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Welcome to the Solomon R. Guggenheim Museum. This newly expanded, pocket-size guide provides information about exhibitions, programming, and more. Currently three exhibitions are on view: Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936, which traces the classicizing art forms of the interwar pe-riod; Broken Forms: European Modernism from the Guggenheim Collection, which explores artistic developments during and immediately preceding World War I; and Intervals: Ryan Gander, located in the Aye Simon Reading Room. Gander is the third artist in the Intervals series—a new program in which emerging artists make use of unconventional spaces within the museum (look closely for the keyhole-shaped doorway off the ramp). This guide contains information about education and family programs, tours, lectures, and other special events. You can also find details about Works & Process programs, the newest Guggenheim pub-lications, upcoming exhibitions, retail items, and the benefits of membership. We hope you enjoy your visit.

Vasily Kandinsky, Decisive Rose (Entscheidendes Rosa), March 1932. Oil on canvas, 81 x 100 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 49.1178. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris

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stay connected For e-news updates, special offers, and exclusive online content, visit guggenheim.org/interact.

cover Fernand léger, Woman Holding a Vase [definitive state] (Femme tenant un vase [état définitif ]), 1927 (detail). Oil on canvas, 146.3 x 97.5 cm. Solomon R. Guggenheim Museum, New York 58.1508. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris

Our global partners provide major long-term support for the Solomon R. Guggenheim Foundation’s museums and programs around the world:

— Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum

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The Thannhauser Gallery, located on Annex level 2, showcases a bequest of 19th- and early-20th-century art given to the museum by Justin K. and Hilde Thannhauser. Justin Thannhauser’s com-mitment to supporting the early careers of such artists as Vasily Kandinsky and Pablo Picasso, and to educating the public about modern art through his role as an art dealer, paralleled the vision of the Guggenheim Foundation’s founder, Solomon R. Guggenheim. This ongoing installation of more than 30 works by Paul Cézanne, edgar Degas, Paul Gauguin, Édouard Manet, Camille Pissarro, Vincent van Gogh, and others offers visi-tors the opportunity to acquaint them-selves with some of the iconic works that comprise the celebrated Thannhauser collection. Perhaps more than any other 20th-century painter, Kandinsky has been closely linked to the history of the Guggenheim Museum. Hilla Rebay—artist, art advisor, and the museum’s first director—promoted nonobjective

painting above all other forms of abstrac-tion. She was particularly inspired by the work and writing of Kandinsky, a pioneer of abstraction, who believed that the task of the painter was to convey his own inner world, rather than imitate the natu-ral world. The museum’s holdings have grown to include more than 150 works by Kandinsky, and focused exhibitions of his works are presented in the Kandinsky Gallery on Annex level 3. The current in-stallation, Kandinsky at the Bauhaus, 1922–1933, features paintings and works on paper from Kandinsky’s Bauhaus period. The Bauhaus was a school of applied art and design in Germany where he taught from 1922 to 1933. Through Jan 5 on Annex level 4, Broken Forms: European Modernism from the Guggenheim Collection explores

artistic developments during and im-mediately preceding World War I. From Germany and France to Italy and Russia, artists such as Giacomo Balla, Marc Chagall, Kazimir Malevich, Franz Marc, Piet Mondrian, and Picasso pioneered revolutionary approaches to art making. While some experimented with the con-cept of fragmentation and simultaneity, dealing with themes such as technologi-cal development and the spectacle of the changing city, others sought to express, through their art, subjective emotions and inner psychological truths. This ex-hibition includes examples of Cubism, Cubo-Futurism, expressionism, and oth-er avant-garde movements that form the core of the Guggenheim Collection.

—Tracey Bashkoff, Curator of Collections and Exhibitions, and Megan Fontanella, Assistant Curator

Broken Forms: European Modernism from the GuggenheimCollection is supported by a grant from the Joseph andSylvia Slifka Foundation.

