free guggenheim appDownload the guggenheim app for a rich multimedia experience of the museum. use the museum’s free Wi-fi to download the app at guggenheim.org/app or borrow a device with admission. The guggenheim app includes:

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14 free with museum admissionGuGGenheim app multimedia guides in english and select guides in french, german, italian, and Spanish. accessibility features. Sponsored by Bloomberg

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Our global partners provide major long-term support for the Solomon r. guggenheim foundation’s museums and programs around the world:

cover Carlo Carrà, Interventionist Demonstration (Manifestazione Interventista), 1914. Tempera, pen, mica powder, and paper glued on cardboard, 38.5 × 30 cm. gianni mattioli Collection, on long-term loan to the peggy guggenheim Collection, Venice © 2014 artists rights Society (arS), new York/Siae, rome

Multimedia LabNew Media Theater

© 2014 The Solomon R. Guggenheim Foundation, New York. Printed in the U.S.A.

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Annex Level 3A YEAR WITH CHILDREN 2014through june 18

Annex Levels 5 and 7, High Gallery, Rotunda Floor, Rotunda Levels 1–6ITALIAN FUTURISM, 1909–1944: RECONSTRUCTING THE UNIVERSEthrough sept 1 (annex levels 5 and 7: through aug 20)

Annex Levels 2 and 4, New Media TheaterGUGGENHEIM UBS MAP GLOBAL ART INITIATIVEUNDER THE SAME SUN: ART FROM LATIN AMERICA TODAYjune 13–oct 1

Annex Level 3KANDINSKY BEFORE ABSTRACTION, 1901–1911opens june 27

Sackler Center for Arts EducationA LONG-AWAITED TRIBUTE: FRANK LLOYD WRIGHT’S USONIAN HOUSE AND PAVILIONongoing

Annex Level 2THANNHAUSER COLLECTIONongoing

thROugh SePt 1

Italian Futurism was not merely an artistic movement, but a way of life. to be a Futurist in early 20th-century Italy was to be mod-ern, young, insurgent. Inspired by the mark-ers of modernity—the industrial city, the machine, speed—adherents celebrated dis-ruption and exalted war, seeking to revital-ize what they perceived as a static, decaying culture and an impotent nation that looked to the past for its identity. Futurism originat-ed in literature, but quickly permeated the visual and performing arts, advertising, and politics. Masterminded by writer, publisher, and impresario Filippo tommaso Marinetti, who launched Futurism in 1909 with a founding manifesto, the group evolved until Marinetti’s death in 1944. throughout this period, the Futurists’ engagement with dynamism, simultaneity, and technology endured. Marinetti’s continuous leadership ensured the vanguard’s cohesion for more than three decades. By the 1930s, Futurism had spread to every corner of Italy and ex-ercised considerable influence abroad, in places as distant as Japan and Brazil.

A comprehensive overview of Italian Futurism—one of the 20th century’s most vital avant-gardes—has yet to be pre-sented in the united States. Investigations of the style’s first phase, called “heroic” Futurism, have predominated, but com-paratively few exhibitions have been real-ized on the subsequent life of this idiom. More broadly, Italian art from the 1920s and ’30s has been largely overlooked. the taint of the Futurists’ oscillating association

with Fascism is another cause for this nar-row vision, further problematized by the group’s complicated, paradoxical princi-ples. their antifeminine stance was belied by the presence of women participants. Similarly, they embraced popular culture and rejected academic mores, but retained the academy’s artistic hierarchy privileging painting. these complexities, however, underscore the need to clarify Futurism’s sweeping history.

this exhibition is made possible by

Support is provided in part by the National endowment for the Arts and the David Berg Foundation, with additional funding from the Juliet Lea hillman Simonds Foundation, the Robert Lehman Foundation, and the New York State Council on the Arts.

the Leadership Committee for Italian Futurism, 1909–1944: Reconstructing the Universe is also gratefully acknowledged for its generosity, including the hansjörg Wyss Charitable endowment; Stefano and Carole Acunto; giancarla and Luciano Berti; ginevra Caltagirone; Massimo and Sonia Cirulli Archive; Daniela Memmo d’Amelio; Achim Moeller, Moeller Fine Art; Pellegrini Legacy trust; and Alberto and gioietta Vitale.

this exhibition is supported by an indemnity from the Federal Council on the Arts and the humanities.

tato (guglielmo Sansoni), Flying over the Coliseum in a Spiral (Spiraling) (Sorvolando in spirale il Colosseo [Spiralata] ), 1930. Oil on canvas, 80 × 80 cm. Ventura Collection, Rome. Photo: Corrado De grazia

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tourscurator’s eye june 27, 2 pm Susan thompson*july 18, 2 pm Vivien greeneaug 22, 2 pm Susan thompson*

* Tours interpreted in ASL. See calendar for additional programs.

