DOCSLIB.ORG

The Solomon R. Guggenheim Foundation Appoints Karole P.B. Vail to Lead the Peggy Guggenheim Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Solomon R. Guggenheim Foundation Appoints Karole P.B. Vail to Lead the Peggy Guggenheim Collection The Solomon R. Guggenheim Foundation Appoints Karole P.B. Vail to Lead the Peggy Guggenheim Collection (NEW YORK AND VENICE – June 8, 2017) –– Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, today announced the appointment of Guggenheim curator Karole P.B. Vail as Director of the Peggy Guggenheim Collection in Venice and Foundation Director for Italy. A member of the Guggenheim’s curatorial staff since 1997 and a granddaughter of Peggy Guggenheim, Ms. Vail becomes only the second director in the history of the Peggy Guggenheim Collection, succeeding Philip Rylands, who led the museum for 37 years and will become Director Emeritus. Ms. Vail will assume her duties in Venice this month, reporting to Richard Armstrong. Ms. Vail’s most recent exhibition for the Solomon R. Guggenheim Museum in New York was the highly regarded retrospective Moholy-Nagy: Future Present (2016), which she organized in collaboration with the Art Institute of Chicago and the Los Angeles County Museum of Art. She is currently co- organizing the retrospective Alberto Giacometti, to be presented at the Guggenheim in New York in 2018. Richard Armstrong said, “Having worked closely with Karole Vail for almost a decade, I have the deepest respect for her scholarship, curatorial insight, unfailingly sound judgment, and collegial management style. I have the utmost confidence in her ability to lead the Peggy Guggenheim Collection into the future, and know that her personal ties to the institution and roots in Italy and Europe will add an unmatched depth and nuance to her work.” William L. Mack, Chairman of the Guggenheim Board of Trustees, said, “Karole Vail assumes leadership at an auspicious moment, when the Peggy Guggenheim Collection is enjoying record attendance and a strong exhibition program, and recently completed a successful capital campaign to support key renovation projects at the Palazzo. Karole’s appointment begins a special and exciting new chapter in the museum’s history.” Karole Vail said, “I have known and loved Peggy’s collection, and the palazzo and garden that are its home, since I was a child. Now it is my privilege and honor to lead this exceptional institution, carrying forward Peggy’s vision and ensuring that it remains a vital part of today’s culture, as she would have wanted it to be. I embark on this role with a sense of great responsibility, an eye to the future and a deep appreciation for Peggy’s extraordinary accomplishments.” About Karole P.B. Vail Karole P.B. Vail, a curator at the Solomon R. Guggenheim Museum in New York and a member of its curatorial staff since 1997, will assume her duties as Director of the Peggy Guggenheim Collection and Foundation Director for Italy in Venice in June 2017. Among the exhibitions at the Guggenheim Museum for which she has served as curator or co-curator, in addition to Moholy-Nagy: Future Present and Alberto Giacometti, are Peggy Guggenheim: A Centennial Celebration (1998); Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim (2005-06); and From Berlin to New York: Karl Nierendorf and the Guggenheim (2008). Ms. Vail has also been a collaborator and coordinator for Surrealism: Two Private Eyes, The Nesuhi Ertegun and Daniel Filipacchi Collections (1999); Armani (2000); Boccioni’s Materia: A Futurist Masterpiece and the Avant-Garde in Milan and Paris (2004); Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints (2004); Lucio Fontana: Venice/New York (2006); Solomon’s Gift: The Foundation Collection of the Guggenheim, 1937-1949 (2007); Richard Pousette-Dart (2008); Kandinsky (2009), in conjunction with which she also organized the photography exhibition Kandinsky and Gabriele Münter in the Guggenheim’s Sackler Center for Education; Picasso Black and White (2013); and Monir Shahroudy Farmanfarmaian: Infinite Possibility, Mirror Works and Drawings 1974-2014 (2014-15). Among the many publications that Ms. Vail has written, co-written or edited are The Museum of Non- Objective Painting: Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum, conceived of by Ms. Vail and published in 2009 on the occasion of the fiftieth anniversary of the Guggenheim Museum; Moholy-Nagy: Future Present, which received an Honorable Mention in the 2017 Awards for Excellence of the Association of Art Museum Curators; Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim; and Peggy Guggenheim: A Celebration. Ms. Vail has also contributed texts and entries to catalogues such as Kandinsky, Armani and Surrealism: Two Private Eyes, The Nesuhi Ertegun and Daniel Filipacchi Collections. She is a co-founder and co-director of Non-Objectif Sud, a not-for-profit artist residency and exhibition program in the south of France. Prior to joining the Guggenheim, Ms. Vail served as an archivist and researcher at Centro Di in Florence, Italy, a documentation center and publishing house specializing in art history, architecture and decorative arts, and as an assistant curator on independent projects. Educated in the U.K., she received her Bachelor of Arts degree from Durham University and a Diploma in Art History from the New Academy for Art Studies in London. About the Solomon R. Guggenheim Foundation Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. About the Peggy Guggenheim Collection Located on Venice’s Grand Canal between Santa Maria della Salute and the Gallerie dell’Accademia, the Peggy Guggenheim Collection is one of Europe’s premier museums devoted to modern art and is the second-most-visited museum in Venice. At the core of the museum’s holdings is Peggy Guggenheim’s personal collection of 20th century art, comprising masterpieces ranging in style from Cubism and Surrealism to Abstract Expressionism. The Peggy Guggenheim Collection also exhibits other works owned by the Solomon R. Guggenheim Foundation, presents temporary exhibitions and manages and operates the U.S. Pavilion of the Venice Biennale. Visit the Guggenheim online at: guggenheim.org guggenheim.org/social For publicity images, visit guggenheim.org/pressimages Password: presspass #1488 June 8, 2017 FOR ADDITIONAL INFORMATION Sarah Eaton Director, Media and Public Relations Solomon R. Guggenheim Museum 212 423 3840 [email protected] .
