OCT 5, 2012–JAN 23, 2013

Picasso Black and White is the first exhi-bition to explore a remarkable focus that occupied the great Spanish artist, Pablo Picasso, throughout his prolific career: the use of black and white. Few artists have exerted as considerable an influence over subsequent generations as Picasso, one of the most recognized figures in 20th-century art. While his work is often

seen through the lens of his diverse styles and subjects—his Blue and Rose periods, pioneering investigations into Cubism, neoclassical figurative paintings, and explorations in Surrealism, for example, or the forceful and somber scenes depict-ing the atrocities of war, the allegorical still lifes, the vivid interpretations of art- historical masterpieces, and the highly sexualized canvases of his twilight years—the recurrent motif of black, white, and gray is frequently overlooked. The artist was continuously investigating, inventing, and drawing in these austere monochromatic tones. The graphic qual-ity of these distinctive, black-and-white works harks back to the spare paintings of Paleolithic artists, who developed a primal visual language using charcoal and simple

mineral pigments, and to grisaille and the European drawing tradition. But in adopt-ing this restricted palette, Picasso was also faithful to a centuries-long Spanish tradi-tion, following in the footsteps of earlier masters whose use of black was predomi-nant, such as El Greco, José de Ribera, Diego Velázquez, Francisco de Zurbarán, and Francisco de Goya, who made a series of black paintings in his old age, as Picasso did. Reported to have claimed that color “weakens,” Picasso purged color from his works in order to highlight their formal structure and autonomy. Spanning 1904 to 1971, this chronological survey includes 118 paintings and several sculptures and works on paper, and investigates Picasso’s contributions to the development of art in the 20th century.

The Milliner’s Workshop (Atelier de la modiste), rue La Boétie, Paris, January 1926. Oil on canvas, 172 x 256 cm. Musée national d’art moderne/Centre de création industrielle, Centre Pompidou, Paris, Gift of the artist, 1947. © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

This exhibition is sponsored by Bank of America.

Major support is provided by the Picasso Black and White Leadership Committee: Christina and Robert C. Baker, Chairs; Acquavella Galleries; J. Ira and Nicki Harris Foundation; The Lauder Foundation—Leonard and Evelyn Lauder Fund; Phyllis and William Mack; Stephen and Nan Swid; Patricia and George Weiss; and The Aaron I. Fleischman Foundation.

Additional support is provided by the National Endowment for the Arts, the Blanche and Irving Laurie Foundation, and the Juliet Lea Hillman Simonds Foundation.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.PI

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opposite The Maids of Honor (Las Meninas, after Velázquez) (Les Ménines, vue d’ensemble, d’après Velázquez), La Californie, August 17, 1957. Oil on canvas, 194 x 260 cm, Museu Picasso, Barcelona, Gift of the Artist, 1968 © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

in Nude Figure (late spring 1910). Picasso’s commitment to figurative portraiture in the late 1910s and early 1920s is evident in his figures and nudes informed by Greek and Roman sculpture and by French art-ists such as Jean-Auguste Dominique Ingres, exemplified in Bust of a Woman, Arms Raised (1922), in which his use of a monochromatic color range references the cool tonalities of classical sculp-ture. When Picasso became acquainted with the Surrealists, who advocated free association, surprise, and chance in their work, he moved toward a flowing and biomorphic imagery, exemplified by the pivotal canvas The Milliner’s Workshop (January 1926), his first completely

On the rotunda floor, the majestic and emblematic bronze Woman with a Vase (summer 1933) and painted metal sculp-ture Woman with Outstretched Arms (1961) set the tone for the dichotomy and interplay of black and white throughout the exhibition, as do the sculptures on view in the High Gallery. A draftsman par excellence, Picasso paid particular atten-tion to the outline of the figure and was using soft gray hues as early as spring 1904, in the iconic painting Woman Ironing and in Man, Woman, and Child (fall 1906). His pioneering Cubist works are con-densed to geometric and deconstructed components of austere gray tonal ranges, creating grids that animate the canvas, as

black-and-white painting composed of sensual arabesques. A series of works featuring recumbent women, nudes, and bathers is devoted to the artist’s muse Marie-Thérèse Walter. Many are rendered in grisaille, including Swimming Woman (1934), a command-ing and somewhat ferocious painting that may presage the epic style of his master-piece Guernica (1937), which can be seen in several important related works on view. Throughout World War II, in occupied Paris, Picasso created stark figures and reclining nudes, which convey a heightened interest in monochromatic shapes, forms, and volumes. During this time, he painted The Charnel House (Paris, 1944–45), a forbidding black-and-white canvas that records the brutal devastation of war. The minimal tones, graphic intensity, and dra-matic contrasts of dark and light, reflected in Still Life with Blood Sausage (May 10, 1941) and so characteristic of Picasso’s most important paintings, convey a mel-ancholic mood as the artist explores the universality of human suffering, death, and deprivation. In 1954, Picasso made a series of mostly black-and-white, stylized works of Sylvette David, a young woman sym-bolizing a new, sophisticated femininity. Impressive black-and-white canvases figure among his most vibrant interpretations of art-historical masterpieces, including Reclining Nude (1942) and The Maids of Honor (Las Meninas, after Velázquez)

