•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Forthcoming Exhibitions - The J. Paul Getty Museum

Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970
March 6–June 3, 2007
At the end of World War II, Japan was left in ruins and in a relative cultural void. Numerous anti-establishment artistic collaboratives emerged during this period, notably Jikken Kōbō/Experimental Workshop, Gutai, Group Ongaku, Tokyo Fluxus, Neo Dada, Hi Red Center, Vivo, Provoke, and Bikyōtō. These collectives eschewed traditional commercial art practice in favor of radical work that provoked its audience conceptually, politically, and socially. In experimenting with new materials and processes of art making and disruption of conventional art forms, the work of these artists reflected the dramatic changes and disjunctive character of everyday life in Japan over the course of two decades following the war. Drawn exclusively from Research Library holdings, the works presented in Art, Anti-Art, Non-Art range from musical scores and photo essays to performance documentation and interactive art kits.

Zoopsia: New Works by Tim Hawkinson
March 6–September 9, 2007
To inaugurate a series of artists' projects at the Getty Museum, internationally recognized Los Angeles-based artist Tim Hawkinson (American, b. 1960) has created four new works for first-time display. Zoopsia offers playful, alternative perspectives on the natural world. Concurrently, Überorgan, described by Hawkinson as a massive, self-playing, walk-in organ of balloons and horns, will be installed in the Museum Entrance Hall for its Los Angeles debut. Previously exhibited in Massachusetts and New York, Überorgan changes with each installation in response to the site. Typically incorporating household and industrial materials, and often mechanized to emit sound, evoke breath, or record the passage of time, Hawkinson's extraordinary art links form, process, and meaning to create unique and provocative viewing experiences.

The Old Order and the New: P.H. Emerson and Photography 1885-1895
March 27–July 8, 2007
Peter Henry Emerson (British, 1856–1936) photographed the isolated region of East Anglia in England during the late 19th century, a time when traditional life and work along the Norfolk Broads were increasingly threatened by advances in modern technology. This exhibition explores Emerson's passion for recording customs that were unaffected by the Industrial Revolution and places his photographs in the context of paintings and etchings of the period. Organized by the National Museum of Photography, Film, and Television in Bradford, England, the exhibition features more than 150 works of art, including a number of rare photographically illustrated books from the Getty Museum's collection. A new publication discussing Emerson's work accompanies the exhibition.

A Place in the Sun: Photographs of Los Angeles by John Humble
March 27–July 8, 2007
John Humble (American, b. 1944) has lived and worked in the Los Angeles area for 30 years. During this time he has created a strong body of photographs inspired by architecture and its surrounding natural environment, often focusing on the incongruities and ironic juxtapositions of the Southern Californian landscape. This two-gallery exhibition features approximately 35 color photographs, many of which were acquired by the Getty Museum in January 2006, with the generous assistance of the Getty Museum Photographs Council, which also underwrote the accompanying publication. Both the exhibition and book celebrate Humble's distinct view of Los Angeles. From the concrete channels of the Los Angeles River to brightly colored commercial buildings, his photographs of the built environment capture that which is instantly recognizable yet very often overlooked.

Radiant Darkness: The Art of Nocturnal Light
April 24–July 22, 2007
This exhibition explores the representation of light in darkness by artists from the 15th to the 17th century. In addition to examining the technical means and visual strategies implemented by artists to portray nocturnal light, the exhibition investigates the myriad symbolic, religious, and political implications of the imagery. Radiant Darkness features 21 objects in a variety of media and draws upon the collections of the J. Paul Getty Museum, the Getty Research Institute, the Grunwald Center for Graphic Arts at the Hammer Museum, and the Huntington Art Collections.

