential meaning.

In 1971, art historian Linda Nochlin penned the paradigm-shattering essay “Why Have There Been No Great Women Artists?,” which appeared in ARTnews magazine. Her text probes the questions: Why has the concept of artistic genius traditionally been reserved for men, and how do the very real socioeconomic barriers faced by women through the ages prevent them
from pursuing independent careers in the arts? Revealing the inherent gender biases in discussions of taste and connoisseurship, Nochlin’s article effectively jump-started a feminist art history. Over the past ﬁve decades, this revisionist approach has recuperated artistic careers that otherwise would have been lost to history and has paved the way for younger women artists to gain the visibility and economic agency they so deserve.

The Guggenheim Museum’s early, modern collection, which was premised originally on an abiding commitment to nonobjective art, is lacking in its representation of women artists. But that is not to say that it does not include important abstract works from the ﬁrst half of the twentieth century by trailblazing female artists such as Natalia Goncharova and Liubov Popova.
By mid-century the ratio improves, with numerous examples by renowned and oft-exhibited artists such as Louise Bourgeois, Helen Frankenthaler, Agnes Martin, Joan Mitchell, and Louise Nevelson. In this presentation, a number of rarely displayed works have been brought to the fore to celebrate lesser-known yet equally signiﬁcant careers. A masterful painting by Lee Bontecou, for instance, has been included in only a few Guggenheim exhibitions, while Ruth Asawa’s delicate wire sculptures and Chryssa’s commanding yet cryptic neon reliefs are being presented at the museum
for the ﬁrst time.

The installation ends with a strong selection of photo-based work from the 1970s by artists associated with the Pictures Generation—Sarah Charlesworth, Barbara Kruger, and Cindy Sherman, among others—whose own conceptual projects were informed by feminist critiques of representation in art and popular culture. Their photographs creatively interrogate how visual imagery can promote and perpetuate a sexist status quo. As a whole, Good Artists playfully challenges the idea that a speciﬁcally female aesthetic actually exists. It asks whether work by women artists can be identiﬁed or deﬁned solely by the artists’ gender, with wondrous examples that defy categorization.

CAI GUO-QIANG (b. 1957, Quanzhou, Fujian Province, China) draws upon Eastern philosophy and contemporary social issues as the conceptual basis for his art; through a
context-speciﬁc approach, Cai aims to respond to the history of local cultures. His gunpowder paintings and performances are imbued with a force that transcends the two-dimensional plane to engage with society and nature. Cai Guo-Qiang: I Want to Believe, the artist’s 2008 solo exhibition at the Guggenheim, revealed his explorations
of art’s relationship to the cosmos and his methodological approach, which attempts, through visible means, to represent the unseen world.

Installation view, Cai Guo-Qiang: I Want to Believe, Solomon R. Guggenheim Museum, New York, February 22–May 28, 2008. Photo: David Heald © SRGF

PAUL CHAN (b. 1973, Hong Kong) is known for a diverse practice that ranges from animated video projections to charcoal drawings, public performances, and haunting pneumatic sculptures, and for founding the experimental publishing house Badlands Unlimited in 2010. The artist’s solo exhibition at the Guggenheim, The Hugo Boss
Prize 2014: Paul Chan, Nonprojections for New Lovers (2015), presented an installation that reimagined the very concept of the moving image and the illusory nature of representation.

Installation view, The Hugo Boss Prize 2014: Paul Chan, Nonprojections for New Lovers, Solomon R. Guggenheim Museum, New York, March 6–May 13, 2015.
Photo: David Heald © SRGF

JENNY HOLZER (b. 1950, Gallipolis, Ohio) has used language to deconstruct how meaning is created in Western culture’s patriarchal, consumer-oriented society for much of her career. The artist’s 1989–90 retrospective at the Guggenheim consisted of a site-speciﬁc LED
sign that wound its way around the interior walls of the museum’s rotunda, creating a dizzying electronic arcade of aphorisms and declarations comprising all of her work to date. This installation was accompanied by granite and marble benches inscribed with darkly poetic statements.

Installation view, Jenny Holzer, Solomon R. Guggenheim Museum, New York, December 12, 1989–February 25, 1990. Photo: David Heald © SRGF

JULIE MEHRETU (b. 1970, Addis Ababa, Ethiopia) is best known for large-scale paintings and works on paper
that layer and integrate abstract forms and schematic architectural imagery. Mehretu’s work is inspired by the topography, energy, and sensibility of global urban landscapes, political unrest, and modernist history.
Her Guggenheim exhibition Julie Mehretu: Grey Area (2010) featured a suite of large-scale paintings commissioned by the Deutsche Guggenheim in Berlin.

Installation view, Julie Mehretu: Grey Area, Solomon R. Guggenheim Museum, New York, May 14–October 6, 2010. Photo: David Heald © SRGF

RICHARD PRINCE (b. 1949, Canal Zone, Panama) is a member of the group of conceptual artists known as the Pictures Generation, pioneering the use of appropriation in his early photo-based works and “Monochromatic Joke” paintings to comment upon the way desire is created and
perpetuated in the mass media. His survey exhibition at the Guggenheim, Richard Prince: Spiritual America (2007–08), featured artworks from this critical early chapter in his career, and from his subsequent forays into the history of twentieth-century painting—including meditations on the work of Pablo Picasso and Willem de Kooning—as well as an embrace of pulp imagery.

Installation view, Richard Prince: Spiritual America, Solomon R. Guggenheim Museum, New York, September 28, 2007–January 9, 2008. Photo: David Heald © SRGF

CARRIE MAE WEEMS (b. 1953, Portland, Oregon) is known for her artistic interrogations of systems as they relate
to the constructions of power, race, gender, and class in visual representation. The survey exhibition Carrie Mae Weems: Three Decades of Photography and Video (2014) at the Guggenheim traced the evolution of the artist’s career over thirty years, from her early documentary and
autobiographical photographic series to the conceptual and philosophically complex works that have placed her at the forefront of contemporary art.

Installation view, Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum, New York, January 24–May 14, 2014.
Photo: David Heald © SRGF

In Judit Reigl’s paintings, the mechanical,
chance-based techniques of Surrealism inspire
expressionistic improvisations with physicality and gesture. Outburst, from a series of the same name made over a three-year period, features masses of exploded paint that traverse the work and trace the movements of the artist’s body in action. Reigl
hurled mixtures of industrial pigment and linseed oil onto the surface of a tilted canvas, then added slabs of paint by hand, using a bent curtain rod to break
down and spread the mounds into ragged diagonal bands of saturated color. As an index of painterly movement that references sensuality and violence, Reigl’s work connects to the abstraction of her
American contemporaries.

Although often celebrated as an intuitive Action painter, Willem de Kooning distilled his painterly
vocabulary from observable reality, including ﬁgures and landscapes. . . . Whose Name Was Writ in Water,
created after the artist moved from Manhattan to the countryside in East Hampton, New York, in search
of greater peace and isolation, takes nature as its theme. One of de Kooning’s favorite subjects was
water, and his broad, slippery impasto strokes, their frayed edges speckled with drips, convey its ﬂuidity and breaking movement. The work’s title, taken from an epigraph on the tombstone of poet John Keats, offers a meditation on ephemerality and loss.

In the late 1960s, against the backdrop of the civil
rights movement in the United States, David Hammons began making his iconic series of body prints. Coating his skin, hair, and clothing with grease, the artist
pressed his body into paper dusted with pigment or
graphite. In Close Your Eyes and See Black, Hammons’s multiple pressings are intricately recorded in black
pigment on gold paperboard. The resulting ﬁgure
makes an ambiguous gesture that may be interpreted as one of supplication, surrender, or self-effacement.
Referencing avant-garde artists who had previously
used bodily gesture in painting, such as Yves Klein and Jasper Johns, Hammons further invests these actions with a speciﬁc history—that of the exploitation of the black body.

Martin Puryear raises, then resolves, contrary
formal issues in the making of his abstract sculptures, creating a dynamic equilibrium between antithetical forces. Puryear’s virtuoso ability with the medium of wood stems from his knowledge of craft traditions.
Though originally trained as a painter, the artist
learned about indigenous carpentry in Sierra Leone in the mid-1960s and began to make wooden
sculptures while in Sweden, where he observed Scandinavian woodworking techniques. In Bask,
a low-lying curved structure rises smoothly from the ﬂoor before suddenly descending, as if extending
itself beneath the ground. While its form suggests the diminutive, its scale is monumental. Standing before the work creates an experience that is
embodied yet intangible.

Romare Bearden was a founding member of Spiral, a New York–based collective of African American artists that met frequently through the mid-1960s
to converse about the relationship between art,
politics, and the black experience. During that same period, Bearden began developing a series titled
Projections, in which he transformed his modest
color collages featuring scenes of African American life into large, monochromatic photoreproductions.
Evening 9:10, 461 Lenox Avenue depicts a group of card players in a Harlem apartment, combining motifs of leisure from traditional genre painting
with Cubism’s strategy of fragmentation—itself a critique of representation. Instead of presenting
a documentary portrayal, Bearden creates a dense and eminently imaginary scene that acts as a
meeting point for multiple mythologies.

As an artist and provocateur, Joseph Beuys also
performed the roles of teacher, activist, and public intellectual. In 1979, while participating in cultural
debates about the conversion of a Viennese palace into a modern art museum, Beuys jested that a
palace was as good a place for hanging wet laundry as it was for displaying art. Virgin, which consists
of a table and chair, a single lightbulb, a blackboard with handwritten chemical formulas, and a bar of
soap, is a kind of “representation” of these debates.
The installation exempliﬁes Beuys’s imaginative use of metaphor, his alchemical approach to
materials, and his belief in art’s ability to change sociopolitical reality.

Around 1968, Robert Morris introduced the idea of Anti-Form, challenging the presumed objectivity
of Minimalism by acknowledging that the artist’s
and viewers’ speciﬁc bodies inform their approach
to an artwork. Morris’s argument corresponded with a shift in his choice of sculptural mediums: materials
like ﬁberglass, plywood, and steel were augmented or replaced with components made from felt, rubber,
or wire. Untitled (Black Felt) features textural, sloping contours that respond to gravity. Formed through
simple actions such as cutting and dropping, the work counters the unitary proﬁle of Minimalist sculpture.

Richard Serra studied in Italy between 1965 and 1966, where he encountered Arte Povera, a
movement that encouraged radical experimentation with nontraditional materials. After returning to
the United States, the artist began using malleable
mediums like rubber and lead to produce installations that possess traces of their own making. For Tearing Lead from 1:00 to 1:47, Serra devised a title that
emphasizes process over product, referencing both the sculptural technique used and the timeframe
of creation. This highly gestural work features corrugated shards that have been methodically
stripped from the lead sheet at their center, as the artist reimagines Abstract Expressionism’s painted lines directly on the gallery ﬂoor. Like his sculptor contemporaries, Serra explores ways of provoking new reﬂections on the human body by recording
the act of creation.

Lawrence Weiner’s sculpture uses language itself as a medium: to describe material processes and physical conditions, and to delineate space and
indicate location. Since 1968, when the artist
concluded that the physical construction of a work is not critical to its existence in the world, he has
authored hundreds of linguistic artworks. Weiner extends his engagement to ready-made structures of language such as idioms, clichés, and proverbs, which underscore the contingent nature of meaning when encountered in different contexts. In EARTH TO EARTH ASHES TO ASHES DUST TO DUST, a
Christian burial recitation becomes, in nonliturgical circumstances, a simple meditation on materials
and processes of transmutation.

Nearly a decade after arriving in New York,
Louise Bourgeois began to create her Personnages
(1945–55), a series of wooden sculptures that
act as surrogates for the artist’s close relations,
present and lost, and embody the essential themes of her subsequent work. Sculptures produced later in her career, like Lair and the amorphous Fée
Couturière from the 1960s, diverge visually from the vaguely anthropomorphic forms of the Personnages. Yet they equally reﬂect the artist’s vulnerability,
here through her fascination with the protective and disquieting aspects of one’s shelter. Although she would exhibit alongside members of the New York school, who primarily worked in a gestural, abstract
mode, Bourgeois employed a distinct visual vocabulary that embraced both abstraction and ﬁguration, and
she was motivated by a deeply introspective clarity of vision. The emotions that informed this vision, ranging from the pain of familial betrayal to feelings of fear
and inadequacy, manifest in an autobiographical
symbolism that uniﬁes Bourgeois’s oeuvre. Each work, whether sculpture or drawing, evokes an intensely
emotional confrontation with both the artist’s history and the viewer’s own.

In the 1940s, Claire Falkenstein made a pivotal, though short-lived, shift from clay to wood as her primary
sculptural medium, culminating in a body of work titled
Set Structures. These sculptures, created between 1941 and 1944, were often presented as a single,
uniﬁed mass, which could also be broken down into discrete elements. Falkenstein’s intention in creating works like Set Structure with Cylinders, produced
through a method she called “exploding the volume,” was to grant her audience the power to dismantle and reconstruct the forms placed before them. Today, as part of the museum’s collection, they are not available for audience handling and manipulation.

As an art advisor, Hilla Rebay helped shape the
Founding Collection of the Solomon R. Guggenheim Museum through her passionate support for
nonobjective painting, yet her accomplishments in this role often overshadow her endeavors as a practicing artist. Rebay was formally trained
as a painter, but her most original efforts are in the medium of paper collage. She began working with this technique as early as 1915, but it was not until 1927, after moving to New York from Germany (by
way of Philadelphia), that collage became her primary artistic focus. Many of Rebay’s early ﬁgurative works, such as Woman with Cat at Seashore, feature full-
length portraits of women in intricate dress. Floating reﬂects a shift toward abstraction, its deliberate yet whimsical composition representative of the artist’s constructions from the late 1930s onward.

Between 1935 and 1941, Marcel Duchamp developed a series titled Box in a Valise (From or by Marcel
Duchamp or Rrose Sélavy), a set of travel cases
in which the artist enclosed miniature reproductions of his own artworks. The box exhibited here was
assembled in 1961. In addition to holding three- dimensional replicas of Duchamp’s readymades 50 cc of Paris Air (1919), Fountain (1917), and
Traveller’s Folding Item (1916), it features facsimiles and print reproductions of some of the artist’s most renowned works. Visible here is an image of the
painting Apropos of Little Sister (1911), currently on view in the Guggenheim Museum’s High Gallery.
Through these miniature constructions assembled
in carrying cases, which he conceived of as portable museums, Duchamp furthered his challenge to
notions of originality embedded in the traditional
deﬁnition of ﬁne art and its associated value systems.

Philip Guston turned from his almost decade-long engagement with Abstract Expressionism toward a
more ﬁgurative idiom in the late 1960s. This shift was not initially as well received as his earlier gestural
mode of painting. Accused of forsaking abstraction, and seeking solace and escape from the incensed criticism, Guston left New York City in 1967 for the
town of Woodstock, in upstate New York. During
this period, the artist developed a personal, visceral
iconography, often, as in Moonlight, involving masses of disembodied limbs, through which he sought
to capture the political and racial violence of the
time. This poignant subject matter is heightened by Guston’s formal style, which is almost cartoonlike,
and marked by his characteristic thick black outlines and a color scheme of bright pink, red, and green.

After the Second World War, Portuguese-born artist Maria Helena Vieira da Silva left Rio de Janeiro and returned to Paris, where she became a seminal
proponent of French abstraction. Many of her works
from the postwar period bear densely interlaced webs of lines and planes that reﬂect a sense of anxiety and displacement. Having studied painting with Fernand Léger, Vieira da Silva adopted the restricted palette
and faceted forms of the Cubists. Rather than
planning out her richly textured compositions, she often began by laying down lines, and allowed the work to evolve as she progressed—a practice akin to that of the Surrealists. Untitled resembles an
architectural construction; its fragmented, brightly colored shapes and black lines emerge from the
background in a tense, grid-like formation.

The rise of Nazism forced Hannelore Baron and her family to ﬂee Europe for New York in 1941.
Affected by the repercussions of anti-Semitism,
Baron suffered from nervous breakdowns and claustrophobia in her adult life, which forced
her to live in isolation. The artist’s subtle collage
compositions are made from combinations of found textiles, paper, and string; the last of those materials may be seen as a reference to both physical and
mental conﬁnement. Deliberately intimate in scale, these works often reﬂect Baron’s emotional state or allude to historical events or conﬂicts.

A representative ﬁgure associated with Lyrical Abstraction in Paris, Georges Mathieu adopted a gestural abstract style distinguished by his
predominant use of calligraphic signs and unusually rapid mode of painting. In both of these works, the
entangled, swirling lines were applied directly onto the surface of the canvas from a paint tube. The artist’s
sprouting, rhythmic, scribble-like marks sometimes
interlace with larger brushstrokes, as seen in Untitled.
From the early 1950s, Mathieu began to make art before large public audiences, documenting his
performative actions through photography and ﬁlm.

Trained in both architecture and painting, Martin Barré repeatedly experimented with new painterly expressions, attempting to challenge the codes of abstraction. He adopted manifold techniques,
including the application of oil paint directly from
the tube onto the canvas, and the use of spray paint, a practice inﬂuenced by the artist’s observations
of Parisian street graffiti. Barré’s compositions rely
on powerful gestures yet employ minimal intervention, leaving bare large swaths of canvas. In Greenwich, he applied pigment to the work’s surface with a palette
knife, creating a scaffold of orderly lines and small squares that recalls an architectonic structure.

After a childhood spent in Japanese internment
camps in the United States, Ruth Asawa studied at the pioneering Black Mountain College in North Carolina
under the guidance of Josef Albers and Buckminster Fuller, among others. Asawa’s signature wire
sculptures, which she made in numerous iterations, are distinguished by her unique manipulation of
elaborate interwoven structures—an extension of her drawing practice. The works on view here are
examples of the artist’s tied-wire sculptures, whose shapes were inspired by a desert plant gifted to her in 1962. Unlike in Asawa’s looped-wire sculptures,
which are more controlled, here intricate meshes of wire sprout and extend into branches and tendrils.

In 1948, Corneille cofounded the Nederlandse Experimentele Groep (NEG) and the short-lived
CoBrA, a Northern European association of artists who favored naïveté, folk art, and spontaneity
of form and content through the expressive use of paint, with an emphasis on color and brushwork.
In the 1960s, Corneille created cacophonous,
abstract compositions that are characterized by
blotches of vivid color and graffiti-like marks. By the late 1970s, he mostly eschewed abstraction in favor of ﬁguration, portraying female bodies and animals
in brilliant colors.

Fernand Léger’s style evolved in the 1920s, as his early use of interlacing planes, associated with
Analytical Cubism, shifted toward a more mechanical style inﬂuenced by his time in the French army during World War I. In the 1940s, the artist worked around various ﬁgurative themes: divers, acrobats, and, later,
builders and circus performers, whose forms are often delineated with thick black contours. Starﬁsh belongs to the Divers, a body of work inspired by coastal life in the South of France. Tentacle-like limbs entangle,
while overlapping bright primary colors and amoeba- like shapes enhance the composition’s rhythm.

Asger Jorn was a founding member of CoBrA,
a European artists’ coalition active from 1948 to
1951 that emphasized material and its spontaneous application. Even after 1957, when Jorn began
participating in the Situationist International—a
group of writers, artists, and theorists who sought
to destabilize societal practices and structures—he continued to work within the CoBrA aesthetic, as
seen in A Soul for Sale. With its expressive brushwork and its collapsing of foreground and background,
ﬁguration and abstraction, this painting articulates some of Jorn’s most signiﬁcant interrogations of
the precepts of geometric abstraction.

Unlike the work of his Abstract Expressionist peers in New York, Conrad Marca-Relli’s paintings dating
from 1953 onward are distinguished by his signature use of collage. Through the meticulous arrangement
of irregularly shaped canvas cutouts, the artist created dense yet dynamic compositions from overlapping
layers of fabric interspersed with paint. The textural, scaffolding-like format of this work invokes the same keen interest in materiality expressed by Marca-Relli’s European artistic counterparts, such as Alberto Burri.

Before moving to New York from his native Japan in 1950, Kenzo Okada had a thriving career as a
landscape painter. Confronted with the work of
Abstract Expressionist painters Mark Rothko and Clyfford Still in the United States, Okada developed
a personal style that blended the atmospheric effects of Japanese art with the bold forms of contemporary American abstraction. Quiet and contemplative, his canvases often feature balanced, airy compositions
painted in a delicate and subdued palette. These elements suggest the inﬂuence of nature on the artist’s work.

William Baziotes shared a keen interest in nature with other artists of the New York school, who were simultaneously motivated by their search for primordial truths and their fascination with
scientiﬁc inquiry. This preoccupation with identifying metaphysical features of the organic realm may
explain Baziotes’s predilection for marine imagery, as seen in Aquatic, which, in both title and composition, is an unswerving allusion to an undersea landscape.
Biomorphic shapes ﬂoat on a diaphanous surface of rareﬁed colors, seemingly suspended in a calm, watery world.

In the mid-1950s, Louise Nevelson began to
assemble wooden objects into sculptures, aligning
herself with artists who used accumulations of found and discarded items, in the tradition of assemblage.
Nevelson’s large-scale wall constructions reﬂect her interest in Mesoamerican stelae and suggest the solemnity and grandeur of altar paintings. In
Luminous Zag: Night, 105 units are ﬁlled with rows of crenulated wooden beams, column fragments, and
ﬁnials, while vertical and horizontal zigzags create dynamic, rhythmic patterns. Nevelson’s monumental
sculptures allude to elements of architecture, through which she created analogies to both urban and
natural forms.

