Guggenheim Museum

Guggenheim Museum

guggenheim Frank Lloyd Wright's masterpiece. Open 7 days. Around the world: @museoguggenheim @guggenheim_venice. Tag us: #Guggenheim and #FrankLloydWrightFridays

WorkoftheWeek: “I saw Times Square with its light and letters and I realized it was as beautiful and difficult to do as Japanese calligraphy.”—Chryssa Greek-born artist Chryssa moved to New York in 1954, finding inspiration in the spectacle of the advertising neon signs of Times Square. She began incorporating neon into her work in the early 1960s, and was one of the first artists to transform it from an advertising medium into fine art. For Chryssa, the illuminated signs were a perfect example of the intertwining of the vulgar and the visually poetic in U.S. popular culture. She engaged this quality in her neon works, which are illegible but often recall deconstructed letters. “Fragmented Signature” (1970), on view in ArtisticLicense, is being exhibited at the Guggenheim Museum for the first time. Plan your visit at guggenheim.org/artisticlicense. Photo: Scott Rudd Chryssa Guggenheim

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Did you GuessTheArtist correctly? Here’s the full view of Paul Cezanne’s “Still Life: Plate of Peaches (Assiette de pêches)” (1880). Paul Cezanne participated in the first Impressionist exhibition in 1874. Cezanne’s work was motivated by a desire to give sculptural weight and volume to the instantaneity of vision achieved by Impressionists, who painted by nature. Learn more about the artist at guggenheim.org/collection. Guggenheim GuggenheimCollection Cezanne

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GuessTheArtist—the jury for the renowned Salon art exhibition in Paris rejected this artist's submissions many times during his career. Comment your best guess below and we'll share the answer by the end of the day. Good luck! GuggenheimCollection Guggenheim

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60 years of architecture, 60 years of art, and 60 years of inspiring visitors—what's your favorite memory of the museum? Celebrate the 60th anniversary of our Frank Lloyd Wright-designed building by sharing your Guggenheim60 stories from the last six decades via the link in bio. 🎉 Photograph by William H. Short, Guggenheim workers during the construction of the museum Guggenheim FrankLloydWright NewYorkCity

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“When I was a kid I saw pictures of Nevelson, and that gave me some faint hope that there could be an interesting life”— Jenny Holzer. In the mid-1950s, Louise Nevelson began to assemble wooden objects into sculptures, aligning herself with artists who used accumulations of found and discarded items, in the tradition of assemblage. In “Luminous Zag: Night” (1971), 105 units are filled with rows of crenulated wooden beams, column fragments, and finials, while vertical and horizontal zigzags create dynamic, rhythmic patterns. See this work on view in ArtisticLicense, the museum's first exhibition curated by artists. Plan your visit at guggenheim.org/artisticlicense. Photo: David Heald LouiseNevelson Guggenheim

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In 2008, PhilippeParreno created a new installation for the Fifth Avenue entrance of the Guggenheim Museum as part of the exhibition “theanyspacewhatever.” Part of the artist's series of marquees, which he began producing in 2006, the work consisted of an illuminated canopy or light sculpture meant to engage with its immediate architectural surroundings. Rendered in white Plexiglas and neon, this ghostly signboard ʺannouncedʺ the Guggenheim's show without making any pronouncements about its content or structure, instead embodying the open-ended nature of the exhibition. Since opening in 1959, our Frank Lloyd Wright-designed museum has served as inspiration for invention, challenging artists and architects to react to its eccentric, organic design. Follow Guggenheim60 to discover more artist interventions during our 60th anniversary year! Photo: David Heald Guggenheim

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MapplethorpeMondays—did you know that Robert Mapplethorpe did not intend to become a photographer? However, after he was given Polaroid and Hasselblad cameras by friends and mentors, he began taking pictures and came to see the possibilities offered by the medium’s immediacy, eventually becoming convinced that “photography maybe could be art.” Don’t miss part one of our Mapplethorpe exhibition, closing on July 10! Explore over 80 works from the Guggenheim’s rich collection of Mapplethorpe holdings. Plan your visit at guggenheim.org/mapplethorpe. Image: “Arnold Schwarzenegger” (1976) Guggenheim Mapplethorpe

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Museum news—the Solomon R. Guggenheim Museum has been officially inscribed on the UNESCO World Heritage List as part of “The 20th-Century Architecture of Frank Lloyd Wright,” which includes 8 major works spanning 50 years of Wright’s career! The designation was announced at the World Heritage Committee meeting on July 7 in Baku, Azerbaijan, and it’s an honor to receive this internationally esteemed designation that recognizes the significance of Frank Lloyd Wright’s contribution to cultural heritage. WrightWorldHeritage There are more than 1,000 World Heritage sites around the world, and the group of Wright sites is now among only 24 sites in the U.S. The collection represents the first modern architecture designation in the country on the prestigious list. In addition to the Guggenheim Museum, the sites in the group inscription include Unity Temple (constructed 1906-1909, Oak Park, Illinois), the Frederick C. Robie House (constructed 1910, Chicago, Illinois), Taliesin ( taliesinwi) (begun 1911, Spring Green, Wisconsin), HollyhockHouse, (constructed 1918-1921, Los Angeles, California), visitfallingwater (constructed 1936-1939, Mill Run, Pennsylvania), the Herbert and Katherine Jacobs House, (constructed 1936-1937, Madison, Wisconsin), and WrightTaliesin (begun 1938, Scottsdale, Arizona). As we celebrate 60 years as an architectural icon, our Wright-designed masterpiece continues to serve as a beacon and inspiration for visitors from around the world. Guggenheim Guggenheim60 FrankLloydWright WorldHeritageList WorldHeritageCommittee