Franz Marc, Broken Forms (Zerbrochene Formen), 1914. Oil on canvas, 111.8 x 84.4 cm. Solomon R. Guggenheim Museum, New York 50.1240

tourscurator’s eye Broken Forms: European Modernism from the Guggenheim Collection oct 8, 2 pm Tracey Bashkoffnov 5, 2 pm Megan Fontanella

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From the utopian ambitions of the mod-ernist movement to the overlooked de-tails of daily experience, Ryan Gander’s work ranges across a dizzying spectrum of forms and ideas. His meticulously re-searched projects—which have included such diverse conceptual gestures as an invented word, a chess set, a television script, and a children’s book—engage familiar historical narratives and cul-tural paradigms only to unravel their structures and assumptions, presenting elusive scenarios that abound with inter-pretive potential. As part of the museum’s Intervals series, Gander has created a new, site-specific installation in the Aye Simon Reading Room, a small library and study space located on Rotunda level 2. Here visitors encounter a scene of apparent catastro-phe that relates to Gander’s ongoing 

Accompanying this relic from the annals of art history is an artifact that has been transported to the museum from the future: a “quarter centi-dollar” represent-ing the inflated worth of a contemporary quarter to $25 by the year 2032, which has been glued to the floor in reference to a classic practical joke.

This exhibition is presented in conjunc-tion with the Public Art Fund’s commis-sion of a major new sculpture by Gander, The Happy Prince, currently on view at Doris C. Freedman Plaza, Fifth Avenue and 60th Street.

— Katherine Brinson, Assistant Curator

exploration of  the schism between the Dutch artists Piet Mondrian and Theo van Doesburg. These friends and cre-ative collaborators severed their rela-tionship in 1924 due to Van Doesburg’s belief in the diagonal line as a valid element in abstract art, which conflicted with Mondrian’s insistence on a reductive visual language consisting of only grid-ded horizontals and verticals. Gander imagines this artistic dogmatism provok-ing a violent struggle between the two men that sends them crashing through a stained-glass window in the home of Frank lloyd Wright, the architect of the Guggenheim Museum. In a myste-rious temporal and spatial discontinu-ity, the debris from this accident has landed in the reading room, showering fragments of glass and lead over the books about Wright’s life and work that are customarily available in the space.

Ryan Gander, Why French people look out of windows, 2008. Steel and resin, dimensions variable. Courtesy Tanya Bonakdar Gallery, New York, and lisson Gallery, londonOCT 1, 2010–JAN 9, 2011

The leadership committees for the Intervals series and Intervals: Ryan Gander are gratefully acknowledged.

tourcurator’s eye nov 19, 2 pm Katherine Brinson

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After the chaos and horrific destruction of World War I, a powerful desire for regenerative order and classical beauty emerged in europe. Artists turned away from experimentalism toward a heroic embrace of the human figure, objective values, and rational organization. Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 examines this inter-war aesthetic in its key manifestations: the poetic dream of antiquity in the Parisian avant-garde; the politicized re-vival of the Roman empire under Benito Mussolini; the functionalist utopianism of International Style architecture; and chillingly, the contrived biological clas-sicism, or Aryanism, of nascent Nazi society. Chaos and Classicism is orga-nized around a series of themes that illuminate the dominant concerns and subliminal drives of european art and thought in this highly charged period.

Antonio Donghi, Circus (Circo equestre), 1927. Oil on canvas, 150 x 100 cm. Gerolamo and Roberta etro, Milan

ART IN FRANCe, ITAlY, AND GeRMANY, 1918–1936

This exhibition is supported in part by grants from the National endowment for the Arts and The David BergFoundation.

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architect and designer Gio Ponti, furni-ture designer emile-Jacques Ruhlmann, and fashion designer Madeleine Vionnet created innovative work in the new clas-sicizing mode. The Constructors. In the wake of the destruction of World War I, metaphors of construction and reconstruction became ubiquitous. The new modernist classi-cism of le Corbusier, ludwig Mies van der Rohe, and Giuseppe Terragni sought a resolution of architectural history’s past and the industrial present. Platonic ideas of geometric harmony and the beauty of new materials (glass and metal especially) were brought together in unprecedented combinations. Classicizing the Everyday. Not all classi-cizing art was based on ancient precedent. Interwar artists and critics understood the steadfastness of ordinary things, reliably unchanging, as a form of classic expres-sion. Pictures of individuals, on the one hand—traditional painted portraits and self-portraits by Picasso, Fridel Dethleffs-edelmann, Dix, Carl Hofer, Giorgio Morandi, and luigi Trifoglio—and the typological photographic portraits of August Sander, on the other hand, were both assertions of classic fixity amidst the flux of modern life. Performance/Anxiety. The performing body became a key element of modern spectacle between the wars. Developed, remade, and “perfected,” the body was the new measure of objective value, in contradistinction to the mind, now consid-ered too abstract and subjective. Artists as stylistically and politically diverse as