Load more

Recommended publications
  • Copyright by Priyanka Sen 2012
    Copyright by Priyanka Sen 2012 The Thesis Committee for Priyanka Sen Certifies that this is the approved version of the following thesis: The Architectural History of the Peggy Guggenheim Collection of Modern Art APPROVED BY SUPERVISING COMMITTEE: Supervisor: Richard Cleary Christopher Long The Architectural History of the Peggy Guggenheim Collection of Modern Art by Priyanka Sen, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2012 Acknowledgements I am grateful for the patience, support, kindness and wisdom of a number of people. First, I am very appreciative of Dr. Richard Cleary’s guidance throughout this project. His helpful observations and careful readings of many drafts helped to gear this project in a new and exciting direction. I am also thankful to my second reader, Dr. Christopher Long, who provided additional support during the research and writing process. Francine Snyder at the Solomon R. Guggenheim Archives and her staff offered me wonderful assistance in my short trip to the New York. I am most indebted to my family: Dad, Mom, Pritha and Tim – no one could ask for a better, loving support system. I would also like to thank Elizabeth Schaub and the entire Visual Resources Collection family for always lending an ear to new ideas and providing me with their support and friendship. I am especially lucky to be surrounded by wonderful, amazing colleagues. Most of all, Samuel Dodd, who will never be like the rest.
    [Show full text]
  • Kettle's Yard
    KETTLE’S YARD: ANTI-MUSEUM H.S. Ede, modernism and the experience of art Elizabeth Anne Fisher Clare College October 2018 This dissertation is submitted for the degree of Doctor of Philosophy DECLARATION This dissertation is submitted for the degree of Doctor of Philosophy. It is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University of similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit of 80,000 words. 2 ABSTRACT This thesis attempts to tackle the question of what is, or more precisely, what was Kettle’s Yard, by exploring the intellectual origins of the institution initially conceived and developed by H.S. Ede. Ede bought Kettle’s Yard in 1956, and began to welcome visitors into his home in 1957. As a private initiative, Kettle’s Yard promoted an unusually intimate encounter with art. Following its transferral to the University of Cambridge in 1968, Kettle’s Yard still offered a qualitatively different experience to that of a conventional museum.
    [Show full text]
  • Marianne Werefkin and the Women Artists in Her Circle
    Marianne Werefkin and the Women Artists in Her Circle <UN> Avant-Garde Critical Studies Founding Editors Ferd Drijkoningen† Klaus Beekman Editor Geert Buelens Associate Editors Hubert van den Berg Günter Berghaus Sascha Bru International Advisory Board Henri Béhar – Sophie Berrebi – Peter Bürger – Ralf Grüttemeier – Hilde Heynen – Leigh Landy – Ben Rebel – Jan de Vries – Willem G. Weststeijn VOLUME 33 The titles published in this series are listed at brill.com/agcs <UN> Marianne Werefkin and the Women Artists in Her Circle Edited by Tanja Malycheva Isabel Wünsche LEIDEN | BOSTON <UN> This is an open access title distributed under the terms of the cc-by-nc License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. This publication is an outcome of the international conference “Crossing Borders: Marianne Werefkin and the Cosmopolitan Women Artists in her Circle,” held at the Museen Böttcherstraße, Bremen in September 2014. It was generously funded by the Volkswagen Foundation, the Nicolaus Heinrich Schilling Foundation, the Petra und Dieter Frese Foundation, and the Karin und Uwe Hollweg Foundation and supported by Jacobs University, Bremen. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov lc record available at http://lccn.loc.gov/2016042164 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1387-3008 isbn 978-90-04-32897-6 (hardback) isbn 978-90-04-33314-7 (e-book) Copyright 2017 by the Editors and Authors. This work is published by Koninklijke Brill nv.