Oudry's Painted Menagerie
May 1–September 2, 2007
Jean-Baptiste Oudry (French, 1686–1755) was the principal animal painter during the first half of Louis XV's reign. Commissioned to paint a portrait series of the animals in the king's royal menagerie at Versailles, Oudry employed his prodigious talents and illustrative power to produce life-size paintings of a lion, an antelope, a male and a female leopard, and several other exotic animals and fowl. Oudry's Painted Menagerie features twelve paintings, including a life-size portrait of a famous rhinoceros named Clara (the subject of a multiyear project of the Getty Museum's Paintings Conservation Department), and a group of Oudry's drawings. Meissen porcelain, clocks, paintings, prints, and drawings represent the sociocultural phenomenon of exotic animal celebrity in the 18th century. This exhibition has been organized by the J. Paul Getty Museum in association with the Staatliches Museum Schwerin and the Museum of Fine Arts, Houston.

Medieval Beasts
May 1–July 29, 2007
This exhibition focuses on the central role of beasts both in medieval art and the medieval conception of the world. Domesticated animals often appear in medieval images of daily life since they provided many basic provisions, such leather and dairy products. Animals could also serve a symbolic function: astronomical constellations, for example, were frequently represented by creatures formed of stars. In addition, there was a great delight in depicting fantastic animals, ranging from noble unicorns to fearsome dragons. The exhibition features manuscripts drawn from the Getty's collection, including the Getty's two popular bestiaries, as well as a lively manuscript of Aesop's fables. Medieval Beasts complements the Premiere Presentation Oudry's Painted Menagerie.

Defining Modernity: European Drawings, 1800–1900
June 5–September 9, 2007
The development of new materials, the expansion of artistic themes to include subjects from modern life, and the increased demand for images created by new print mediums all invigorated the practice of drawing during the 1800s. This exhibition surveys the depth and variety of 19th-century draftsmanship with works from the Getty Museum's collection and loans from the Courtauld Institute of Art in London. It features works by artists such as Edgar Degas, Vincent van Gogh, and Georges Seurat, who exploited the new subjects and materials of drawing and used traditional subjects and mediums in innovative ways. This exhibition inaugurates the new galleries for drawings on the Plaza Level of the West Pavilion.

Manet's Bar at the Folies-Bergère
June 5–September 9, 2007
This focus exhibition highlights one of the great masterpieces of 19th-century French art, A Bar at the Folies-Bergère, the 1882 Salon painting by Édouard Manet (French, 1832–1883) on loan to the Getty from the Courtauld Institute of Art, London. The exhibition runs concurrently with Defining Modernity: European Drawings, 1800-1900, which also features several Courtauld loans, and is accompanied by a detailed illustrated brochure providing the viewer with essential historical, social, and critical context.

Taddeo Zuccaro: A Young Artist's Journey in Renaissance Rome (working title)
October 2, 2007–January 6, 2008
One of the most important series of drawings in 16th-century Italian art, the 20 large sheets by Federico Zuccaro (Italian, c.1541-1609) showing the early life of his brother Taddeo Zuccaro (1529-1566) were acquired by the Getty Museum in 1999. Centering on the series, this major exhibition of around 80 drawings and paintings—including numerous international loans—celebrates them, and puts them in context. Rich in humanity and charming detail, the series recounts the adventures of Taddeo on arrival in Rome as a 14 year old hoping to succeed as a painter, and his eventual triumph. We see Taddeo mistreated during an apprenticeship, and how he taught himself to draw by copying famous works. The series was likely made to plan ceiling decorations in the Palazzo Zuccari, Federico's home in Rome, which on his death he intended as a refuge for young artists. A fully illustrated catalogue accompanies the exhibition.

Sacred Gifts and Worldly Treasures: Medieval Masterpieces from the Cleveland Museum of Art
October 30, 2007–January 20, 2008
The Cleveland Museum of Art houses one of the finest and most comprehensive collections of early Christian, Byzantine, and Western Medieval art in the world. This is the first traveling exhibition to showcase a significant number of that museum's treasures in this field, some of the most lavish and prized examples of artistic production to survive. The exhibition includes roughly 125 works of art executed in a variety of media painting, sculpture, metalwork, decorative arts, textiles, and illuminated manuscripts offering a rich survey of the arts and culture of Medieval Europe from the Late Antique period through the Age of Humanism. The Getty is the second of two venues following the installation at the Bavarian National Museum in Munich during the summer of 2007. Organized by the Cleveland Museum of Art, an illustrated catalogue accompanies the exhibition.




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