Willi Baumeister, Franco Gentilini, erich Heckel, Albert Janesch, and lorenzo lorenzetti invoked the theme of sport in their work of the late 1920s and early 1930s. Circus, carnival, and commedia dell’arte imagery was treated by an equally diverse group, including André Derain, Antonio Donghi, Juan Gris, Heinrich Hoerle, and Gino Severini. The Dark Side of Classicism. Interwar classicism was gradually appropri-ated by the political right. Among the most notorious modern portrayals of antique Rome were paintings of gladi-ators by de Chirico, attacked by the Surrealists for artistic collusion with the Fascist regime. “each politically histori-cal epoch searches in its art for the link with a period of equally heroic past,” Adolph Hitler asserted shortly after seiz-ing power in 1933, “Greeks and Romans suddenly stand close to Teutons.” The 1936 Olympic Games in Berlin were an orgy of classicizing spectacle, re-corded and refashioned by the great-est Nazi propagandist, filmmaker leni Riefensthal, in her Olympia (1936–38).

— Kenneth e. Silver, Guest Curator

Visit Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 online at guggenheim.org/chaos.

catalogue available

Frenchman Aristide Maillol, and Italian Arturo Martini. This fascination with the whole and intact body lent itself to po-liticized idealizations in the work of Hans Belling, Marcel Gromaire, and Fernand léger on the left, and to the Fascist Italian art of Massimo Campigli, Guido Galletti, and Ubaldo Oppi on the right. Crazy for Classicism. Greek and Roman history and myth, which had long provid-ed the West with a shared narrative and archetypal subjects, revived again be-tween the wars. This vast transformation of contemporary european culture en-compassed not only painting and sculp-ture, but also photography, film, fashion, and the decorative arts. Practitioners as diverse as poet-and-filmmaker Jean Cocteau, photographer Florence Henri,

The Avant-Garde Looks Backward.The years following World War I were marked by a striking modernist re- embrace of traditional aesthetics: a retour à l’ordre (return to order) in France, a ritorno al mestiere (return to craft) in Italy, and a Neue Sachlichkeit (New Objectivity) in Germany. Pablo Picasso was the leader of this new historicism, which profoundly altered the art of Julius Bissier, Georges Braque, Carlo Carrà, Giorgio de Chirico, Otto Dix, and Henri Matisse. Classical Bodies, New Humanity. The postwar search for a reassuring artistic language from the past led logically to the classical medium of sculpture. The idealized human form was reconceived by an international group of major sculp-tors, including German Georg Kolbe,

CHAOS AND ClASSICISM

tourscurator’s eye dec 3, 2 pm Kenneth e. Silvernov 12, 2 pm Helen Hsu

Heinrich Hoerle, Masks (Masken), 1929. Oil on canvas, 68.5 x 95.5 cm. Museum ludwig, Cologne, Haubrich Donation, 1946

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dailytourseducator’s eye11 am and 1 pmInteractive tours of current exhibitions and the permanent collection.

FREE with museum admission.

For FaMILIesFaMILy actIvIty pack and scavenger huntFilled with suggestions for activities and discus-sion, Family Activity Packs include question cards, tactile objects, games, sketchpads, picture books, and pencils. Or pick up an interactive Scavenger Hunt; both are available on loan at the information desk until 4 pm. For families with children ages 4–11.

weeklyFor FaMILIesjust drop In!suns, 1–4 pmexplore exhibition high-lights through creative, interactive projects led by museum educators. For families with children ages 3–10.

FREE with museum admission. have a question? ask a gallery guide

monthlyFor FaMILIessecond sunday toursoct 10 | nov 14 | dec 1210:30 am–12 pm Family-oriented tours that incorporate conversation and creative hands-on gal-lery activities. For families with children ages 5–10.

$15 per family, $10 members, FREE for family members. Registration required at 212 423 3587.

access toursMInd’s eyeoct 11 | nov 8 | dec 136:30 pmSeparate programs for partially sighted, blind, and deaf visitors through Verbal Imaging, touch, and ASl.

FREE. Registration required at access@guggenheim.org or 212 360 4355. G

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The 1920s and 1930s were among the greatest years in the history of poster design. Vox Populi, or the “voice of the people,” posters were used by manu-facturers, political movements, and the entertainment industry as immensely refined art created for a vast public. The exhibition presents a group of splendid interwar posters from France, Italy, and Germany.