Italian Futurism unfolds chronologically, integrating multiple mediums through-out the exhibition. Futurism’s history is traced from its 1909 founding to the cata-lytic encounter that the first generation of members had with French Cubism in Paris in 1911, through their exploration of near-abstract compositions that lasted until the outbreak of World War I. the avant-garde’s main figures, including giacomo Balla, umberto Boccioni, Carlo Carrà, and gino Severini, created works character-ized by dynamic movement and fractured forms, aspiring to break with existing no-tions of space and time to situate the view-er at the center of the artwork. the printed word was pivotal for Futurism. Manifestos addressing every imaginable topic; words-in-freedom po-ems intended to be read, performed, and

experienced as art; avant-garde novels; and journals distinguished by experimental typography articulated and disseminated the group’s ideas. Among the Futurists’ pioneering contributions to modernism were their serate (performative evenings). these occurrences merged high and low culture in unprecedented ways, broke down the barrier between spectator and performer, and entailed multiple, simulta-neous events ranging from declamations to Luigi Russolo’s noise-composition per-formances that used his invented instru-ments called intonarumori (noisemakers). Following World War I, the vanguard gained new members and assumed differ-ent formal qualities, including those of arte meccanica (machine aesthetics). Artists such as Balla and Fortunato Depero ex-plored the opera d’arte totale (“total work of art” ) in private and public spaces, design-ing all-encompassing interior ensembles and establishing case d’arte (art houses) to market their designs. By the 1920s, painter, writer, publisher, architect, theater designer, and director enrico Prampolini had gained visibility. Benedetta, who later married Marinetti, emerged as another major creative force of “Second Futurism” through her writing and painting. the swirling, sometimes abstracted, aerial imagery of Futurism’s final incarna-tion, aeropittura (aerial painting), arrived in the 1930s. the Futurist cult of the machine had shifted focus from the automobile to the airplane, propelled by Italy’s military

preeminence in aviation and the daring flights beloved by the populace, particu-larly Italo Balbo’s transatlantic crossings. evidenced by the work of gerardo Dottori, tullio Crali, and tato, aeropittura represent-ed a novel painting approach that united the Futurists’ omnipresent interests in national-ism, speed, technology, and war, providing new and dizzying perspectives that celebrat-ed all of these concepts. their fascination with the aerial expanded to other mediums, among these aeroceramica (aerial ceramics), aerodanza (aerial dance), and aerodinamismi (experimental aerial photography). the exhibition concludes with the monumental canvases that compose the Syntheses of Communications (1934–35) by Benedetta, which will be on view through August 20. executed for the Palazzo delle Poste in Palermo, Sicily, the canvases are being shown for the first time

outside of their intended building. the paintings extol multiple modes of commu-nication, many enabled by technological innovations, and coincide with the themes of modernity and the total work of art that underpinned the Futurist ethos.

— Vivien greene, Senior Curator, 19th- and Early 20th-Century Art

Visit Italian Futurism online at guggenheim.org/futurism.

giacomo Balla, Screen with Speedlines (Paravento con linee di velocità), ca. 1915. Oil on canvas, recto and verso, 151 × 126 cm. Moeller Fine Art, New York – Berlin © 2014 Artists Rights Society (ARS), New York/SIAe, Rome. Photo: Courtesy Moeller Fine Art, New York – Berlin

Benedetta (Benedetta Cappa Marinetti), Speeding Motorboat (Velocità di motoscafo), 1923–24. Oil on canvas, 70 × 100 cm. galleria d’Arte Moderna di Roma Capitale © Benedetta Cappa Marinetti, used by permission of Vittoria Marinetti and Luce Marinetti’s heirs. Photo: Archivio Fotografico galleria d’Arte Moderna di Roma Capitale © Roma Capitale

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Under the Same Sun: Art from Latin America Today is the second exhibition in a multiyear initiative, conceived by the guggenheim in collaboration with uBS, which charts contemporary art and cre-ative activity across three global regions. Featuring recent acquisitions in drawing, installation, mixed media, painting, sculp-ture, and video, the exhibition presents a wide range of approaches and aesthetics. Demonstrating that Latin America can-not be reduced to a single, homogeneous entity, Under the Same Sun surveys the diversity of recent creative responses to shared realities molded by colonial and modern history, repressive govern-ment policies, economic crisis, and social

A Cultural engagement

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curator’s eye june 20, 2 pm Pablo León de la Barra*

* Both tours interpreted in ASL.See calendar for additional programs.

inequality, as well as by periods of eco-nomic development and progress. Despite financial growth and increased stability in most of the continent over the past de-cade, Latin America remains divided by class and ethnic difference, and marked by political and economic upheaval. Under the Same Sun presents recent art that ad-dresses the past and present of this subtle and complex situation, exploring possible alternative futures. the works in the exhibition that are assem-bled in the galleries on Annex Levels 2 and 4 investigate different artistic themes in Latin American art today, and address the follow-ing themes: Abstraction, Conceptualism, emancipation/Participation, Modernities, Political Activism, and the tropical. Videos by artists and collaborative duos that also explore these topics are being screened in

the New Media theater on the Lower Level throughout the course of the exhibition.

