American pavilion

The American pavilion is a national pavilion of the Venice Biennale. It houses the United States' official representation during the Biennale.

Background

The Venice Biennale is an international art biennial exhibition held in Venice, Italy. Often described as "the Olympics of the art world", the Biennale is a prestigious event for contemporary artists known for propelling career visibility. The festival has become a constellation of shows: a central exhibition curated by that year's artistic director, national pavilions hosted by individual nations, and independent exhibitions throughout Venice. The Biennale parent organization also hosts regular festivals in other arts: architecture, dance, film, music, and theater.[1]

Outside of the central, international exhibition, individual nations produce their own shows, known as pavilions, as their national representation. Nations that own their pavilion buildings, such as the 30 housed on the Giardini, are responsible for their own upkeep and construction costs as well. Nations without dedicated buildings create pavilions in venues throughout the city.[1]

Organization and building

The American pavilion was the ninth to be built on the Giardini, but unlike other pavilions, which are built by governments, the American pavilion was privately owned. The three-room Palladian building was constructed in 1930, for the New York Grand Central Art Galleries. Ownership transferred to the Museum of Modern Art in 1954 and to the Guggenheim Foundation in 1986.[1]

For the United States' national representation, a committee of experts select from proposals written by institutions. The Advisory Committee on International Exhibitions is assembled by the National Endowment for the Arts and Department of State.[1] The months-long process involves an application nearly 100 pages in length and a final embargo before announcement.[2]

History

The United States Pavilion at the Venice Biennale was constructed in 1930[3] by the Grand Central Art Galleries, a nonprofit artists' cooperative established in 1922 by Walter Leighton Clark together with John Singer Sargent, Edmund Greacen, and others.[4] As stated in the Galleries' 1934 catalog, the organization's goal was to "give a broader field to American art; to exhibit in a larger way to a more numerous audience, not in New York alone but throughout the country, thus displaying to the world the inherent value which our art undoubtedly possesses."[5]

In 1930, Walter Leighton Clark and the Grand Central Art Galleries spearheaded the creation of the U.S. Pavilion at the Venice Biennale.[6][7] The pavilion's architects were William Adams Delano, who also designed the Grand Central Art Galleries, and Chester Holmes Aldrich. The purchase of the land, design, and construction was paid for by the galleries and personally supervised by Clark. As he wrote in the 1934 catalog:

"Pursuing our purpose of putting American art prominently before the world, the directors a few years ago appropriated the sum of $25,000 for the erection of an exhibition building in Venice on the grounds of the International Biennial. Messrs. Delano and Aldrich generously donated the plans for this building which is constructed of Istrian marble and pink brick and more than holds its own with the twenty-five other buildings in the Park owned by the various European governments."[5]

The pavilion, owned and operated by the galleries, opened on May 4, 1930. Approximately 90 paintings and 12 sculptures were selected by Clark for the opening exhibition. Artists featured included Max Boehm, Hector Caser, Lillian Westcott Hale, Edward Hopper, Abraham Poole, Julius Rolshoven, Joseph Pollet, Eugene Savage, Elmer Shofeld, Ofelia Keelan, and African-American artist Henry Tanner. U.S. Ambassador John W. Garrett opened the show together with the Duke of Bergamo.[3]

The Grand Central Art Galleries operated the U.S. Pavilion until 1954, when it was sold to the Museum of Modern Art (MOMA). Throughout the 1950s and 1960s shows were organized by MOMA, Art Institute of Chicago, and Baltimore Museum of Art. The Modern withdrew from the Biennale in 1964, and the United States Information Agency ran the Pavilion until it was sold to the Guggenheim Foundation courtesy of funds provided by the Peggy Guggenheim Collection.[8]

Financial support by Philip Morris and private money raised by the Committee for the 1986 American Pavilion at the 1986 Venice Biennale made the exhibition at the United States pavilion possible.[9] Since 1986 the Peggy Guggenheim Collection has worked with the United States Information Agency, the US Department of State and the Fund for Artists at International Festivals and Exhibitions in the organization of the visual arts exhibitions at the US Pavilion, while the Solomon R. Guggenheim Foundation has organized the comparable shows at the Architecture Biennales. Every two years museum curators from across the U.S. detail their visions for the American pavilion in proposals that are reviewed by the NEA Federal Advisory Committee on International Exhibitions (FACIE), a group comprising curators, museum directors and artists who then submit their recommendations to the public-private Fund for United States Artists at International Festivals and Exhibitions.[10] Traditionally the endowment's selection committee has chosen a proposal submitted by a museum or curator, but in 2004 it simply chose an artist who in turn has nominated a curator, later approved by the State Department.[11]