(August 17, 1957), informed respectively by Goya and Velázquez, as well as The Women of Algiers (version L) (1955) and The Rape of the Sabines (1962), the former inspired by Eugène Delacroix and the latter by Nicolas Poussin. In his twilight years, Picasso did not shy away from depicting embracing couples, as seen in The Kiss (1969), and voluptuous nudes such as Seated Woman (Jacqueline) (1962); rather, this range of minimal colors renders the figures all the more alive and conscious of their sexual vitality. Picasso’s repeated use of a black, white, and gray palette correlates his obsessive interest in line and form, the influence of drawing, his use of monochrome and tonal values, his complex language of pictorial and sculptural signs, and exercises in light and dark. Picasso Black and White presents an illuminating perspective on this lesser-known, but fascinating, aspect of his for-midable body of work.

—Carmen Giménez, Stephen and Nan Swid Curator of 20th Century Art, and karole Vail, Associate Curator

Visit Picasso Black and White online at guggenheim.org/picasso.

toursconservator’s eyeoct 19, 2 pm Gillian McMillannov 9, 2 pm Julie Barten

curator’s eye nov 2, 2 pm karole Vailnov 16, 2 pm karole Vail See calendar for additional programs.

catalogue available

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Gabriel Orozco’s Asterisms, the final project of the commissioning program at Deutsche Guggenheim, Berlin, is a two-part sculptural and photographic installation comprising thousands of items of detritus the artist has gathered at two sites—a play- ing field near his home in New York and a protected coastal biosphere in Baja California Sur, Mexico, that is also the repo-sitory for flows of industrial and commercial waste from across the Pacific Ocean. One component, Sandstars, responds to the unique environment encountered in Isla Arena, Mexico, a wildlife reserve, which is simultaneously a whale mat-ing ground, whale cemetery, and indus-trial wasteland. Orozco has worked there before, having extracted from its sands the whale skeleton that formed the sculpture Mobile Matrix (2006), now permanently installed in the Biblioteca de México José Vasconcelos in Mexico City. His return to the sanctuary yielded entirely new results in response to the voluminous amounts of detritus deposited there by ocean currents. He created a large sculptural installation from the refuse he discovered—includ-ing glass bottles, lightbulbs, buoys, tools, stones, and oars—by subjecting it to taxonomic arrangements on the gallery floor. This monumental sculptural carpet of nearly 1,200 objects is accompanied by 12 large-scale gridded photographs of the individual objects in a studio setting, organized typologically by material, color,

Objects collected for Sandstars (2012) on Isla Arena, Baja California Sur, Mexico © 2012 Gabriel Orozco. Photo: Gabriel Orozco

size, and so on. A 13th grid documents the landscape from which the objects were retrieved, along with incidental composi-tions made in situ from the castaway items. Astroturf Constellation similarly explores taxonomic classification, but on a com-pletely different scale. It comprises a col-lection of small particles and miniscule forms of debris left behind by athletes and spectators in the Astroturf of a playing

field on Pier 40 in New York. Orozco dis-plays these myriad items—including coins, sneakers logos, bits of soccer balls, candy wrappers, wads of chewing gum, and tangles of thread, again numbering nearly 1,200—on a large platform. As in Sandstars, the objects are displayed alongside 13 pho-tographic grids, creating a kind of visual ricochet between an individual object and its photographic representation.

This exhibition is made possible by

The Leadership Committee for Gabriel Orozco: Asterisms is gratefully acknowledged for its support.

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The exhibition Asterisms overall, in which the two bodies of work play off each other in a provocative oscillation between the macro and the micro, invokes several of the artist’s recurring motifs, including the traces of erosion, poetic encounters with mundane materials, and the ever-present tension between nature and culture. It also underscores and amplifies Orozco’s subtle practice of subjecting the world to per-sonal, idiosyncratic systems.