— Pablo León de la Barra, Guggenheim UBS MAP Curator, Latin America

enhance your experience: read articles, view images, watch videos, engage in lively discussions, and learn more about the artists at guggenheim.org/map.

Wilfredo Prieto, Walk, 2000 (detail). Plant, soil, chromogenic print, and wheelbarrow, overall dimensions variable, edition 1/1 + 1 A.P. Solomon R. guggenheim Museum, New York, guggenheim uBS MAP Purchase Fund 2014.47. Photo: Courtesy the artist and Nogueras Blanchard, Barcelona/Madrid

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the history of the guggenheim is inter-twined with the work of Vasily Kandinsky (1866–1944) more than that of any other artist of the 20th century. Artist, art advi-sor, and the museum’s first director hilla Rebay encouraged founder Solomon R. guggenheim to begin collecting Kandinsky’s work in 1929 and to meet the artist for the first time at the Dessau Bauhaus in July 1930. this introduction initiated an ongo-ing acquisition period of Kandinsky’s art, with more than 150 works ultimately enter-ing the museum’s collection. three decades prior to that fateful Dessau meeting, Kandinsky launched his artistic career. In 1896 he left his native Moscow for Munich, the major european center for academic training next to Paris. he quickly realized his talent for working with three classic printmaking techniques—etching, woodcut, and lithog-raphy—and began to evolve as an artist and theoretician. Recollections of Russia, such as the brightly decorated furniture and votive pictures that he had observed in the homes of peasants, combined with romantic historicism, lyric poetry, folklore, and pure fantasy, informed his early work. Kandinsky began traveling extensively in 1904 with his partner, the german artist gabriele Münter, before settling in Munich

again in 1908 and translating the poetic manner of his printmaking to landscape painting. Such graphic elements as clearly delineated forms, flattened perspective, and the black-and-white “noncolors” of his woodcuts pervade the jewel-colored Bavarian landscapes of 1908–09. these paintings differ remarkably from his earlier exercises in Neo-Impressionist painting. By 1913, he had already reduced his rec-ognizable and recurrent motifs—including the horse and rider, rolling hills, towers, and trees—to broad areas of bright, ra-diant color that were subsidiary to the

expressive qualities of line and color. these calligraphic contours and rhythmic forms reveal scarce traces of their repre-sentational origins. Kandinsky was finally able to evoke what he called the “hidden power of the palette” and move away from his pictorial beginnings, thus embarking on the road to abstraction.

— Megan Fontanella, Associate Curator, Collections and Provenance

Learn more about Kandinsky Before Abstraction, 1901–1911 at guggenheim.org/kandinskygallery.

Church (Kirche), 1907. Woodcut, 18.2 x 15.6 cm. the hilla von Rebay Foundation, On extended loan to the Solomon R. guggenheim Museum, New York 1970.141 © 2014 Artists Rights Society (ARS), New York/ADAgP, Paris

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a Long-awaited tribute: Frank LLoyd wright’s usonian house and PaviLion ongoingOn October 22, 1953, Sixty Years of Living Architecture opened on the site where the guggenheim would eventually be built. two Frank Lloyd Wright–designed buildings were constructed specifically to house the exhibition: a temporary pavil-ion made of glass, fiberboard, and pipe columns, and a 1,700-square-foot, fully furnished, two-bedroom model usonian house representing the architect’s organic solution for modest, middle-class dwell-ings. Despite his fifty years of international architectural recognition and practice by 1953, Wright had yet to erect a building in Manhattan. this presentation, a selec-tion of materials culled from the museum archives, pays homage to these two struc-tures, his first to be erected in New York.

Learn more about A Long-Awaited Tribute online at guggenheim.org/usonian.