POSTeRS OF THe INTeRWAR YeARS

R. Faye, la Houppa, 1925. lithograph, 157.2 x 115.3 cm. Courtesy of Posters Please, Inc.VOx

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lISACKleR CeNTeR FOR ARTS eDUCATION

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Works & Process perfor-mances, unless otherwise noted, take place in the Peter B. lewis Theater and are accompanied by discussions with the artists. Post-performance receptions take place in the museum rotunda. Tickets: $30, $25 mem-bers, $10 students.

the MusIc oF davId Lang Interpreted:new choreography by jessIca Lang and pontus LIdberg, perForMed by Morphosesoct 3, 2 pm and 7:30 pm (benefit performance; $300)oct 4, 7:30 pm

voIces and dance wIthIn the aMerIcasoct 24 and 25, 7:30 pmChoreography by Jonah Bokaer, Maray Gutierrez, and Judith Sanchez Ruiz.

aMerIcan baLLet theatre’s new nutcracker nov 7 and 8, 7:30 pm

vertIcaL opera [an unreaLIzed project]nov 14 and 15, 7:30 pmWith Ilya and emilia Kabakov.

poetIc responses to wardec 5 and 6, 7:30 pmWith Brian Turner and Bruce Weigl.

peter & the woLFdec 11, 2:30 and 4 pmdec 12, 11 am and 12:30 pm dec 17–19, 2:30 and 4 pmNo reception; $35, $30 membersNarrated by Isaac Mizrahi.

Free hoLIday concertdec 19 and 20, 6:30 pm In the museum rotunda.

Morphoses. Photo: Bill Cooper WO

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3 friday, 2 pmCurator’s eye Tour Chaos and Classicism5 sunday, 11:30 am–1:30 pmFor FamiliesTour and Workshop5 sunday, 1–4 pmFor FamiliesJust Drop In!5 sunday, 7:30 pmWorks & ProcessPoetic Responses to War6 monday, 7:30 pmWorks & ProcessPoetic Responses to War7 tuesday, 6:30 pmlecturePatricia Mears11 saturday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf 12 sunday, 9–10 am For MembersMorning Private View12 sunday, 10:30 am–12 pm For FamiliesSecond Sundays Tour

5 friday, 2 pmCurator’s eye Tour Broken Forms7 sunday, 1–4 pmFor Families Just Drop In!7 sunday, 7:30 pmWorks & Process ABT’s New Nutcracker8 monday, 6:30 pmMind’s eye Tour Chaos and Classicism8 monday, 7:30 pmWorks & Process ABT’s New Nutcracker10 wednesday, 6:30 pmlecture Penelope Curtis12 friday, 2 pmCurator’s eye Tour Chaos and Classicism14 sunday, 9–10 amFor Members Morning Private View14 sunday, 2–5 pmFor Families Fall Family Day

1 friday, 6–11 pmFor Members Opening Party and Private View3 sunday, 11 am–1:30 pmFor Families Tour and Workshop3 sunday, 1–4 pmFor Families Just Drop In! 3 sunday, 2 pmWorks & Process The Music of David lang Interpreted4 monday, 7:30 pmWorks & Process The Music of David lang Interpreted8 friday, 2 pmCurator’s eye Tour Broken Forms10 sunday, 10:30 am–12 pmFor Families Second Sundays Tour10 sunday, 1–4 pmFor Families Just Drop In!

11 monday, 6:30 pmMind’s eye Tour Chaos and Classicism12 tuesday, 3:30–6:30 pmFor educatorsOpen House 12 tuesday, 6:30 pmlecture Peter eisenman16 saturday, 10 am–1 pmFor educators Chaos and Classicism: A Workshop17 sunday, 1–4 pmFor Families Just Drop In!22 friday, 7–11 pmFor Members Art After Dark: YouTube Play24 sunday, 1–4 pmFor Families Just Drop In!24 sunday, 7:30 pmWorks & Process Voices and Dance within the Americas25 monday, 7:30 pm Works & ProcessVoices and Dance within the Americas31 sunday, 1–4 pmFor FamiliesJust Drop In!

12 sunday, 1–4 pmFor FamiliesJust Drop In!12 sunday, 11 am and 12:30 pmWorks & ProcessPeter & The Wolf13 monday, 6:30 pmMind’s eye TourBroken Forms17 friday,2:30 and 4 pmWorks & ProcessPeter & The Wolf18 saturday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf19 sunday, 1–4 pmFor FamiliesJust Drop In!19 sunday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf19 sunday, 6:30 pmWorks & ProcessFree Holiday Concert20 monday, 6:30 pmWorks & ProcessFree Holiday Concert26 sunday, 1–4 pmFor FamiliesJust Drop In!