Since the mid-1960s, Cecilia Vicuña has created both paintings and multidimensional, often ephemeral works using performance, video, installation, and text that
together respond to indigenous histories embedded in Latin American culture and her personal experiences of displacement. Karl Marx belongs to a series of
paintings inspired by sixteenth-century indigenous artists in Latin America who, when commissioned to paint for the Catholic Church after the Spanish conquest, used a naive style to create covertly
anticolonial works. Similarly, Vicuña features political
and literary ﬁgures in lieu of religious icons as a means of subversion. This work was made the year before
a violent military coup led by Augusto Pinochet in the artist’s native Chile overthrew Salvador Allende and
his socialist experiment, forcing Vicuña to live in exile.

In her staged photographs of miniature-scale
interiors and toy ﬁgurines, Laurie Simmons meditates on the intersections between ﬁction and reality, and considers prescribed forms of femininity. Her early
black-and-white works from the 1970s capture the cinematic play of light and shadow on the detailed, retro decor of dollhouses, at once familiar and
disorienting in scale. The female ﬁgures that inhabit Simmons’s constructed sets provide a commentary on the isolation of women’s domestic lives and the
idealized social construct of the housewife.

Isamu Noguchi’s art reveals both a debt to the twentieth-century sculptural canon and a rare
understanding of the means by which geologic and organic materials can be transformed. In the late
1950s, while continuing to carve in marble and work in cast iron, Noguchi explored the possibilities inherent
in lightweight materials such as balsa wood, which
he used for The Cry. This sculpture is both solid and malleable; its arm is loosely connected, allowing it to vibrate in response to air currents.

After moving to New York in 1954, Chryssa began incorporating everyday subjects and materials into her artwork. She soon focused these strategies
on the ways that text circulated through the urban landscape. Her paintings of newspapers, which
she started creating in 1958, employ both the uninﬂected visual structure of daily periodicals
and, with the artist’s use of rubber stamps, their underlying modularity. Chryssa’s incorporation of ready-made imagery links these works to the
emergent Neo-Dada and Pop art styles, while the
paintings’ nearly monochromatic surfaces and refusal of expression anticipate Minimalism. Continuing to
test the possibilities of nontraditional methods and materials, she adopted neon as a medium in 1962. To the Greek-born artist, the illuminated signs that were then ubiquitous in New York epitomized the
intertwining of the vulgar and the visually poetic in
U.S. popular culture. Chryssa engaged this quality
in her neon works, which are illegible but often recall deconstructed letters, furthering her exploration of common, industrial means of presenting language.

By 1960, Agnes Martin had come to her signature compositional strategy: grids of rectangles,
rendered in delicately hand-drawn lines, laid over muted, monochromatic surfaces. Unlike the more rigidly formulaic art of the Minimalists, there is
nothing systematic about Martin’s use of the grid: the arrangement of coordinates shifts in scale
and rhythm from work to work, even as the overall format of each remains consistently square. The
artist’s commitment to this spare style was informed by her belief in art’s ability to conjure what she
termed “abstract emotions,” such as happiness,
love, and experiences of innocence, freedom, beauty, and perfection. Martin believed these feelings
could be directly conveyed by encouraging quiet contemplation, a connection derived from her
encounters with nature. This careful engagement
also characterized her artistic process. Though she used a straightedge, the making of consistently
executed, unbroken lines required painstaking focus.
Martin permitted small, humanizing imperfections but destroyed many works that did not meet her exacting standards.

From 1955 to 1959, Joan Mitchell worked in New York and Paris, forging her own artistic voice in the midst of two of the postwar era’s deﬁning movements:
Abstract Expressionism and Art Informel. The style she developed reinvigorated the gestural approach
common to these schools by infusing it with a unique synthesis of lyricism and force. Mitchell remained
committed to these qualities through the following decades, as she permanently settled in France. The
artist was often inspired by landscapes, and Canada I
reﬂects her experience of the harsh winters and
expansive terrain north of Montreal. The work resists literal readings, however, in part because of Mitchell’s dynamic use of white. By applying the color as a
ground and reintroducing it in subsequent layers, she
created a ﬂuctuating sense of depth, drawing attention to the surface of the painting. Accordingly, Mitchell
emphasized both the composition, which is structured around a three-panel format, and her athletic paint
handling, itself accentuated by the work’s enormity.

Yūko Nasaka joined the Gutai Art Association,
a pivotal Japanese avant-garde collective, in 1963.
Many Gutai artists explored radically unorthodox
methods and materials in an effort to respond to rapid industrialization and the rise of new technologies. In
her own works, Nasaka examined how such advances could be humanized. To shape the surface of Untitled, the artist placed each of its thirty square panels on
a turntable and with a palette knife sculpted the
plaster-based mixture as it spun before spraying the resulting relief with car lacquer. By using a technique derived from a long-standing potting method while
incorporating a distinctly industrial material, Nasaka sought to reconcile the traditional and the new,
showing the possibility of cultural continuity, even within a quickly transforming society.

Robert Rauschenberg’s ﬁrst monochromatic
paintings, made in 1951, are uninﬂected ﬁelds of
white. These works, with their rejection of pictorial and symbolic representation, composition, and
expression, were a radical break from the era’s prevailing ideas on art, even those circulating among vanguard artists. In the following years,
Rauschenberg continued exploring the norm-defying potential of the monochrome, embarking ﬁrst on
a series of black paintings before creating his Red Paintings and Elemental Paintings. Each work from the latter group was made using a single material, such as dirt, clay, tissue paper, lead white paint,
or gold leaf, as seen in Untitled (Gold Painting).
Rauschenberg deferred to the natural qualities of his chosen medium, giving up a degree of control over the work’s speciﬁc appearance. By embracing unstable materials and techniques, he challenged
the ideal of an artwork’s unwavering permanence.

Takis began creating his breakthrough body of
work, the Signals (Signaux), shortly after moving to Paris, where he met Yves Klein and other Nouveau Réalisme artists. These sculptures, which feature
linear supports punctuated by bulbous forms,
were inspired by radio antennae Takis saw in Calais, France, in 1954. The artist was drawn not only to the structures themselves but also to the ways in which immaterial forces that shape the world were being
harnessed by new technologies. In this shared source of animation, he saw a means of bridging nature with a culture seemingly cut off from that domain. Plant
and Animal suggests this connection by giving the form of the radio antenna a distinctly organic bend, reminiscent of plant stalks or insect antennae. The work’s connection to the invisible forms of energy pervading its environment is heightened by its
ﬂexibility, which allows the sculpture to respond to vibration and movement.

Even during Paul Wonner’s brief adherence to
an Abstract Expressionist style in the 1950s, his work retained an unyielding connection to the
visible world. Landscape II, painted in this period,
lacks the speciﬁcity to suggest a particular subject, but its rolling clusters of brushstrokes and curving
lines recall the undulations of certain geographic features, such as hillsides or shorelines. In this work,
Wonner engaged with a key root of modernism as much as with nature itself. His short, linear strokes
evoke the compact patches of color and unobscured paint handling that characterize the work of Paul
Cézanne, whose fragmented, unﬁnished approach to landscape painting, among other genres, was
pivotal to modernism’s development.

Though Paul Jenkins brieﬂy worked among the painters of the New York school, he remained
committed to representational art until 1953, when he moved to Paris. There he discovered the lyrical, painterly style of abstraction known as Tachisme.
Many artists associated with this movement
attempted to express the unconscious mind directly through the act of painting. Jenkins, a devotee of
the era’s popular writings on Zen, sought to join this ideal of unmediated expression with his spiritual
convictions, aspiring to uncover metaphysical
truths by relinquishing conscious control. His early explorations of this approach yielded turbulent,
atmospheric compositions, like The Prophecy, that seemingly envision a plane of existence without
articulated material differentiation.

Following a Fulbright fellowship in Rome, Lee Bontecou returned to New York in 1958. Although she was not associated with any particular artistic
movement, Bontecou nevertheless began to receive commercial and institutional recognition, exhibiting at the Leo Castelli Gallery in the 1960s. Anxious
about potential nuclear war and fascinated with
the advent of space exploration, she devoted many of her abstract drawings, prints, wall reliefs, and
freestanding sculptures to the exploration of a
transcendental void, both literal and ﬁgurative. In the late ’50s, Bontecou began drawing with soot, using an acetylene blowtorch with the oxygen level turned down, and she applied the same technique to her
signature steel-and-canvas reliefs, which are often monumental in scale. Like many of the artist’s works,
Untitled protrudes from the wall, insinuating itself into the viewer’s space and challenging the distinction
between painting and sculpture. The undulating
metal armature, created from overlapping horizontal
bands of steel, is punctuated by ﬁberglass bulges and cavities ﬁlled with found objects such as steel saw
blades, the carapaces of horseshoe crabs, and dark velvet fabric.

Senga Nengudi’s work blurs the line between performance and sculpture. Her practice, with its open-ended, ephemeral, and interpersonal
approach, extends the idioms of Post-Minimalism.
Nengudi emerged in Los Angeles in the 1970s alongside fellow artists David Hammons and
Maren Hassinger, producing her ﬁrst pieces in the
aftermath of the civil rights movement and the Watts riots, and amidst second-wave feminist activism.
Performance Piece portrays Hassinger activating a work from R.S.V.P., Nengudi’s landmark series of sculptural installations. Over the course of three photographs, Hassinger entangles herself in the
nylon pantyhose construction, stretching it into new shapes even as she is restrained by its tendrils. The choreography emphasizes Nengudi’s original intent for the sculptural work, embodying the physical
tension and elasticity of women’s bodies. Shot in black-and-white, the images lend a graphic quality to the action without obscuring the resonances
between Hassinger’s skin tone and the shade of the pantyhose.

Trained in painting and music, Hanne Darboven
moved to New York from Hamburg in the mid-1960s where, despite working in relative isolation, she
established herself as a major conceptual artist
alongside Sol LeWitt and Lawrence Weiner, among others. In her practice, Darboven favored numbers as a means to represent an artiﬁcial language and as a
tool to mark the passage of time. Her works, often executed on sheets of millimeter graph paper
sometimes further divided into grids drawn by the artist, bear handwritten or typed numbers arranged in lines or orderly conglomerations. As a point of
departure, the artist on many occasions used dates as recorded in the Gregorian calendar summed up in algebraic formulas that she meticulously registered on paper. During the early ’70s, Darboven integrated texts by various authors and other visual documents;
later, she adapted her numerical systems into musical compositions. In the mid-’90s, the artist revisited
the theme of the century, producing a large-scale, immersive installation. Using historical archetypes and engaging her signature mode of marking time
through the systematic writing of numbers, Darboven investigated the passage of time over the previous
one hundred years.

In addition to selecting some of his own early, ﬁgurative works to include in this presentation,
Cai Guo-Qiang also embarked on a new series of paintings, which cite iconic works that may be recognized as forming part of the Guggenheim
collection’s “brand.” Using his signature medium— gunpowder—Cai attempts to remake, or rather
reimagine, masterpieces from the museum’s holdings. “While I ventured to include a few awkward works
from my youth, my gunpowder works on glass
and mirror appear as specters of a few modernist masterpieces,” the artist noted. “It is perhaps a
witticism of my own trademark style, the artists, and the art ecosystem, for the amusement of
the audience.”

Mary Bauermeister began her career in Germany, where she became a leading artist among her
peers—including musicians, performers, visual artists, and writers—affiliated with Fluxus in the early 1960s.
Her studio, in Cologne, hosted Fluxus happenings
and served as a meeting place for renowned avant- garde artists such as John Cage and Nam June Paik, choreographer Merce Cunningham, and composer
Karlheinz Stockhausen. In 1962, Bauermeister moved to New York, where she lived for ten years. Here, the artist developed her signature lens boxes—sculptural reliefs combining drawings, found objects, and
magnifying glasses and lenses—that reﬂect her wide-ranging interests in nature, cosmology, and
spirituality. The lenses themselves offer the viewer distorted perspectives on the objects, drawings,
and scribbles that lie underneath, enhancing the dichotomy between perceived consciousness and the imaginary. In the 1980s, having returned to
Germany, where she still resides today, Bauermeister focused her practice on landscape design, taking
on commissions for private and public gardens. She continues to create drawings and assemblages that revisit iconic works from her own oeuvre.

In 2003, thirty-two small paintings executed in Jackson Pollock’s signature drip-and-pour style were discovered among the possessions of
photographer Herbert Matter, who had died in
1984. The works, including Untitled, had purportedly been held in storage until the painter Mercedes
Matter, Herbert’s widow, passed away in 2001, leaving the couple’s son to go through their belongings.
The Matters had been close with Pollock, and their personal connection seemingly explained how these paintings ended up in their hands without ever being documented. However, upon further study of the
materials, serious doubts were raised about the works’ authenticity. In addition to having created
an art-world controversy, the paintings also prompt a series of conceptual questions: To what extent
do we value an artwork for its history? What are the roles of originality and formula in postwar painting? And if it is possible to forge Pollock’s technique, can his work still be understood as an expression of his subjectivity, as it often is?

The Scottish-born expressionist painter Stuart Sutcliffe is primarily known as the original bass guitarist for the Beatles, with whom he played between 1959 and 1961. While pursuing his
master’s degree in Hamburg, Germany, under the direction of sculptor Eduardo Paolozzi, Sutcliffe
died tragically, from a cerebral hemorrhage, at the age of twenty-one. Among his last paintings are
those from the Hamburg Series, which features
contrasting sensibilities. The artist set centralized grids—formed from ridges of impasto—against rich atmospheres, using both lyrical brushstrokes and
incised, mechanical lines. These strategies evidence Sutcliffe’s engagement with various histories of
abstraction as he developed his painterly vocabulary.

Upon moving to New York in the late 1960s,
Alan Shields took an interest in Conceptualism’s attempts to investigate the gallery space and
Post-Minimalism’s explorations of materials, process, and perception. Shields began making abstract,
psychedelic, woven-and-painted textile works in the early 1970s that, when installed apart from the wall, function as both objects to be viewed and ﬁlters
through which to perceive the surrounding gallery. Nina Got It for 100 Francs, with its bold presence and humorous title, epitomizes the artist’s interest in challenging distinctions between “high” art and “low” craft, and divisions between painting and
sculpture. At the same time, the dreamlike colors
and grand scale of Shields’s work extend an interest in spirituality and myth evinced by a prior generation of American expressionists.

Cut Emerald Eye belongs to Simon Hantaï’s Parisian series of single-ﬁgure paintings featuring imaginary creatures. Here, a birdlike, heraldic character, its
head adorned with circular and half-moon shapes, is depicted with raised arms. Characterized by
the artist’s use of diverse painterly procedures and a heavily textured, multilayered ground, this work
explores the physicality of gesture and the materiality of paint while also expanding upon the iconography of postwar Surrealism. Hantaï’s interest in destabilizing
the unity of the pictorial plane is reﬂected in the
painting’s lacerated surface, vividly colored details, cutout forms, and chromatic contrasts.

Living and working in New York throughout the
1970s, Marilyn Lenkowsky was part of a generation of artists who challenged the two-dimensional
purview of painting by experimenting with the
canvas’s sculptural potential. In Untitled, the material is stretched over a distinctive ﬁn-shaped, wooden
framework, which extends out from the wall and into the viewer’s physical space. The ﬂoating
triangular support creates a tension between
its vertical pull and its protruding, overhanging
bottom, producing an effect that is simultaneously weightless and monumental. Working against
the pristine and unmodulated surfaces of much
Minimalist painting, Lenkowsky imbued the canvas with rich, expressionistic layers of pigment.

Working in sculpture, video, and photography,
Post-Minimalist artist Lynda Benglis became known
in the late 1960s for sculptures made from pigmented liquid latex and polyurethane foam that she poured
onto the ﬂoor, allowing the material to freely gather in rainbow pools or accumulate in great blobs.
In related works, the materials spew out from the wall like volcanic lava. Benglis’s knot sculptures,
a series she began in the ’70s, consist of wire-mesh structures covered with fabric and plaster that have been sprayed with metallic paint and are sometimes encrusted with shimmery glitter. Their shapes, each a unique, entangled iteration, are inspired by human limbs and gestures. Juliet belongs to a series the
artist titled after the NATO phonetic alphabet,
widely used by the military, in which each letter is represented by a word: Alpha for A, Bravo for B, et cetera. The work hangs on the wall but functions as a sculpture, hovering between two mediums and
reinforcing the artist’s preoccupation with materiality.

Piet Mondrian was a founder of the De Stijl
movement, which began in 1917. With its radical
utopian philosophy extending to architecture and art, De Stijl aimed to create a universal aesthetic language that would correspond to the spiritual
vision of its founders. Based in part on a rejection of the decorative excesses of Art Nouveau, it favored a simple, logical style that emphasized
construction and function, and one that would be appropriate for every aspect of modern life. In line with the movement, by the early 1920s Mondrian had restricted his compositions to predominantly
off-white grounds divided by horizontal and vertical black lines that often frame subsidiary blocks of
individual primary colors. Composition No. 1: Lozenge with Four Lines is a tableau losangique, which the
artist ﬁrst created in 1918 by tilting a square canvas forty-ﬁve degrees. The rotated painting retains
the movement’s fundamental principles: the
equilibrium of the grid and static immutability.

A founding member of New York’s A.I.R. Gallery,
the ﬁrst cooperative space for women artists in the United States, Blythe Bohnen turned to photography in 1974 as a means of recording gestural motions
through a series of abstracted self-portraits. To
create these works, Bohnen left the camera shutter open, photographing her head moving in various
pivoting gestures, as described in the photographs’ titles. Though carefully planned, her movements
appear blurred when recorded on ﬁlm, resulting in
deformed and anguished portraiture. The white lines that seem to be drawn on the photographs are the result of a small beam of light reﬂected in the artist’s eyes—an effect captured through long exposure.

Trained as an art historian and self-taught in
photography, Ilse Bing began her photographic
career making portraits and architectural images and working in advertising and fashion in Paris, where
she moved from Frankfurt in 1930. Bing established herself as an exceptional talent with the handheld
Leica camera, and she was a pioneer in experimenting with solarization and night photography. Her works,
inﬂuenced by the modernist theories of the Bauhaus and the tenets of Surrealism, feature slanted
perspectives, dramatic shadows, and a textural sensibility. After being detained in an internment
camp in the South of France, the artist left Europe for New York in 1941, where she worked with a
large-format camera and an electronic ﬂash. Bing retired from the medium altogether in 1959, turning her attention to drawing, collage, and poetry.

An exponent of the second generation of Abstract Expressionist artists, Helen Frankenthaler devised a gestural technique of pouring diluted paint
directly onto canvases that had been placed on the ground. Through her practice, she revealed a subtle balance between elements of chance and human deliberation. In Canal, blotches of thin yet
vivid blue, amber, orange, and green elegantly blur into ﬂat planes, while portions of the canvas are
left bare. Frankenthaler was signiﬁcant in the
Color Field movement, inﬂuencing painters such
as Morris Louis and Kenneth Noland, who together visited her studio in 1953 with famed art critic
Clement Greenberg, one of the previous owners of this work.

