FALL 2016 FAMILY PROGRAMS
Second Sunday Family Tours
Sundays, Nov 13, Dec 11, and Jan 8, 10:30 am–12 pm
Join us on the second Sunday of every month for
family-friendly tours that include conversation and
creative hands-on gallery activities. Tours are organized
around a single theme and highlight artworks on view
from our permanent collection and special exhibitions.
Family Tour and Studio Workshop
Sunday, Nov 6, 10:30 am–12:30 pm
For families with children ages 5 and up.
$20 per family (includes admission and tour for
two adults and up to four children), $15 members,
FREE for Kids Club Members, Family Members,
and Cool Culture families.
$30 per family (includes admission, workshop
materials, and tour for two adults and up to
four children), $20 members, FREE for Kids
Club Members, Family Members, and
Cool Culture families.
Nov 13: What’s in a Name?
How does a work of art get its name? Explore the
connections between a piece of visual art and a title.
Nov 6: On (and Off) the Grid
Be inspired by Agnes Martin and create your own
works of art using a grid.
Dec 11: Art Getaway
Take a break from the winter weather and get lost
in the artworks here at the museum.
Guggenheim FAMILY and KIDS CLUB MEMBERS
enjoy these programs for FREE.
Jan 8: Try and Try Again
See works by artists who experiment with the same
ideas again and again.
For more information, visit the Membership desk,
Guggenheim Store, or guggenheim.org/join,
or call 212 423 3535.
First, I have the experience of happiness and innocence. Then, if I
can keep from becoming distracted, I will have an image to paint. 1
Following an interactive gallery tour, family
members create artwork in our studio. Tours
are organized around a single theme and
highlight artworks on view from our permanent
collection and special exhibitions.
Agnes Martin is organized by Tate Modern, London, in collaboration with the Solomon R. Guggenheim Museum, New York; Kunstsammlung Nordrhein-Westfalen, Düsseldorf;
and the Los Angeles County Museum of Art.
The Solomon R. Guggenheim Museum’s presentation of this exhibition is supported by COS.
The Leadership Committee for Agnes Martin is gratefully acknowledged for its generosity: Pace Gallery, Charles and Valerie Diker, The Lauder Foundation-Leonard & Judy Lauder Fund,
Mary and John Pappajohn, FX & Natasha de Mallmann, Anne H. Bass, Peter B. Brandt, Agnes Gund, and those who wish to remain anonymous.
The more carefully you
Funding for this exhibition is also provided by the Juliet Lea Hillman Simonds Foundation, LLWW Foundation, and the Dedalus Foundation, Inc.
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 in partnership with
the City Council, the Stavros Niarchos Foundation, The Edmond de Rothschild Foundation, The Hilla von Rebay Foundation, and The Seth Sprague Educational and Charitable Foundation. Funding is
also provided by The Keith Haring Foundation; Deutsche Bank; the Windgate Charitable Foundation; the Sidney E. Frank Foundation; The Horace W. Goldsmith Foundation; Guggenheim Partners, LLC;
the Robert & Toni Bader Charitable Foundation; the Rose M. Badgeley Residuary Charitable Trust; and The Barker Welfare Foundation. Additional support from the Gap Foundation; Katherine and Peter
Kend; the Jane A. Lehman and Alan G. Lehman Foundation; Con Edison; the Milton & Sally Avery Arts Foundation, Inc.; the Henry E. Niles Foundation, Inc.; and the Metzger-Price Fund, Inc. is gratefully
acknowledged. The Solomon R. Guggenheim Foundation thanks the members of the Education Committee for their support.
Cover: Agnes martin, Untitled #5, 1998. Acrylic and graphite on canvas, 60 x 60 inches (152.4 X 152.4 Cm). Kunstsammlung nordrhein-westfalen, düsseldorf, acquired with assistance from the gesellschaft der
freunde, numerous artists and art dealers, and with special support by the guests of the dinner on the evening of december 3, 2011 © 2016 agnes martin/artists rights society (ars), new york. Photo: achim
kukulies, düsseldorf.
Inside images: The Islands I - XII, 1979 (detail, showing 7 panels)Acrylic and graphite on linen, 12 parts, 72 x 72 inches (182.9 x 182.9 cm) each, Whitney Museum of American Art, New York, Purchase, with
funds from The Sondra and Charles Gilman, Jr. Foundation, Inc. and Evelyn and Leonard A. Lauder© 2016 Agnes Martin/Artists Rights Society (ARS), New York. Photograph by Sheldon C. Collins.
Blessings, 2000, Acrylic and graphite on canvas, 60 x 60 inches (152.4 x 152.4 cm), Private Collection© 2016 Agnes Martin/Artists Rights Society (ARS), New York. Photograph courtesy Pace Gallery.
“‘What We Make Is What We Feel’: Agnes Martin on Her Meditative Practice, in 1976,” ARTnews, July, 31, 2015. http://www.artnews.com/2015/07/31/what-we-make-is-what-we-feel-agnes-martin-on-hermeditative-practice-in-1976/ - 2 Benita Eisler, “Profile: Life Lines,” New Yorker, Jan. 25, 1993, p. 81. - 3 Lucy R. Lippard, “Homage to the Square,” Art in America 55 , no. 4 (July–Aug. 1967): p. 55.
1
look at Agnes Martin’s
work, the more you will
see. Remember this as
Family Guide
you use this guide to
explore the exhibition.
You Have
to See It to
Believe It!
Grids and Stripes
For much of her career, Martin used hand-drawn grids and stripes as
the structure for her paintings.
Describe the different ways you see her using the grid in these paintings.
Agnes Martin used this size canvas
(6 by 6 feet) for many of her
paintings. She called it “a size you
could walk into.” 2
While standing still in the middle of
the high gallery, imagine walking
into these paintings.
What details do you notice as you
look more and more carefully?
Though the paintings are similar,
what differences can you find?
Activity
Write a
postcard
The Islands I–XII, 1979
If you were to take a photograph of each of these paintings, all the photos
would look almost the same. But as you know from seeing the paintings in
person, each is unique. Since photography does not show their uniqueness,
how would you share with someone who is not here what it is like to see
one of these paintings in person?
Write them a postcard here:
ays:
s
s
e
Agn
r the
e
v
o
c
I
th
When surface wi
e
squar ctangles, ht
re
weig
e
h
t
,
tens
it ligh the square er.3
of
pow
’s
t
i
s
y
destro
Blessings, 1967
Activity
Create your
own unique
base for an
artwork.
How will you break up this square:
Horizontally, vertically, both?
Diagonally?
With wider or narrower sections?
Now, color or shade your work.
Add another layer of meaning to your
artwork by giving it a title. What do
you want to tell people about your
work by giving it this name?
Title: