FALL 2016 FAMILY PROGRAMS

Guggenheim FAMILY and KIDS CLUB MEMBERS enjoy these programs for FREE.

For more information, visit the Membership desk, Guggenheim Store, or guggenheim.org/join, or call 212 423 3535.

Family Tour and Studio WorkshopSunday, Nov 6, 10:30 am–12:30 pm Following an interactive gallery tour, family members create artwork in our studio. Tours are organized around a single theme and highlight artworks on view from our permanent collection and special exhibitions. $30 per family (includes admission, workshop materials, and tour for two adults and up to four children), $20 members, FREE for Kids Club Members, Family Members, and Cool Culture families.

Nov 6: On (and Off) the Grid Be inspired by Agnes Martin and create your own works of art using a grid.

First, I have the experience of happiness and innocence. Then, if I can keep from becoming distracted, I will have an image to paint. 1

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 the New York City Department of Cultural Affairs in partnership with the City Council, the Stavros Niarchos Foundation, The Edmond de Rothschild Foundation, The Hilla von Rebay Foundation, and The Seth Sprague Educational and Charitable Foundation. Funding is also provided by The Keith Haring Foundation; Deutsche Bank; the Windgate Charitable Foundation; the Sidney E. Frank Foundation; The Horace W. Goldsmith Foundation; Guggenheim Partners, LLC; the Robert & Toni Bader Charitable Foundation; the Rose M. Badgeley Residuary Charitable Trust; and The Barker Welfare Foundation. Additional support from the Gap Foundation; Katherine and Peter Kend; the Jane A. Lehman and Alan G. Lehman Foundation; Con Edison; the Milton & Sally Avery Arts Foundation, Inc.; the Henry E. Niles Foundation, Inc.; and the Metzger-Price Fund, Inc. is gratefully acknowledged. The Solomon R. Guggenheim Foundation thanks the members of the Education Committee for their support.

Cover: Agnes martin, Untitled #5, 1998. Acrylic and graphite on canvas, 60 x 60 inches (152.4 X 152.4 Cm). Kunstsammlung nordrhein-westfalen, düsseldorf, acquired with assistance from the gesellschaft der freunde, numerous artists and art dealers, and with special support by the guests of the dinner on the evening of december 3, 2011 © 2016 agnes martin/artists rights society (ars), new york. Photo: achim kukulies, düsseldorf.Inside images: The Islands I - XII, 1979 (detail, showing 7 panels)Acrylic and graphite on linen, 12 parts, 72 x 72 inches (182.9 x 182.9 cm) each, Whitney Museum of American Art, New York, Purchase, with funds from The Sondra and Charles Gilman, Jr. Foundation, Inc. and Evelyn and Leonard A. Lauder© 2016 Agnes Martin/Artists Rights Society (ARS), New York. Photograph by Sheldon C. Collins.Blessings, 2000, Acrylic and graphite on canvas, 60 x 60 inches (152.4 x 152.4 cm), Private Collection© 2016 Agnes Martin/Artists Rights Society (ARS), New York. Photograph courtesy Pace Gallery.

1 “‘What We Make Is What We Feel’: Agnes Martin on Her Meditative Practice, in 1976,” ARTnews, July, 31, 2015. http://www.artnews.com/2015/07/31/what-we-make-is-what-we-feel-agnes-martin-on-her-meditative-practice-in-1976/ - 2 Benita Eisler, “Profile: Life Lines,” New Yorker, Jan. 25, 1993, p. 81. - 3 Lucy R. Lippard, “Homage to the Square,” Art in America 55 , no. 4 (July–Aug. 1967): p. 55.

Agnes Martin is organized by Tate Modern, London, in collaboration with the Solomon R. Guggenheim Museum, New York; Kunstsammlung Nordrhein-Westfalen, Düsseldorf; and the Los Angeles County Museum of Art.

The Solomon R. Guggenheim Museum’s presentation of this exhibition is supported by COS.

The Leadership Committee for Agnes Martin is gratefully acknowledged for its generosity: Pace Gallery, Charles and Valerie Diker, The Lauder Foundation-Leonard & Judy Lauder Fund, Mary and John Pappajohn, FX & Natasha de Mallmann, Anne H. Bass, Peter B. Brandt, Agnes Gund, and those who wish to remain anonymous.

Funding for this exhibition is also provided by the Juliet Lea Hillman Simonds Foundation, LLWW Foundation, and the Dedalus Foundation, Inc. The more carefully you look at Agnes Martin’s work, the more you will see. Remember this as you use this guide to explore the exhibition.Family Guide

Second Sunday Family Tours Sundays, Nov 13, Dec 11, and Jan 8, 10:30 am–12 pmJoin us on the second Sunday of every month for family-friendly tours that include conversation and creative hands-on gallery activities. Tours are organized around a single theme and highlight artworks on view from our permanent collection and special exhibitions. For families with children ages 5 and up.$20 per family (includes admission and tour for two adults and up to four children), $15 members, FREE for Kids Club Members, Family Members, and Cool Culture families.

Nov 13: What’s in a Name?How does a work of art get its name? Explore the connections between a piece of visual art and a title.

Dec 11: Art Getaway Take a break from the winter weather and get lost in the artworks here at the museum.

Jan 8: Try and Try AgainSee works by artists who experiment with the same ideas again and again.

Title:

Activity Create your own unique base for an artwork.

Agnes Martin used this size canvas (6 by 6 feet) for many of her paintings. She called it “a size you could walk into.” 2

While standing still in the middle of the high gallery, imagine walking into these paintings.

What details do you notice as you look more and more carefully? Though the paintings are similar, what differences can you find?

For much of her career, Martin used hand-drawn grids and stripes as the structure for her paintings.

Describe the different ways you see her using the grid in these paintings.

If you were to take a photograph of each of these paintings, all the photos would look almost the same. But as you know from seeing the paintings in person, each is unique. Since photography does not show their uniqueness, how would you share with someone who is not here what it is like to see one of these paintings in person?Write them a postcard here:

How will you break up this square:Horizontally, vertically, both?Diagonally? With wider or narrower sections?Now, color or shade your work.

Add another layer of meaning to your artwork by giving it a title. What do you want to tell people about your work by giving it this name?

You Have to See It to Believe It!

The Islands I–XII, 1979

Activity Write a postcard

Blessings, 1967When I cover the

square surface with

rectangles,

it lightens the weight

of the square,

destroys it’s power.3

Agnes says:

Grids and Stripes