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66

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68

65

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61

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60

62

59

71

67

53

25

57

52

46

21

10

47

13

9

32

17

6

73

37

3

1

28

75

51

16

45

72

24

20

56

36

5

31

12

8

2

50

74

55

15

54

27

23

35

19

49

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18

41

14

48

42

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26

29

Richard Prince
b. 1949, Canal Zone, Panama
Untitled (Couple)
1977
Gelatin silver print with chromogenic print collage, mounted to foam board Gift, Per Skarstedt  2006.55

Walter De Maria
b. 1935, Albany, California
d. 2013, Los Angeles
Hell
1964
Graphite and crayon on paper Gift, Richard and Ann Artschwager 2013.47

Walter De Maria
b. 1935, Albany, California
d. 2013, Los Angeles
The shark goes down in flames
1963
Graphite and crayon on paper Gift, Richard and Ann Artschwager 2013.44

Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf
The Impact of the Full Moon on the Sower’s Head
(Wirkung des Vollmonds auf den Kopf des Sämanns) 1972
Graphite on paper, diptych 91.3952

Gonzalo Fonseca
b. 1922, Montevideo, Uruguay
d. 1997, Seravezza, Italy
Monte Costa
1978
Ink and graphite on paper Bequest of Henry Berg in gratitude to Thomas M. Messer 88.3589

Walter De Maria
b. 1935, Albany, California
d. 2013, Los Angeles
The Grey Wall
1962
Graphite on paper Gift, Richard and Ann Artschwager 2013.46

Gustav Klimt
b. 1862, Vienna
d. 1918, Vienna
Two Female Nudes Standing
ca. 1900
Conté crayon on paper 67.1834

Robert Delaunay
b. 1885, Paris
d. 1941, Montpellier, France
Eiffel Tower (Tour Eiffel) 1926–28
Conté crayon on paper The Hilla Rebay Collection 71.1936.R150

Paul Klee
b. 1879, Münchenbuchsee,
Switzerland
d. 1940, Muralto-Locarno, Switzerland
Hilterfingen
July 19, 1895
Ink on paper
Estate of Karl Nierendorf, By purchase 48.1172.493

Paul Klee
b. 1879, Münchenbuchsee,
Switzerland
d. 1940, Muralto-Locarno, Switzerland
Gemmi Pass, Valais Alps (Gemmi Passhöhe, Walliseralpen)
ca. 1895
Graphite on paper
Estate of Karl Nierendorf, By purchase 48.1172.536

Constantin Brancusi
b. 1876, Hobitza, Romania
d. 1957, Paris
Nude (Nu)
ca. 1920–24
Graphite on paperboard 56.1440

Jean Robert Ipoustéguy
b. 1920, Dun-sur-Meuse, France
d. 2006, Dun-sur-Meuse, France
Estele
1976
Charcoal on paper
Gift of the artist 83.3022

Pablo Picasso
b. 1881, Málaga, Spain
d. 1973, Mougins, France
Vase of Flowers (Vase de fleurs) 1905–06
Ink on paper Thannhauser Collection,
Gift, Justin K. Thannhauser 78.2514.43

Jean Robert Ipoustéguy
b. 1920, Dun-sur-Meuse, France
d. 2006, Dun-sur-Meuse, France
Shoulder and Arm (Épaule et bras) 1974
Charcoal, watercolor, and gouache on paper
Gift of the artist 83.3024

Henri Matisse
b. 1869, Le Cateau-Cambrésis,
France
d. 1954, Nice
Nude (Nu) 1898–1901
Conté crayon on paper Estate of Karl Nierendorf, By purchase 48.1172.48

Joan Miró
b. 1893, Barcelona
d. 1983, Palma de Mallorca, Spain
Untitled
1917
Graphite on paper 59.1539

Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf Animal Being (Tiersein)
1948
Graphite on paper
Gift, Anne and Anthony d’Offay 91.3919

Paul Klee
b. 1879, Münchenbuchsee,
Switzerland
d. 1940, Muralto-Locarno, Switzerland
Aged Phoenix (Invention 9) (Greiser Phönix)
1905
Etching Edition 2/30 75.2203

Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf
Two Girls
(Zwei Mädchen)
1952
Watercolor (Beize), hare’s blood, and graphite on paper
91.3922

Louise Nevelson
b. 1899, Kiev
d. 1988, New York
Untitled
1931
Graphite on paper
Gift, Tom and Remi Messer 90.3659

Piet Mondrian
b. 1872, Amersfoort,
Netherlands
d. 1944, New York Blue Chrysanthemum ca. early 1920s
Watercolor and ink on paper 61.1588

Willem de Kooning
b. 1904, Rotterdam
d. 1997, East Hampton, New York
Two Figures
ca. 1974
Lithograph
Gift, Margaret Kaplan 94.4464

Giacomo Manzù
b. 1908, Bergamo, Italy
d. 1991, Rome The Long Night (La lunga notte) 1977
Gouache and ink on paper Gift of the artist 80.2687.19

Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf
Untitled
1952
Watercolor (Beize), hare’s blood, and graphite on paper
91.3923

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China
White Camellia
1982
Oil on paperboard Collection of the artist

26 Giacomo Manzù	32 Hilla Rebay	39 Marc Chagall	45 Vasily Kandinsky	51	Cai Guo-Qiang	58 Adolph Gottlieb	65 Franz Kline	72	Charmion von Wiegand	
b. 1908, Bergamo, Italy	b. 1890, Strassburg, Germany	b. 1887, Vitebsk, Belorussia	b. 1866, Moscow	b. 1957, Quanzhou, Fujian	b. 1903, New York	b. 1910, Wilkes-Barre,	b. 1896, Chicago	
d. 1991, Rome	d. 1967, Westport, Connecticut	(Russia)	d. 1944, Neuilly-sur-Seine, France	Province, China	d. 1974, New York	Pennsylvania	d. 1983, New York	
The Land of the Dead	The Dog	d. 1985, Saint-Paul-de-Vence,	Singer	A View of a Fishing Village	The Sea Chest	d. 1962, New York	Autumnal Wind	
(La terra dei morti)	(Le chien)	France	(Sängerin)	1980	1942	Untitled	May 1963	
1977	n.d.	Portrait of the Artist’s	1903	Oil on paper	Oil on canvas	1948	Paper collage with oil and chop	
Gouache, watercolor, and ink	Paper collage	Sister Aniuta	Woodcut on Japanese paper,	Collection of the artist	Estate of Karl Nierendorf,	Oil on canvas, mounted	mark, mounted to paperboard	
on paper	Solomon R. Guggenheim	1910	mounted to paper		By purchase 48.1172.510	to Masonite	Anonymous gift 84.3243	
Gift of the artist 80.2687.15	Founding Collection,	Oil on canvas	72.2003			Gift, Alexander Abraham		

27	František Kupka
b. 1871, Opočno, Bohemia

By gift 41.576

(Austria-Hungary)	b. 1889, Lindenwald, Germany	40 Jean Robert Ipoustéguy	Province, China	(Das goldene Segel)	d. 1948, Kendal, England	b. 1957, Quanzhou, Fujian	Ancestral Tablets	
d. 1957, Puteaux, France	d. 1953, Deal, New Jersey	b. 1920, Dun-sur-Meuse, France	Untitled (early work)	1903	Mountain Graveyard	Province, China	1960	
The Lipstick	Colour Sketch	d. 2006, Dun-sur-Meuse, France	ca. 1975–85	Woodcut with watercolor and	(Hochgebirgsfriedhof)	After the Rain	Paper collage with gouache and	
(Le Rouge à lèvres)	1936	Flowers of Sin	Oil on paper	metallic paint additions	1919	1982	pastel, mounted to paperboard	
ca. 1907	Charcoal and pastel on paper	(Fleurs de pecher)	Collection of the artist	71.1943	Oil on board, mounted to cork	Acrylic on paper	Gift, Katharine Kuh 78.2503	
Pastel on paper	The Hilla Rebay Collection	1976			Gift, Mr. and Mrs. Frederick M.	Collection of the artist		
Gift, Andrée Martinel-Kupka	71.1936.R216.10	Charcoal on paper			Stern 62.1617			

33 Rudolf Bauer

Estate of Karl Nierendorf,
By purchase 48.1172.91

46 Cai Guo-Qiang
b. 1957, Quanzhou, Fujian

52	Vasily Kandinsky
b. 1866, Moscow
d. 1944, Neuilly-sur-Seine, France
The Golden Sail

59 Kurt Schwitters
b. 1887, Hanover, Prussia (Germany)

79.2625

66 Cai Guo-Qiang

73	Charmion von Wiegand
b. 1896, Chicago
d. 1983, New York

75.2140

34 Giacomo Manzù

Gift of the artist 83.3021

47	Emil Nolde
b. 1867, Nolde, Germany

28 Rudolf Bauer	b. 1908, Bergamo, Italy	41	Franz Kline	Landscape	Prades, the Village	b. 1903, Dvinsk, Russia	Razor’s Edge	Untitled	
b. 1889, Lindenwald, Germany	d. 1991, Rome	b. 1910, Wilkes-Barre,	(Landschaft)	(Prades, el poble)	d. 1970, New York	1961	1967	
d. 1953, Deal, New Jersey	Penelope	Pennsylvania	1908	summer 1917	Brighton Beach	Pastel on paper	Gouache with graphite on paper	
Promenade	1977	d. 1962, New York	Watercolor and ink on paper	Oil on canvas	ca. mid-1930s	Anonymous gift 80.2727	Gift, Mrs. Kay Hillman 79.2597	
1909	Gouache and ink on paper	Self Portrait	Estate of Karl Nierendorf,	69.1894	Watercolor, gouache, and			

d. 1956, Seebüll, Germany

53 Joan Miró
b. 1893, Barcelona
d. 1983, Palma de Mallorca, Spain

60 Mark Rothko

67	Lucas Samaras
b. 1936, Kastoría, Greece

74	Charmion von Wiegand
b. 1896, Chicago
d. 1983, New York

Graphite and pastel on paper The Hilla Rebay Collection 41.417

b. 1881, Málaga, Spain
d. 1973, Mougins, France Woman with Open Fan (Femme à l’éventail)	Self-Portrait
1928–31
Oil on canvas Anonymous gift 94.4481	42 Hilla Rebay
b. 1890, Strassburg, Germany
d. 1967, Westport, Connecticut
Hans Richter	d. 1962, New York
Elizabeth
1944
Oil on canvas	(Parkteich)
ca. 1906
Oil on board
The Hilla Rebay Collection	d. 1970, New York
Untitled
1942
Oil on canvas	n.d.
Oil on Masonite
Gift, Fred Goldin 79.2616	1959
Dry pigment in synthetic resin on board
Gift, Andrew Powie Fuller and	
1906		December 1915	Gift, Mr. and Mrs. Leon A.	71.1936.R8	Gift, The Mark Rothko		Geraldine Spreckels Fuller	
Ink on paper		Graphite on paper	Mnuchin 62.1613		Foundation, Inc. 86.3419	69 Lucas Samaras	Collection 2000.28	
Thannhauser Collection,	36 Cai Guo-Qiang	Gift, Mrs. Johannes Molzahn				b. 1936, Kastoría, Greece	
Gift, Justin K. Thannhauser	b. 1957, Quanzhou, Fujian	70.1931		55 Vasily Kandinsky		Untitled	
78.2514.45	Province, China		49 Vasily Kandinsky	b. 1866, Moscow	62 Franz Kline	1960	
An Old Classmate	b. 1866, Moscow	d. 1944, Neuilly-sur-Seine, France	b. 1910, Wilkes-Barre,	Pastel on paper, mounted
1983	43   Marcel Duchamp	d. 1944, Neuilly-sur-Seine, France	Fishing Boats, Sestri	Pennsylvania	to paper	All artworks belong to the	
30 Hilla Rebay	Oil on Masonite	b. 1887, Blainville, France	Amsterdam—View from	(Fischerboote, Sestri)	d. 1962, New York	Gift, Mr. Walter K. Gutman	Solomon R. Guggenheim Foundation
and are part of the collection of the	
b. 1890, Strassburg, Germany	Collection of the artist	d. 1968, Neuilly-sur-Seine, France	the Window	1905	Untitled	67.1854	Solomon R. Guggenheim Museum in	
d. 1967, Westport, Connecticut
Feline		Apropos of Little Sister
(À propos de jeune soeur)	(Amsterdam—Blick aus
dem Fenster)	Oil on canvas board
50.1293	ca. 1948		New York, unless otherwise credited.	
n.d.	37	Joseph Beuys	October 1911	1904		Gift, Alexander Abraham	70 Franz Kline	
Paper collage, mounted	b. 1921, Krefeld, Germany	Oil on canvas	Oil on board		79.2624	b. 1910, Wilkes-Barre,	
to paper	d. 1986, Düsseldorf	71.1944	Solomon R. Guggenheim	56 Albert Gleizes		Pennsylvania	
Solomon R. Guggenheim	Lying Beneath the Spring		Founding Collection 46.1055	b. 1881, Paris		d. 1962, New York	
Founding Collection,	Fountain			d. 1953, Avignon, France	63 Cai Guo-Qiang	Untitled		
By gift 41.551	(Liegend unter dem	44 Vasily Kandinsky		Landscape in the Pyrenees	b. 1957, Quanzhou, Fujian	ca. 1957	
	Frühlingsbrunnen)	b. 1866, Moscow	50 Vasily Kandinsky	(Paysage dans les Pyrénées)	Province, China	Oil with paper collage on paper	

29 Pablo Picasso

Gift of the artist 80.2687.1

35 Arshile Gorky
b. 1904, Khorkom, Armenia
d. 1948, Sherman, Connecticut

ca. 1945
Oil on canvas
Gift, Mr. and Mrs. Leon A. Mnuchin 62.1612

By purchase 48.1172.159

48 Franz Kline
b. 1910, Wilkes-Barre, Pennsylvania

54 Vasily Kandinsky
b. 1866, Moscow
d. 1944, Neuilly-sur-Seine, France
Pond in the Park

graphite on paper Collection of Cai Guo-Qiang

61	Mark Rothko
b. 1903, Dvinsk, Russia

68 Franz Kline
b. 1910, Wilkes-Barre,
Pennsylvania
d. 1962, New York
Untitled

75	Yves Klein
b. 1928, Nice
d. 1962, Paris
Untitled red monochrome (M 63)

Oil on canvas

31	Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf Blacksmith I (Schmied I)
1958
Oil (Braunkreuz) and graphite on paper
91.3927

1952
Watercolor (Beize), ink, graphite, colored pencil, and paper collage 91.3921

38 Franz Kline
b. 1910, Wilkes-Barre,
Pennsylvania
d. 1962, New York
Untitled
1947
Oil on canvas
Gift, Mr. and Mrs. Aron B. Katz 81.2872

d. 1944, Neuilly-sur-Seine, France
The Mirror (Der Spiegel) 1907
Linoleum cut 72.1987

b. 1866, Moscow
d. 1944, Neuilly-sur-Seine, France
Munich (München) ca. 1901–02
Oil on canvas board 50.1292

1908
Oil on canvas
Gift, Madame Albert Gleizes 63.1667

57	Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China
Donghu Village
1978
Watercolor on paper Collection of the artist

Return to the Sea
ca. 1970s
Oil on paperboard Collection of the artist

64 Mark Rothko
b. 1903, Dvinsk, Russia
d. 1970, New York
Untitled (Still-Life with Rope, Hammer and Trowel)
ca. 1937
Oil on board
Gift, The Glickstein Foundation 83.3139.R

Gift, Mr. and Mrs. Aron B. Katz 81.2874

71	Charmion von Wiegand
b. 1896, Chicago
d. 1983, New York The Lotuses #169 1962
Gouache with graphite on paper Gift, William C. Edwards, Jr. in memory of Sibyl H. Edwards 80.2782

Vito Acconci
b. 1940, Bronx, New York
d. 2017, New York

Conversions II: Insistence, Adaptation, Groundwork, Display
1971
27 gelatin silver prints and chalk on paperboard

Purchased with funds contributed by the International Director’s Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, and Ginny Williams 97.4569

Dieter Appelt
b. 1935, Niemegk, Germany

Liberation of the Fingers
(Die Befreiung der Finger)
1977–79
Gelatin silver print

Gift, Monah L. and Alan Gettner 2017.61.1

Dieter Appelt
b. 1935, Niemegk, Germany

Liberation of the Fingers
(Die Befreiung der Finger)
1977–79
Gelatin silver print

Gift, Monah L. and Alan Gettner 2017.61.3

Jean Arp
b. 1886, Strassburg, Germany
d. 1966, Basel

Constellation with Five White Forms and Two Black, Variation III
(Constellation aux cinq formes blanches et deux noires, variation III)
1932
Oil on wood

55.1437

Ruth Asawa
b. 1926, Norwalk, California
d. 2013, San Francisco

Untitled
1962–65
Brass wire, copper wire, and resin

Gift, The Josef Albers Estate 80.2689

Ruth Asawa
b. 1926, Norwalk, California
d. 2013, San Francisco

Untitled
1962–65
Copper wire

Gift, The Josef Albers Estate 80.2690

Francis Bacon
b. 1909, Dublin
d. 1992, Madrid

Three Studies for a Crucifixion
March 1962
Oil with sand on canvas, three panels

64.1700

Hannelore Baron
b. 1926, Dillingen, Germany
d. 1987, New York

War Letter, 1975
1975
Ink, tempera, pastel, graphite, etching, paper, and cloth on canvas

88.3571

Hannelore Baron
b. 1926, Dillingen, Germany
d. 1987, New York

Untitled
1976
Ink, colored pencil, etching, paper, and cloth on canvas

88.3572

Hannelore Baron
b. 1926, Dillingen, Germany
d. 1987, New York

Untitled
1977
Ink, conté crayon, string, and cloth on canvas

Gift, Robert L. Brown 88.3573

Hannelore Baron
b. 1926, Dillingen, Germany
d. 1987, New York

Untitled
1978
Ink, pastel, string, thread, collagraph, and cloth on cloth

Gift, Vera and Stephen Schlesinger 88.3574

Martin Barré
b. 1924, Nantes, France
d. 1993, Paris

Greenwich
1957
Oil on canvas

58.1502

Afro (Afro Basaldella)
b. 1912, Udine, Italy
d. 1976, Zurich

Night Flight
(Volo di notte)
1957
Oil on canvas

57.1482

Mary Bauermeister
b. 1934, Frankfurt am Main

Title I
1965
Painted wood, ink, glass, plastic, and stones

65.1780

William Baziotes
b. 1912, Pittsburgh
d. 1963, New York

Aquatic
1961
Oil on canvas

Collective anonymous gift 63.1630

Romare Bearden
b. 1911, Charlotte, North Carolina
d. 1988, New York

Evening 9:10, 461 Lenox Avenue
1964
Gelatin silver print (photostat) on fiberboard Edition 2/6 (full edition unrealized)

Purchased through prior gift of Julian J. Aberbach and Joachim J. Aberbach, Dr. and Mrs. Samuel S. Mandel, and Mr. and Mrs. Nathan L. Halpern, with additional funds contributed by the Photography Council 2017.76

Max Beckmann
b. 1884, Leipzig, Germany
d. 1950, New York

Alfi with Mask
(Alfi mit Maske)
1934
Oil on canvas

Partial gift, Georgia van der Rohe 76.2202

Joseph Beuys
b. 1921, Krefeld, Germany
d. 1986, Düsseldorf

Virgin
(Jungfrau)
April 4, 1979
Chalk on blackboard, chalk and soap bar on
wood table, wood chair, electrical cable, socket, and lightbulb

94.4265

Ilse Bing
b. 1899, Frankfurt am Main
d. 1998, New York

Between France and USA
1936
Gelatin silver print

Gift, Estate of Ilse Bing Wolff 2001.67

Ilse Bing
b. 1899, Frankfurt am Main
d. 1998, New York

Self Portrait
1945
Gelatin silver print

Gift, Estate of Ilse Bing Wolff 2001.68

Blythe Bohnen
b. 1940, Evanston, Illinois

Self-Portrait: Pivotal Motion from Chin, Large
1974
Gelatin silver print

Gift, Herbert and Paula Molner 92.4211

Blythe Bohnen
b. 1940, Evanston, Illinois

Self-Portrait: Pivotal Motion from Chin, Medium
1974
Gelatin silver print

Gift, Herbert and Paula Molner 92.4212

Blythe Bohnen
b. 1940, Evanston, Illinois

Self-Portrait: Horizontal Motion, Bisected by Vertical Motion, Medium
1974
Gelatin silver print

Gift, Herbert and Paula Molner 92.4214

Blythe Bohnen
b. 1940, Evanston, Illinois

Self-Portrait: Vertical Motion Down, Medium
1974
Gelatin silver print

Gift, Herbert and Paula Molner 92.4217

Lee Bontecou
b. 1931, Providence, Rhode Island

Untitled
1966
Painted steel, horseshoe-crab shells, steel pipe fittings, velvet hooks, steel saw blades, fiberglass, velvet, and soot

Gift, Mr. and Mrs. Leo Castelli 74.2122

Lee Bontecou
b. 1931, Providence, Rhode Island

Untitled
1962
Soot and graphite on canvas

Anonymous gift 80.2726

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Dagger Child
1947–49
Painted wood on stainless-steel base

92.4001

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Femme Volage
1951
Painted wood and stainless steel

92.4002

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Fée Couturière
1963 (cast 1984)
Painted bronze Edition 2/6

92.4003

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Rabbit
1970
Bronze
Edition 1/6

92.4004

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Untitled
1944
Gouache on paper

92.4007

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Glass House/No Secrets
1947
Watercolor with graphite on paper

92.4009

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Untitled
1947
Ink with graphite on paper

92.4010

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Untitled
1947
Ink, gouache, graphite, pastel, and scraping on paper

92.4011

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Untitled
1947
Ink and graphite on paper

92.4012

Louise Bourgeois
b. 1911, Paris
d. 2010, New York

Untitled
1951
Ink on paper

92.4013

Alberto Burri
b. 1915, Città di Castello, Italy
d. 1995, Nice

Composition
(Composizione)
1953
Burlap, thread, synthetic polymer paint, gold leaf, and PVA on fabric

53.1364

Alberto Burri
b. 1915, Città di Castello, Italy
d. 1995, Nice

Wood and White 1 (Legno e bianco 1) 1956
Wood veneer, combustion, acrylic, and Vinavil on canvas

57.1463

James Lee Byars
b. 1932, Detroit
d. 1997, Cairo

Untitled
1960
Ink on paper, mounted to wood

Gift, Tom and Remi Messer 84.3202

Sarah Charlesworth
b. 1947, East Orange, New Jersey
d. 2013, Falls Village, Connecticut

Herald Tribune: November 1977
1977 (printed 2008)
26 chromogenic prints Edition 2/3

Purchased with funds contributed by the Photography Committee 2008.50

Eve Clendenin
b. 1896, Baltimore
d. 1974, New York

Black Squares on White
1972
Acrylic on paper

Gift, Mr. Foy Casper Jr. 73.2059

Corneille (Guillaume Cornelis van Beverloo)
b. 1922, Liège, Belgium
d. 2010, Paris

Spell of the Island
(Sortilège d’une île)
1965
Oil on canvas

65.1781

Joseph Cornell
b. 1903, Nyack, New York
d. 1972, Flushing, New York

La Duse
ca. 1967
Gelatin silver print, mounted to Masonite

Gift, Tom and Remi Messer 2003.109

Willem de Kooning
b. 1904, Rotterdam
d. 1997, East Hampton, New York

. . . Whose Name Was Writ in Water
1975
Oil on canvas

80.2738

Jean Dubuffet
b. 1901, Le Havre, France
d. 1985, Paris

Triumph and Glory
(Triomphe et gloire)
December 1950 Oil on canvas

71.1973

Jean Dubuffet
b. 1901, Le Havre, France
d. 1985, Paris

The Substance of Stars (Substance d’astre)
December 1959
Metal foil on Masonite

74.2078

Jean Dubuffet
b. 1901, Le Havre, France
d. 1985, Paris

Maternity
(Maternité)
1944
Lithograph Edition 9/10

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2000.15

Marcel Duchamp
b. 1887, Blainville, France
d. 1968, Neuilly-sur-Seine, France

Box in a Valise (From or by Marcel Duchamp or Rrose Sélavy)
(Boîte-en-valise [De ou par Marcel Duchamp ou Rrose Sélavy])
1935–41/1961
Green cloth-covered cardboard box containing
collotype and lithograph reproductions with pochoir, letterpress, cellulose acetate, plaster, ceramic, glass, vinyl, thread, paper, cardboard, wood, tape, and ink
Series D, edition of 30, Paris 1961

62.1623

Claire Falkenstein
b. 1908, Coos Bay, Oregon
d. 1997, Venice, California

Set Structure with Cylinders
1944
Poplar, stain, and pigmented lacquer

Solomon R. Guggenheim Founding Collection 45.998.1

Herbert Ferber
b. 1906, New York
d. 1991, North Egremont, Massachusetts

Game No. 2
1950
Lead, copper, and brass on painted wood base

Gift, Mrs. Samuel I. Rosenman 64.1711

Perle Fine
b. 1908, Boston
d. 1988, East Hampton, New York

Movement Left and Right
1947
Oil on canvas

Estate of Karl Nierendorf, By purchase 48.1172.415

Samuel Fosso
b. 1962, Kumba, Cameroon

Self Portrait
1977 (printed 2003–09) Gelatin silver print
Edition 1/12

Gift, Anne and Arthur S. Goldstein 2014.87

Sam Francis
b. 1923, San Mateo, California
d. 1994, Santa Monica, California

Untitled
1954
Ink on paper

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2000.18

Helen Frankenthaler
b. 1928, New York
d. 2011, Darien, Connecticut

Canal
1963
Acrylic on canvas

Purchased with the aid of funds from the National Endowment for the Arts in Washington, D.C., a federal agency; matching funds contributed by Evelyn Sharp 76.2225

Alberto Giacometti
b. 1901, Borgonovo, Switzerland
d. 1966, Chur, Switzerland

Spoon Woman
(Femme cuillère)
1926–27 (cast 1954)
Bronze
Edition 3/6

55.1414

Alberto Giacometti
b. 1901, Borgonovo, Switzerland
d. 1966, Chur, Switzerland

The Nose (Le nez)
1949 (cast 1964)
Bronze, wire, rope, and steel Edition 5/6

66.1807

Nan Goldin
b. 1953, Washington, D.C.