—Nancy Spector, Deputy Director and Chief Curator

toursconservator’s eye nov 16, 2 PM Esther Chao

curator’s eye nov 30, 2 PM Joan YoungJan 11, 2 PM Joan YoungSee calendar for additional programs.

catalogue available

Sandstars, 2012. Approximately 1,200 found objects, including wood, metal, glass, paper, plastic, Styrofoam, rock, rope, rubber, and other materials, and 13 photographic grids, each comprising 99 chromogenic prints. Found objects: overall dimensions vary with installation; photographs: each print 10.2 x 15.2 cm; each grid 123.2 x 147.3 x 5.1 cm framed. Commissioned by the Deutsche Bank in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim, 2012. Installation view: Gabriel Orozco: Asterisms, Deutsche Guggenheim, Berlin, July 6–October 21, 2012 © 2012 Gabriel Orozco. Photo: Mathias Schormann This presentation surveys some of the most exciting

contemporary artworks acquired by the Guggenheim in the past five years. Works by artists such as Natascha Sadr Haghighian, Lyle Ashton Harris, Barbara kruger, Ryan Trecartin, and Danh Vo are on view in the museum for the first time.

tourscurator’s eye Kandinsky 1911–1913oct 26, 2 pm Tracey Bashkoff Now’s the Time: Recent Acquisitionsdec 7, 2 pm Carmen Hermodec 14, 2 pm Lauren HinksonSee calendar for additional programs.

Highlights from the permanent collection are also on view. Visit Annex Level 2 for ongoing presentations from the Thannhauser Collection and Annex Level 3 for a focused exhibition of works by Vasily kandinsky, Kandinsky 1911–1913.

Josephine Meckseper, Afrikan Spir, 2011 (detail). Taxidermy bird, jewelry, inkjet print, glass, scouring pads with feathers on steel pole, pedestal, mannequin leg with stocking, acrylic paint on mirror, acrylic paint on canvas, mirror on metal stand in steel and glass vitrine with fluorescent lights, 202.2 x 202.6 x 50.8 cm. Solomon R. Guggenheim Museum, New York, Gift, Theodor and Isabella Dalenson 2011.35. © 2012 Josephine Meckseper. Photo: Genevieve Hanson

NOW’S THE TIME: RECENT ACquISITIONSNOV 2, 2012–JAN 2, 2013

GABRIEL OROZCO

Murakami Saburō performing Passing Through at the 2nd Gutai Art Exhibition, October 11–17, 1956, Ohara kaikan Hall, Tokyo. © Murakami Makiko, Gutai ArtAssociation, courtesy Ashiya City Museum of Art and History

Cover image of The Usonian House: Souvenir of the Exhibition, 60 Years of Living Architecture, the Work of Frank Lloyd Wright, Frank Lloyd Wright, 1953. Exhibition records. A0003. Solomon R. Guggenheim Museum Archives, New York

Gutai: sPLenDiD PLayGrounDfeb 15–may 8This presentation celebrates Japan’s most influential avant-garde artist collective of the modern era. Founded by Yoshihara Jirō, the Gutai Art Association (1954–72) spanned three generations of artists who followed their leader’s maxim, “Do what’s never been done before!,” to pursue absolute freedom through radical experi-mentation and bold creativity across a range of mediums and styles, including painting, performance, installation, sound, film, kinetic art, and environment art.

a LonG-awaiteD tribute: Frank LLoyD wriGht’s usonian house anD PaviLion through feb 13On October 22, 1953, Sixty Years of Living Architecture opened on the site where the Guggenheim Museum would eventually be built. Two Wright–designed buildings were constructed specifically to house the exhibition: a temporary pavilion made of glass, fiberboard, and pipe columns, and a 1,700-square-foot, fully furnished, two-bedroom model usonian house repre-senting the architect’s organic solution for modest, middle-class dwellings. Despite his fifty years of international architectural recognition and practice by 1953, Wright had yet to erect a building in Manhattan. This presentation, comprised of selected materials from the museum archives, pays homage to these two structures, his first to be erected in New York.

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GuGGenheiM MuseuM biLbao guggenheim-bilbao.es

inhabited architecture sept 25, 2012–may 19, 2013

egon schiele oct 2, 2012–jan 6, 2013

claes oldenburg: the sixties oct 30, 2012–feb 17, 2013

Deutsche GuGGenheiMdeutsche-guggenheim-berlin.de

visions of modernity: impressionist and modern collections from the Guggenheim Foundation nov 15, 2012–feb 17, 2013