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

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Zero: countdown to toMorrow, 1950s–60soct 10, 2014–jan 7, 2015 this exhibition is the first major survey in the u.S. dedicated to the german artist group Zero that was founded by heinz Mack and Otto Piene in 1957 and joined by günther uecker in 1961, and the international ZeRO network of like-minded artists who sought to redefine art in the aftermath of World War II.

v. s. gaitonde: Painting as Process, Painting as LiFeoct 24, 2014–feb 11, 2015

wang Jianwei: tiMe teMPLethis exhibition is made possible by the Robert h. N. ho Family Foundation.oct 31, 2014–feb 16, 2015

View more exhibitions at guggenheim.org/upcoming.

heinz Mack, untitled illustration for ZERO 3 (July 1961) © 2014 Artists Rights Society (ARS), New York/Vg Bild-Kunst, Bonn

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seLections FroM the guggenheiM MuseuM biLbao coLLection ivthrough aug 31, 2014

yoko ono: haLF-a-wind show; a retrosPectivethrough sept 4, 2014

Learning through art 2014june 6–aug 31, 2014

georges braQuejune 13–sept 21, 2014

the art oF our tiMe: MasterPieces FroM the guggenheiM coLLectionssept 23, 2014–may 3, 2015

PeggY guggeNheIM COLLeCtIONguggenheim-venice.it

For your eyes onLy: a Private coLLection, FroM MannerisM to surreaLisMthrough aug 31, 2014

aZiMut/h: continuity and the newsept 20, 2014–jan 19, 2015

guggeNheIM uBS MAP gLOBAL ARt INItIAtIVeguggenheim.org/map

no country: conteMPorary art For south and southeast asiaa cultural engagement of ubs

through july 20, 2014 centre for contemporary art, a national research centre of the nanyang technological university, gillman barracks, singapore

15 tuesday, 12 pm Performance Futurismusic Daniele Lombardi15 tuesday, 6:15 pm For Members Private View 15 tuesday, 8 pm For Members Anti-Pasta Dinner16 wednesday, 6:30 pm Performance Futurismusic Daniele Lombardi18 friday, 1 pm Italian Futurism Film Series18 friday, 2 pm Curator’s eye tour18 friday, 2 pm Conservator’s eye tour 20 sunday, 10:30 am For Families Summer Sunday tour

23 monday, 11 am and 3 pm exhibition Videos24 tuesday, 11 am and 3 pm exhibition Videos24 tuesday, 6:30 pm gallery Program Italian Futurist Design Silvia Barisione25 wednesday, 1:30 pm gallery Program Siesta talk Iván Navarro27 friday, 2 pm Curator’s eye tour28 saturday, 11 am and 3 pm exhibition Videos29 sunday, 11 am and 3 pm exhibition Videos30 monday, 11 am and 3 pm exhibition Videos

sundays, 1–4 pm For Families Just Drop In! and Open Studiosaturday–tuesday, 11 am and 3 pm exhibition Videos6 sunday, 10:30 am For Families Summer Sunday tour 7 monday, 6:30 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program9 wednesday, 1:30 pm gallery Program Siesta talk erika Verzutti9 wednesday, 2 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program11 friday, 1 pm Italian Futurism Film Series13 sunday, 10:30 am For Families Summer Sunday tour

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21 monday, 9:30 am For Kids First Session: Summerscapes Art Camp 21 monday, 10 am Course First Session: ’tis of thee with Karen Finley22 tuesday, 3 pm For Families Stroller tour22 tuesday, 6:30 pm For Adults A Conversation: tania Bruguera and Karen Finley25 friday, 1 pm Italian Futurism Film Series27 sunday, 10:30 am For Families Summer Sunday tour28 monday, 9:30 am For Kids First Session: Summerscapes Art Camp

Exhibition Programming itaLian FuturisM, 1909–1944: reconstructing the universe

under the saMe sun: art FroM Latin aMerica today

Public tours are daily at 2 pm. Assistive listening devices are available. For complete tour listings and event information, visit guggenheim.org/calendar.

sundays, 1–4 pm For Families Just Drop In! and Open Studio fridays, 1 pm Italian Futurism Film Series2 monday, 6:30 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program4 wednesday, 3 pm gallery Program When experience Becomes Form7 saturday, 12 pm Performance Parole in Libertà Futuriste Luciano Chessa8 sunday, 10:30 am For Families Summer Sunday tour8 sunday, 12 pm Performance Parole in Libertà Futuriste Luciano Chessa

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e9 monday, 6:30 pm Performance Parole in Libertà Futuriste Luciano Chessa10 tuesday, 3 pm For Families Stroller tour11 wednesday, 2 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program14 saturday, 11 am and 3 pm exhibition Videos15 sunday, 11 am and 3 pm exhibition Videos15 sunday, 1:30 and 2:30 pm For Families Pictures Come to Life Performance16 monday, 9:30 am For Kids First Session: Summerscapes Art Camp

