Exhibition catalogue designed and produced by Thames and Hudson Ltd, London, and printed by Dai Nippon in July 1986 for the Trustees of The Solomon R. Guggenheim Foundation on the occasion of the exhibition "Richard Long."

Richard Long

R.H. Fuchs Richard Long

Solomon R. Guggenheim Museum

Mark Rothko, 1903 to 1970: A Retrospective

Arts & Photography

WALDMAN, Diane

History & Criticism

Max Ernst: A retrospective

ERNST, Max

Arshile Gorky, 1904-1948: A retrospective

Over-sized soft cover book titled JOAN MIRO: A Retrospective. Published in 1987 by the Solomon R. Guggenheim Museum/Yale University Press. Beautifully illustrated with color and black and white reproductions. Bookseller since 1995 (LL-Base2-D-2) rareviewbooks

Joan Miro: A Retrospective

MIRÓ, JOAN

Individual Artists

As a master at Germany's Bauhaus until 1933, and then as a professor in American schools such as Black Mountain College and Yale University, Josef Albers (1888-1976) influenced scores of young artists. His Homage to the Square series of paintings remains a touchstone of twentieth-century art. Yet Albers's first great works of art - the glass pictures that he made in Germany starting in 1921 - remain little known. First using found fragments of colored glass, and then employing a sophisticated sandblasting process on glass, Albers created a new art form as spectacular in its mastery of color and light as it was inherently fragile. Josef Albers: Glass, Color, and Light is the first monograph devoted to Albers's work in glass. Accompanying the color reproductions of every extant glass picture is full documentation by Brenda Danilowitz of the Josef Albers Foundation. This volume also illustrates and provides information on Albers's architectural commissions in glass and those works that were lost or destroyed after the artist fled Nazi Germany. Essays by Nicholas Fox Weber, Executive Director of the Josef Albers Foundation, and Fred Licht, Curator of the Peggy Guggenheim Collection, illuminate the many themes suggested by this extraordinary group of works, while a chronology of Albers's life and professional career places the glass works in the context of his entire oeuvre. A statement by the artist, an exhibition history, and a select bibliography make this the first comprehensive source on the subject.

Josef Albers: Glass, Color, and Light (Guggenheim Museum)

Weber, Nicholas Fox

LICHT, Fred

During the years 1915-32, Moscow and Petrograd (from 1924, Leningrad) witnessed revolutions in art and politics that changed the course of Modernist art and modern history. Though the great revolution in art - the radical formal innovations constituted by Vladimir Tatlins "material assemblages" and Kazimir Malevich's Suprematism - in fact preceed the political revolution by several years, the full weight of the new expressive possibilities was felt only after, and to a large extent because of the social upheavals of February and October 1917. As avant-garde artists, armed with new insights into form and materials, sought to realize the utopian aims of the Bolshevik Revolution, art and life seemed to merge. In this volume, which accompanies the largest exhibition ever mounted at the Guggenheim Museum, twenty-one essays by eminent scholars from Germany, Great Britain, Russia, and the United States explore the activity of the Russian and Soviet avant-garde in all its diversity and complexity. These essays trace the work of Malevich's Unovis (Affirmers of the New Art) collective in Vitebsk, which introduced Suprematism's all-encompassing geometries into the design of textiles, ceramics, and indeed whole environments; the postrevolutionary reform of art education and the creation of Moscow's Vkhutemas (Higher Artistic-Technical Workshops), where the formal and analytical princples of the avant-garde were the basis of instruction; the debates over a "proletarian art" and the transition to Constructivism, "production art," and the "artist-constructor"; the organization of new artist-administered "museums of artistic culture"; the "third path" in non-objective art taken by Mikhail Larionov; the return to figuration in the mid-1920s by the young artists - and former students of the avant-garde - in Ost (the Society of Easel Painters); the debates among photographers, in the late 1920s and early 1930s, on the superiority of the fragmented or continuous image as a representation of the new socialist reality; book, porcelain, fabric, and stage design; and the evolution of a new architecture, from the experimental projects of Zhivskul'ptarkh (the Synthesis of Painting, Sculpture, and Architecture Commission) to the multistage competition, in 1931-32, for the Palace of Soviets, which "proved" the inapplicability of a Modernist architecture to the Bolshevik Party's aspirations. More than seven hundred of the finest examples of Russian and Soviet avant-garde art are reproduced here in full color. Drawn from public and private collections worldwide - notably, from Baku, Kiev, Moscow, Riga, Samara, St. Petersburg, and Tashkent in the former Soviet Union - these works are by such masters as Natan Al'tman, Il'ia Chashnik, Aleksandra Ekster, Gustav Klutsis, El Lissitzky, Liubov' Popova, Ol'ga Rozanova, Georgii and Vladimir Stenberg, and the Vesnin brothers.

The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932

Schirn Kunsthalle Frankfurt

State Tret'iakov Gallery

State Russian Museum

Robert Morris: The Mind/Body Problem

KRAUSS, ROSALIND

Berger, Maurice

Krens, Thomas

Anti, David

Picasso and the Age of Iron

Ashton, Dore

Serraller, Francisco Calvo

Giménez, Carmen

Mark Rothko (1903-1970) was among the greatest painters of his generation. His closest friends and colleagues were New Yorkers, and New York was the city in which he lived and worked. It is fitting, then, that the city's five largest art museums - the Brooklyn Museum, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art - should together hold one of the richest and most varied collections of this extraordinary painter's work. This volume illustrates every work by Rothko in these great museums in glowing full-color reproductions and, in the process, surveys his entire career. Although Rothko is most famous for his luminous Color-field canvases, he also created early figurative oils and delicate surrealist fantasies in watercolor and oil.

Mark Rothko in New York

ROTHKO, Mark

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