PeGGy GuGGenheiM coLLectionguggenheim-venice.it

capogrossi: a Retrospective sept 29, 2012–feb 10, 2013

bMw GuGGenheiM Lab MuMbaibmwguggenheimlab.orgdr. bhau daji kad museumbyculla east, mumbaidec 9, 2012–feb 3, 2013

stiLLsPottinG nyc: bronXAudiogrAmsat–sun, oct 13–14Improv Everywhere, a New York–based collective that organizes scenes of chaos and joy in public places, charts the hear-ing abilities of New Yorkers through an interactive audio experience in the South Bronx. Audiogram is the fifth and final edition of stillspotting nyc, a two-year multidisciplinary project that takes the Guggenheim’s Architecture and urban Studies programming out into the city’s five boroughs. For more information and tickets visit stillspotting.guggenheim.org.

stiLLsPottinG nyc FinaLetues, oct 9, 7 pm, museum rotunda and peter b. lewis theater To kick off the final edition of stillspotting nyc, the Guggenheim and unsound host a variety show featuring architects, artists, scientists, musicians, politicians, and phi-losophers. $10, $7 members, $5 students. For more information and tickets visit stillspotting.guggenheim.org/learn.

An Archtober: Architecture and Design Month program.

Support for stillspotting nyc is provided by the Rockefeller Foundation NYC Opportunities Fund and a MetLife Foundation Museum and Community Connections grant. This project is also supported in part by the National Endowment for the Arts. The Leadership Committee for stillspotting nyc, co-chaired by Franklin Campbell and Pamela Samuels, is gratefully acknowledged for its support.

MP3 Experiment 8, Improv Everywhere, 2011. © Brian Fountain

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daily educator-led tours meet at the information desk at 11 am, 1 pm, and 3 pm (subject to change and/or cancellation). assistive listening devices are used on all daily tours. For complete event information visit guggenheim.org/calendar.

10 wednesday, 3:30 pmFor EducatorsOpen House12 friday, 1 pm

Film ScreeningThe Mystery of Picasso 13 saturdayOff-site Exhibitionstillspotting nyc: Bronx14 sundayOff-site Exhibitionstillspotting nyc: Bronx14 sunday, 10:30 amFor FamiliesSecond sunday Tour14 sunday, 1–4 pmFor FamiliesJust Drop In!14 sunday, 7:30 pm

Works & ProcessPicasso’s Desire Caught by the Tail15 monday, 3 pmFor FamiliesStroller Tour15 monday, 7:30 pm

Works & ProcessPicasso’s Desire Caught by the Tail19 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso 19 friday, 2 pm

Conservator’s Eye TourPicasso Black and White20 saturday, 10 am

For EducatorsWorkshop

1 monday, 4 pmFor TweensFirst Session: Your First Artist Portfolio1 monday, 6:30 pmFor Visitors Who Are Partially Sighted or BlindMind’s Eye Program2 tuesday, 4 pmFor kidsFirst Session: Art After School5 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso 5 friday, 7:30 pm

For MembersParty and Private View Picasso Black and White7 sunday, 1–4 pmFor FamiliesJust Drop In!8 monday, 7:30 pmWorks & ProcessThe Met Opera: The Tempest9 tuesday, 7 pmPublic Program stillspotting nyc Finale

20 saturday, 7:30 pmWorks & ProcessFood, Taste, and the Brain21 sunday, 1–4 pmFor FamiliesJust Drop In!21 sunday, 7:30 pmWorks & ProcessRoyal Danish Ballet22 monday, 3 and 7:30 pmWorks & ProcessRoyal Danish Ballet26 friday, 1 pm

Film ScreeningThe Mystery of Picasso 26 friday, 2 pm

Curator’s Eye TourKandinsky 1911–1913 26 friday, 6:30 pm

Public ProgramArtist to Artist: koons and Picasso28 sunday, 9 amFor MembersMorning Private View28 sunday, 11 amFor FamiliesTour and Workshop28 sunday, 1–4 pmFor FamiliesJust Drop In!30 tuesday, 6:30 pmLectureThe Para-Architectural Imagination of Gustav klutsis

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V 25 sunday, 1–4 pmFor FamiliesJust Drop In!28 wednesday, 6:30 pm

Conversations withContemporary Artists:R. H. quaytman30 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso 30 friday, 2 pm

Curator’s Eye TourGabriel Orozco: Asterisms

2 sunday, 11 amFor FamiliesTour and Workshop2 sunday, 1–4 pmFor FamiliesJust Drop In!3 monday, 6:30 pmFor Visitors Who Are Partially Sighted or BlindMind’s Eye Program3 monday, 7:30 pmWorks & ProcessThe Rodin Project7 friday, 1 pm