16 monday, 11 am and 3 pm exhibition Videos17 tuesday, 11 am and 3 pm exhibition Videos18 wednesday, 6:30 pm Performance On the Future of Art Pablo helguera20 friday, 2 pm Curator’s eye tour20 friday, 9 pm Art After Dark21 saturday, 11 am and 3 pm exhibition Videos22 sunday, 11 am and 3 pm exhibition Videos23 monday, 9:30 am For Kids First Session: Summerscapes Art Camp

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sundays, 1–4 pm For Families Just Drop In! and Open Studiosaturday–tuesday, 11 am and 3 pm exhibition Videos1 friday, 1 pm Italian Futurism Film Series3 sunday, 10:30 am For Families Summer Sunday tour4 monday, 9:30 am For Kids First Session: Summerscapes Art Camp4 monday, 1 pm For teens First Session: Framing the Phrase 4 monday, 6:30 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program

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8 friday, 1 pm Cinema tropical Film Series10 sunday, 10:30 am For Families Summer Sunday tour13 wednesday, 1:30 pm gallery Program Siesta talk Rebecca Mir13 wednesday, 2 pm For Visitors Who Are Blind or have Low Vision Mind’s eye Program15 friday, 1 pm Cinema tropical Film Series22 friday, 1 pm Cinema tropical Film Series22 friday, 2 pm Curator’s eye tour 24 sunday, 9 am For Members Private View

26 tuesday, 3 pm For Families Stroller tour29 friday, 1 pm Cinema tropical Film Series

sundays, 1–4 pm For Families Just Drop In! and Open Studiosaturday–tuesday, 11 am and 3 pm exhibition Videosfridays, 1 pm Cinema tropical Film Series7 sunday, 10:30 am For Families the Sound of Art9 tuesday, 3:30–6:30 pm For educators Open house14 sunday, 10:30 am For Families Summer Sunday tour19 friday, 11 am Symposium La universidad Desconocida (the unknown university) 20 saturday, 2 pm For teens Finding Your Place tour and Workshop

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reserve ticketsonlineguggenheim.org/calendarby phonemon–fri 212 423 3587on-siteVisit the Admissions Desk 30 minutes before a public program begins (subject to availability). the museum reserves the right to cancel events and all events are sub-ject to change. In the case of a canceled event, a ticket to an alternative event or a full refund will be issued.student ticketsFor select public programs, a limited number of FREE student tickets are available and must be reserved online in advance of the event. A valid ID must be presented.

For updates, visit guggenheim.org/calendar or subscribe to e-news at guggenheim.org/enews.

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, the edmond de Rothschild Foundation, and the hilla von Rebay Foundation. Funding is also provided by Deutsche Bank; the Peter Jay Sharp Foundation; the edith and Frances Mulhall Achilles Memorial Fund; Bain Capital Children’s Charity; the Sidney e. Frank Foundation; the horace W. goldsmith Foundation; guggenheim Partners, LLC; the Keith haring Foundation; harman Family Foundation; the Seth Sprague educational and Charitable Foundation; the Windgate Charitable Foundation; the Jane A. Lehman and Alan g. Lehman Foundation; the Rose M. Badgeley Residuary Charitable trust; and the Barker Welfare Foundation. Additional support from the gap Foundation; the Martha gaines and Russell Wehrle Memorial Foundation; and the Milton & Sally Avery Arts Foundation, Inc. is gratefully acknowledged. the Solomon R. guggenheim Foundation thanks the members of the education Committee for their support.

FaMiLy activity guidesdaily, until 4 pmFamilies with children ages 4–12. Pick one up from the Admissions Desk to engage the whole family through fun gallery activities and discussion suggestions.

FaMiLy activity kiosksats and suns, until 4 pmFamilies with children ages 4–12. Borrow a Family Activity Pack with materi-als featuring fun conversa-tion and activity ideas to captivate the entire family.

Just droP in!suns, 1–4 pm Families with children ages 3–10. Swing by for creative, interactive projects led by museum educators and explore highlights from Under the Same Sun.

oPen studiosuns, 1–4 pmFamilies with children ages 5–14. Discover more about the themes and materials seen in the works on view at our drop-in art-making program.

gaLLery guidesQuestions during your museum visit? Speak with one of our gallery guides, educators posted throughout the galleries wearing buttons that read: LET’S TALK ART.

guggenheiM aPP verbaL descriPtion guidesthe guggenheim app includes audio guides for visitors who are blind or have low vision. Download the app or borrow a device with admission. the app is VoiceOver compatible with iOS devices. Staff assistance is available at the museum.

