Much of contemporary photography and video seems haunted by the past, by ghostly apparitions that are reanimated in reproductive media, as well as in live performance and the virtual world. By using dated, passé or quasi-extinct stylistic devices, subject matter and technologies, these arts can embody a melancholic longing for an otherwise unrecuperable past. Haunted: Contemporary Photography/Video/Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media―while documenting a widespread contemporary obsession with accessing and retrieving the past. The works included in Haunted range from individual photographs and photographic series, to sculptures and paintings that incorporate photographic elements, to videos, film, performance and site-specific installations. Drawn primarily from the Guggenheim collection and its recent acquisitions, Haunted features major artists such as Marina Abramovi?, Bernd and Hilla Becher, Christian Boltanski, Sophie Calle, Gregory Crewdson, Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Anthony Hernandez, Roni Horn, Pierre Huyghe, Joan Jonas, Zoe Leonard, Sally Mann, Ana Mendieta, Annette Messager, Richard Prince, Robert Rauschenberg, Cindy Sherman, Hiroshi Sugimoto, Sara VanDerBeek, Jeff Wall and Andy Warhol. A significant part of the survey is dedicated to work created since 2001 by younger artists such as Walead Beshty, Spencer Finch, Ori Gersht and Idris Khan.

Haunted: Contemporary Photography, Video, Performance

Arts & Photography

SPECTOR, Nancy

Phelan, Peggy

Saltzman, Lisa

Trotman, Nat

Blessing, Jennifer

History & Criticism

Guggenheim Museum Publications

The artist’s first solo exhibition in a New York museum since 1980, James Turrell considers his long-standing explorations of perception, light, color and space with special attention to the role of site-specificity in his practice. Local audiences find new occasion to experience his work through a major new project created especially for the Guggenheim, Aten Reign (2013), recasting the museum’s rotunda as a volume of shifting natural and artificial light. One of the most dramatic transformations of the museum ever conceived, the installation reimagines Frank Lloyd Wright’s iconic architecture--its openness to nature, its graceful curves, its magnificent sense of space and light--as one of Turrell’s Skyspaces. Experienced for the first time only from below, the rotunda appears not as an open void but as a mass of vibrant color that expands and contracts above the heads of visitors, and at the installation’s core, daylight from the museum’s oculus connects the work to the outside environment. Through these interventions, Turrell rekindles the museum’s identity as a “temple of spirit” (to quote the museum’s first director, Hilla Rebay), encouraging a state of meditative contemplation. This full-color catalogue accompanies the exhibition at the Guggenheim, detailing the production of the rotunda installation and situating it in the context of Turrell’s career. In addition to beautifully reproduced images featuring the artist’s early works, his magnum opus Roden Crater Project (1979– ), and documentation of Aten Reign, this volume includes essays by the show’s curators, Stephen and Nan Swid Curator of Twentieth-Century Art, Carmen Giménez, and Associate Curator Nat Trotman, and Arthur Zajonc, Emeritus Professor of Physics at Amherst College. As an undergraduate, James Turrell (born 1943) studied psychology and mathematics, transitioning to art at MFA level. A practicing Quaker, one of his earliest memories is of his grandmother inviting him to “go inside and greet the light” at Quaker meetings. The recipient of several prestigious awards such as Guggenheim and MacArthur Fellowships, Turrell lives in Arizona.

James Turrell

Giménez, Carmen

Zajonc, Arthur

Paying tribute to an artistic partnership of more than 30 years, this richly illustrated book explores Peter Fischli and David Weiss’s acclaimed and influential body of work, known for its sly humor and profound meditations on the everyday. Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity, and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures, and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists’ long history of collaboration, from the early Sausage Series (1979)―staged vignettes created in miniature using deli meats and various household items―to their last work, the large-scale public installation Rock on Top of Another Rock (2009–present), augmented by documentary images, notes on process, and interview excerpts culled from the artists’ Zurich-based archives. A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss’s vital contribution to contemporary art.

Peter Fischli David Weiss: How to Work Better

Individual Artists

Prestel

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Books by Trotman, Nat