Trixie on the cot, NYC
1979
Silver dye bleach print Edition 18/25

Purchased with funds contributed by the Photography Committee and by the International Director’s Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk 2002.61

Nan Goldin
b. 1953, Washington, D.C.

Roommate with teacup, Boston
1973
Gelatin silver print Edition 8/18

Purchased with funds contributed by the Photography Committee and by the International Director’s Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk 2002.65

Nan Goldin
b. 1953, Washington, D.C.

Ivy with Marilyn, Boston
1973
Gelatin silver print Edition 11/18

Purchased with funds contributed by the Photography Committee and by the International Director’s Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk 2002.66

Nan Goldin
b. 1953, Washington, D.C.

Ivy wearing a fall, Boston
1973
Gelatin silver print Edition 9/18

Purchased with funds contributed by the Photography Committee and by the International Director’s Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk 2002.67

Nan Goldin
b. 1953, Washington, D.C.

Naomi and Marlene on the balcony, Boston
1972
Gelatin silver print Edition 2/18

Purchased with funds contributed by the Photography Committee and by the International Director’s Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk 2002.68

Natalia Goncharova
b. 1881, Nagaevo, Russia
d. 1962, Paris

Cats (rayist percep.[tion] in rose, black, and yellow)
(Koshki [luchistoe vospr.{iiatie} rozovoe, chernoe i zheltoe])
1913
Oil on canvas

57.1484

Arshile Gorky
b. 1904, Khorkom, Armenia
d. 1948, Sherman, Connecticut

Untitled
1943
Wax crayon and graphite on paper

Gift, Rook McCulloch 77.2332

George Grosz
b. 1893, Berlin
d. 1959, Berlin

Untitled
ca. 1913
Ink on paper

Estate of Karl Nierendorf, By purchase 48.1172.362

José Guerrero
b. 1914, Granada, Spain
d. 1991, Barcelona

Signs and Portents
1956
Oil on canvas

57.1465

Philip Guston
b. 1913, Montreal
d. 1980, Woodstock, New York

Drawing No. 4
1950
Ink on Japanese paper

64.1702

Philip Guston
b. 1913, Montreal
d. 1980, Woodstock, New York

Drawing No. 14
1953
Ink on paper

64.1703

Philip Guston
b. 1913, Montreal
d. 1980, Woodstock, New York

Moonlight
1978
Oil on canvas

Bequest, Musa Guston 92.4223

Étienne Hajdu
b. 1907, Turda, Romania
d. 1996, Paris

Cock
(Le Coq)
1954
Brass

57.1457

David Hammons
b. 1943, Springfield, Illinois

Close Your Eyes and See Black
1969
Pigment on gold-coated paperboard

Purchased through prior gifts of Daimler-Benz in honor of Thomas M. Messer, the National Endowment for the Arts in Washington, D.C., William C. Edwards, Jr., in memory of
Sibyl H. Edwards, the Estate of Karl Nierendorf, Mr. and Mrs. Morton L. Ostow, and Dr. Solomon W. Schaefer 2018.56

Simon Hantaï
b. 1922, Bia, Hungary
d. 2008, Paris

Cut Emerald Eye
February 1950 Oil on canvas

53.1366

Eikoh Hosoe
b. 1933, Yonezawa, Japan

Embrace #45
1970
Gelatin silver print

Purchased with funds contributed by the Photography Committee 2013.69

Ana Mercedes Hoyos
b. 1942, Bogotá
d. 2014, Bogotá

Atmosphere (Atmósfera) 1978
Oil on canvas

Anonymous gift 2018.4

Paul Jenkins
b. 1923, Kansas City, Missouri
d. 2012, New York

The Prophecy
1956
Oil on canvas

Gift, Harold Kaye 62.1616

Asger Jorn
b. 1914, Silkeborg, Denmark
d. 1973, Aarhus, Denmark

A Soul for Sale
(Ausverkauf einer Seele)
1958–59
Oil with sand on canvas

Purchased with funds contributed by the Evelyn Sharp Foundation 83.3040

Vasily Kandinsky
b. 1866, Moscow
d. 1944, Neuilly-sur-Seine, France

Taut Line
(Gespannte Linie)
July 1931
Watercolor and ink on paper

Solomon R. Guggenheim Founding Collection 38.329

Seydou Keïta
b. ca. 1921–23, Bamako, Mali
d. 2001, Paris

Untitled
1954–60 (printed 1998) Gelatin silver print

Gift, The Bohen Foundation 2001.158

Seydou Keïta
b. ca. 1921–23, Bamako, Mali
d. 2001, Paris

Untitled
1948–54 (printed 1998) Gelatin silver print

Gift, The Bohen Foundation 2001.160

Ellsworth Kelly
b. 1923, Newburgh, New York
d. 2015, Spencertown, New York

One Stroke
1962
Graphite on paper

Purchased with funds contributed by Beatrice and Silas H. Rhodes 69.1898

Ernst Ludwig Kirchner
b. 1880, Aschaffenburg, Bavaria (Germany)
d. 1938, Frauenkirch, Switzerland

Three Nudes in Water (Drei Akte im Wasser) 1911
Lithograph

Estate of Karl Nierendorf, By purchase 48.1172.448

Paul Klee
b. 1879, Münchenbuchsee, Switzerland
d. 1940, Muralto-Locarno, Switzerland

Two Passages (Zwei Gänge) 1932
Watercolor on paper, mounted to paper

Estate of Karl Nierendorf, By purchase 48.1172.139

Franz Kline
b. 1910, Wilkes-Barre, Pennsylvania
d. 1962, New York

Painting No. 7
1952
Oil on canvas

54.1403

Barbara Kruger
b. 1945, Newark, New Jersey

Untitled (Not Perfect)
1980
Gelatin silver print, paint, and tape

Exxon Corporation Purchase Award 81.2809

Yayoi Kusama
b. 1929, Matsumoto, Japan

No. 2. J.B.
1960
Oil and rice blossoms on canvas

Gift, Paula Cooper 2012.117

Wifredo Lam
b. 1902, Sagua la Grande, Cuba
d. 1982, Paris

Zambezia, Zambezia
1950
Oil on canvas

Gift, Mr. Joseph Cantor 74.2095

Wifredo Lam
b. 1902, Sagua la Grande, Cuba
d. 1982, Paris

Portrait of a Woman
1944
Oil on paper

Bequest, Richard S. Zeisler 2007.43

Fernand Léger
b. 1881, Argentan, France
d. 1955, Gif-sur-Yvette, France

Starfish
(L’Étoile de mer)
1942
Oil on canvas

Gift, Evelyn Sharp 77.2669

Michael Lekakis
b. 1907, New York
d. 1987, New York

Dance
1958
Sassafras

58.1509

Marilyn Lenkowsky
b. 1947, New York

Untitled
1977
Oil on canvas

Exxon Corporation Purchase Award 78.2426

El Lissitzky
b. 1890, Pochinok, Russia
d. 1941, Moscow

Proun, Kestner Portfolio
1923
Lithograph with painted paper collage

51.1323.4

George Platt Lynes
b. 1907, East Orange, New Jersey
d. 1955, New York

Frederick Ashton with Dancers
1934
Gelatin silver print

Gift, Anonymous and In Kind Canada 98.4672

George Platt Lynes
b. 1907, East Orange, New Jersey
d. 1955, New York

Herbert Bliss, The New York City Ballet
1952
Gelatin silver print

Gift, Anonymous and In Kind Canada 98.4734

George Platt Lynes
b. 1907, East Orange, New Jersey
d. 1955, New York

Robert Hassa
October 19, 1954 Gelatin silver print

Gift, Anonymous and In Kind Canada 98.4794

George Platt Lynes
b. 1907, East Orange, New Jersey
d. 1955, New York

Male nude at Mulhocaway
1936
Gelatin silver print

Gift, Anonymous and In Kind Canada 98.4855

Kazimir Malevich
b. 1878, near Kiev
d. 1935, Leningrad (now Saint Petersburg)

Untitled (Suprematist Composition)
ca. 1919–26
Ink, gouache, and graphite on paper

Gift, Faith and Robert Schwarz 74.2121

Giacomo Manzù
b. 1908, Bergamo, Italy
d. 1991, Rome

On the Island of the Cyclops III (Nell’isola dei Ciclopi III)
1977
Gouache and ink with graphite on paper

Gift of the artist 80.2687.14

Giacomo Manzù
b. 1908, Bergamo, Italy
d. 1991, Rome

The Sirens, Scylla, and Charybdis (Le Sirene, Scilla e Cariddi)
1977
Gouache and ink on paper

Gift of the artist 80.2687.16

Giacomo Manzù
b. 1908, Bergamo, Italy
d. 1991, Rome

Toward the Island of the Sun (Verso l’isola del sole)
1977
Gouache and ink on paper

Gift of the artist 80.2687.17

Conrad Marca-Relli
b. 1913, Boston
d. 2000, Parma, Italy

Untitled
1959
Oil and canvas collage on canvas

Gift, Judge and Mrs. Samuel I. Rosenman 64.1715

Agnes Martin
b. 1912, Macklin, Saskatchewan, Canada
d. 2004, Taos, New Mexico

White Flower
1960
Oil on canvas

Gift of Lenore Tawney 63.1653

Agnes Martin
b. 1912, Macklin, Saskatchewan, Canada
d. 2004, Taos, New Mexico

Untitled #14
1977
Ink, graphite, and gesso on canvas

Gift, Mr. and Mrs. Werner Dannheisser 77.2336

Agnes Martin
b. 1912, Macklin, Saskatchewan, Canada
d. 2004, Taos, New Mexico

Little Sister
1962
Oil, ink, and brass nails on canvas over wood

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2000.40

Georges Mathieu
b. 1921, Boulogne-sur-Mer, France
d. 2012, Boulogne-Billancourt, France

Black and White Abstract (La mort de la Reine Edith) 1957
Oil on canvas

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2000.41

Matta (Roberto Sebastián Antonio Matta Echaurren)
b. 1911, Santiago
d. 2002, Civitavecchia, Italy

Each And
(Chaque et)
1947
Oil on canvas

Gift, Dr. Ruth Stephan 65.1771

Matta (Roberto Sebastián Antonio Matta Echaurren)
b. 1911, Santiago
d. 2002, Civitavecchia, Italy

Years of Fear
1941
Oil on canvas

72.1991

Joan Mitchell
b. 1925, Chicago
d. 1992, Paris

Canada I
1975
Oil on canvas, three panels

Anonymous gift 92.4027

Piet Mondrian
b. 1872, Amersfoort, Netherlands
d. 1944, New York

Summer, Dune in Zeeland (Zomer, Duin in Zeeland) 1910
Oil on canvas

On permanent loan from the Gemeentemuseum den Haag, Netherlands L149.75

Robert Morris
b. 1931, Kansas City, Missouri
d. 2018, Gardiner, New York

Untitled (Black Felt)
ca. 1969
Felt

Panza Collection 91.3803

Louise Nevelson
b. 1899, Kiev
d. 1988, New York

Luminous Zag: Night
1971
Painted wood

Gift, Mr. and Mrs. Sidney Singer 77.2325

Louise Nevelson
b. 1899, Kiev
d. 1988, New York

Rain Forest Column XIII
1967
Painted wood

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2009.15

Isamu Noguchi
b. 1904, Los Angeles
d. 1988, New York

The Cry
1959
Balsa wood on steel base

66.1812

Yutaka Ohashi
b. 1923, Hiroshima
d. 1989, Tokyo

Stone Garden
1955
Oil with metal leaf on canvas

55.1422

Hilla Rebay
b. 1890, Strassburg, Germany
d. 1967, Westport, Connecticut

Floating
1939
Ink and paper collage, mounted to paper

The Hilla Rebay Collection 71.1936.R387

Judit Reigl
b. 1923, Kapuvár, Hungary

Outburst
(Éclatement)
1956
Oil on canvas

Gift of the artist in honor of Kálmán Makláry 2012.1

Charles Seliger
b. 1926, New York
d. 2009, New York

Ocean Edge
1954
Oil, tempera, and graphite on paper, mounted to Masonite

Gift, Mr. and Mrs. Dan R. Johnson 85.3293

Charles Seliger
b. 1926, New York
d. 2009, New York

Mirage
1976
Acrylic on canvas

Gift, Mr. and Mrs. Leon Polsky 85.3304

Richard Serra
b. 1938, San Francisco

Tearing Lead from 1:00 to 1:47
1968
Lead

Panza Collection 91.3866

Alan Shields
b. 1944, Herington, Kansas
d. 2005, Shelter Island, New York

Nina Got It for 100 Francs
1971
Cotton yarn, acrylic paint, wood, metal, glass, and plastic

Purchase and by exchange 73.2036

Jack Tworkov
b. 1900, Biała, Russia (now Poland)
d. 1982, Provincetown, Massachusetts

Untitled
1948–50
Watercolor, ink, and graphite on paper

Gift, Walter K. Gutman 67.1852

Jack Tworkov
b. 1900, Biała, Russia (now Poland)
d. 1982, Provincetown, Massachusetts

House of Rocks
1952
Oil on canvas

Gift, David A. Prager 81.2884

Paul Wonner
b. 1920, Tucson, Arizona
d. 2008, San Francisco

Landscape II
1953
Oil and charcoal on canvas

54.1409

Maria Helena Vieira da Silva
b. 1908, Lisbon
d. 1992, Paris

Untitled
1953
Oil on burlap

53.1375

Theodore Roszak
b. 1907, Poznań, Prussia (now Poland)
d. 1981, New York

Cradle Song
1955
Steel and bronze

Gift, Mr. and Mrs. Arnold H. Maremont 59.1562

Martin Puryear
b. 1941, Washington, D.C.

Bask
1976
Stained pine

Exxon Corporation Purchase Award 78.2430

Adrian Piper
b. 1948, New York

The Mythic Being: Smoke
1974
Gelatin silver print

Purchased with funds contributed by the Photography Council and the International Director’s Council 2017.38

Jackson Pollock
b. 1912, Cody, Wyoming
d. 1956, The Springs, New York

Number 18
1950
Oil and enamel on Masonite

Gift, Janet C. Hauck, in loving memory of Alicia Guggenheim and Fred Hauck 91.4046

Liubov Popova
b. 1889, Ivanovskoye, Russia
d. 1924, Moscow

Birsk
1916
Oil on canvas

Gift, George Costakis 81.2822.R

Kenzo Okada
b. 1902, Yokohama, Japan
d. 1982, Tokyo

Solstice
March 1954 Oil on canvas

54.1407

Yūko Nasaka
b. 1938, Osaka

Untitled
1963
Synthetic paint, plaster, and glue on cotton, mounted to wood, five panels

Gift, Axel Vervoordt Gallery 2015.76

Bruce Nauman
b. 1941, Fort Wayne, Indiana

Study for Pink and Yellow Light Corridor (Variable Lights)
1970
Ballpoint pen on paper

Panza Collection 91.3828.4

Bruce Nauman
b. 1941, Fort Wayne, Indiana

Study for Pink and Yellow Light Corridor (Variable Lights)
1970
Ballpoint pen on paper

Panza Collection 91.3828.6

Armando Morales
b. 1927, Granada, Nicaragua
d. 2011, Miami

Landscape (Paisaje)
1964
Oil and fabric on canvas

Gift, Ramon Osuna III, By exchange 68.1869

Georges Mathieu
b. 1921, Boulogne-sur-Mer, France
d. 2012, Boulogne-Billancourt, France

Untitled
1959
Oil on canvas

Gift, Mr. and Mrs. Samuel A. Seaver 79.2628

Liliana Porter
b. 1941, Buenos Aires

Untitled (Self-portrait with square II)
1973 (printed 2013) Gelatin silver print Edition 2/5

Purchased with funds contributed by the Latin American Circle 2018.9

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China

Non-Brand
2019
Gunpowder on glass and mirror

Collection of the artist

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China

Non-Brand
2019
Gunpowder on glass and mirror

Collection of the artist

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China

Non-Brand
2019
Gunpowder on glass and mirror

Collection of the artist

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China

Non-Brand
2019
Gunpowder on glass and mirror

Collection of the artist

Cai Guo-Qiang
b. 1957, Quanzhou, Fujian Province, China

Non-Brand
2019
Gunpowder on glass and mirror

Collection of the artist

Pablo Picasso
b. 1881, Málaga, Spain
d. 1973, Mougins, France

The Poor
(Les pauvres)
1905 (printed 1913) Etching

Bequest, Estate of Gerald E. Scofield 81.2876

Man Ray
b. 1890, Philadelphia
d. 1976, Paris

Needle and Thread
1965
Metal and waxed cord on paper

66.1790

Gerhard Richter
b. 1932, Dresden

Passage
(Durchgang)
1968
Oil on canvas

Gift, The Theodoron Foundation 69.1904

Mark Rothko
b. 1903, Dvinsk, Russia
d. 1970, New York

Untitled (Black on Gray)
1969/70
Acrylic on canvas

Gift, The Mark Rothko Foundation, Inc. 86.3422

Tony Smith
b. 1912, South Orange, New Jersey
d. 1980, New York

For W.A.
1969
Bronze
Edition 1/6

Purchased with the aid of funds from the National Endowment for the Arts in Washington, D.C., a federal agency; matching funds contributed by the Junior Associates Committee 80.2753

Lawrence Weiner
b. 1942, Bronx, New York

EARTH TO EARTH ASHES TO ASHES DUST TO DUST
1970
Language + the materials referred to

Panza Collection, Gift 92.4184

Piet Mondrian
b. 1872, Amersfoort, Netherlands
d. 1944, New York

Composition No. 1: Lozenge with Four Lines
1930
Oil on canvas

The Hilla Rebay Collection 71.1936.R96

Henri Michaux
b. 1899, Namur, Belgium
d. 1984, Paris

Mescaline Drawing
(Dessin mescalinien)
1958
Ink on paper

By exchange 85.3288

Henri Michaux
b. 1899, Namur, Belgium
d. 1984, Paris

Untitled
n.d.
Watercolor on paper

Gift, Tom and Remi Messer 2001.50

Piet Mondrian
b. 1872, Amersfoort, Netherlands
d. 1944, New York

Study for a Composition
ca. 1938–40
Charcoal on paper

Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection 2000.43

Robert Rauschenberg
b. 1925, Port Arthur, Texas
d. 2008, Captiva Island, Florida

Untitled (Gold Painting)
ca. 1953
Gold leaf on fabric and glue on canvas, in wood and glass frame

Joint bequest of Eve Clendenin to the Solomon R. Guggenheim Museum, New York, and the Museum of Modern Art, New York 74.2109

Malick Sidibé
b. 1936, Soloba, Mali
d. 2016, Bamako, Mali

Nuit de Noël
1963 (printed 1998) Gelatin silver print

Gift, The Bohen Foundation 2001.257

Malick Sidibé
b. 1936, Soloba, Mali
d. 2016, Bamako, Mali

Soirée mariage Drissa Ballo
1967 (printed 1998) Gelatin silver print

Gift, The Bohen Foundation 2001.260

Malick Sidibé
b. 1936, Soloba, Mali
d. 2016, Bamako, Mali

Je suis fou des disques
1973 (printed 1998) Gelatin silver print

Gift, The Bohen Foundation 2001.261

Cecilia Vicuña
b. 1948, Santiago

Karl Marx
1972
Oil on canvas

Purchased with funds contributed by the Latin American Circle, with additional funds contributed by Elisa Estrada, Camila Sol de Pool, Eugenia Braniff, Clarissa Bronfman, Mara and Marcio Fainziliber, Marianne Hernandez, Catherine Petitgas, Ana Julia Thomson de Zuloaga, and Rudy Weissenberg 2017.83

Hannah Wilke
b. 1940, New York
d. 1993, Houston

S.O.S. Starification Object Series (Back)
1974
Gelatin silver print

Purchased with funds contributed by the Photography Committee and the Judith Rothschild Foundation 2001.32.2

Francesca Woodman
b. 1958, Denver
d. 1981, New York

Providence, Rhode Island
1975–78
Gelatin silver print

Gift, Heather and Tony Podesta Collection 2005.3

Charmion von Wiegand
b. 1896, Chicago
d. 1983, New York

The Lotuses #169
1962
Gouache with graphite on paper

Gift, William C. Edwards, Jr. in memory of Sibyl H. Edwards 80.2782

Hanne Darboven
b. 1941, Munich
d. 2009, Hamburg

August 1, 1972
1972
Ink and ballpoint pen on graph paper

Panza Collection, Gift 92.4108

Hanne Darboven
b. 1941, Munich
d. 2009, Hamburg

August 1, 1972
1972
Graphite, typewritten text, and ballpoint pen on graph paper

Panza Collection, Gift 92.4109

Takis
b. 1925, Athens

Plant and Animal
1956
Painted steel with stone base

Gift, Mrs. Andrew P. Fuller 65.1760

David Hammons
b. 1943, Springfield, Illinois

Untitled
1976
Pigment on silver-coated paper

Collection of Julie Mehretu

Ellsworth Kelly
b. 1923, Newburgh, New York
d. 2015, Spencertown, New York

Four Oranges
1966
Graphite on paper

Purchased with funds contributed by Beatrice and Silas H. Rhodes 69.1895

Formerly attributed to Jackson Pollock, from the Mercedes Matter Collection

Untitled
dated 1949
Oil and enamel on paper, mounted to canvas

Collection of Richard Prince

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Silueta Muerta
1976
Chromogenic print

Purchased with funds contributed by the Photography Committee 98.5234

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Untitled: Silueta Series
1978
Chromogenic print

Purchased with funds contributed by the Photography Committee 98.5235

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Untitled: Silueta Series
1976
Chromogenic print

Purchased with funds contributed by the Photography Committee 98.5236

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Untitled: Silueta Series
1979
Chromogenic print

Purchased with funds contributed by the Photography Committee 98.5237

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Untitled: Silueta Series
1978
Gelatin silver print

Purchased with funds contributed by the Photography Committee 98.5239

Ana Mendieta
b. 1948, Havana
d. 1985, New York

Untitled: Silueta Series
1978
Gelatin silver print

Purchased with funds contributed by the Photography Committee 98.5240

Hilla Rebay
b. 1890, Strassburg, Germany
d. 1967, Westport, Connecticut

Woman with Cat at Seashore
n.d.
Paper collage

The Hilla von Rebay Foundation, on extended loan to the Solomon R. Guggenheim Museum, New York

Hilla Rebay
b. 1890, Strassburg, Germany
d. 1967, Westport, Connecticut

Untitled
n.d.
Watercolor with graphite on paper

The Hilla von Rebay Foundation, on extended loan to the Solomon R. Guggenheim Museum, New York

Rufino Tamayo
b. 1899, Oaxaca, Mexico
d. 1991, Mexico City

Woman and Rocks
1945
Watercolor and graphite on paper

Estate of Karl Nierendorf, By purchase 48.1172.214

Jean Tinguely
b. 1925, Fribourg, Switzerland
d. 1991, Bern

White Moving Forms on Black Background (TNT)
1957
Painted metal, wood, and electric motor

83.3122

This work runs every half hour for approximately 5 minutes.