Film ScreeningThe Mystery of Picasso7 friday, 2 pm

Curator’s Eye TourNow’s the Time: Recent Acquisitions7 friday, 9 pmArt After Dark8 saturday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf9 sunday, 10:30 am For Families Second Sunday Tour

2 friday, 1 pm Film ScreeningVisit to Picasso and The Mystery of Picasso 2 friday, 2 pm

Curator’s Eye TourPicasso Black and White2 friday, 6:30 pm

Public ProgramPicasso: A Conversation4 sunday, 1–4 pmFor FamiliesJust Drop In!4 sunday, 7:30 pmWorks & ProcessMinnesota Opera: Doubt5 monday, 6:30 pmFor Visitors Who Are Partially Sighted or BlindMind’s Eye Program5 monday, 7:30 pmWorks & ProcessMinnesota Opera: Doubt9 friday, 1 pm

Film ScreeningThe Mystery of Picasso

9 friday, 2 pm Conservator’s Eye TourPicasso Black and White11 sunday, 10:30 amFor FamiliesSecond Sunday Tour11 sunday, 1–4 pmFor FamiliesJust Drop In!13 tuesday, 6:30 pm

Conversations withContemporary Artists:Gabriel Orozco with Benjamin Buchloh16 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso 16 friday, 2 pm

Conservator’s Eye TourGabriel Orozco: Asterisms16 friday, 2 pm

Curator’s Eye TourPicasso Black and White18 sunday, 1–4 pmFor FamiliesJust Drop In!19 monday, 3 pmFor FamiliesStroller Tour20 tuesday, 8 pmPerformance“Cerchio Tagliato dei Suoni” by Salvatore Sciarrino

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exhibition Programming Picasso bLack anD white the Deutsche bank series at the GuGGenheiM:

GabrieL orozco: asterisMs coLLection

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For FamiliesJust Drop In!9 sunday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf14 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso14 friday, 2 pm

Curator’s Eye TourNow’s the Time: Recent Acquisitions 14 friday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf15 saturday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf16 sunday, 1–4 pmFor FamiliesJust Drop In!16 sunday, 2:30 and 4 pmWorks & ProcessPeter & The Wolf16 sunday, 8 pmWorks & ProcessHoliday Concert17 monday, 8 pmWorks & ProcessHoliday Concert21 friday, 1 pm

Film ScreeningThe Mystery of Picasso

23 sunday, 1–4 pmFor FamiliesJust Drop In!28 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso30 sunday, 1–4 pmFor FamiliesJust Drop In! 4 friday, 1 pm

Film ScreeningThe Mystery of Picasso6 sunday, 1–4 pmFor FamiliesJust Drop In!7 monday, 6:30 pmFor Visitors Who Are Partially Sighted or BlindMind’s Eye Program8 tuesday, 6:30 pm

LectureVariations in Black and White11 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso11 friday, 2 pm

Curator’s Eye TourGabriel Orozco: Asterisms13 sunday, 9 amFor MembersMorning Private View13 sunday, 10:30 amFor FamiliesSecond sunday Tour

13 sunday, 1–4 pmFor FamiliesJust Drop In!15 tuesday, 6:30 pmConversations with Contemporary Artists:Ramin and Rokni Haerizadeh with Vali Mahlouji18 friday, 1 pm

Film ScreeningVisit to Picasso and The Mystery of Picasso20 sunday, 11 amFor FamiliesTour and Workshop20 sunday, 1–4 pmFor FamiliesJust Drop In!22 tuesday, 2 pm

SymposiumMonographic Motifs27 sunday, 1–4 pmFor FamiliesJust Drop In!

For tickets call 212 423 3587 or visit worksandprocess.org.

the Met oPera: the teMPest Directed by Robert Lepagemon, oct 8, 7:30 pm*

Desire cauGht by the taiLA play by Pablo Picassosun and mon, oct 14 and 15, 7:30 pm

coLuMbia ProFessor charLes zuker: FooD, taste, anD the brainsat, oct 20, 7:30 pm

royaL Danish baLLet: La bayaDÈresun and mon, oct 21* and 22, 7:30 pm $50, $45 membersmon, oct 22, 3 pm (no reception)$40, $35 members

Minnesota oPera: Doubt sun and mon, nov 4* and 5, 7:30 pm

the roDin ProJectChoreography by Russell Maliphantmon, dec 3, 7:30 pm*$50 Works & Process/Joyce ticket package

Peter & the woLF Narrated by Isaac Mizrahidec 8, 9, 14, 15, 16, 2:30 and 4 pm (no reception)

hoLiDay concertIn the museum rotunda sun and mon, dec 16 and 17, 8 pm$10, $8 members

Pacific Northwest Ballet dancers in Agon © The George Balanchine Trust. Photo: © Angela Sterling

Works & Process is a performing-arts series that explores artistic creation through stimulating conversation and performance. Programs are $35, $30 members, presented in the Peter B. Lewis Theater, and followed by a recep-tion, unless otherwise noted. $10 student rush tickets are available one hour prior to performance if space allows. *Indicates live stream at ustream.tv/worksandprocess

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Gallery Guide interacting with a museum visitor, June 2012. Photo: Tanya Ahmed © SRGF

GaLLery GuiDesquestions during your museum visit? Ask our expert Gallery Guides, educators posted through-out the museum wearing buttons that read, ask me aBout tHe aRt.