    [Show full text]
  • La Fondazione Solomon R. Guggenheim Nomina Karole P.B. Vail Alla Guida Della Collezione Peggy Guggenheim
    La Fondazione Solomon R. Guggenheim nomina Karole P.B. Vail alla guida della Collezione Peggy Guggenheim (NEW YORK E VENEZIA – 8 giugno 2017) –– Richard Armstrong, Direttore del Museo e della Fondazione Solomon R. Guggenheim, ha annunciato oggi la nomina della curatrice del Guggenheim Karole P.B. Vail a Direttrice della Collezione Peggy Guggenheim di Venezia e Direttrice della sezione italiana della Fondazione. Membro dello staff curatoriale del Guggenheim dal 1997 e nipote di Peggy Guggenheim, Karole Vail sarà solo il secondo direttore nella storia della Collezione Peggy Guggenheim dopo Philip Rylands, che ha guidato il museo per 37 anni e che diventerà Direttore emerito. Vail entrerà in carica a Venezia questo mese e risponderà direttamente a Richard Armstrong. La mostra più recente curata da Karole Vail per il Museo Solomon R. Guggenheim di New York, organizzata in collaborazione con l’Art Institute di Chicago e il Los Angeles County Museum of Art, è stata la retrospettiva Moholy-Nagy: Future Present (2016) che ha ottenuto grandi consensi di critica e pubblico. Attualmente sta collaborando all’organizzazione della retrospettiva Alberto Giacometti, che sarà presentata al museo Guggenheim di New York nel 2018. Richard Armstrong ha dichiarato: “Avendo lavorato a stretto contatto con Karole Vail per quasi un decennio ho il più profondo rispetto per la sua preparazione accademica, intuito curatoriale, giudizio infallibile e per il suo stile di gestione collegiale. Ho la massima fiducia nella sua capacità di guidare la Collezione Peggy Guggenheim negli anni a venire, e so che i suoi legami personali con il museo e le radici italiane ed europee conferiranno al suo operato una profondità e un tocco senza precedenti.” William L.
    [Show full text]
  • Hilla Rebay En Non-Objectiviteit
    Hilla Rebay en Non-Objectiviteit Catharina Van Mossevelde (stamnummer: 19953040) Scriptie ingediend tot het behalen van de graad van Licentiaat in de Kunstwetenschappen Promotor: Prof. Dr. Claire Van Damme Faculteit Letteren & Wijsbegeerte - Universiteit Gent Academiejaar 2006-2007 Woord Vooraf Eerst en vooral wil ik mijn promotor, Prof. Dr. Claire Van Damme, bedanken voor het in mij gestelde vertrouwen gedurende het voorbije academiejaar en voor de inspirerende en verhelderende discussies met betrekking tot de ruimere context van deze scriptie, de toekomst, het leven. Daarnaast ben ik dank verschuldigd aan een aantal personeelsleden van het Solomon R. Guggenheim Museum in New York, die mij bij de praktische kant van mijn research geassisteerd hebben, ter plaatse en/of op afstand: Kim Bush, Manager of Photography and Permissions, voor het vrije gebruik van de ontelbare j-pegs van de in bijlage opgenomen werken; en Francine Snyder, Manager of the Library and Archives, voor haar grenzeloze geduld en vindingrijkheid in het lokaliseren van een eindeloze stroom brieven van en naar Hilla Rebay en haar onvermoeibaarheid in het aanslepen van ontelbare archiefdozen. Verder wil ik hier ook Gary Snyder, Director Gary Snyder Fine Art (NY), en Steven P. Lowy, Director Portico New York Inc. (NY), extra bedanken voor het kosteloos ter beschikking stellen van j-pegs van Rebay s werken in hun respectievelijke collecties. Een woordje van dank ook aan Sigrid Faltin voor de geanimeerde gesprekken over our Hilla en haar recentere en toekomstige filmprojecten, waardoor ik soms op onverwachte denkpistes terecht gekomen ben. Ik ben eeuwige dankbaarheid verschuldigd aan mijn mentor Karole Vail, Assistant Curator in het Solomon R.
    [Show full text]