14 sunday, 7:30 pmWorks & ProcessVertical Opera [An Unrealized Project]15 monday, 7:30 pmWorks & ProcessVertical Opera [An Unrealized Project]16 tuesday, 6:30 pmlectureelizabeth Cowling19 friday, 2 pmCurator’s eye Tour Intervals: Ryan Gander21 sunday, 1–4 pmFor Families Just Drop In!28 sunday, 1–4 pmFor Families Just Drop In!

For complete event information, please visit guggenheim.org/calendar.

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NOpen House for educators, Haunted: Contemporary Photography/Video/Performance, Apr 7, 2010. Photo: Tanya Ahmed

For educatorsopen house For educators tues, oct 12, 3:30–6:30 pmJoin us for an afternoon of looking, learning, and mingling. Curriculum materials provided.

FREE. Registration required at schoolprograms@guggenheim.org or 212 360 4231.

chaos and cLassIcIsM:a workshop For educatorssat, oct 16, 10 am–1 pmDuring the years between the world wars (1918–36) many artists turned to classicism as a means of expression. Through encounters with painting,

sculpture, photography, architecture, film, and fashion, this workshop traces the progression of classicism during these years from optimistic to ominous.

$20 includes curriculum materials. Registration required at 212 423 3637.

teachIng through art: strategIes For dIscussIng art In the cLassrooMnov 9 | 16 | jan 18 | 25 4:30–6:30 pm nov 13 | jan 229 am–3 pm learn how to facilitate conversation about

works of art using a methodology shown to improve students’ reading comprehension and criti-cal thinking skills. explore strategies for integrating this methodology across the curriculum. Teach-ers of grades 2–12 in all subject areas are welcome to apply.

$350 includes all sessions and resource materials for the classroom. For application materials visit guggenheim.org/schools. Completed applica-tions must be received by Oct 29. enrollment is limited to 15 partici-pants. For more informa-tion call 212 360 4260.

eDUCATOR PROGRAMS

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  For FaMILIesFaLL FaMILy daysun, nov 14, 2–5 pmJoin us for a family day celebrating the museum’s architecture and fall exhibitions. engage in conversation, a scavenger hunt, art-making activities, performances, and story-telling. For families with children ages 4–10.

$15 per family; $10 members; FREE for family members, Cool Culture families, and Guggenheim partner schools.

FaMILy tour and workshopoct 3 | dec 5, 11 am–1:30 pm Following an interac-tive gallery tour, families create their own work in our studio. All materi-als included. For families with children ages 5–10.

$30 per family, $20 members, FREE for family members. Registration required at 212 423 3587.

aFter schooL prograMsart aFter schooL8 tues beginning oct 5, 4–6:15 pmAges 8–11each session’s gallery visit serves as inspira-tion for in-depth art projects that explore a wide range of topics and art-making techniques.

$300, $250 members includes materials. Registration required at 212 423 3637.

your FIrst artIst portFoLIo8 mons beginning oct 4, 4–6:15 pmGrades 6–8This program provides students who are prepar-ing to apply to special-ized arts high schools a creative and supportive artistic environment for portfolio prepara-tion. Students work with teaching artists using a wide range of mediums to develop their portfolios.

$400, $350 members includes materials. Registration required at 212 423 3637.

respondIng to art through creatIve wrItIng6 weds beginning oct 27, 4–6 pm, and sat, dec 4, 1–4 pmGrades 10–12This course invites teens to explore modern and contemporary art through in-depth group conversations, sketch-ing, and creative writing.

$225, $175 members in-cludes materials (financial assistance is available). The application pro-cess for this program is selective. For more infor-mation and to apply visit guggenheim.org/teenprograms.

guIded prograMs For studentsGuided programs are facilitated by Guggenheim Museum educators. All programs can accommodate students with special needs.

gaLLery tour 60- or 90-minute inter-active gallery tour for grades 2–12. $300 per 30-student group.

tour and workshop2.5-hour program includes an interactive gallery tour and hands-on workshop for grades 2–12. $400 per 30-student group.