For FaMiLiesseconD sunDay tourssuns, oct 14, nov 11, dec 9, jan 13, 10:30 am–12 pmFamilies with children ages 5–12. Family-oriented tours that incorporate conversation and creative hands-on gallery activities. $15 per family (includes admission and tour for two adults and up to four children), $10 members, FRee for family members.

Just DroP in!suns, 1–4 pmFamilies with children ages 3–12. Explore exhibition highlights through creative interactive projects. FRee with museum admission (no registration required).

FaMiLy activity Packs anD GuiDes Families with children ages 4–12. Fun gallery activities and discussion ideas to engage the whole family, on loan in the rotunda until 4 pm. FRee with museum admission (no registration required).

teen voLunteers at the GuGGenheiMEnergetic, outgoing, and articulate high school students are invited to apply to volunteer on weekends. Volunteers assist in facilitating family programs by greeting families, distributing materials, and assisting with gallery activities. To apply send a statement of interest to familyprograms@ guggenheim.org and include “Weekend Volunteer” in the subject line.

stroLLer toursmons, oct 15, nov 19, 3–4 pmStroll around the ramps with your baby in tow as museum educator and new mom Jackie Delamatre leads an engaging 1-hour tour for caregivers and their babies. Includes songs, touchable objects, and great adult conversa-tion. Single strollers and front baby carriers only. $15 (includes admission), FRee for family members. Registration required at strollertours@guggen-heim.org.

FaMiLy tour anD workshoPsuns, oct 28, dec 2, jan 20, 11 am–1:30 pmFamilies with children ages 5–12. Following an interac-tive gallery tour, family members create their own artwork in our studio. $30 per family (includes admission, workshop materials, and tour for two adults and up to four children), $20 members, FRee for family members.

For more information about family programs call 212 423 3788 or visit guggenheim.org/families.

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Spring Break Camp, April 2012. Photo: Carolina Zamora © SRGF

LEARN For more information about kid and tween programs call 212 423 3637 or visit guggenheim.org/kids.

For kiDsart aFter schooL8 tues beginning oct 2, 4–6:15 pmAges 8–11. Exploration of the museum’s architecture, permanent collection, and special exhibitions inspire in-depth art projects in the studio incorporating paint-ing, drawing, sculpture, printmaking, collage, and photography. Concludes with an exhibition for family and friends. $300, $250 members. Includes materials, snacks, a family pass, and photographs documenting the program.

work with a wide range of mediums, and develop a portfolio of personal work. The sessions focus on working in the studio with occasional visits to the galleries for inspiration. $400, $350 members. Includes materials, snacks, and a family pass.

For tweens your First artist PortFoLio8 mons beginning oct 1, 4–6:15 pmGrades 6–8. This intensive program provides tweens with a creative and sup-portive artistic environment for portfolio preparation. Students hone their skills,

For schooL GrouPsGuided programs are facilitated by museum educators. All programs accommodate students with special needs. For more information call 212 423 3637 or visit guggenheim.org/schools.

GaLLery tourGrades 2–12. 60- or 90-minute interactive gallery tour. $300 per 30-student group.

tour anD workshoPGrades 2–12. 2.5-hour interactive gallery tour and hands-on workshop. $400 per 30-student group.

First iMPressions: stories anD art at the GuGGenheiMGrades Pk–1. Customized program that includes visits to the classroom and the museum. $500 per 30-student group.

For visitors with DisabiLitiesGuGGenheiM For aLL: reachinG stuDents on the autisM sPectruMAll grade levels. Customized program that includes visits to the classroom and the museum for students and their families. $600 per group (tuition assistance available). For more information visit guggenheim.org/schools.

MinD’s eye ProGraMsmons, oct 1, nov 5, dec 3, jan 7, 6:30 pmTours and workshops for visitors who are partially sighted or blind are pre-sented through Verbal Imaging and touch. FRee. Registration required at access@guggenheim.org or 212 360 4355. For more information visit guggenheim.org/mindseye.