Private toursBook a tour at your convenience. guided by specialists in fields of art and art history and offered in a wide range of languages, including American Sign Language (ASL) and verbal description. For more information, call 212 423 3774 or visit guggenheim.org/groupsales.

during your visitthe following programs offer group or one-on-one learning experiences, and are FREE with admission (except private tours). Visitors of all ages and abilities are welcome and encouraged to participate.

PubLic toursdaily, 2 pmLed by specialists in fields of art and art history, public tours provide informative and meaningful experiences through a shared process of close looking and dialogue.

Portuguese and sPanish PubLic tourssats, 12 pmtours of Under the Same Sun take place on alternat-ing weekends. For the complete schedule, visit guggenheim.org/calendar.

Art After School, October 2013. Photo: Cody Rae Knue © SRgFLe

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Finding your PLace: tour and workshoP sat, sept 20, 2–4:30 pmgrades 9–12. teens explore the concept of place while viewing Under the Same Sun and respond through art-making activities in the studio led by teaching artist Antonia Perez, whose own artistic practice is influ-enced by places that are part of her personal history. $10 (includes admission and materials). Registration required at guggenheim.org/teenprograms.

For caMP/schooL grouPsguided and facilitated by museum educators, pro-grams can accommodate students with special needs.

For more information or to schedule a program, 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 includes visits to the classroom and the museum. $500 per 30-student group.

For kidssuMMerscaPes art caMPmon–fri, june 16–20, june 23–27, july 21–25, july 28–aug 1, aug 4–8, 9:30 am–4 pmAges 8–11. Led by museum educators, these camps include explorations of the building and exhibitions, as well as individual and collaborative hands-on projects in the art studio. Concludes with an exhibi-tion. $500 per session (includes materials), $400 members; $900 two sessions, $700 members. Limited to two sessions per child. Registration required at guggenheim.org/kids.

For teensFraMing the Phrase: creative writing in the gaLLeriesaug 4–5, 7, 11–12, 14, 1–4 pm aug 14, 5:30–7 pmgrades 9–12. teens respond to artworks in the museum’s summer exhibitions through in-depth group conversation, sketching, and creative writing. Find out how to apply at guggenheim.org/teenprograms.

School tour, December 2013. Photo: Filip Wolak © SRgF

Pictures coMe to LiFe PerForMancesun, june 15, 1:30 and 2:30 pmFamilies with children ages 4–10. Join storyteller, illustrator, and educator Jeff hopkins as he takes families on an exciting journey of current exhibi-tions. Afterward, stop by our Open Studio to make art inspired by the works on view. $15 per family (includes admission for 2 adults and 4 children), $10 members, FREE for Family Members. Space is limited. Registration required at guggenheim.org/familyprograms.

the sound oF art sun, sept 7, 10:30 am–1 pm Families with children ages 5–12. In this fun, hands-on tour and workshop, participants create musical mobiles out of found objects and learn more about the art and process of Under the Same Sun artist Carlos Amorales. take the mo-biles home and use them as wind chimes! $15 per family (includes admis-sion and materials for 2 adults and 4 children), $10 members, FREE for Family Members. Space is limited. Registration required at 212 423 3587 or guggenheim.org/familyprograms.

For FaMiLiessuMMer sunday tourssuns, june 8, july 6, 13, 20, 27, aug 3, 10, sept 14, 10:30 am–12 pmFamilies with children ages 5–12. explore current exhibitions through family-oriented tours that incorporate conversation and creative, hands-on gallery activities. $15 per family (includes admission and tour for 2 adults and 4 children), $10 members, FREE for Family Members. Registration required at guggenheim.org/familyprograms.

stroLLer tourstues, june 10, july 22, aug 26, 3–4 pmStroll around the rotunda with your baby and enjoy an engaging tour for caregivers and their babies. Incorporates touch-able objects and great adult conversation. Single strollers and front baby carriers only. $20 (includes admission), FREE for Family Members. Registration required at guggenheim.org/strollers.

Storytelling and Art with artist Khadim Ali, April 2013. Photo: tanya Ahmed © SRgF

LeARN

For educators

oPen housetues, sept 9, 3:30–6:30 pmWelcome back! Join us for a brief overview of the up-coming exhibition schedule and a tour of the Under the Same Sun exhibition. Receive a bilingual (english and Spanish) teachers’ guide written by the Art As education Project (exhibi-tion artist and educator Luis Camnitzer in associa-tion with educators María del Carmen gonzález and Sofía Quirós). A reception follows the exhibition viewing. FREE. Registration required at guggenheim.org/educators.

For visitors with disabiLitiesguggenheiM For aLL: reaching students on the autisM sPectruMAll grade levels. Customized, multises-sion program includes visits to the classroom and the museum for students and their families. $500 per class (tuition assistance available). to schedule a program, call 212 423 3637 or visit guggenheim.org/schools.