FIrst IMpressIons: storIes and art at the guggenheIM Customized, multivisit pro-gram that includes visits to the classroom and the museum for grades Pre-K–1. $500 per 30-student group.

To register for a guided program call 212 423 3637.

Art After School, spring 2010. Photo: Sarah Pospiech

leARN: STUDeNT AND FAMIlY PROGRAMSFor complete information on student and family programs, visit guggenheim.org/education.

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chaos and cLassIcIsM LecturesLateness and the poLItIcs oF MedIapeter eisenmantues, oct 12, 6:30 pmCelebrated architect, theorist, and author of Giuseppe Terragni: Transformations, Decompositions, Critiques (2003) posits that we are in a “late” moment in history in which design is controlled by media to promote consumption. everything must be new and designed. Where does that leave architec-ture, which, he argues, is the antithesis of design?

scuttura LIngua Morta: scuLpture’s ForbIdden Languagespenelope curtiswed, nov 10, 6:30 pm As a scholar and cura-tor of figurative sculpture from Fascist Italy and Nazi Germany, Curtis shares her thoughts on how exhibitions deal with art in a political context.

constructIng cLassIcIsM In FashIonpatricia mearstues, dec 7, 6:30 pm Between the world wars, women such as Madeleine Vionnet dominated Paris and New York design. Charting the embrace of classicism, this renowned costume historian and style expert discusses clothing innovations that defined fashion in the 1930s, changed the course of modern dress, and continue to influence couture today.

lectures $10, $7 mem-bers and students.

23rd annuaL hILLa rebay Lectureobjects as scuLpture: cubIsM and aFterelizabeth cowlingtues, nov 16, 6:30 pmShortly before World War I, Umberto Boccioni, Georges Braque, and Pablo Picasso began to sculpt objects other than the human form, setting in motion a revolution whose repercussions can still be felt in the work of many of today’s leading sculp-tors. The object as agent provocateur is the larger theme of this year’s Hilla Rebay lecture, but Cowling focuses on the strongly contrasting reactions of the Dadaists and Surrealists on the one hand and interwar abstract sculptors on the other to these artists’ pio-neering experiments with still-life subject matter and incorporated found art.

FREE on day of lec-ture (prior registra-tion is not available).

The Hilla Rebay lecture series brings distinguished scholars to the Guggenheim Museum to examine significant issues in the theory, criticism, and history of art. This annual program is supported by The Hilla von Rebay Foundation.

eMergIng schoLars syMposIuMIs returnIng to the past Modern?wed, jan 5, 1 pmIn the spirit of Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936, the Sackler Center for Arts education sponsors a program show-casing emerging scholars. Through new research, this series of focused presenta-tions grapples with the long-standing question of whether artists, architects, and designers can look to the past for inspiration and still be considered modern.

Complete informa- tion at guggenheim.org/publicprograms.

connectTo connect with the Guggenheim visit guggenheim.org/interact.

onLIne ForuMnov 15–19This fall in the Guggenheim Online Forum a diverse group of panelists address art and politics to accompany the upcoming exhibition Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936. Visit guggenheim.org/forum to join the conversation.

decLaratIons Declarations invites on- line contributions from a wide range of think-ers on topics related to museum exhibitions currently underway.

stay connectedVisit guggenheim.org/interact to receive e-news updates and join the Guggenheim online communities on Twitter, Facebook, Flickr, YouTube, and more.

leARN: ADUlT PROGRAMS

Conversations with Contemporary Photographers. Dec 8, 2008. Photo: enid Alvarez

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MobILItyThe Guggenheim Museum is wheelchair accessible except for the High Gallery, which has partial views from Rotunda levels 1 and 2. The Wright is wheelchair accessible. Wheelchairs are available free of charge. Please ask a security guard for assistance. Wheelchair-accessible bathrooms are located in the Sackler Center and on Annex level 7. An individual assist-ing a person in a manual wheelchair will be given free admission. Service animals are welcome at the museum.

hearIng and seeIng assIstanceAssistive listening devices are regularly used during daily tours. Audio tours are T-coil compatible. large-print transcripts of the audio tours and of this brochure are available at the admission and information desks. Gallery Guides, posted throughout the museum, and muse-um educators, who guide the daily public tours, are trained in Verbal Imaging techniques.