For eDucatorsoPen house For eDucatorswed, oct 10, 3:30–6:30 pmJoin us for an afternoon of looking, learning, and mingling. Curriculum materials provided. FRee. Registration required at schoolprograms@ guggenheim.org.

workshoP For eDucators sat, oct 20, 10 am–1 pmThroughout Pablo Picasso’s long career, he used black and white to express a range of emotions and responses. Explore Picasso Black and White and engage in conversations and activities that focus on how the artist’s work can be used in the classroom. $20 includes curriculum materials. Registration required at schoolprograms@ guggenheim.org.

The Mystery of Picasso (Le Mystère Picasso), 1956. Directed by Henri-Georges Clouzot, 75 min. Courtesy Milestone Films. Picasso artwork © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

elaine terner cooper education fund conversations with conteMPorary artistsGabrieL orozco with benJaMin buchLoh tues, nov 13, 6:30 pm Gabriel Orozco explores traces of erosion, poetic encounters with mundane materials, and the ever-present tension between nature and culture in his sculptural and photographic installation Asterisms. Benjamin Buchloh, Harvard university, joins the artist to discuss his two-part practice.

r. h. QuaytMan wed, nov 28, 6:30 pm R. H. quaytman’s paintings draw on the abstract, the photographic, and the site-specific to evoke a new grammar for painting. quaytman organizes her paintings on wood panels into “chapters.” The subject matter of each chapter is determined by the historical, archival, architectural, or social aspects of a specific site.

twenty-FiFth annuaL hiLLa rebay Lecturethe Para-architecturaL iMaGination oF Gustav kLutsis tues, oct 30, 6:30 pmIn the 1920s, avant-garde artist Gustav klutsis proposed a series of para-architectural structures for the diffusion of revolutionary speech, moving images, and printed matter in Moscow’s streets and squares. Maria Gough, Harvard university, reconstructs the historical parameters of klutsis’s project and its significance in both his own later work and that of contemporary artists. FRee on day of lecture (no advance ticket registration).The Hilla Rebay Lecture brings disting-uished scholars to the Guggenheim Museum to examine significant issues in the theory, criticism, and history of art. This annual program is made possible through the generosity of The Hilla von Rebay Foundation.

raMin anD rokni haerizaDeh with vaLi MahLouJi tues, jan 15, 6:30 pm Living in self-exile since 2007, the Haerizadeh brothers participate in individual and collaborative practices that comment on the contemporary condition of artists in Iran within the broader Middle East. Introduced by Suzanne Cotter, Curator, Abu Dhabi Project, the artists share their journey from Tehran in the 1980s to Dubai in the late 2000s, in dialogue with London-based writer and curator Vali Mahlouji.

Visit guggenheim.org/cca for more information about Conversations with Contemporary Artists.

LEARN For more information and tickets visit guggenheim.org/publicprograms. all ticketed programs are followed by receptions, including an exhibition viewing, and are $10, $7 members, and free for students with id and RsvP, unless otherwise noted.

variations in bLack anD whitetues, jan 8, 6:30 pm Susan Galassi, the Frick Collection, considers the special qualities of Pablo Picasso’s interpretations of masterpieces of the past, depicted in black-and-white drawings, and investigates this translation between mediums and color palettes.

MonoGraPhic MotiFs: one artist, one theMe, 1900–1970tues, jan 22, 2 pm A series of talks by emerg- ing scholars explores artists’ extended engagement with a single form or theme. Hosted by curators Tracey Bashkoff, Carmen Giménez, Vivien Greene, and karole Vail, with kenneth Silver, New York university, and Anne umland, Museum of Modern Art.

PiCASSo BLACK ANd WHiTE ProGraMsFiLM screeninGsfris, oct 5, 2012–jan 18, 2013, 1 pm (except nov 23) Filmed through glass and transparent canvas, the rare documentaries Visit to Picasso (1949, dir. Paul Haesaerts) and The Mystery of Picasso (1956, dir. Henri-Georges Clouzot) provide an exceptional portrait of the artist in the throes of creation. FRee with museum admission. Visit guggenheim.org/ filmscreenings for complete schedule.

artist to artist: koons anD Picassofri, oct 26, 6:30 pmJeff koons discusses his enduring creative fascina-tion with Pablo Picasso, in lively dialogue with art historian Pepe karmel, New York university.

Picasso: a conversationfri, nov 2, 6:30 pm Curator Carmen Giménez engages Diana Widmaier-Picasso, art historian and granddaughter of Pablo Picasso, and Pierre Daix, scholar and longtime friend of the artist, in con-versation about the Spanish master and his lifelong exploration of a black-and-white palette.

Art of Another Kind: International Abstraction and the Guggenheim, 1949–1969 Members’ Party and Private View, June 8, 2012. Photo: Christine Butler © SRGF

Join toDay FroM $65 to suPPort eXcePtionaL eXhibitions anD ProGraMs anD enJoy these beneFitsSkip the line and receive free admission at all Guggenheim museums, plus half-price guest tickets

invitations to parties and private views

savings at the Guggenheim Store, museum restaurants, and on all programs

Visit the membership desk to apply the cost of your admission ticket to your membership and receive the book The Guggenheim Collection. Join online at guggenheim.org/join or by phone at 212 423 3535.

uPcoMinG MeMber ProGraMsParty anD Private view PiCASSo BLACK ANd WHiTEfri, oct 5, 7:30 pm

MorninG Private viewsun, oct 28, 9 amsun, jan 13, 9 am

art aFter Darkfri, dec 7, 9 pm

BECOME A MEMBER AT THE MuSEuM TODAY AND RECEIVE A FREE GIFT!

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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. 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.

subscribe to e-newsVisit guggenheim.org/enews for monthly public program updates and special offers.

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 in part by the Achilles Memorial Fund; Milton & Sally Avery Arts Foundation, Inc.; Rose M. Badgeley Residuary Charitable Trust; The Barker Welfare Foundation; The BRIM Fund; Con Edison; The Engelberg Foundation; Sidney E. Frank Foundation; Gap Foundation; Horace W. Goldsmith Foundation; Solomon R. Guggenheim Foundation Education Committee; Guggenheim Partners, LLC; The keith Haring Foundation; William Randolph Hearst Foundation; Jane A. Lehman and Alan G. Lehman Foundation; National Endowment for the Arts; New York City Department of Cultural Affairs; New York State Council on the Arts; The Hilla von Rebay Foundation; The Edmond de Rothschild Foundation; Vivian Serota; The Peter Jay Sharp Foundation; Esther Simon Charitable Trust; The Seth Sprague Educational and Charitable Foundation; and the Martha Gaines and Russell Wehrle Memorial Foundation.

PuRELY PICASSO

Shops located on the Ground Floor, Rotunda Level 6, and online at guggenheimstore.org. PuBL

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Available in the museum shops and online at guggenheimstore.org.

Picasso bLack anD whiteEdited by Carmen Giménez. Contributions by Dore Ashton, Olivier Berggruen, Carmen Giménez, and Richard Shiff

This catalogue explores Pablo Picasso’s repeated use of a black, white, and gray palette. Spanning from 1904 to 1971, this chronological survey presents a unique and illuminating perspective on a lesser-known aspect of Picasso’s oeuvre.

Hardcover and softcover, 9.75 x 11 inches228 pages, 155 illustrations$60, $45 softcover (members $54, $40.50)

GabrieL orozco: asterisMsBy Nancy Spector

Presented as a taxonomic study of material, shape, size, and color, this publication highlights Gabriel Orozco’s practice of subjecting the world to personal, idiosyn-cratic systems while invoking several of his recurring motifs, including the effects of ero-sion, poetry of the mundane, the relationship between the macro and micro, and tension between nature and culture.

Hardcover, 8.75 x 11.25 inches120 pages, 502 illustrations$55 (members $49.50)

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CABAS FEmmES AuX CHAPEAuX tote baGWool tapestry and leather tote bag, based on drawings by Pablo Picasso. Designed and produced in France by Jules Pansu.

15 x 15 x 3 inches$250 (members $225)

Items produced with permission from the Pablo Picasso Estate.

custoM Prints anD PostersVisit the Ground Floor store for a wide variety of prints and posters.

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

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 secu-rity guard for assistance. Wheelchair-accessible bathrooms are located in the Sackler Center and on Annex Level 7. An individual assisting 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 tran-scripts of the audio tours and of this brochure are available at the admission and information desks. Gallery Guides, posted throughout the museum, and museum educators, who guide the daily public tours, are trained in Verbal Imaging techniques.

ProGraMsMonthly Mind’s Eye tours and workshops for visitors who are partially sighted or blind are conducted by arts and edu-cation professionals through Verbal Imaging and touch. For more information and to sign up to receive program noti-fications, please visit guggenheim.org/mindseye. Families with children of all abilities are invited to explore exhibi-tion highlights in our galleries through accessibly designed projects in our Just Drop In! program on Sundays; visit guggenheim.org/families for details. School group experi-ences in the museum for students with special needs can be arranged by appointment at guggenheim.org/schools.AC

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