Italian Futurism, 1909–1944: Reconstructing the Universe
February 21–September 1, 2014
Solomon R. Guggenheim Museum, New York
Curated by Vivien Greene
Catalog
PRESS RELEASE (Jan. 16, 2014)
The first comprehensive overview of Italian Futurism to be presented in the United States, this multidisciplinary exhibition examines the historical sweep of the movement from its inception with F. T. Marinetti’s Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the chronological exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as they evolved over a 35-year period, the exhibition integrates multiple disciplines in each section. Italian Futurism is organized by Vivien Greene, Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. In addition, a distinguished international advisory committee has been assembled to provide expertise and guidance.
New York Times (September 12, 2013)
Guggenheim Is to Show Rare Murals by a Futurist (New York Times, January 20, 2013)
Is Futurism’s Time Now? The Guggenheim Takes a Chance On Turbulent History (Artinfo, February 18, 2014)
Italian Futurism, 1909–1944: Reconstructing the Universe – an interview with Vivien Greene (Cool Hunting, February 18, 2014)
Marinetti & C. qui si comincia a rottamare (La Stampa, February 19, 2014)
In a way, it is fascinating to see the Guggenheim finally waking up. With all the Futurist works they have and those stored in Venice, the show should be a MAJOR exhibition. The only problem is that most people interested in Futurism have already seen a zillion exhibitions in Europe in 2009-2010. In my opinion it would have been better to wait until 2015 and celebrate the first inroad of Futurism into the USA at the San Francisco PPIE of 1915. If the curators are given the time and money necessary to do it, they should hunt for the 34 Futurist paintings and sculptures which never made it back to Europe in 1916 and which are still sleeping in the reserves of a minor, major or national American museum. If they did retrieve these paintings, the value of the catch would pay for a hundred international exhibitions. Good luck and see you in New York on the 21. Dr. Jean-Pierre de Villers, University of Windsor.