Exhibitions

Rauschenberg's selection for the 1964 Golden Lion marked the United States' ascendancy over European artistic dominance, and the entrance of pop art into canon.[12]

Representation by year

Art
# Year Artist(s) Curator(s) Show notes Ref
58th2019 Martin Puryear Brooke Kamin Rapaport Liberty/Libertà [13]
57th2017 Mark Bradford Christopher Bedford, Katy Siegel [14][15]
56th2015 Joan Jonas Paul C. Ha, Ute Meta Bauer [16]
55th2013 Sarah Sze Holly Block, Carey Lovelace [17]
54th2011 Allora & Calzadilla Lisa Freiman [18][2]
53rd2009 Bruce Nauman Carlos Basualdo, Michael R. Taylor Topological Gardens;[19] won Golden Lion for best national pavilion[2] [19]
52nd2007 Félix González-Torres Nancy Spector [20]
51st2005 Ed Ruscha Linda Norden, Donna De Salvo [21]
50th2003 Fred Wilson Kathleen Goncharov [22]
49th2001 Robert Gober Olga Viso, James Rondeau [23]
48th1999 Ann Hamilton Katy Kline, Helaine Posner [24]
47th1997 Robert Colescott Mimi Roberts [25]
46th1995 Bill Viola Marilyn A. Zeitlin [26]
45th1993 Louise Bourgeois Charlotta Kotik [27]
44th1990 Jenny Holzer Michael Auping [28]
43rd1988 Jasper Johns Mark Rosenthal [29]
42nd1986 Isamu Noguchi Henry Geldzahler
41st1984 Eric Fischl, Charles Garabedian, Melissa Miller, and others Marcia Tucker, Lynn Gumpert, Ned Rifkin
40th1982 Jess, Robert Smithson, Richard Pousette-Dart Thomas W. Leavitt, Robert Hobbs
39th1980 Vito Acconci, Christo, Laurie Anderson, and others Janet Kardon
38th1978 Harry Callahan, Richard Diebenkorn Robert T. Buck, Jr., Peter Bunnell, Linda Cathcart
37th1976 Richard Artschwager, Charles Garabedian, Robert Irwin, Donald Judd, Agnes Martin, Robert Motherwell, Ed Ruscha, Robert Ryman, Joel Shapiro, Richard Tuttle, Andy Warhol, H. C. Westermann Thomas M. Messer, Hugh M. Davies, Sam Hunter, Rosalind Krauss, Marcia Tucker
36th1972 Diane Arbus, Ronald Davis, Richard Estes, Sam Gilliam, Jim Nutt, Keith Sonnier Walter Hopps Arbus, posthumously, became the first photographer to be shown at the Biennale.[30] [31][32]
35th1970 Jasper Johns, Josef Albers, Alexander Liberman, Sam Francis, Ed Ruscha Lois A. Bingham, Henry T. Hopkins Over half of the 47 invited artists boycotted the exhibition in protest of the Vietnam War. The boycott hurt the show's credibility.[33] The Smithsonian retreated from international art shows following this threatened boycott.[34] [33][35]
34th1968 Leonard Baskin, Edwin Dickinson, Richard Diebenkorn, Red Grooms, James McGarrell, Reuben Nakian, Fairfield Porter, Byron Burford —
33rd1966 Helen Frankenthaler, Ellsworth Kelly, Roy Lichtenstein, Jules Olitski —
32nd1964 John Chamberlain, Jim Dine, Jasper Johns, Morris Louis, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella — Rauschenberg won the top award for his silkscreen paintings.[36] The award was symbolic of art world power transfer from France to the United States.[37]
31st1962 Jan Müller, Louise Nevelson
30th1960 Philip Guston, Hans Hofmann, Franz Kline, Theodore Roszak —
29th1958 ? —
28th1956 35 artists, including Lyonel Feininger, John Marin, Charles Sheeler, Edward Hopper, George Tooker, Jacob Lawrence, Joseph Stella, Georgia O'Keeffe, Mark Tobey, Hedda Sterne, Franz Kline, Jackson Pollock, Willem de Kooning Katharine Kuh American Artists Paint the City [38]
27th1954 Willem de Kooning, Ben Shahn —
26th1952 Alexander Calder, Stuart Davis, Edward Hopper, and Yasuo Kuniyoshi —
25th1950 John Marin, Arshile Gorky, Willem de Kooning, Jackson Pollock, Hyman Bloom, Lee Gatch, Rico Lebrun Alfred Barr, Alfred Frankfurter Half of the show was dedicated to Marin, a modernist. The curators split the remaining half. [39]
24th1948 79 artists including George Bellows, Thomas Hart Benton, Edward Hopper, Grant Wood, William Baziotes, Arshile Gorky, Jacob Lawrence, Mark Rothko, Theodoros Stamos, Mark Tobey ? [40][41]

References
  1. Russeth 2019.
  2. Loos, Ted (March 16, 2011). "Lisa Freiman, a Curator With a Penchant for the Collective". The New York Times. ISSN 0362-4331.
  3. "American Art Show Opened at Venice", New York Times, May 5, 1930
  4. "Painters and Sculptors' Gallery Association to Begin Work", New York Times, December 19, 1922
  5. 1934 Grand Central Art Galleries catalog
  6. "Venice to Exhibit Art of Americans", The New York Times, March 6, 1932
  7. Vogel, Carol (August 3, 2004). "American Art Is Adrift for Biennale in Venice". The New York Times. Retrieved October 22, 2011.
  8. "US Pavilion". Peggy Guggenheim Collection. The Solomon R. Guggenheim Foundation. Archived from the original on September 27, 2011. Retrieved October 22, 2011.
  9. Michael Brenson (July 1, 1986), Biggest Biennale, The 42, Opens In Venice New York Times.
  10. Vogel, Carol (May 12, 2011). "War Machines (With Gymnasts)". The New York Times. Retrieved October 22, 2011.
  11. Vogel, Carol (October 29, 2004). "Ruscha to Represent U.S. at the Venice Biennale". The New York Times. Retrieved October 22, 2011.
  12. Morris, Jane (May 1, 2019). "Why is the Venice Biennale still so important?". The Art Newspaper. Retrieved May 4, 2019.
  13. Editors, Artsy (March 20, 2019). "All of the Artists in the Venice Biennale". Artsy. Retrieved May 4, 2019.CS1 maint: extra text: authors list (link)
  14. Kennedy, Randy (April 18, 2016). "Mark Bradford Will Represent U.S. at Venice Biennale". The New York Times. ISSN 0362-4331.
  15. Finkel, Jori (April 27, 2017). "An Artist's Mythic Rebellion for the Venice Biennale". The New York Times. ISSN 0362-4331.
  16. Vogel, Carol (April 15, 2014). "Joan Jonas to Represent United States at 2015 Venice Biennale". ArtsBeat. Retrieved May 5, 2019.
  17. Vogel, Carol (May 30, 2013). "At Venice Biennale, Sarah Sze's Triple Point". The New York Times. ISSN 0362-4331.
  18. Vogel, Carol (May 12, 2011). "Allora & Calzadilla - 'Gloria' - Venice Biennale". The New York Times. ISSN 0362-4331.
  19. Vogel, Carol (June 7, 2009). "In Venice, a Quieter Biennale of Careful Choices and Looks". The New York Times. ISSN 0362-4331.
  20. Kennedy, Randy (June 6, 2007). "With a wink, Felix Gonzalez-Torres slips into Venice". The New York Times. ISSN 0362-4331.
  21. Muchnic, Suzanne (May 17, 2005). "Art ambassador". Los Angeles Times. ISSN 0458-3035.
  22. Miles, Christopher (July 20, 2003). "Venice history by way of Africa". Los Angeles Times. ISSN 0458-3035.
  23. Braff, Phyllis (October 7, 2001). "A North Fork Artist at the Venice Biennale". The New York Times. ISSN 0362-4331.
  24. Dobrzynski, Judith H. (May 30, 1999). "ART/ARCHITECTURE; Representing America in a Language of Her Own". The New York Times. ISSN 0362-4331.
  25. Vogel, Carol (June 17, 1996). "A Painter Is Chosen For Biennale". The New York Times. ISSN 0362-4331.
  26. "Video Artist Is Chosen For the Venice Biennale". The New York Times. May 7, 1994. ISSN 0362-4331.
  27. Vogel, Carol (June 12, 1993). "The Venice Biennale: An Art Bazaar Abuzz". The New York Times. ISSN 0362-4331.