Mind’s eye PrograMsmons, june 2, july 7, aug 4, 6:30–8:30 pm weds, june 11, july 9, aug 13, 2–4 pmFor visitors who are blind or have low vision, tours and workshops are presented through verbal description and touch. FREE with RSVP. For more information, visit guggenheim.org/mindseye.

Around the Circle: Fresh Perspectives on Abstraction with Filip Noterdaeme and Paula Stuttman, July 2013. Photo: enid Alvarez © SRgF

gaLLery PrograMwhen eXPerience becoMes ForM: an attentionaL eXercisewed, june 4, 3–5 pmWhat does it mean to offer sustained attention to a work of art? take part in “attention-al exercises” that challenge common methods of viewing art. Organized in conjunction with indiscreet associates of the Order of the third Bird. FREE with admission.

FiLM and video screeningsScreenings take place in the New Media theater, Lower Level, and are FREE with admission. For the full schedule, visit guggenheim.org/filmscreenings.

ITALIAN FUTURISM FiLM seriesfris, june 6–aug 1 (except july 4), 1 pmSpanning three decades and highlighting works that engage Futurist themes, this silent film series features Thaïs (1916, dir. Anton giulio Bragaglia), The Mechanical Man (L’uomo meccanico, 1921, dir. André Deed), and Velocità (Vitesse, 1930–31, dir. Pippo Oriani). Velocità (Vitesse) provided as a grant of the Oriani Foundation.

UNdeR The SAMe SUN eXhibition videossat–tues, june 14–sept 30 (except sept 1), 11 am and 3 pmView works that offer nuanced insights into the geographic, historical, and present-day contexts of Latin America by such artists as Jennifer Allora and guillermo Calzadilla, Raimond Chaves and gilda Mantilla, Regina José galindo, Dominique gonzalez-Foerster, tamar guimarães, Claudia Joskowicz, David Lamelas, Beatriz Santiago Muñoz, and Javier téllez.

cineMa troPicaL FiLM seriesfris, aug 8–sept 26, 1 pm this series takes a playful look at Latin America’s political, cultural, and cinematic tropes includ-ing the favela, the pre-Columbian paradise, revolution, and telenovela to rethink the representa-tion of Latin America at home and abroad.

PubLic & artist interactions course’tis oF thee: art and PoLiticsmon and wed, july 21 and 23, 10 am–1 pmtues, july 22, 1–4 pm, 6:30 pmthurs, july 24, 10 am–3 pmConceived by the internationally renowned artist Karen Finley, this intensive explores how self-expression, identity, and embodiment are shaped by nation, power, and the cultural imagination. Participants build upon ideas each day to culminate in a final reflection. $200, $100 members, $75 students (over 18). No experience required. to register, visit guggenheim.org/courses. Public & Artist Interactions is a program that invites contemporary artists to be collaborative partners in the creation of unique learning experiences.

LeARN For more information and tickets, visit guggenheim.org/calendar.

Miami Beach, explores Futurist design and decorative arts starting from the activity of the so-called case d’arte (art houses) that produced avant-garde commonplace objects such as ceramics, furnishings, textiles, toys, and household goods. $15, $10 members, $5 students.

FuturisMUSICtues, july 15, 12 pm wed, july 16, 6:30 pmMaestro Daniele Lombardi performs Futurist music by composers Francesco Balilla Pratella, Franco Casavola, and Silvio Mix, among others. highlighting the myriad Futurist endeavors to transform and revolution-ize sound, these piano recitals demonstrate the transmission of Futurists’ emphasis on speed to the temporal genre of music. Daytime program: FREE with admission; evening program: $18, $12 mem-bers, $9 students.

ITALIAN FUTURISM PrograMs paaaaaaroooooooo-oooole in libertà futuriste (futurist wwwwwwoooooords- in-freedom)sat and sun, june 7 and 8, 12 pmmon, june 9, 6:30 pmComposer, performer, and musicologist Luciano Chessa performs declama-tions of selected poems by F. t. Marinetti and Francesco Cangiullo. An expanded evening perfor-mance includes a special presentation of Cangiullo’s Piedigrotta accompanied by Neapolitan folk instru-ments. Daytime programs: FREE with admission; evening program: $18, $12 members, $9 students.

itaLian Futurist design: FroM Furniture to ceraMics tues, june 24, 6:30 pmSilvia Barisione, Curator, the Wolfsonian–Florida International university,

UNdeR The SAMe SUN PrograMsthanks to support from uBS, guggenheim uBS MAP public program tickets are $8 for general admission and FREE for students with RSVP.