Stuart Sutcliffe
b. 1940, Edinburgh, Scotland
d. 1962, Hamburg

Untitled (Hamburg Series)
1961–62
Oil on canvas

Collection of Richard Prince

Stuart Sutcliffe
b. 1940, Edinburgh, Scotland
d. 1962, Hamburg

Untitled (Hamburg Series)
1961–62
Oil on canvas

Collection of Richard Prince

Chryssa
b. 1933, Athens
d. 2013, Athens

Newspaper No. 3
1961
Oil and graphite on canvas

62.1605

Chryssa
b. 1933, Athens
d. 2013, Athens

Construction study for That’s All
1969–70
Neon and graphite on primed canvas over wood

Gift, Michael Bennett 80.2720

Chryssa
b. 1933, Athens
d. 2013, Athens

Fragmented Signature
1970
Neon and oil on canvas over wood

Gift, Michael Bennett 80.2721

Chryssa
b. 1933, Athens
d. 2013, Athens

Untitled
ca. 1967
Neon and acrylic

Gift, Tom and Remi Messer 2002.80

Charmion von Wiegand
b. 1896, Chicago
d. 1983, New York

Untitled
1967
Gouache with graphite on paper

Gift, Mrs. Kay Hillman 79.2597

Laurie Simmons
b. 1949, Far Rockaway, New York

Bathroom I (Oversize)
1976
Gelatin silver print

Gift of the artist 2015.23

Laurie Simmons
b. 1949, Far Rockaway, New York

Bathroom II (Oversize)
1976
Gelatin silver print

Gift of the artist 2015.24

Laurie Simmons
b. 1949, Far Rockaway, New York

First Bathroom/Woman Kneeling
1978
Silver dye bleach print

Purchased with funds contributed by the International Director’s Council 2015.37

Laurie Simmons
b. 1949, Far Rockaway, New York

New Bathroom Plan
1978
Silver dye bleach print

Purchased with funds contributed by the International Director’s Council 2015.38

Emil Schumacher
b. 1912, Hagen, Germany
d. 1999, Sant Josep de sa Talaia, Spain

Florian
1960
Oil on wood

Gift, Samuel M. Kootz Gallery 62.1615

Cindy Sherman
b. 1954, Glen Ridge, New Jersey

Scale Relationship Series – The Giant
1976
36 cut-out gelatin silver prints, mounted to paperboard

Purchased with funds contributed by the International Director’s Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, and Ginny Williams 97.4572

Lawrence Weiner
b. 1942, Bronx, New York

TO THE SEA ON THE SEA
FROM THE SEA AT THE SEA
BORDERING THE SEA
1970
Language + the materials referred to

Panza Collection, Gift 92.4185–4189

Senga Nengudi
b. 1943, Chicago

Performance Piece
1978
Gelatin silver prints, triptych Edition 2/5

Acquisition in process

Activated by Maren Hassinger Photographs by Harmon Outlaw

Norman Lewis
b. 1909, New York
d. 1979, New York

Reflected Moon
ca. 1954
Oil on canvas

Courtesy Michael Rosenfeld Gallery, New York

Senga Nengudi
b. 1943, Chicago

Performance Piece
1978
Gelatin silver prints, triptych Edition 2/5

Purchased with funds contributed by the Photography Council, with additional funds contributed by Manuel de Santaren 2019.20

Activated by Maren Hassinger Photographs by Harmon Outlaw

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Rudolf Bauer
Promenade, 1909
Graphite and pastel on paper
19 3/8 x 12 1/4 inches (49.2 x 31.1 cm) Solomon R. Guggenheim Museum, New York The Hilla Rebay Collection
41.417
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Rudolf Bauer

Colour Sketch, 1936 Charcoal and pastel on paper
15 5/8 x 14 3/4 inches (39.7 x 37.5 cm) Solomon R. Guggenheim Museum, New York The Hilla Rebay Collection
71.1936.R216.10
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joseph Beuys Animal Being, 1948 Graphite on paper
Measured Over Plexiglas: 3 15/16 x 7 inches (10 x 17.8 cm ) Solomon R. Guggenheim Museum, New York
Gift, Anne and Anthony d'Offay, 1991 91.3919
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joseph Beuys
Lying Beneath the Spring Fountain, 1952
Watercolor (Beize), ink, graphite, colored pencil, and paper collage  9 13/16 x 12 3/4 inches (24.9 x 32.4 cm)
Solomon R. Guggenheim Museum, New York
91.3921
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 1 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Joseph Beuys
Two Girls, 1952
Watercolor (Beize), hare’s blood, and graphite on paper Measured Over Plexiglas: 5 13/16 x 8 1/8 inches (14.7 x 20.6 cm) Solomon R. Guggenheim Museum, New York
91.3922
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joseph Beuys

Untitled, 1952
Watercolor (Beize), hare’s blood, and graphite on paper Measured Over Plexiglas: 5 13/16 x 8 1/4 inches (14.7 x 20.9 cm) Solomon R. Guggenheim Museum, New York
91.3923
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joseph Beuys
Blacksmith I, 1958
Oil (Braunkreuz) and graphite on paper 9 15/16 x 8 1/4 inches (25.2 x 21 cm)
Solomon R. Guggenheim Museum, New York
91.3927
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joseph Beuys
The Impact of the Full Moon on the Sower's Head, 1972 Graphite on paper, diptych
approximately 13 9/16 x 9 5/8 inches (34.5 x 24.5 cm) each Solomon R. Guggenheim Museum, New York
91.3952
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Constantin Brancusi Nude, ca. 1920–24 Graphite on paperboard
H: 24 3/4 x 18 inches (62.9 x 45.7 cm) Solomon R. Guggenheim Museum, New York 56.1440
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 2 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Cai  Guo-Qiang White Camellia, 1982 Oil on paperboard
12 3/16 x 10 1/4 inches (31 x 26 cm)
frame: 19 1/4 x 19 1/2 x 1 1/8 inches (48.9 x 49.5 x 2.9 cm) Collection of the artist
X.2018.10717
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang
Untitled (early work), 1980 Oil on paper
7 5/16 x 9 13/16 inches (18.5 x 25 cm)
frame: 10 3/8 x 12 15/16 x 1 1/8 inches (26.4 x 32.9 x 2.9 cm) Collection of the artist
X.2018.10718
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang
Return to the Sea, ca. 1970s Oil on paperboard
7 15/16 x 13 1/8 inches (20.1 x 33.3 cm)
frame: 11 13/16 x 12 9/16 x 1 1/8 inches (30 x 31.9 x 2.9 cm) Collection of the artist
X.2018.10719
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang After the Rain, 1982 Acrylic on paper
15 3/8 x 21 7/16 inches (39 x 54.5 cm)
frame: 18 1/2 x 24 3/8 x 1 1/8 inches (47 x 61.9 x 2.9 cm) Collection of the artist
X.2018.10825
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang Donghu Village, 1978 Watercolor on paper
7 9/16 x 9 3/8 inches (19.2 x 23.8 cm)
frame: 11 1/8 x 11 11/16 x 1 1/8 inches (28.3 x 29.7 x 2.9 cm) Collection of the artist
X.2018.10826
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 3 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Cai Guo-Qiang
A View of A Fishing Village, 1980 Oil on paper
7 7/8 x 8 7/16 inches (20 x 21.5 cm)
frame: 15 7/16 x 13 3/8 x 1 1/8 inches (39.2 x 34 x 2.9 cm) Collection of the artist
X.2018.10827
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang
An Old Classmate, 1983 Oil on Masonite
16 3/16 x 16 9/16 inches (41.1 x 42.1 cm)
frame: 11 1/8 x 16 1/4 x 1 1/8 inches (28.3 x 41.3 x 2.9 cm) Collection of the artist
X.2018.10828
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Marc Chagall
Portrait of the Artist's Sister Aniuta, 1910 Oil on canvas
36 1/4 x 27 5/8 inches (92.3 x 70.3 cm) Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.91
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Willem de Kooning Two Figures, ca. 1974 Lithograph
22 x 30 inches (55.9 x 76.2 cm)
Solomon R. Guggenheim Museum, New York Gift, Margaret Kaplan, 1994
94.4464
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 4 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Walter De Maria
The shark goes down in flames, 1963 Graphite and crayon on paper
18 x 24 inches (45.7 x 61 cm)
Solomon R. Guggenheim Museum, New York Gift, Richard and Ann Artschwager, 2013 2013.44
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Walter De  Maria The Grey Wall, 1962 Graphite on paper
23 7/8 x 17 7/8 inches (60.6 x 45.4 cm) Solomon R. Guggenheim Museum, New York Gift, Richard and Ann Artschwager, 2013 2013.46
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Walter De Maria
Hell, 1964
Graphite and crayon on paper
23 1/8 x 35 inches (58.7 x 88.9 cm)
Solomon R. Guggenheim Museum, New York Gift, Richard and Ann Artschwager, 2013 2013.47
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Robert  Delaunay Eiffel Tower, 1926–28 Conté crayon on paper
24 1/2 x 18 3/4 inches (62.3 x 47.5 cm) Solomon R. Guggenheim Museum, New York The Hilla Rebay Collection
71.1936.R150
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Marcel Duchamp
Apropos of Little Sister, October 1911 Oil on canvas
28 3/4 x 23 5/8 inches (73 x 60 cm)
Solomon R. Guggenheim Museum, New York 71.1944
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 5 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Gonzalo Fonseca
Monte Costa, 1978
Ink and graphite on paper
19 x 25 inches (48.3 x 63.5 cm)
Solomon R. Guggenheim Museum, New York
Bequest of Henry Berg in gratitude to Thomas M. Messer, 1988 88.3589
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Albert Gleizes

Landscape in the Pyrenees, 1908 Oil on canvas
21 1/4 x 25 1/2 inches (54 x 64.8 cm) Solomon R. Guggenheim Museum, New York Gift, Madame Albert Gleizes, 1963
63.1667
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Arshile Gorky
Self -Portrait, 1928–31 Oil on canvas
19 3/8 x 15 5/8 inches (49.2 x 39.7 cm) Solomon R. Guggenheim Museum, New York Anonymous gift, 1994
94.4481
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Adolph Gottlieb
The Sea Chest, 1942 Oil on canvas
26 1/16 x 34 3/16 x 3/4 inches (66.2 x 86.8 x 1.9 cm) Solomon R.  Guggenheim  Museum,  New  York Estate of Karl Nierendorf, By purchase
48.1172.510
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 6 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Jean Robert Ipoustéguy Flowers of Sin, 1976 Charcoal on paper
25 5/8 x 19 3/4 inches (65 x 50 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist
83.3021
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Jean Robert Ipoustéguy
Estele, 1976 Charcoal on paper
25 1/2 x 19 5/8 inches (64.9 x 50 cm) Solomon R. Guggenheim Museum, New York Gift of the artist
83.3022
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Jean Robert Ipoustéguy
Shoulder and Arm, 1974
Charcoal, watercolor, and gouache  on  paper 27 1/4 x 21 7/8 inches (69 x 55.4 cm)   Solomon R. Guggenheim Museum, New York Gift of the artist
83.3024
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky
Amsterdam—View from the Window, 1904 Oil on board
9 3/8 x 13 inches (23.9 x 33.1 cm)
Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection 46.1055
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky Munich, ca. 1901–02 Oil on canvas board
9 3/8 x 12 5/8 inches (23.8 x 32.1 cm) Solomon R. Guggenheim Museum, New York 50.1292
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 7 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Vasily Kandinsky
Fishing Boats, Sestri, 1905 Oil on canvas board
9 3/8 x 12 7/8 inches (23.7 x 32.8 cm) Solomon R. Guggenheim Museum, New York 50.1293
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky
Pond in the Park, ca. 1906 Oil on board
13 x 16 1/8 inches (33 x 40.8 cm)
Solomon R. Guggenheim Museum, New York The Hilla Rebay Collection
71.1936.R8
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky
The Golden Sail, 1903
Woodcut with watercolor and metallic paint additions 5 x 11 3/4 inches (12.7 x 29.8 cm)
Solomon R. Guggenheim Museum, New York
71.1943
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky The Mirror, 1907 Linoleum cut
image:12 5/8 x 6 1/4 inches (32.1 x 15.8cm); sheet: 13 5/8 x 8 1/2 inches (34.6 x 21.6 cm)
Solomon R. Guggenheim Museum, New York 72.1987
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Vasily Kandinsky
Singer, 1903
Woodcut on Japanese paper, mounted to paper
image: 7 7/8 x 5 3/4 inches (20 x 14.6 cm); sheet: 10 5/8 x 7 1/2 inches
(27 x 19.1 cm); mount: 14 1/8 x 9 3/4 inches (35.9 x 24.8 cm) Solomon R. Guggenheim Museum, New York
72.2003
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 8 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Paul Klee
Hilterfingen, July 19, 1895 Ink on paper
3 3/4 x 6 3/8 inches (9.5 x 16.9 cm)
Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.493
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Paul Klee
Gemmi Pass, Valais Alps, ca. 1895 Graphite on paper
3 7/8 x 6 5/8 inches (9.9 x 16.8 cm)
Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.536
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Paul Klee
Aged Phoenix (Invention 9), 1905 Etching
image: 10 1/8 x 7 3/8 inches (25.7 x 18.7 cm); plate: 10 3/4 x 7 3/4
inches (27.3 x 19.7 cm); sheet: 13 3/8 x 9 3/4 inches (34 x 24.8 cm) Solomon R. Guggenheim Museum, New York
75.2203
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Yves Klein
Untitled red monochrome (M 63), 1959 Dry pigment in synthetic resin on board 9 1/4 x 13 inches (23.5 x 33 cm)
Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2000.28
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Gustav Klimt
Two Female Nudes Standing, ca. 1900 Conté crayon on paper
17 3/4 x 12 3/8 inches (45.1 x 31.4 cm) Solomon R. Guggenheim Museum, New York 67.1834
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 9 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Franz Kline
Self Portrait, ca.1945 Oil on canvas
10 3/4 x 7 inches (27.3 x 17.9 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Leon A. Mnuchin, 1962 62.1612
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Franz Kline Elizabeth, 1944 Oil on canvas
20 x 16 inches (50.9 x 40.6 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Leon A. Mnuchin, 1962 62.1613
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Franz Kline Untitled,  n.d. Oil on Masonite
26 1/2 x 30 3/8 x 1 inches (67.3 x 77.2 x 2.5 cm) Solomon R. Guggenheim Museum, New York Gift, Fred Goldin, 1979
79.2616
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Franz Kline Untitled, ca. 1948 Oil on canvas
41 7/8 x 31 7/8 inches (106.4 x 81 cm) Solomon R. Guggenheim Museum, New York Gift, Alexander Abraham, 1979
79.2624
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Franz Kline
Untitled, 1948
Oil on canvas, mounted to Masonite 38 3/16 x 29 1/2 inches (97.1 x 75 cm)
Solomon R. Guggenheim Museum, New York
Gift, Alexander Abraham, 1979 79.2625
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 10 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Franz Kline Untitled, 1947 Oil on canvas
25 x 21 inches (63.5 x 53.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Aron B. Katz, 1981
81.2872
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Franz Kline
Untitled, ca.1957
Oil with paper collage on paper
9 1/2 x 8 3/4 inches (24.1 x 22.2 cm) Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Aron B. Katz, 1981
81.2874
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

František Kupka
The Lipstick, ca. 1907 Pastel on paper
24 7/8 x 19 1/8 inches (63.1 x 48.6 cm) Solomon R. Guggenheim Museum, New York Gift, Andrée Martinel-Kupka, 1975
75.2140
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Giacomo Manzù
Penelope, 1977
Gouache and ink on paper
20 1/2 x 15 15/16 inches (52.1 x 40.5 cm) Solomon R. Guggenheim Museum, New York Gift of the artist, 1980
80.2687.1
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Giacomo Manzù
The Land of the Dead, 1977
Gouache, watercolor, and ink on paper 20 3/8 x 15 7/8 inches (51.8 x 40.3 cm)
Solomon R. Guggenheim Museum, New York
Gift of the artist, 1980 80.2687.15
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 11 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Giacomo Manzù
The Long Night, 1977 Gouache and ink on paper
20 x 15 7/8 inches (50.8 x 40.3 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist, 1980
80.2687.19
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Henri Matisse
Nude, 1898-1901
Conté crayon on paper
10 5/8 x 8 3/4 inches (27 x 22.2 cm)
Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.48
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joan Miró Untitled, 1917 Graphite on paper
7 3/8 x 5 7/8 inches (18.7 x 20cm)
Solomon R. Guggenheim Museum, New York 59.1539
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Joan Miró
Prades, the Village, summer 1917 Oil on canvas
25 5/8 x 28 5/8 inches (65 x 72.6 cm) Solomon R. Guggenheim Museum, New York 69.1894
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 12 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Piet Mondrian
Blue Chrysanthemum, ca. early 1920s Watercolor and ink on paper
10 1/2 x 8 3/4 inches (26.7 x 22.2 cm) Solomon R. Guggenheim Museum, New York 61.1588
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Louise Nevelson Untitled, 1931 Graphite on paper
17 9/16 x 12 7/16 inches (44.4 x 31.5 cm) Solomon R. Guggenheim Foundation, New York Gift, Tom and Remi Messer, 1990
90.3659
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Emil Nolde
Landscape, 1908 Watercolor and ink on paper
8 5/16 x 10 1/2 inches (21 x 26.6 cm)   Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.159
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 13 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Pablo Picasso
Vase of Flowers, 1905–06 Ink on paper
10 5/8 x 7 11/16 inches (27 x 19.5 cm)
Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978
78.2514.43
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Pablo Picasso
Woman with Open Fan, 1906 Pen and ink on paper
6 3/4 x 4 5/16 inches (17.2 x 11 cm)
Solomon R. Guggenheim Museum, New York Thannhauser Collection, Gift, Justin K. Thannhauser, 1978 78.2514.45
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Richard Prince
Untitled (Couple), 1977
Gelatin silver print with chromogenic print collage, mounted to foam board
image: 4 1/4 x 6 1/2 inches (10.8 x 16.5 cm); mount: 19 5/8 x 29 9/16
inches (49.8 x 75.1 cm)
Solomon R. Guggenheim Museum, New York Gift, Per Skarstedt, 2006
2006.55
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Hilla Rebay
Feline, n.d.
Paper collage, mounted to paper
sheet: 17 3/16 x 13 3/4 inches (43.7 x 34.9 cm); mount: 17 3/4 x 14 1/16
inches (45.1 x 35.7 cm)
Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, By gift 41.551
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 14 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Hilla Rebay The Dog, n.d. Paper collage
13 3/4 x 17 3/16 inches (34.9 x 43.7 cm) Solomon R. Guggenheim Museum, New York
Solomon R. Guggenheim Founding Collection, By gift 41.576
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Hilla Rebay
Hans Richter, December 1915 Graphite on paper
10 9/16 x 8 1/4 inches (26.8 x 21 cm) Solomon R. Guggenheim Museum, New York Gift, Mrs. Johannes Molzahn
70.1931
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Mark Rothko
Untitled (Still-Life with Rope, Hammer and Trowel), ca. 1937 Oil on board
Recto: 15 7/16 x 19 3/8 inches (39.3 x 49.4 cm) Solomon R. Guggenheim Museum, New York Gift, The Glickstein Foundation, 1983 83.3139.R
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Mark Rothko Untitled, 1942 Oil on canvas
28 1/16 x 36 1/4 inches (71.3 x 92 cm) Solomon R. Guggenheim Museum, New York Gift, The Mark Rothko Foundation, Inc., 1986 86.3419
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Mark Rothko
Brighton Beach, ca. mid 1930's
Watercolor, gouache, and graphite on paper 11 15/16 x 15 7/8 inches (30.4 x 40.3 cm)
frame: 17 7/8 x 20 9/16 x 7/8 inches (45.4 x 52.3 x 2.3 cm)
Collection of Cai Guo-Qiang X.2018.10716
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 15 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Lucas Samaras
Untitled, 1960
Pastel on paper, mounted to paper
sheet: 9 x 12 1/8 inches (22.9 x 30.8 cm); mount: 11 5/8 x 14 1/16
inches (29.5 x 35.7 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. Walter K. Gutman, 1967
67.1854
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Lucas Samaras Razor's Edge, 1961 Pastel on paper
12 1/8 x 9 1/8 inches (30.8 x 23.2 cm) Solomon R. Guggenheim Museum, New York Anonymous Gift, 1980
80.2727
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Kurt Schwitters
Mountain Graveyard, 1919 Oil on board, mounted to cork
36 x 28 1/2 inches (91.6 x 72.4 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Frederick M. Stern, 1962 62.1617
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Charmion von Wiegand
Ancestral Tablets, 1960
Paper collage with gouache and pastel, mounted to paperboard  sheet: 7 5/8 x 6 inches (19.4 x 15.2 cm); mount: 10 x 8 inches (25.4 x
20.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Katharine Kuh, 1978
78.2503
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Charmion von Wiegand
Untitled, 1967
Gouache with graphite on paper
sheet: 7 11/16 x 6 1/8 inches (19.6 x 15.6 cm); mount: 10 1/4 x 8 inches
(26 x 20.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Mrs. Kay Hillman, 1979
79.2597
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 16 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