MInd’s eyeMonthly programs for visitors who are partially sighted, blind, or deaf, are conducted through Verbal Imaging and touch and in American Sign language. led by arts and education professionals, these tours are forums for shared discussion of visitor observations, questions, and thoughts. For more information and to sign up to receive program no-tifications, please visit guggenheim.org/mindseye. AC

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by phone212 423 3587, Mon –Fri

on siteVisit the admission desk 30 minutes before a program begins (subject to availability).

There is no late seating for public programs; please plan to arrive on time. There are no refunds or exchanges. The museum reserves the right to cancel events, and all programs are subject to change. In the case of a canceled event, a ticket to an alternative event or a full refund will be issued. Please visit guggenheim.org/calendar for the most up-to-date information.

save: buy a serIesSave 15% when you purchase tickets to four or more public programs. Call the box office for more information about purchasing a series. Please note that series subscription orders cannot be processed online or at the admission desk at this time.

The Sackler Center for Arts education is a gift of the Mortimer D. Sackler Family. Support for educational activities and/or public programs is provided by The edith and Frances Mulhall Achilles Memorial Fund, Milton & Sally Avery Arts Foundation, Inc., The Barker Welfare Foundation, Citi Foundation, Con edison, The engelberg Foundation, Sidney e. Frank Foundation, Gap Foundation, The Horace W. Goldsmith Foundation, Solomon R. Guggenheim Foundation education Committee, Guggenheim Partners, llC, William Randolph Hearst Foundation, Jane A. lehman and Alan G. lehman Foundation, laurence levine Charitable Fund and Sir Thomas R. Moore, New York City Department of Cultural Affairs, New York State Council on the Arts, The Overbrook Foundation, The Hilla von Rebay Foundation, The edmond & Benjamin de Rothschild Foundations, esther Simon Charitable Trust, The Seth Sprague educational and Charitable Foundation, United States Department of education, and Arthur Zimtbaum Foundation.

For more information about accessibility at the Guggenheim, please ask at the information desk or visit guggenheim.org/accessibility.

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Sthree ways to shopon site Main entrance and Rotunda level 6online guggenheimstore.orgby phone 800 329 6109

TAKe THe GUGGeNHeIM HOMe

chaos and cLassIcIsM: art In France, ItaLy, and gerMany, 1918–1936With contributions by Kenneth E. Silver, Emily Braun, James Herbert, Helen Hsu, and Jeanne Nugent

guggenheIM MuseuM ModeL kItRelive your visit to the Guggenheim. Inspired details and fine materials capture the spirit of Frank lloyd Wright’s modern masterpiece in this 48-piece wooden and acrylic model kit.

Finished model measures 3.5 x 6 x 4.5 inches | $45 (members $40.50)

Accompanying Chaos and Classicism—the first major exhibition in the United States to explore the classicizing aesthetic that followed the immense destruction of World War I—this catalogue exam-ines the interwar aesthetic in its key ar-tistic manifestations: the poetic dream of antiquity in the Parisian avant-garde of Fernand léger and Pablo Picasso; the politicized revival of the Roman empire under Benito Mussolini by artists such as Giorgio de Chirico and Mario Sironi; the functionalist utopianism of International Style architecture; and, chill-ingly, the contrived biological classicism, or Aryanism, of nascent Nazi society. Fully illustrated with seven thematic plate sections and texts by emily Braun, James Herbert, Helen Hsu, Jeanne Nugent, and Kenneth e. Silver.

8.75 x 10.5 inches | 192 pages | 140 color illustrations | hardcover $55 (members $49.50) | softcover $35 (members $31.50)

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becoMe a MeMber today enjoy Guggenheim membership for as little as $75 and help support one of the world’s most innovative and pioneering arts institutions. Be the first to see inter-nationally acclaimed art exhibitions, re-ceive invitations to openings and special events, and enjoy entertaining family and guests in a landmark architectural setting. Visit the membership desk today to receive a free gift when you join, or join online at guggenheim.org/membership, or by phone at 212 423 3535.