  28. Brenson, Michael (August 7, 1988). "ART VIEW; Jenny Holzer: The Message Is the Message". The New York Times. ISSN 0362-4331.
  29. Brenson, Michael (July 3, 1988). "ART VIEW; Jasper Johns Shows the Flag in Venice". The New York Times. ISSN 0362-4331.
  30. Barbieri, Claudia (November 13, 2011). "In Paris, First-Ever French Retrospective of Diane Arbus". The New York Times. Retrieved March 25, 2018.
  31. Lamb, Yvonne Shinhoster (March 22, 2005). "Walter Hopps; Curator of 20th-Century Art". The Washington Post. p. B06.
  32. Madoff, Steven Henry (August 1982). "Sending U.S. art abroad: Federal ways and means". Art in America. 70: 10–. ISSN 0004-3214 – via EBSCOhost.
  33. Tuten, Frederic (July 12, 1970). "Soggy Day in Venice Town". The New York Times. ISSN 0362-4331.
  34. Manning, Martin J.; Manning, Martin; Romerstein, Herbert (2004). "Art Exhibitions". Historical Dictionary of American Propaganda. Greenwood Publishing Group. p. 18. ISBN 978-0-313-29605-5.
  35. Glueck, Grace (October 4, 1970). "Art Notes". The New York Times. ISSN 0362-4331.
  36. Larson, Kay (March 18, 1991). New History. New York Magazine. p. 62. ISSN 0028-7369. These [silkscreen] paintings from 1962 on are vital history. They won him first prize at the Venice Biennale in 1964, at which point he quit making them (for a time).
  37. Yaari, Monique (2008). Rethinking the French City: Architecture, Dwelling, and Display After 1968. Rodopi. p. 200. ISBN 978-90-420-2500-4. ... France's loss of the front-runner place in the artistic world (to the US) at the 1964 Venice Biennale, when Robert Rauschenberg carried off the grand prize for painting ...
  38. Simpson, Mary Caroline (2007). "American Artists Paint the City: Katharine Kuh, the 1956 Venice Biennale, and New York's Place in the Cold War Art World". American Studies. 48 (4): 31–57. ISSN 0026-3079. JSTOR 40644105.
  39. Herrera, Hayden (2005). Arshile Gorky: His Life and Work. Farrar, Straus and Giroux. p. 626. ISBN 978-1-4668-1708-1.
  40. Duran, Adrian R. (2007). Marter, Joan M. (ed.). Abstract Expressionism: The International Context. Rutgers University Press. p. 142. ISBN 978-0-8135-3975-1.
  41. Duran, Adrian R. (2017). Painting, Politics, and the New Front of Cold War Italy. Taylor & Francis. p. 78. ISBN 978-1-351-55516-6.

Bibliography

Further reading
  • Alloway, Lawrence (1968). The Venice Biennale, 1895–1968; from salon to goldfish bowl. OCLC 437606.
  • Hossain, Annika (2015). Zwischen Kulturrepräsentation und Kunstmarkt: die USA bei der Venedig Biennale 1895–2015 (in German). Emsdetten/Berlin: Edition Imorde. ISBN 978-3-942810-32-6. OCLC 940476266.
  • Monahan, Laurie J. (1945). "Cultural cartography: American designs at the 1964 Venice Biennale". Reconstructing Modernism: Art in New York, Paris, and Montreal. 1964: 369–416.
  • Rylands, Philip; Di Martino, Enzo (1993). Flying the Flag for Art: The United States and The Venice Biennale 1895–1991. Richmond: Wyldbore & Wolferstan. OCLC 901088904.
  • Volpi, Cristiana (2013). "United States". In Re Rebaudengo, Adele (ed.). Pavilions and Garden of Venice Biennale. Rome: Contrasto. p. 173. ISBN 978-88-6965-440-4.
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