High Gallery

Charmion von Wiegand
The Lotuses #169, 1962 Gouache with graphite on paper
image: 10 5/8 x 4 5/8 inches (26.9 x 11.8 cm); sheet: 12 7/8 x 7 7/8
inches (32.8 x 19.9 cm)
Solomon R. Guggenheim Museum, New York
Gift, William C. Edwards, Jr. in memory of Sibyl H. Edwards 80.2782
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Charmion von Wiegand

Autumnal Wind, May 1963
Paper collage with oil and chop mark, mounted to paperboard sheet: 7 11/16 x 6 3/16 inches (19.5 x 15.6 cm); mount: 13 1/2 x 11
inches ( 34.1 x 27.9 cm);
Solomon R. Guggenheim Museum, New York Anonymous gift, 1984
84.3243
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Ramp 1, Bay 12

Cai Guo-Qiang
Non-Brand, 2019
Gunpowder on glass and mirror 72 x 60 inches (182.9 x 152.4 cm) Collection of the artist X.2018.10846
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang
Non-Brand, 2019
Gunpowder on glass and mirror 72 x 60 inches (182.9 x 152.4 cm) Collection of the artist X.2018.10847
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

5/22/2019	Page 17 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 1, Bay 11

Cai Guo-Qiang
Non-Brand, 2019
Gunpowder on glass and mirror 72 x 60 inches (182.9 x 152.4 cm) Collection of the artist X.2018.10848
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Cai Guo-Qiang
Non-Brand, 2019
Gunpowder on glass and mirror 72 x 60 inches (182.9 x 152.4 cm) Collection of the artist X.2018.10850
Remarks: Cai Guo-Qiang: “Non-Brand 非品牌”

Ramp 2, Bay 28

Lawrence Weiner
TO THE SEA / ON THE SEA / FROM THE SEA / AT THE SEA / BORDERING THE SEA, 1970
Language + the materials referred to Solomon R. Guggenheim Museum, New York

Panza Collection, Gift, 1992 92.4185-4189
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Ramp 2, Bay 27

Piet Mondrian
Summer, Dune in Zeeland, 1910 Oil on canvas
52 3/4 x 76 3/4 inches (134 x 195 cm) Solomon R. Guggenheim Museum, New York L149.75
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 18 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 2, Bay 26

Ilse Bing
Between France and USA, 1936 Gelatin silver print
sheet: 8 5/16 x 11 1/8 inches (21.1 x 28.3 cm) Solomon R. Guggenheim Museum, New York Gift, Estate of Ilse Bing Wolff, 2001
2001.67
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

George Platt Lynes
Herbert Bliss, The New York City Ballet, 1952 Gelatin silver print
image and sheet: 9 1/4 x 7 3/4 inches (23.5 x 19.7 cm) Solomon R. Guggenheim Museum, New York
Gift, Anonymous and In Kind Canada, 1998 98.4734
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

George Platt Lynes
Male nude at Mulhocaway, 1936 Gelatin silver print
7 13/16 x 7 13/16 inches (19.8 x 19.8 cm) Solomon R. Guggenheim Museum, New York Gift, Anonymous and In Kind Canada, 1998 98.4855
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Laurie Simmons
Bathroom I (Oversize), 1976 Gelatin silver print
8 x 12 inches (20.3 x 30.5 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist, 2015
2015.23
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Laurie Simmons
Bathroom II (Oversize), 1976 Gelatin silver print
8 x 12 inches (20.3 x 30.5 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist, 2015
2015.24
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 19 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 2, Bay 26

Laurie Simmons
First Bathroom/Woman Kneeling, 1978 Silver dye bleach print
image: 3 3/16 x 4 13/16 inches (8.1 x 12.2 cm); sheet: 5 3/16 x 6 3/4
inches (13.2 x 17.1 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the International Director's Council, 2015
2015.37
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Laurie Simmons
New Bathroom Plan, 1978 Silver dye bleach print
3 1/2 x 5 inches (8.9 x 12.7 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the International Director's Council, 2015
2015.38
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Francesca Woodman
Providence, Rhode Island, 1975–78 Gelatin silver print
image: 9 7/16 x 6 5/16 inches (24 x 16 cm); sheet: 10 x 8 inches (25.4 x
20.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Heather and Tony Podesta Collection, 2005 2005.3
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Ramp 2, Bay 25

Corneille
Spell of the Island, 1965 Oil on canvas
63 1/2 x 51 1/4 inches (161.3 x 130.2 cm) Solomon R. Guggenheim Museum, New York 65.1781
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 20 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 2, Bay 25

Hilla Rebay
Floating, 1939
Ink and paper collage, mounted to paper
sheet: 17 5/16 x 13 11/16 inches (44 x 34.8 cm); mount: 18 1/8 x 19
11/16 inches (46 x 50 cm)
Solomon R. Guggenheim Museum, New York The Hilla Rebay Collection
71.1936.R387
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Hilla Rebay
Untitled, n.d.
Watercolor with graphite on paper
6 7/8 x 4 7/8 inches (17.5 x 12.4 cm)
The Hilla von Rebay Foundation, on extended loan to the Solomon R. Guggenheim Museum, New York
R2002.110
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Ramp 2, Bay 24

Ernst Ludwig  Kirchner Three Nudes in Water, 1911 Lithograph
image: 13 x 15 inches (33 x 38.1 cm); sheet: 16 5/8 x 19 5/8 inches
(42.2 x 49.8 cm)
Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.448
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Fernand Léger Starfish, 1942 Oil on canvas
57 3/4 x 50 1/8 inches (146.7 x 127.3 cm) Solomon R. Guggenheim Museum, New York Gift, Evelyn Sharp, 1977
77.2669
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 21 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 2, Bay 24

Hilla Rebay
Woman with cat at seashore, n.d. Paper collage
The Hilla von Rebay Foundation, on extended loan to the Solomon R. Guggenheim Museum, New York
M37
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Rufino Tamayo
Woman and Rocks, 1945 Watercolor and graphite on paper
17 1/4 x 13 1/4 inches (43.8 x 33.7 cm) Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.214
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Ramp 2, Bay 22

William Baziotes Aquatic, 1961 Oil on canvas
66 x 78 1/8 inches (167.6 x 198.4 cm) Solomon R. Guggenheim Museum, New York Collective anonymous gift, 1963
63.1630
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Giacomo Manzù
On the Island of the Cyclops III, 1977 Gouache and ink with graphite on paper 20 x 15 5/8 inches (50.8 x 39.7 cm)
Solomon R. Guggenheim Museum, New York
Gift of the artist, 1980 80.2687.14
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 22 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 2, Bay 22

Giacomo Manzù
The Sirens, Scylla, and Charybdis, 1977 Gouache and ink on paper
20 1/2 x 16 inches (52.1 x 40.6 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist, 1980
80.2687.16
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Giacomo Manzù
Toward the Island of the Sun, 1977 Gouache and ink on paper
20 1/2 x 16 inches (52.1 x 40.6 cm)
Solomon R. Guggenheim Museum, New York Gift of the artist, 1980
80.2687.17
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Charles Seliger
Ocean Edge, 1954
Oil, tempera, and graphite on paper, mounted to Masonite 12 x 18 1/2 inches (30.5 x 47 cm)
Solomon R. Guggenheim Museum, New York
Gift, Mr. and Mrs. Dan R. Johnson, 1985 85.3293
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Charles Seliger Mirage, 1976 Acrylic on canvas
7 5/8 x 18 1/8 inches (19.4 x 46 cm)
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Leon Polsky, 1985
85.3304
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

Ramp 2, Bay 21

Willem de Kooning
...Whose Name Was Writ in Water, 1975 Oil on canvas
76 3/4 x 87 3/4 inches (195 x 223 cm) Solomon R. Guggenheim Museum, New York 80.2738
Remarks: Paul Chan: “Sex, Water, Salvation, or What Is a Bather?”

5/22/2019	Page 23 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 3, Bay 39

Herbert Ferber
Game No. 2, 1950
Lead, copper, and brass on painted wood base
28 3/4 x 19 1/2 x 18 1/2 inches (73 x 49.5 x 47 cm) Solomon R. Guggenheim Museum, New York
Gift, Mrs. Samuel I. Rosenman, 1964 64.1711
Remarks: Richard Prince: “Four Paintings Looking Right”

Philip Guston
Drawing No. 4, 1950 Ink on Japanese paper
24 7/8 x 39 1/4 inches (63.2 x 99.7 cm) Solomon R. Guggenheim Museum, New York 64.1702
Remarks: Richard Prince: “Four Paintings Looking Right”

Philip Guston Drawing No. 14, 1953 Ink on paper
17 15/16 inches x 23 inches (45.6 x 58.4 cm) Solomon R. Guggenheim Museum, New York 64.1703
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 38

Claire Falkenstein
Set Structure with Cylinders, 1944 Poplar, stain, and pigmented lacquer
25 3/4 x 6 1/2 x 4 inches (65.4 x 16.5 x 10.2 cm)
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
45.998.1
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 24 of 61

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Ramp 3, Bay 38

Conrad Marca-Relli
Untitled, 1959
Oil and canvas collage on canvas 40 x 36 inches (101.6 x 91.5 cm)
Solomon R. Guggenheim Museum, New York
Gift, Judge and Mrs. Samuel I. Rosenman, 1964 64.1715
Remarks: Richard Prince: “Four Paintings Looking Right”

Judit Reigl Outburst, 1956 Oil on canvas
53 9/16 x 63 inches (136 x 160 cm)
Solomon R. Guggenheim Museum, New York
Gift of the artist in honor of Kálmán Makláry, 2012 2012.1
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 37

Martin Barré Greenwich, 1957 Oil on canvas
47 1/4 x 78 3/4 inches (120 x 200 cm) Solomon R. Guggenheim Museum, New York 58.1502
Remarks: Richard Prince: “Four Paintings Looking Right”

Georges Mathieu
Untitled, 1959 Oil on canvas
38 x 63 1/2 inches (96.5 x 161.3 cm) Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Samuel A. Seaver, 1979 79.2628
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 25 of 61

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Ramp 3, Bay 37

Georges Mathieu
Black and White Abstract, 1957 Oil on canvas
32 x 51 5/16 inches (81.3 x 130.3 cm) Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2000.41
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 36

Yutaka Ohashi
Stone Garden, 1955
Oil with metal leaf on canvas
49 3/4 x 72 inches (126.4 x 189.9 cm) Solomon R. Guggenheim Museum, New York 55.1422
Remarks: Richard Prince: “Four Paintings Looking Right”

Kenzo Okada Solstice, March 1954 Oil on canvas
57 1/4 x 70 5/8 inches (145.5 x 179.4 cm) Solomon R. Guggenheim Museum, New York 54.1407
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 35

Arshile Gorky
Untitled, 1943
Wax crayon and graphite on paper 20 x 26 3/4 inches (50.8 x 67.9 cm)
Solomon R. Guggenheim Museum, New York
Gift, Rook McCulloch, 1977 77.2332
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 26 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 3, Bay 35

Paul Jenkins
The Prophecy, 1956 Oil on canvas
51 3/16 x 76 15/16 x 1 1/8 inches (130 x 195.4 x 2.9 cm) Solomon R. Guggenheim Museum, New York
Gift, Harold Kaye, 1962 62.1616
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 34

Perle Fine
Movement Left and Right, 1947 Oil on canvas
canvas: 5 1/2 x 5 5/8 inches (14 x 14.3 cm); mount: 12 5/8 x 12 1/4
inches (32.1 x 31.1 cm)
Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.415
Remarks: Richard Prince: “Four Paintings Looking Right”

Michael Lekakis Dance, 1958 Sassafras
32 1/8 x 20 1/4 x 12 inches (81.6 x 51.4 x 30.5 cm) Solomon R. Guggenheim Museum, New York 58.1509
Remarks: Richard Prince: “Four Paintings Looking Right”

Emil Schumacher
Florian, 1960 Oil on wood
47 7/8 x 80 inches (121.6 x 203.2 cm) Solomon R. Guggenheim Museum, New York Gift, Samuel M. Kootz Gallery, 1962
62.1615
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 27 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 3, Bay 34

Jack Tworkov
Untitled, 1948–50
Watercolor, ink, and graphite on paper 19 3/4 x 18 inches (50.2 x 45.7 cm)
Solomon R. Guggenheim Museum, New York
Gift, Walter K. Gutman, 1967 67.1852
Remarks: Richard Prince: “Four Paintings Looking Right”

Ramp 3, Bay 33

Afro
Night Flight, 1957 Oil on canvas
44 7/8 x 57 3/8 inches (114 x 145.7 cm) Solomon R. Guggenheim Museum, New York 57.1482
Remarks: Richard Prince: “Four Paintings Looking Right”

José Guerrero
Signs and Portents, 1956 Oil on canvas
69 1/4 x 98 1/2 inches (175.9 x 250.2 cm) Solomon R. Guggenheim Museum, New York 57.1465
Remarks: Richard Prince: “Four Paintings Looking Right”

Étienne Hajdu Cock, 1954 Brass
51 1/8 x 32 x 15 7/8 inches (129.9 x 81.3 x 40.3 cm) Solomon R. Guggenheim Museum, New York 57.1457
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 28 of 61

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Ramp 3, Bay 32

Formerly attributed to Jackson Pollock, from the Mercedes Matter Collection
Untitled, dated 1949
Oil and enamel on paper, mounted to canvas frame: 18 1/4 x 19 7/8 inches (46.4 x 50.5 cm) Collection of Richard Prince
X.2018.10532
Remarks: Richard Prince: “Four Paintings Looking Right”

Stuart Sutcliffe
Untitled (Hamburg Series), 1961–62 Oil on canvas
47 x 39 inches (119.4 x 99.1 cm) Collection of Richard Prince X.2018.10533
Remarks: Richard Prince: “Four Paintings Looking Right”

Stuart Sutcliffe
Untitled (Hamburg Series), 1961–62 Oil on canvas
49 x 39 1/4 inches (124.5 x 99.7 cm) Collection of Richard Prince X.2018.10708
Remarks: Richard Prince: “Four Paintings Looking Right”

Maria Helena Vieira da Silva
Untitled, 1953 Oil on burlap
30 1/8 x 49 1/4 inches (76.5 x 125.1 cm) Solomon R. Guggenheim Museum, New York 53.1375
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 29 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 3, Bay 31

Jackson Pollock
Number 18, 1950
Oil and enamel on Masonite
22 1/16 x 22 5/16 inches (56.0 x 56.7 cm) Solomon R. Guggenheim Museum, New York
Gift, Janet C. Hauck, in loving memory of Alicia Guggenheim and Fred Hauck, 1991
91.4046
Remarks: Richard Prince: “Four Paintings Looking Right”

Theodore Roszak Cradle Song, 1955 Steel and bronze
52 x 32 x 14 inches (132.1 x 81.3 x 35.6 cm) Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Arnold H. Maremont, 1959 59.1562
Remarks: Richard Prince: “Four Paintings Looking Right”

Jack Tworkov
House of Rocks, 1952 Oil on canvas
50 x 45 inches (127 x 114.3 cm)
Solomon R. Guggenheim Museum, New York Gift, David A. Prager, 1981
81.2884
Remarks: Richard Prince: “Four Paintings Looking Right”

Paul Wonner
Landscape II, 1953
Oil and charcoal on canvas
36 x 44 inches (91.5 x 111.8 cm)
Solomon R. Guggenheim Museum, New York 54.1409
Remarks: Richard Prince: “Four Paintings Looking Right”

5/22/2019	Page 30 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 4, Bay 49

Romare Bearden
Evening 9:10, 461 Lenox Avenue, 1964 Gelatin silver print (photostat) on fiberboard 27 1/8 x 35 9/16 inches (68.9 x 90.3 cm) Solomon R. Guggenheim Museum, New York
Purchased through prior gift of Julian J. Aberbach and Joachim J. Aberbach, Dr. and Mrs. Samuel S. Mandel, and Mr. and Mrs. Nathan L. Halpern with additional funds contributed by the Photography Council, 2017
2017.76
Remarks: Julie Mehretu: “Cry Gold and See Black”

Blythe Bohnen
Self -Portrait: Pivotal Motion from Chin, Large, 1974 Gelatin silver print
image: 14 15/16 x 18 13/16 inches (37.9 x 47.8 cm); sheet: 15 13/16 x
19 13/16 inches (40.2 x 50.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Herbert and Paula Molner, 1992
92.4211
Remarks: Julie Mehretu: “Cry Gold and See Black”

Blythe Bohnen
Self -Portrait: Pivotal Motion from Chin, Medium, 1974 Gelatin silver print
image: 14 15/16 x 18 13/16 inches (37.9 x 47.8 cm); sheet: 15 15/16 x
19 13/16 inches (40.5 x 50.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Herbert and Paula Molner, 1992
92.4212
Remarks: Julie Mehretu: “Cry Gold and See Black”

Blythe Bohnen
Self -Portrait: Horizontal Motion, Bisected by Vertical Motion, Medium, 1974
Gelatin silver print
image: 14 15/16 x 18 13/16 inches (37.9 x 47.8 cm); sheet: 15 7/8 x 19
13/16 inches (40.3 x 50.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Herbert and Paula Molner, 1992
92.4214
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 31 of 61

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Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 4, Bay 49

Blythe Bohnen
Self -Portrait: Vertical Motion Down, Medium, 1974 Gelatin silver print
image: 15 x 18 7/8 inches (38.1 x 47.9 cm); sheet: 16 x 19 13/16 inches
(40.6 x 50.3 cm)
Solomon R. Guggenheim Museum, New York Gift, Herbert and Paula Molner, 1992
92.4217
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 48

Asger Jorn
A Soul for Sale, 1958–59 Oil with sand on canvas
78 5/8 x 98 1/4 inches (199.7 x 249.6 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Evelyn Sharp Foundation, 1983
83.3040
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 32 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 4, Bay 48

Ana Mendieta
Untitled: Silueta Series, 1978 Chromogenic print
image: 9 9/16 x 6 9/16 inches (24.3 x 16.7 cm); sheet: 10 x 7 15/16
inches (25.4 x 20.2 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 1998 98.5235
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ana Mendieta
Untitled: Silueta Series, 1976 Chromogenic print
image: 9 5/8 x 6 5/8 inches (24.5 x 16.8 cm); sheet: 10 x 7 15/16 inches
(25.4 x 20.2 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 1998 98.5236
Remarks: Julie Mehretu: “Cry Gold and See Black”

Isamu Noguchi
The Cry, 1959
Balsa wood on steel base
87 x 33 1/2 x 18 3/4 inches (221 x 85.1 x 47.6 cm), including base Solomon R. Guggenheim Museum, New York
66.1812
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 47

Alberto Burri
Composizione, 1953
Burlap, thread, synthetic polymer paint, gold leaf, and PVA on black fabric
33 7/8 x 39 1/2 inches (86 x 100.4 cm) Solomon R. Guggenheim Museum, New York 53.1364
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 33 of 61

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Ramp 4, Bay 47

Alberto Burri
Legno e bianco 1, 1956
Wood veneer, combustion, acrylic, and Vinavil on canvas 34 1/2 x 62 5/8 inches (87.7 x 159 cm)
Solomon R. Guggenheim Museum, New York
57.1463
Remarks: Julie Mehretu: “Cry Gold and See Black”

James Lee Byars
Untitled, 1960
Ink on paper, mounted to wood
83 1/8 x 19 3/8 inches (214 x 49.2 cm)
Solomon R. Guggenheim Foundation, New York Gift, Tom and Remi Messer, 1984
84.3202
Remarks: Julie Mehretu: “Cry Gold and See Black”

Norman Lewis
Reflected Moon, ca.1954 Oil on canvas
40 x 52 inches (101.6 x 132.1 cm) Michael Rosenfeld Gallery X.2019.166
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 46