MeMbers enjoy the FoLLowIng beneFIts skip the admission line for free museum admission and unlim-ited $10 guest tickets

invitations to parties and private views

savings at the Guggenheim Store, the Wright, Cafe 3, and on all museum programs This past summer the Guggenheim

collaborated with YouTube on a global search for the world’s most creative on-line video. Thousands of videos were submitted by both amateur and profes-sional video creators and reviewed by the museum’s curators. Visit the YouTube Play Kiosk on Annex level 3 to browse the short list of online videos prescreened by the Guggenheim. From the short list, up to 20 videos will be chosen by a jury of ex-perts and presented online at youtube.com/play. The selected videos will also be presented at the museum Oct 22–24 on Annex level 2.

take partThe Take is a new blog featuring discus-sions about online video, digital con-tent, and the effects of YouTube on art and culture. Join in at guggenheim.org/thetake.

youtube pLay kIoskthrough jan 5Annex level 3

presentatIon oF seLected vIdeosoct 22–24Annex level 2

onLIne youtube.com/play

Members party, Haunted: Contemporary Photography/Video/Performance, Apr 9, 2010. Photo: Christine Butler © SRGF

Multimedia LabNews Corporation New Media Theater

Studio Art Lab

Resource Center

Computer Lab

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The Sackler Center for Arts Education

Entrance to theater and Sackler Center

Peter B. Lewis Theater

Education O�ces (sta� only)

Annex Level 7

Annex Elevator

Rotunda Elevator

Conference Room

GuggenheimStore

Annex Level 5

Annex Level 3

Annex Level 4

Sculpture Terrace

Thannhauser Gallery

Annex Level 2

StoreGuggenheim

The Wright

Cafe 3

TheaterEntrance Rotunda

Rotunda Level 2

Rotunda Level 3

Rotunda Level 6

High Gallery

Rotunda Level 4

Reading RoomMainEntrance

Access throughMain Entrance

Rotunda Level 5

Coatroom, wheelchairs, baby carriers

Lost and found

Telephone

Water fountain

Information

Assistive listening device

Restaurant

Elevator

Wheelchair access

Unisex restroom

Women’s restroom

Men’s restroom

Infant-changing area

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Nfree audio tours with museum admissionAudio tours are available in six languages. Visitor guides in six languages are available for download at guggenheim.org/visitorguide.

broken forms: european modernism from the guggenheim collection july 9, 2010–jan 5, 2011

Annex level 4

youtube play kiosk july 20, 2010–jan 5, 2011 Annex level 3

vox populi: posters of the interwar yearssept 1, 2010–jan 9, 2011

Sackler Center for Arts education

chaos and classicism: art in france, italy, and germany, 1918–1936 oct 1, 2010–jan 9, 2011

High Gallery, Rotunda levels 2–6, Annex levels 5 and 7

intervals: ryan ganderoct 1, 2010–jan 9, 2011

Aye Simon Reading Room

kandinksy collectionongoing

Annex level 3

thannhauser collectionongoing

Thannhauser Gallery

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soLoMon r. guggenheIM MuseuM1071 Fifth Avenue (at 89th Street)New York City

information guggenheim.org212 423 3500

museum sun–wed 10 am–5:45 pm fri 10 am–5:45 pmsat 10 am–7:45 pm Closed thurs

storesun–wed 9:30 am–6:15 pmthurs 11 am–6 pmfri 9:30 am–6:15 pm sat 9:30 am–8:30 pm

the wrightlunch | fri–wed 11:30 am–3:30 pmbar menu | fri–wed 11:30 am–5 pmdinner | thurs–sat 5:30–11 pm sunday brunch 11 am–5 pm

cafe 3fri–wed 11 am–4 pm Closed thurs

upcoMIng exhIbItIonthe great upheavaL: Modern art FroM the guggenheIM coLLectIon, 1910–1918 feb 4–june 1, 2011 The years leading up to World War I mark a period of profound innovation in the history of modern art. Cubism achieved recognition in Paris, sparking new artistic directions in France, Italy, the Netherlands, and Russia. In Germany and Austria, expressionistic manifestations of art were equally radical. Artists Umberto Boccioni, Georges Braque, Robert Delaunay, Marcel Duchamp, Vasily Kandinsky, Kazimir Malevich, Franz Marc, Piet Mondrian, and Pablo Picasso provide ample evi-dence of the richness and complexity of production in the major art centers. This exhibition features more than 100 works from the museum’s holdings, attesting to this period of collaboration, interchange, synthesis, and innovation. ©

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right Fernand léger, Nude Model in the Studio (Le modèle nu dans l’atelier), 1912–13. Oil on burlap, 128.6 x 95.9 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 49.1193. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris

back cover Pablo Picasso, Bust of a Woman, Arms Raised (Buste de femme, les bras levés), 1922. Oil on canvas, 65.4 x 54 cm. Collection Michael and Judy Steinhardt, New York. © 2010 estate of Pablo Picasso/Artists Rights Society (ARS), New York

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