Future Exhibitions and Installations

The Getty Center

  • Remembering Antiquity: The Ancient World through Medieval Eyes

    January 24–May 28, 2017

    Featuring illuminated manuscripts and antiquities from the Getty Museum’s collection, this exhibition explores medieval responses to the classical world. For over a millennium following the fall of Rome, the culture of antiquity was remembered, performed, and preserved through visual arts, ceremony, and monastic book culture. At the hands of medieval authors, the narratives of ancient rulers and mythic heroes were adapted and embellished for inclusion in religious texts. People saw themselves as part of a rich classical heritage that was sustained and transmitted through the work of medieval artisans.

  • ONLINE ONLY The Legacy of Ancient Palmyra

    February 8–May 30, 2017

    War in Syria has irrevocably changed the ancient caravan city of Palmyra, famed as a meeting place of civilizations since its apogee in the mid-2nd to 3rd century CE. The Romans and Parthians knew Palmyra as a wealthy oasis metropolis, a center of culture and trade on the edge of their empires. For centuries, traveling artists and explorers have documented the site in former states of preservation. This online exhibition captures the site as it was photographed for the first time by Louis Vignes in 1864 and illustrated in the 18th century by the architect Louis-François Cassas. Their works contribute to Palmyra's legacy, one that goes far beyond the stones of its once great buildings.

  • In Focus: Jane and Louise Wilson's Sealander

    February 14–July 2, 2017

    Working collaboratively since 1989, twin sisters Jane and Louise Wilson create powerful, compelling photographs, videos, and installations that explore historical events and architectural spaces that resonate with power. Their Sealander series presents images of abandoned World War II bunkers along the Normandy coastline of northern France. The monumental scale and monochromatic palette of the photographs merge time and space, past and present, man-made structure and natural environment, land and sea.

  • Concrete Poetry: Words and Sounds in Graphic Space

    March 28–July 30, 2017

    Drawing principally from the Getty Research Institute's vast collection of prints, artists' books, journals, and archives documenting the concrete poetry movement, this exhibition features work by Ian Hamilton Finlay (Scottish), Augusto de Campos and fellow Brazilians, foundational figure Eugen Gomringer (Bolivian-born Swiss), and key contemporaries who led the movement in new directions. Concrete Poetry takes as its focus the visual, verbal, and sonic experiments of the 1960s and 1970s, a period in which visual poems were disseminated internationally. Likewise, it explores how Finlay and de Campos invented new poetic forms ("poster-poems," "standing poems") and continuously reproduced their projects across media, transforming poems into three-dimensional objects and even digital animations.

  • Berlin and Los Angeles: Space for Music

    April 25–July 30, 2017

    Berlin and Los Angeles: Space for Music celebrates the 50th anniversary of the sister-city partnership between West Berlin and Los Angeles by exploring two iconic buildings: the Berlin Philharmonic (1963), designed by Hans Scharoun, and the Walt Disney Concert Hall (2003) in Los Angeles, designed by Frank Gehry. Both buildings have captured the public's imagination and become signature features of the urban landscape of each city. Focusing on the buildings' extraordinary interiors, this exhibition brings together original drawings, sketches, prints, photographs, and models to convey each architect's design process. Berlin and Los Angeles demonstrates how the Berlin Philharmonic and the Walt Disney Concert Hall were pivotal in fostering a strong resonance between architecture and the city.

  • The Lure of Italy: Artists' Views from the Getty Museum Collection

    May 9–July 30, 2017

    From the crumbling ruins of ancient Rome to the crystal clear light of Venice, Italy has fascinated travelers and artists for centuries. Painters and draftsmen have found inspiration not only in the cities but also in the countryside and in the deep history and culture. Visiting from France, England, the Netherlands, and Germany, artists drew sketches to preserve vivid memories, creating works of extraordinary atmosphere and beauty. Their Italian counterparts responded to the tourist demand for souvenirs by crafting their own masterpieces. Featuring works from the Getty Museum’s collection by R. P. Bonington, Claude Lorrain, Giovanni Battista Lusieri, and Canaletto, this exhibition captures the essence and spirit of Italy.

  • Eyewitness Views: Making History in Eighteenth-Century Europe

    May 9–July 30, 2017

    From Paris to Madrid and Vienna to London, from the Doge's Palace to St. Peter’s Square, Europe’s most iconic cities and monuments have played host to magnificent ceremonies. During the golden age of view painting in the eighteenth century, princes, popes, and ambassadors commissioned artists such as Canaletto and Panini to record memorable moments ranging from the Venetian carnival to an eruption of Vesuvius. This first-ever exhibition focusing on views of historic events includes over fifty works, many never seen before in America. Turning the beholder into an eyewitness on the scene, these paintings bring the spectacle and drama of the past to life.

  • Thomas Annan: Photographer of Glasgow

    May 23–August 13, 2017

    During the rise of industry in nineteenth-century Scotland, Thomas Annan ranked as the preeminent photographer in Glasgow. Best known for his haunting images of tenements on the verge of demolition—often considered precursors of the documentary tradition in photography—he prodigiously recorded the people, the social landscape, and the built environment of Glasgow and its outskirts for more than twenty-five years. This exhibition is the first to survey his industrious career and legacy as photographer and printer.

  • Now Then: Chris Killip and the Making of In Flagrante

    May 23–August 13, 2017

    Poetic, penetrating, and often heartbreaking, Chris Killip’s In Flagrante remains the most important photobook to document the devastating impact of deindustrialization on working-class communities in northern England in the 1970s and 1980s. Comprising fifty photographs—all drawn from the collection of the J. Paul Getty Museum—In Flagrante serves as the foundation of this exhibition, which includes maquettes, contact sheets, and work prints that reveal the artist’s process. Now Then also showcases material from two related projects—Seacoal and Skinningrove—that Killip developed in the 1980s, featured selectively in In Flagrante, and revisited decades later.

  • Illuminating Women in the Medieval World

    June 20–September 17, 2017

    From damsels in distress to powerful patrons, from the Virgin Mary to the adulterous Bathsheba, a wide variety of female figures populated the pages of medieval manuscripts. Virtuous women such as biblical heroines, steadfast saints, and pious nuns were held up as models for proper behavior, while lascivious women were warnings against sinful conduct. Female figures fulfilled the romantic role of lovers, the social and political function of wives, and the nurturing capacity of mothers. They were also creators of manuscripts, as women of great wealth and high status exercised their authority and influence by commissioning books—and sometimes even illuminating them.

  • Happy Birthday, David Hockney

    June 27–October 15, 2017

    To celebrate David Hockney’s eightieth birthday and his long and continuing artistic career, this exhibition features one of the Getty Museum’s most iconic works—Pearblossom Hwy., 11–18th April 1986, #2—alongside a small selection of drawn and photographic self-portraits borrowed from the artist’s studio. Hockney’s famous photo collage is remarkable both for its synthesis of mundane observations of a road trip to California’s Antelope Valley and for its innovative reimagining of perspectival vision. Laced with the same wit and sensitivity, the self-portraits display an intense scrutiny of the artist’s features over a period of more than fifty years.

The Getty Villa