Francis Bacon
Three Studies for a Crucifixion, March 1962 Oil with sand on canvas, three panels
78 x 57 inches (198.1 x 144.8 cm) each Solomon R. Guggenheim Museum, New York 64.1700
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 34 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 4, Bay 46

David Hammons
Close Your Eyes and See Black, 1969 Pigment on gold-coated  paperboard 35 7/8 x 24 3/4 inches (91.1 x 62.9 cm)
Solomon R. Guggenheim Museum, New York
Purchased through prior gifts of Daimler-Benz in honor of Thomas  M.  Messer, the National Endowment for  the Arts  in Washington, D.C., William C. Edwards, Jr., in memory of
Sibyl H. Edwards, the Estate of Karl Nierendorf, Mr. and Mrs. Morton L. Ostow, and Dr. Solomon W. Schaefer, 2018 2018.56
Remarks: Julie Mehretu: “Cry Gold and See Black”

Robert Rauschenberg
Untitled (Gold Painting), ca. 1953
Gold leaf on fabric and glue on canvas, in wood and glass frame 12 1/4 x 12 5/8 x 1 1/8 inches (31.1 x 32.1 x 2.9 cm)
Solomon R. Guggenheim Museum, New York
Joint bequest of Eve Clendenin to the Solomon R. Guggenheim Museum and the Museum of Modern Art, 1974
74.2109
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 45

Wifredo Lam
Zambezia, Zambezia, 1950 Oil on canvas
49 3/8 x 43 5/8 inches (125.4 x 110.8 cm) Solomon R. Guggenheim Museum, New York Gift, Mr. Joseph Cantor, 1974
74.2095
Remarks: Julie Mehretu: “Cry Gold and See Black”

Wifredo Lam
Portrait of a Woman, 1944 Oil on paper
52 1/16 x 40 1/16 x 2 1/2 inches (132.2 x 101.8 x 6.4 cm), framed Solomon R. Guggenheim Museum, New York
Bequest, Richard S. Zeisler, 2007 2007.43
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 35 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 4, Bay 45

Matta
Each And, 1947 Oil on canvas
36 x 52 inches (91.2 x 132 cm)
Solomon R. Guggenheim Museum, New York Gift, Dr. Ruth Stephan, 1965
65.1771
Remarks: Julie Mehretu: “Cry Gold and See Black”

Matta
Years of Fear, 1941 Oil on canvas
44 x 56 inches (111.8 x 142.2 cm)
Solomon R. Guggenheim Museum, New York 72.1991
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 44

Jean Dubuffet
Triumph and Glory, December 1950 Oil on canvas
51 x 38 inches (129.5 x 96.5 cm)
Solomon R. Guggenheim Museum, New York 71.1973
Remarks: Julie Mehretu: “Cry Gold and See Black”

Philip Guston Moonlight, 1978 Oil on canvas
67 15/16 x 83 3/8 inches (172.6 x 211.8 cm) Solomon R. Guggenheim Museum, New York Bequest, Musa Guston, 1992
92.4223
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 36 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 4, Bay 44

Simon Hantaï
Cut Emerald Eye, February 1950 Oil on canvas
37 5/16 x 35 3/4 inches (94.8 x 90.8 cm) Solomon R. Guggenheim Museum, New York 53.1366
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 43

Henri Michaux
Mescaline Drawing, 1958 Ink on paper
10 3/8 x 7 1/16 inches (26.4 x 17.9 cm) Solomon R. Guggenheim Museum, New York By exchange, 1985
85.3288
Remarks: Julie Mehretu: “Cry Gold and See Black”

Henri Michaux Untitled, n.d. Watercolor on paper
22 x 14 3/4 inches (55.9 x 37.5 cm), sheet Solomon R. Guggenheim Foundation, New York Gift, Tom and Remi Messer, 2001
2001.50
Remarks: Julie Mehretu: “Cry Gold and See Black”

Alan Shields
Nina Got It for 100 Francs, 1971
Cotton yarn, acrylic paint, wood, metal, glass, and plastic 88 x 82 inches (223.5 x 208.3 cm)
Solomon R. Guggenheim Museum, New York
Purchase and by exchange, 1973 73.2036
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 37 of 61

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Ramp 4, Bay 43

Cecilia Vicuña Karl Marx, 1972 Oil on canvas
36 1/4 x 28 1/4 inches (92.1 x 71.7 cm)
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Latin American Circle with additional funds contributed by Elisa Estrada, Camila Sol de Pool, Eugenia Braniff, Clarissa Bronfman, Mara and Marcio Fainziliber, Marianne Hernandez, Catherine Petitgas, Ana Julia Thomson de Zuloaga, and Rudy Weissenberg, 2017
2017.83
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 42

David Hammons
Untitled, 1976
Pigment on silver coated paper
25 1/4 x 19 1/2 inches (64.1 x 49.5 cm) Collection of Julie Mehretu X.2018.10806
Remarks: Julie Mehretu: “Cry Gold and See Black”

Senga Nengudi

Performance Piece, 1978/2013 Three gelatin silver prints
40 x 31 1/2 inches (101.6 x 80 cm) and
31 1/2 x 40 inches (80 x 101.6 cm) each Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Council, with additional funds contributed by Manuel de Santaren, 2019 T27.2019
Remarks: Julie Mehretu: “Cry Gold and See Black”

Richard Serra
Tearing Lead from 1:00 to 1:47, 1968 Lead
dimensions vary with installation
Solomon R. Guggenheim Museum, New York Panza Collection, 1991
91.3866
Remarks: Julie Mehretu: “Cry Gold and See Black”

5/22/2019	Page 38 of 61

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Ramp 4, Bay 41

Mary Bauermeister
Title I, 1965
Painted wood, ink, glass, plastic, and stones
32 1/2 x 74 3/8 x 11 7/8 inches (82.6 x 188.9 x 30.2 cm) overall Solomon R. Guggenheim Museum, New York
65.1780
Remarks: Julie Mehretu: “Cry Gold and See Black”

Yuko Nasaka
Untitled, 1963
Synthetic paint, plaster, and glue on cotton, mounted on wood, five panels
53 3/16 x 35 3/8 inches (135.1 x 89.9 cm) each; 89 x 106 3/4 inches
(226.1 x 271.1 cm) overall
Solomon R. Guggenheim Museum, New York Gift, Axel Vervoordt Gallery, 2015
2015.76
Remarks: Julie Mehretu: “Cry Gold and See Black”

Lawrence Weiner
EARTH TO EARTH ASHES TO ASHES DUST TO DUST, 1970
Language + the materials referred to dimensions variable
Solomon R. Guggenheim Museum, New York
Panza Collection, Gift, 1982 92.4184
Remarks: Julie Mehretu: “Cry Gold and See Black”

Ramp 4, Bay 40

Marcel Duchamp
by or of Marcel Duchamp or Rrose Sélavy (Box), 1935–41/1961
Green cloth-covered cardboard box containing collotype and lithograph reproductions with pochoir, letterpress, cellulose acetate, plaster, ceramic, glass, vinyl, thread, paper, cardboard, wood, tape, and ink
16 x 14 3/4 x 3 1/2 inches (40.6 x 37.5 x 8.9 cm) closed Solomon R. Guggenheim Museum, New York
62.1623
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 39 of 61

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Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 5, Bay 59

Max Beckmann
Alfi with Mask, 1934 Oil on canvas
30 7/8 x 29 3/4 inches (78.4 x 75.5 cm) Solomon R. Guggenheim Museum, New York Partial gift, Georgia van der Rohe, 1975 76.2202
Remarks: Carrie Mae Weems: “What Could Have Been”

Joseph Beuys
Virgin, April 4, 1979
Chalk on blackboard, chalk and soap bar on wood table, wood chair, electrical cable, socket, and light bulb
dimensions variable
Solomon R. Guggenheim Museum, New York 94.4265
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 58

Jean Dubuffet
The Substance of Stars, December 1959 Metal foil on Masonite
59 x 76 3/4 inches (150 x 195 cm)
Solomon R. Guggenheim Museum, New York 74.2078
Remarks: Carrie Mae Weems: “What Could Have Been”

Yayoi Kusama
No. 2. J.B., 1960
Oil and rice blossoms on canvas
49 1/2 x 69 3/8 inches (125.7 x 176.2 cm) Solomon R. Guggenheim Museum, New York Gift, Paula Cooper, 2013
2012.117
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 40 of 61

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Ramp 5, Bay 58

Takis
Plant and Animal, 1956 Painted steel with stone base Height: 44 1/4 inches
Solomon R. Guggenheim Museum, New York
Gift, Mrs. Andrew P. Fuller, 1965 65.1760
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 57

Robert Morris
Untitled (Black Felt), ca. 1969 Felt
Six strips, each approximately 22 feet (670.5 cm) long; overall 108 inches (274.3 cm) high
Solomon R. Guggenheim Museum, New York Panza Collection, 1991
91.3803
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 56

Alberto Giacometti
Spoon Woman, 1926–27 (cast 1954) Bronze
56 5/8 x 20 1/4 x 8 1/2 inches (143.8 x 51.4 x 21.6 cm) Solomon R. Guggenheim Museum, New York
55.1414
Remarks: Carrie Mae Weems: “What Could Have Been”

Alberto Giacometti
The Nose, 1949 (cast 1964) Bronze, wire, rope, and steel
31 7/8 x 28 1/8 x 15 1/2 inches (81 x 71.4 x 39.4 cm) Solomon R. Guggenheim Museum, New York 66.1807
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 41 of 61

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Ramp 5, Bay 56

Franz Kline
Painting No. 7, 1952 Oil on canvas
57 1/2 x 81 3/4 inches (146 x 207.6 cm) Solomon R. Guggenheim Museum, New York 54.1403
Remarks: Carrie Mae Weems: “What Could Have Been”

Mark Rothko
Untitled (Black on Gray), 1969/70 Acrylic on canvas
80 1/8 x 69 1/8 inches (203.3 x 175.5 cm) Solomon R. Guggenheim Museum, New York Gift, The Mark Rothko Foundation, Inc., 1986 86.3422
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 55

Jean Arp
Constellation with Five White Forms and Two Black, Variation III, 1932 Oil on wood
23 5/8 x 29 5/8 inches (60 x 75.5 cm) Solomon R. Guggenheim Museum, New York 55.1437
Remarks: Carrie Mae Weems: “What Could Have Been”

Eve Clendenin
Black Squares on White, 1972 Acrylic on paper
39 1/2 x 26 3/4 inches (100.3 x 67.9 cm) Solomon R. Guggenheim Museum, New York Gift, Mr. Foy Casper Jr., 1973
73.2059
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 42 of 61

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Ramp 5, Bay 55

Piet Mondrian
Composition No. 1: Lozenge with Four Lines, 1930 Oil on canvas
29 5/8 x 29 5/8 inches (75.3 x 75.3 cm); vertical axis: 41 3/8 inches
(105.1 cm); horizontal axis: 42 5/8 inches (108.3 cm)
Solomon R. Guggenheim Museum, New York, The Hilla Rebay Collection
71.1936.R96
Remarks: Carrie Mae Weems: “What Could Have Been”

Armando Morales
Landscape, 1964
Oil and fabric on canvas
65 x 48 1/4 inches (165 x 122.2 cm)
Solomon R. Guggenheim Museum, New York Gift, Ramon Osuna III, by exchange, 1968 68.1869
Remarks: Carrie Mae Weems: “What Could Have Been”

Jean Tinguely
White Moving Forms on Black Background (TNT), 1957 Painted metal, wood, and electric motor
28 3/8 x 25 x 9 1/2 inches (72.1 x 63.5 x 24.1 cm) Solomon R. Guggenheim Museum, New York 83.3122
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 54

Dieter Appelt
Die Befreiung der Finger (Liberation of the Fingers), 1977-79 Gelatin silver print
15 3/4 x 11 13/16 inches (40 x 30 cm) Solomon R. Guggenheim Museum, New York Gift, Monah L. and Alan Gettner, 2017 2017.61.1
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 43 of 61

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Ramp 5, Bay 54

Dieter Appelt
Die Befreiung der Finger (Liberation of the Fingers), 1977-79 Gelatin silver print
15 3/4 x 11 13/16 inches (40 x 30 cm) Solomon R. Guggenheim Museum, New York Gift, Monah L. and Alan Gettner, 2017 2017.61.3
Remarks: Carrie Mae Weems: “What Could Have Been”

Samuel Fosso
Self Portrait, 1977 (printed 2003–09) Gelatin silver print
20 x 20 inches (50.8 x 50.8 cm)
Solomon R. Guggenheim Museum, New York Gift, Anne and Arthur S. Goldstein, 2014 2014.87
Remarks: Carrie Mae Weems: “What Could Have Been”

Nan Goldin
Naomi and Marlene on the balcony, Boston, 1972 Gelatin silver print
19 3/4 x 16 inches (50.2 x 40.6 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002
2002.68
Remarks: Carrie Mae Weems: “What Could Have Been”

Eikoh Hosoe Embrace #45, 1970 Gelatin silver print
9 3/8 x 6 5/8 inches (23.8 x 16.8 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 2013 2013.69
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 44 of 61

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Ramp 5, Bay 54

Seydou Keïta
Untitled, 1954-60 (printed 1998)
Gelatin silver print
image: 15 13/16 x 22 5/16 inches (40.2 x 56.7 cm); sheet: 20 inches x
23 7/8 inches (50.8 x 60.6 cm)
Solomon R. Guggenheim Museum, New York Gift, The Bohen Foundation, 2001
2001.158
Remarks: Carrie Mae Weems: “What Could Have Been”

Seydou Keïta
Untitled, 1948-54 (printed 1998) Gelatin silver print
23 1/2 x 20 inches (59.7 x 50.8 cm)
Solomon R. Guggenheim Museum, New York Gift, The Bohen Foundation, 2001
2001.160
Remarks: Carrie Mae Weems: “What Could Have Been”

George Platt Lynes
Frederick Ashton with Dancers, 1934 Gelatin silver print
9 x 7 3/8 inches (22.9 x 18.7 cm)
Solomon R. Guggenheim Museum, New York Gift, Anonymous and In Kind Canada, 1998 98.4672
Remarks: Carrie Mae Weems: “What Could Have Been”

George Platt Lynes
Robert Hassa, October 19, 1954 Gelatin silver print
9 3/16 x 6 5/8 inches (23.3 x 16.8 cm) Solomon R. Guggenheim Museum, New York Gift, Anonymous and In Kind Canada, 1998 98.4794
Remarks: Carrie Mae Weems: “What Could Have Been”

Ana Mendieta
Untitled: Silueta Series, 1978 Gelatin silver print
image: 6 3/4 x 9 3/4 inches (17.1 x 24.8 cm); sheet: 8 x 9 15/16 inches
(20.3 x 25.2 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 1998 98.5239
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 45 of 61

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Ramp 5, Bay 54

Ana Mendieta

Untitled: Silueta Series, 1978 Gelatin silver print
image: 6 1/2 x 9 9/16 inches (16.5 x 24.3 cm); sheet: 8 x 10 inches
(20.3 x 25.4 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 1998 98.5240
Remarks: Carrie Mae Weems: “What Could Have Been”

Malick Sidibé
Nuit de Noël, 1963 (printed 1998)
Gelatin silver print
image: 17 1/2 x 17 5/8 inches (44.5 x 44.8 cm); sheet: 23 7/8 x 19 15/16
inches (60.6 x 50.6 cm)
Solomon R. Guggenheim Museum, New York Gift, The Bohen Foundation, 2001
2001.257
Remarks: Carrie Mae Weems: “What Could Have Been”

Malick Sidibé
Soirée mariage Drissa Ballo, 1967 (printed 1998)
Gelatin silver print
image: 14 1/8 x 9 1/2 inches (35.9 x 24.1 cm); sheet: 15 7/8 x 11 7/8
inches (40.3 x 30.2 cm)
Solomon R. Guggenheim Museum, New York Gift, The Bohen Foundation, 2001
2001.260
Remarks: Carrie Mae Weems: “What Could Have Been”

Malick Sidibé
Je suis fou des disques, 3 Novembre 1973, 1973 (printed 1998)
Gelatin silver print
image: 14 x 9 5/8 inches (35.6 x 24.4 cm); sheet: 15 3/4 x 11 7/8 inches
(40 x 30.2 cm)
Solomon R. Guggenheim Museum, New York Gift, The Bohen Foundation, 2001
2001.261
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 46 of 61

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Ramp 5, Bay 53

Ana Mercedes Hoyos Atmosphere, 1978 Oil on canvas
23 5/8 x 23 5/8 inches (60 x 60 cm)
Solomon R. Guggenheim Museum, New York Anonymous gift, 2018
2018.4
Remarks: Carrie Mae Weems: “What Could Have Been”

Marilyn Lenkowsky
Untitled, 1977 Oil on canvas
69 1/2 x 40 x 6 3/8 inches (176.5 x 101.6 x 16.2 cm) Solomon R. Guggenheim Museum,  New  York Exxon Corporation Purchase Award, 1978
78.2426
Remarks: Carrie Mae Weems: “What Could Have Been”

Martin Puryear Bask, 1976 Stained pine
12 x 146 3/4 x 22 inches (30.5 x 372.7 x 55.9 cm) Solomon R. Guggenheim Museum, New York Exxon Corporation Purchase Award,  1978 78.2430
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 52

Jean Dubuffet Maternity, 1944 Lithograph
sheet (sight): 12 3/4 x 9 1/2 inches (32.4 x 24.1 cm); mount: 19 3/4 x 15
7/8 inches (50.2 x 40.3 cm)
Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2000.15
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 47 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 5, Bay 52

Sam Francis Untitled, 1954 Ink on paper
21 3/8 x 17 inches (54.4 x 43 cm)
Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2000.18
Remarks: Carrie Mae Weems: “What Could Have Been”

George Grosz Untitled, ca. 1913 Ink on paper
18 1/8 x 11 3/4 inches (46 x 29.9 cm)   Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase 48.1172.362
Remarks: Carrie Mae Weems: “What Could Have Been”

Vasily Kandinsky
Taut Line, July 1931 Watercolor and ink on paper
18 7/8 x 10 3/16 inches (48 x 25.9 cm)
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
38.329
Remarks: Carrie Mae Weems: “What Could Have Been”

Ellsworth Kelly
Four Oranges, 1966 Graphite on paper
22 9/16 x 28 9/16 inches (57.3 x 72.5 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Beatrice and Silas H. Rhodes, 1969
69.1895
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 48 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 5, Bay 52

Ellsworth Kelly One Stroke, 1962 Graphite on paper
28 1/2 x 22 1/2 inches (72.4 x 57.2 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Beatrice and Silas H. Rhodes, 1969
69.1898
Remarks: Carrie Mae Weems: “What Could Have Been”

Paul Klee
Two Passages, 1932
Watercolor on paper, mounted to paper
sheet: 12 1/4 x 19 inches (31.3 x 48.4 cm); mount: 17 1/2 x 24 inches
(44.3 x 61 cm)
Solomon R. Guggenheim Museum, New York, Estate of Karl Nierendorf, By purchase
48.1172.139
Remarks: Carrie Mae Weems: “What Could Have Been”

El Lissitzky
Proun, Kestner Portfolio, 1923 Lithograph with painted paper collage 23 3/4 x 17 3/8 inches (60.3 x 44.1 cm)
Solomon R. Guggenheim Museum, New York
51.1323.4
Remarks: Carrie Mae Weems: “What Could Have Been”

Kazimir Malevich
Untitled (Suprematist Composition), ca. 1919–26 Ink, gouache, and graphite on paper
sheet: 8 11/16 x 7 inches (22 x 17.8 cm) Solomon R. Guggenheim Museum, New York Gift, Faith and Robert Schwarz
74.2121
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 49 of 61

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Ramp 5, Bay 52

Piet Mondrian
Study for a Composition, 1938-1940(?) Charcoal on paper
Sheet: 7 1/8 x 7 inches (18.2 x 17.7 cm) Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2000.43
Remarks: Carrie Mae Weems: “What Could Have Been”

Bruce Nauman
Study for Pink and Yellow Light Corridor (Variable Lights), 1970 Ballpoint pen on paper
[TO CONFIRM]
Solomon R. Guggenheim Museum, New York Panza Collection, 1991
91.3828.4
Remarks: Carrie Mae Weems: “What Could Have Been”

Bruce Nauman
Study for Pink and Yellow Light Corridor (Variable Lights), 1970 Ballpoint pen on paper
[TO CONFIRM]
Solomon R. Guggenheim Museum, New York Panza Collection, 1991
91.3828.6
Remarks: Carrie Mae Weems: “What Could Have Been”

Pablo Picasso
Les pauvres, 1905 Etching
9 5/16 x 7 3/16 inches (23.7 x 18.3 cm) Solomon R. Guggenheim Museum, New York Bequest, Estate of Gerald E. Scofield 81.2876
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 50 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 5, Bay 52

Man Ray
Needle and Thread,  1965 Metal and waxed cord on paper
25 3/8 x 19 3/4 inches (64.5 x 50.2 cm) Solomon R. Guggenheim Museum, New York 66.1790
Remarks: Carrie Mae Weems: “What Could Have Been”

Ramp 5, Bay 51

Vito Acconci
Conversions II: Insistence, Adaptation, Groundwork, Display, 1971 27 gelatin silver prints and chalk on paperboard
30 1/2 x 40 inches (77.5 x 101.6 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the International Director's Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, and Ginny Williams, 1997 97.4569
Remarks: Carrie Mae Weems: “What Could Have Been”

Gerhard Richter Passage, 1968 Oil on canvas
78 3/4 x 78 1/2 (200 x 199.4)
Solomon R. Guggenheim Museum, New York Gift, The Theodoron Foundation, 1969 69.1904
Remarks: Carrie Mae Weems: “What Could Have Been”