on the Future oF artwed, june 18, 6:30 pmPablo helguera presents a reprise of the 1969 lecture series On the Future of Art, which was organized by edward Fry, to consider how our ideas and perceptions about art are transformed through time, geography, transla-tion, and personal experi-ence. he interweaves the discussions from the 1969 lectures with other stories, including the life of longtime guggenheim archivist Ward Jackson and helguera’s investiga-tion into the Chuquicamata mine owned by the guggenheim Brothers in northern Chile.

siesta taLks: art in the aFternoonweds, 1:30 pmthis series of gallery programs responds to works on view and explores such engaging themes as artistic materials, form, lan-guage, music, and politics.iván navarro june 25 erika verzutti july 9 rebecca Mir aug 13

a conversation: tania bruguera and karen FinLeytues, july 22, 6:30 pmWith diverse bodies of work that address democracy and the disenfranchised, these two artists meet over a shared practice of social concern. In utilizing lan-guage and visual images to create powerful performa-tive acts, tania Bruguera and Karen Finley track a creative process stemming from places of discomfort and in-tellectual resistance. Join us for a dialogue with these two artists about practices of “art as life” and whose respective histories have ranged from censorship to celebration.

La universidad desconocida (the unknown university)fri, sept 19, 11 amIn this daylong symposium, join artists, curators, and scholars as they address the cultural and historic speci-ficities of Latin America through critical issues in contemporary art practice.

the Francis eFFectcoming in septSpringing from tania Bruguera’s work on the “political imaginary” and the multiyear Immigrant Movement International, the Cuban-born artist delves into messages of inclusion by Pope Francis, the first Latin American Bishop of Rome since the 8th century. In her search for citizenry for all, Bruguera explores the power of the Vatican as a conceptual utopia. For more information, visit guggenheim.org/calendar.

“Composing with Patterns”: Music at Mid-Century, July 2012. Photo: enid Alvarez © SRgF

For more information, call 212 423 3535 or visit guggenheim.org/join.

uPcoMing MeMber PrograMs

art after darkfri, june 20, 9 pm–12 am

private views tues, july 15, 6:15–9 pm sun, aug 24, 9–10 am

Plus exclusive dinner for members at the Fellow Associate ($250) level and above: anti-pasta: a dinner inspired by italian futurism tues, july 15, 8 pm

becoMe a MeMber today to see every exhibition at every guggenheim museum, for free, and enjoy the following:half-price guest tickets private views and parties savings at our stores and restaurants discounts on all museum programs

Visit the Membership Desk or guggenheim Store to apply the cost of your general admission ticket to your membership and receive an exclusive guggenheim membership tote bag.

Italian Futurism, 1909–1944: Reconstructing the Universe Members’ Party, February 21, 2014. Photo: Christine Butler © SRgF

OWN the FutuRe

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

Futurist ceraMic vase by Nicolaj DiulgheroffA colorful expression of the Italian Futurist movement, hand-crafted by the original studio. Collection includes vases, plates, tea sets, and candlesticks. enclosed in gift boxes. Starting at $200, $180 members

itaLian FuturisM, 1909–1944: reconstructing the universeedited by Vivien greenethis volume endeavors to convey the spirit of the movement in all of its complexity.hardcover and softcover, 8.5 × 11.5 inches. 352 pages, 328 illustrations. $60, $40 softcoverFunding for this publication is provided by Furthermore: a program of the J. M. Kaplan Fund.

Be PARt OF SOMethINg extRAORDINARY!

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tYFor 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. Printed transcripts of wall texts and object labels in the high gallery are available at the Admissions and Information desks. the Wright restaurant is wheelchair accessible. Wheelchair-accessible bathrooms are located in the Sackler Center for Arts education, Lower Level, and on Annex Level 7. Wheelchairs are available FREE of charge; please ask a security guard for assistance. An individual as-sisting a person who uses a manual wheelchair will be given FREE admission. Service animals are welcome at the museum.

hearing and sightAssistive listening devices are available for use during daily tours. the museum’s multimedia guide devices are t-coil compatible. the guggenheim app is VoiceOver compat-ible on all iOS devices, including museum devices, and fea-tures verbal description guides, transcripts for audio stops, closed-captioning for videos, and screen magnification. Large-print transcripts of the multimedia guides, the wall la-bels, and this brochure are available at the Admissions and Information Desks. Select Curator’s eye and Conservator’s eye tours are interpreted in ASL. gallery guides, educators posted throughout the museum are trained to provide ver-bal descriptions for visitors who are blind or have low vision.

PrograMsMonthly Mind’s eye tours and workshops for visitors who are blind or have low vision are conducted by arts and edu-cation professionals through verbal description and touch. For more information and to sign up to receive program no-tifications, 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.