Tony Smith
For W .A., 1969
Bronze
60 x 33 x 33 inches (152 x 83.3 x 83.3 cm) each Solomon R. Guggenheim Museum, New York
Purchased with the aid of funds from the National Endowment for the Arts in Washington, D.C., a federal agency; matching funds contributed by the Junior Associates Committee, 1980
80.2753
Remarks: Carrie Mae Weems: “What Could Have Been”

5/22/2019	Page 51 of 61

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Ramp 6, Bay 69

Lee Bontecou
Untitled, 1966
Painted steel, horseshoe crab shells, steel pipe fittings, velvet hooks, steel saw blades, fiberglass, velvet, and soot
71 1/2 x 87 3/4 x 9 inches (181.6 x 222.9 x 22.9 cm) Solomon R. Guggenheim Museum, New York
Gift, Mr. and Mrs. Leo Castelli, 1974 74.2122
Remarks: Jenny Holzer: “Good Artists”

Lee Bontecou
Untitled, 1962
Soot and graphite on canvas
9 3/4 x 7 3/4 inches (24.7 x 19.7 cm) Solomon R. Guggenheim Museum, New York Anonymous gift, 1980
80.2726
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 68

Ilse Bing
Self Portrait, 1945 Gelatin silver print
image: 13 1/2 x 10 1/2 inches (34.3 x 26.7 cm); sheet: 13 15/16 x 11
inches (35.4 x 27.9 cm)
Solomon R. Guggenheim Museum, New York Gift, Estate of Ilse Bing Wolff, 2001
2001.68
Remarks: Jenny Holzer: “Good Artists”

Louise Nevelson
Luminous Zag: Night, 1971 Painted wood
10 feet x 16 feet 1 inch x 10 3/4 inches (304.8 x 490.2 x 27.3 cm) overall
Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Sidney Singer, 1977 77.2325
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 52 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 6, Bay 68

Liliana Porter
Untitled (Self -portrait with square II), 1973 (printed 2013) Gelatin silver print
20 x 16 inches (50.8 x 40.6 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Latin American Circle, 2018 2018.9
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 67

Chryssa
Newspaper No. 3, 1961 Oil and graphite on canvas
80 1/4 x 103 3/4 inches (203.9 x 263.6 cm) Solomon R. Guggenheim Museum, New York 62.1605
Remarks: Jenny Holzer: “Good Artists”

Chryssa
Construction Study for "That's All", 1969–70 Neon and graphite on primed canvas over wood 38 x 48 1/2 x 8 inches (96.5 x 123.2 x 20.3 cm) Solomon R. Guggenheim Museum, New York Gift, Michael Bennett, 1981
80.2720
Remarks: Jenny Holzer: “Good Artists”

Chryssa

Fragmented Signature,  1970 Neon and oil on canvas over wood
48 1/2 x 63 1/2 x 7 1/2 inches (123.2 x 161.3 x 19.1 cm) Solomon R. Guggenheim Museum, New York
Gift, Michael Bennett, 1980 80.2721
Remarks: Jenny Holzer: “Good Artists”

Chryssa
Untitled, ca. 1967 Neon and acrylic
22 1/2 x 12 3/8 x 8 11/16 inches (57.2 x 31.4 x 22.1 cm) Solomon R. Guggenheim Foundation, New York,
Gift, Tom and Remi Messer, 2002 2002.80
Remarks: Jenny Holzer: “Good Artists”

5/22/2019

Page 53 of 61

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Ramp 6, Bay 66

Joan Mitchell
Canada I, 1975
Oil on canvas, three panels
9 feet 2 1/2 inches x 18 feet 4 5/8 inches (280.7 x 560.4 cm) overall Solomon R. Guggenheim Museum, New York
Anonymous gift, 1992
92.4027
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 65

Helen Frankenthaler
Canal, 1963 Acrylic on canvas
82 x 57 1/2 inches (208.3 x 146.1 cm) Solomon R. Guggenheim Museum, New York
Purchased with the aid of funds from the National Endowment for the Arts, in Washington, D.C., a federal agency; matching funds contributed by Evelyn Sharp, 1976
76.2225
Remarks: Jenny Holzer: “Good Artists”

Natalia Goncharova
Cats (rayist percep.[ tion] in rose, black, and yellow), 1913 Oil on canvas
33 1/2 x 33 3/4 inches (85.1 x 85.7 cm) Solomon R. Guggenheim Museum, New York 57.1484
Remarks: Jenny Holzer: “Good Artists”

Louise Nevelson
Rain Forest Column XIII, 1967 Painted wood
85 x 12 1/16 x 12 1/16 inches (215.9 x 30.6 x 30.6 cm), with base Solomon R. Guggenheim Museum, New York
Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
2009.15
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 54 of 61

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Ramp 6, Bay 65

Liubov Popova
Birsk, 1916 Oil on canvas
41 3/4 x 27 3/8 inches (106 x 69.5 cm) Solomon R. Guggenheim Museum, New York Gift, George Costakis, 1981
81.2822.R
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 64

Ruth Asawa
Untitled, 1962–65
Brass wire, copper wire, and resin
24 1/2 x 24 x 8 inches (62.2 x 61 x 20.3 cm) Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Estate, 1980
80.2689
Remarks: Jenny Holzer: “Good Artists”

Ruth Asawa Untitled, 1962–65 Copper wire
14 1/2 x 14 1/2 x 7 1/4 inches (36.8 x 36.8 x 18.4 cm) Solomon R. Guggenheim Museum, New York
Gift, The Josef Albers Estate, 1980 80.2690
Remarks: Jenny Holzer: “Good Artists”

Hanne Darboven
August 1, 1972, 1972
Ink and ballpoint pen on  graph  paper 23 1/4 x 16 1/2 inches (59.1 x 41.9 cm)
Solomon R. Guggenheim Museum, New York
Panza Collection, Gift, 1992 92.4108
Remarks: Jenny Holzer: “Good Artists”

Hanne Darboven
August 1, 1972, 1972
Graphite, typewritten text, and ballpoint pen on graph paper 22 1/2 x 17 1/4 inches (57.2 x 43.8 cm)
Solomon R. Guggenheim Museum, New York
Panza Collection, Gift, 1992 92.4109
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 55 of 61

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Ramp 6, Bay 64

Agnes Martin White Flower, 1960 Oil on canvas
71 7/8 x 72 inches (182.6 x 182.9 cm)
Solomon R. Guggenheim Museum, New York, Gift of Lenore Tawney, 1963
63.1653
Remarks: Jenny Holzer: “Good Artists”

Agnes Martin
Untitled #14, 1977
Ink, graphite, and gesso on canvas 72 x 72 inches (182.9 x 182.9 cm)
Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs.
Werner Dannheisser, 1977 77.2336
Remarks: Jenny Holzer: “Good Artists”

Agnes Martin
Little Sister, 1962
Oil, ink, and brass nails on canvas over  wood 9 7/8 x 9 11/16 inches (25.1 x 24.6 cm)
Solomon R. Guggenheim Museum, New York, Gift, Andrew Powie
Fuller and Geraldine Spreckels Fuller Collection, 1999 2000.40
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 63

Hannelore Baron
War Letter, 1975, 1975
Ink, tempera, pastel, graphite, etching, paper, and cloth on canvas 11 3/8 x 5 5/8 inches (28.9 x 14.3 cm)
Solomon R. Guggenheim Museum, New York
88.3571
Remarks: Jenny Holzer: “Good Artists”

Hannelore Baron

Untitled, 1976
Ink, colored pencil, etching, paper, and cloth on canvas 4 1/4 x 10 inches (10.8 x 25.4 cm)
Solomon R. Guggenheim Museum, New York
88.3572
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 56 of 61

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Artistic License: Six Takes on the Guggenheim Collection
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Ramp 6, Bay 63

Hannelore Baron
Untitled, 1977
Ink, conté crayon, string, and cloth on canvas 8 x 8 1/4 inches (20.3 x 21 cm)
Solomon R. Guggenheim Museum, New York
Gift, Robert L. Brown, 1988 88.3573
Remarks: Jenny Holzer: “Good Artists”

Hannelore Baron
Untitled, 1978
Ink, pastel, string, thread, collagraph, and cloth on cloth 10 5/8 x 10 inches (27 x 25.5 cm)
Solomon R. Guggenheim Museum, New York
Gift, Vera and Stephen Schlesinger, 1988 88.3574
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Dagger Child, 1947–49
Painted wood on stainless steel base
76 1/8 x 5 3/8 x 5 1/8 inches (193.4 x 13.7 x 13 cm) Solomon R. Guggenheim Museum, New York 92.4001
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Femme Volage, 1951
Painted wood and stainless steel
73 x 18 x 13 inches (185.42 x 45.72 x 33 cm) Solomon R. Guggenheim Museum, New York 92.4002
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Fée Couturière, 1963 (cast 1984) Painted bronze
40 x 21 1/4 inches (102 x 54 cm)
Solomon R. Guggenheim Museum, New York 92.4003
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 57 of 61

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Ramp 6, Bay 63

Louise Bourgeois Rabbit, 1970 Bronze
23 1/4 x 10 x 6 inches (59 x 25.5 x 14.2 cm) Solomon R. Guggenheim Museum, New York 92.4004
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Femme Maison, 1947
Ink and graphite on paper
9 15/16 x 7 1/8 inches (25.2 x 18 cm) Solomon R. Guggenheim Museum, New York 92.4008
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Glass House/No Secrets, 1947 Watercolor with graphite on paper
10 5/8 x 5 9/16 inches (27 x 14.2 cm) Solomon R. Guggenheim Museum, New York 92.4009
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Untitled, 1947
Ink with graphite on paper
11 7/16 x 7 5/16 inches (29 x 18.5 cm) Solomon R. Guggenheim Museum, New York 92.4010
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois
Untitled, 1947
Ink, gouache, graphite, pastel, and scraping on paper 11 5/8 x 7 5/16 inches (29.5 x 18.5 cm)
Solomon R. Guggenheim Museum, New York
92.4011
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 58 of 61

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Ramp 6, Bay 63

Louise Bourgeois
Untitled, 1947
Ink and graphite on paper
11 7/16 x 7 5/16 inches (29 x 18.5 cm) Solomon R. Guggenheim Museum, New York 92.4012
Remarks: Jenny Holzer: “Good Artists”

Louise Bourgeois Untitled, 1951 Ink on paper
10 5/8 x 8 1/4 inches (27 x 21 cm)
Solomon R. Guggenheim Museum, New York 92.4013
Remarks: Jenny Holzer: “Good Artists”

Ramp 6, Bay 62

Sarah Charlesworth
Herald Tribune: November 1977, 1977 (printed 2008)
26 chromogenic prints
23 1/2 x 16 1/2 inches (59.7 x 41.9 cm) each Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 2008 2008.50
Remarks: Jenny Holzer: “Good Artists”

Nan Goldin

Nan Goldin
Trixie on the cot, NYC, 1979 Silver dye bleach print
image: 25 3/4 x 38 3/8 inches (65.4 x 97.5 cm); sheet: 27 1/2 x 40
inches (69.9 x 101.6 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002
2002.61
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 59 of 61

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Ramp 6, Bay 62

Nan Goldin
Roommate with teacup, Boston, 1973 Gelatin silver print
19 7/8 x 15 7/8 inches (50.5 x 40.3 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the  Photography Committee  and with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine  Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002
2002.65
Remarks: Jenny Holzer: “Good Artists”

Nan Goldin
Ivy with Marilyn, Boston, 1973 Gelatin silver print
image: 19 x 12 3/4 inches (48.3 x 32.4 cm); sheet: 19 7/8 x 15 7/8
inches (50.5 x 40.3 cm)
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the  Photography Committee  and with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine  Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002
2002.66
Remarks: Jenny Holzer: “Good Artists”

Nan Goldin
Ivy wearing a fall, Boston, 1973 Gelatin silver print
19 7/8 x 15 7/8 inches (50.5 x 40.3 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002
2002.67
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 60 of 61

Exhibition Checklist
Artistic License: Six Takes on the Guggenheim Collection
Solomon R. Guggenheim Museum (Friday, May 24, 2019 – Sunday, January 12, 2020)

Ramp 6, Bay 62

Barbara Kruger
Untitled (Not Perfect), 1980 Gelatin silver print, paint, and tape 60 x 40 inches (152.4 x 101.6 cm)
Solomon R. Guggenheim Museum, New York
Exxon Corporation Purchase Award, 1981 81.2809
Remarks: Jenny Holzer: “Good Artists”

Adrian Piper
The Mythic Being: Smoke, 1974 Gelatin silver print
image: 6 1/4 x 9 7/16 inches (15.9 x 24 cm); sheet: 7 15/16 inches x 10
inches (20.2 x 25.4 cm)
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council and the International Director’s Council, 2017
2017.38
Remarks: Jenny Holzer: “Good Artists”

Cindy Sherman
Scale Relationship Series – The Giant, 1976
36 cut-out gelatin silver prints, mounted to paperboard 13 5/8 x 48 3/16 x 1 7/16 inches (34.6 x 122.4 x 3.7 cm) Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the International Director's Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, and Ginny Williams, 1997 97.4572
Remarks: Jenny Holzer: “Good Artists”

5/22/2019	Page 61 of 61

Spring 2019 Public Programs at the Guggenheim Museum
(NEW YORK, NY—April 4, 2019)— Now open seven days a week with evening hours on Tuesdays and Saturdays, the Solomon R. Guggenheim Museum celebrates 60 years as an architectural icon, continuing to inspire generations of visitors as a unique “temple of spirit” where radical art and architecture meet.

Beginning June 18, stay until 9 pm on Guggenheim Tuesdays for films, conversations, and monthly Silent Nights presented in conjunction with exhibitions on view, including Implicit Tensions: Mapplethorpe Now, The Hugo Boss Prize 2018: Simone Leigh, Loophole of Retreat, Basquiat’s “Defacement”: The Untold Story, and the first artist-curated exhibition at the Guggenheim Museum, Artistic License: Six Takes on the Guggenheim Collection.

Guggenheim Tuesdays: Pause Silent Nights
Tuesdays, June 4, 7–8 pm, July 2, 8-9 pm Solomon R. Guggenheim Museum
On the first Tuesday evening of each month, experience the Guggenheim’s unforgettable space in a uniquely contemplative atmosphere. In homage to founding director Hilla Rebay’s vision for a “temple of spirit,” visitors are invited to enjoy the building in a meditative state of mind, aided by dimmed lights and a quiet setting.

Free with museum admission. For more information, visit guggenheim.org/calendar. Visit guggenheim.org/building to learn more about Frank Lloyd Wright’s iconic design and other anniversary programs.

Guggenheim Tuesdays: After Hours Summer Tuesdays
Tuesdays, June 18–September 3 Solomon R. Guggenheim Museum
The Guggenheim will extend its hours to 9 pm on Tuesdays this summer, offering increased access to exhibitions as well as special events and activities, many of which are free with museum admission.

Refreshments and light fare will be available for purchase on the ground floor of the rotunda and in Cafe 3. The Guggenheim Store will remain open until 9:30 pm on these evenings.
Free with museum admission. For more information, visit guggenheim.org/calendar.
Guggenheim Tuesdays: Conversation Reflections on Artistic License
Select Tuesdays, 6:30 pm
Solomon R. Guggenheim Museum, Peter B. Lewis Theater
In this series of conversations organized by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, each of the six artist-curators of Artistic License—Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems—reflects on their interpretations of the collection and the themes that informed their curatorial selections.

June 18: Cai Guo-Qiang July 30: Jenny Holzer September 24: Julie Mehretu October 8: Paul Chan
November 19: Carrie Mae Weems
December 17: Richard Prince
$25, $20 members, $18 students. Ticket includes same-day museum admission and admission to extended hours on Guggenheim Tuesdays. Program subject to change. For more information and tickets, visit guggenheim.org.

Performance
Tarek Atoui: Organ Within
Thursday, June 27, 7 pm
Solomon R. Guggenheim Museum, Rotunda
Performing in the Guggenheim’s iconic rotunda, musicians and artists, including Robert Aiki Aubrey Lowe, improvise on a hybrid sculptural object by Lebanese artist Tarek Atoui. This new work builds on Atoui’s collaboration with instrument makers Léo Maurel and Vincent Martial and their research into historical church pipe organs, modular synthesizers, and the sonic experiences of the deaf, engaging the museum’s acoustics to create a unique aural environment. A moderated conversation with Atoui and his collaborators will precede the performance. Supported by members of the Solomon R. Guggenheim Museum’s Middle Eastern Circle.
$20, $15 members, $10 students. For more information, visit guggenheim.org/calendar.
After Hours Art After Dark
Friday, July 26, 9 pm–midnight; Exclusive Members’ Hour: 8–9 pm Solomon R. Guggenheim Museum

An after-hours private viewing of the exhibitions Artistic License: Six Takes on the Guggenheim Collection, Implicit Tensions: Mapplethorpe Now, The Hugo Boss Prize 2018: Simone Leigh, Loophole of Retreat, and Basquiat’s “Defacement”: The Untold Story, featuring a cash bar and DJ in the rotunda.
Supported in part by Showtime.

$25, members free. Purchase tickets online in advance or become a member. Cash bar offers wine and beer. Guests will be asked for a photo ID. Limited general admission tickets will go on sale closer to the event date. Tickets are not sold at the door. For more information, visit guggenheim.org/artafterdark.

Tour
Art in the Round Daily, 2 pm
Art in the Round Architecture Focus: Inside the Guggenheim Spiral Fridays, 2 pm
Art in the Round public tours are guided, participatory explorations of the Guggenheim’s collection, exhibitions, and architecture. Gallery educators facilitate varied experiences aimed at deepening visitors’ understanding of and engagement with artwork. While all tours encourage close looking and conversation among participants, each educator uses creative approaches to build unique, sometimes surprising encounters in the museum. Visitors of all ages and abilities are encouraged and welcome to join. As part of the building’s 60th anniversary celebration, Friday tours focus on the Guggenheim’s iconic architecture.

Free with museum admission, no RSVP is required. Meet on the rotunda floor. For more information, visit guggenheim.org/calendar.

FUNDERS
The Sackler Center for Arts Education is a gift of the Mortimer D. Sackler Family. Endowment funding is provided by The Engelberg Foundation, the William Randolph Hearst Foundation, The Elaine Terner Cooper Foundation, and the Esther Simon Charitable Trust.

Educational activities and/or public programs are made possible in part by Ornellaia; The Freeman Foundation; JW Marriott; Stavros Niarchos Foundation; Katherine and Peter Kend, Annie and Gaines Wehrle, and Michael Wehrle in honor of Ebersole Gaines and Peter Lawson-Johnston; The Pinkerton Foundation; The Hilla von Rebay Foundation; The Kate Cassidy Foundation; and the New York City Department of Cultural Affairs in partnership with the City Council.

Funding is also provided by Guggenheim Partners, LLC; The Horace W. Goldsmith Foundation; The Seth Sprague Educational and Charitable Foundation; Gail May Engelberg and The Engelberg Foundation; The Keith Haring Foundation; Jacadi Paris; The Barker Welfare Foundation; Credit Suisse; CBRE; Cindy Chua-Tay; Dorothy and Elihu Modlin; and an anonymous donor.
Additional support from the Sidney E. Frank Foundation; Peter Bentley Brandt; Con Edison; JPMorgan

Chase; Bobbi and Barry Coller; Lisa and Jeffrey Thorp; the Milton and Sally Avery Arts Foundation, Inc.; Maria and Valentin Fuster; The Kibel Foundation; and the Henry E. Niles Foundation, Inc.

The Solomon R. Guggenheim Foundation thanks the members of the Education Committee and the Middle Eastern Circle for their support.

VISITOR INFORMATION
Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. Learn about Frank Lloyd Wright’s landmark building and the Guggenheim’s collection and exhibitions at guggenheim.org/audio.

Museum Hours: Open daily from 10 am–5:30 pm, Tuesdays and Saturdays extended hours until 8 pm. From June 18 to September 3, open Tuesdays to 9 pm. On Saturdays, beginning at 5 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit guggenheim.org.

guggenheim.org/social #Guggenheim60 #ArtAfterDark
For publicity images, visit guggenheim.org/pressimages.
Password: presspass
#1558
May 22, 2019 (Updated from April 4, 2019)
FOR ADDITIONAL INFORMATION, CONTACT:
May Yeung, Publicist
Solomon R. Guggenheim Museum 212 423 3840
pressoffice@guggenheim.org

SPONSOR STATEMENT

Lavazza is pleased to continue its collaboration with the Solomon R. Guggenheim Museum, as we celebrate the museum’s 60th anniversary with Artistic License: Six Takes on the Guggenheim Collection.

This exhibition not only relies on the Guggenheim Museum’s iconic collection and landmark building—with six artists each conceptualizing a fascinating journey through the arts, history, and architecture—but also gives us the opportunity to reflect on the relationship between art and society. Let me thank these six artists, who have investigated the Guggenheim collection, its history, and also art history: Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems.

Today we celebrate the Guggenheim as a place of connections. The museum’s desire to build and share a fulfilling experience, where art has always been the spark of a process that embraces and changes society’s vision, is embedded in its roots, starting with its architecture. The Guggenheim’s world-famous spiral structure is an inspiration for all of us: the idea of culture as a path that everyone can pave based on their own personal experience.

Lavazza shares with the Guggenheim a commitment to building new communities: building open places and open thoughts to create open minds. Just as the Guggenheim has evolved the idea of the museum, Lavazza has evolved the idea of the workplace with the Nuvola, our new headquarters, which aims to connect people, ideas, and experiences.

For Lavazza, this project represents not only a progressive and crucial step towards supporting and enhancing arts and culture but also a reaffirmation of our role as ambassadors of creativity, innovation, and sharing.

Francesca Lavazza
Member, Lavazza Board
Trustee of the Board of the Solomon R. Guggenheim Foundation