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“The great pleasure of going into the Guggenheim’s art storage was that it was to be about looking. Looking comes more naturally to me than thinking or talking. So it was a joy to be able to go peer and have an immediate response from the eyes.”—Jenny Holzer For her ArtisticLicense presentation, “Good Artists,” artist-curator Jenny Holzer chose works made exclusively by female artists. Plan your visit at guggenheim.org/artisticlicense. _ JennyHolzer Guggenheim

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Don’t miss part one of our Robert Mapplethorpe exhibition, closing on July 10! “An elegant and profound retrospective” ( financialtimes), "Implicit Tensions" presents the work of one of the most critically acclaimed and controversial artists of the late twentieth century. Explore over 80 works from the Guggenheim’s rich collection of Mapplethorpe holdings. Plan your visit at guggenheim.org/mapplethorpe. Guggenheim

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“I will never forget the day in 1978 when I took this photograph. I was so thoroughly distracted by a personal problem that I couldn’t concentrate on any potential subjects. I had been photographing in Manhattan on and off for two years for a book of images of architecture, and for the first time everything I looked at seemed bleak; my daylong search was fruitless. Disheartened, I was resigned to calling it a day when I came upon the Guggenheim. My bleak mood immediately vanished and I took this photograph, the Guggenheim was the only building that I photographed on that day 41 years ago. I believe that the veil was lifted not only because of this majestic building’s commanding presence and intensity, but also because of the tranquility and peacefulness it emanates.”—Photographer Philip Trager 2019 is the 60th anniversary of our FrankLloydWright-designed building, and we’d love to hear about your memories of the Guggenheim over the last six decades! Send us your old photographs or videos taken at the museum and we’ll select our favorites to share with you here. Share your Guggenheim60 memories at the link in bio. Photo: ©1980 Philip Trager Guggenheim FrankLloydWright NewYorkCity

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Happy 4thofJuly! We are open today 10 am-5:30 pm. Escape the heat and explore ArtisticLicense, photography by Robert Mapplethorpe, new sculptures by Simone Leigh, and masterworks from our collection by Kandinsky, Picasso, Brancusi, and more. Plan your visit at guggenheim.org/visit. Photo: William H. Short, historic photo of the American flag on top of the museum during final construction Guggenheim IndependenceDay

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In 2008, JennyHolzer created “For the Guggenheim,ʺ in celebration of a recently completed restoration of Frank Lloyd Wright’s landmark building. In this piece, the artist’s own writings and selections from poems by Wisława Szymborska were projected onto the museum’s newly renovated facade one night weekly throughout the autumn. The fragmented texts scrolled steadily upward over each of the Wright building’s rings, vanishing into the darkness above. “For the Guggenheim” turned the museum’s exterior into an environment for looking, discussing, and gathering. Since opening in 1959, our Frank Lloyd Wright-designed museum has served as inspiration for invention, challenging artists and architects to react to its eccentric, organic design. Follow Guggenheim60 to discover more artist interventions during our 60th anniversary year! Photo: Kristopher McKay Guggenheim

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*UPDATE* This performance is now sold out. Follow our Facebook event as more tickets may be released closer to the performance. Just announced—Brooklyn-based singer and producer Joshua Karpeh ( cautiousxclay) will perform at the Guggenheim on Tuesday, July 16! Co-presented by WFUV, tickets include access to the museum after the performance. Tickets on sale now at guggenheim.org/calendar. Photo: John Daniel Powers GuggTuesdays

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MapplethorpeMondays—in this self-portrait, which would prove to be one of Robert Mapplethorpe’s last, his gaunt face appears to float within a black void as his hand clutches a skull-topped walking cane in the picture’s foreground. Mapplethorpe died soon after, in early 1989, from AIDS-related complications. That he chose to represent himself in such a haunting manner, holding an overtly morbid symbol of death, speaks to an awareness and acceptance of his own mortality. Despite the artist’s weakened condition, his confident expression and firm grasp exude a characteristic sense of control and mastery of all things, even death. Cognizant of his limited time following a 1986 diagnosis, Mapplethorpe worked to safeguard his legacy during his final years, preparing for two retrospective exhibitions and establishing the Robert Mapplethorpe Foundation to manage his estate, support the medium of photography in arts institutions, and fund HIV/AIDS medical research. See “Self Portrait” (1988) in “Implicit Tensions: Mapplethorpe Now,” on view through July 10 and share your visit using Mapplethorpe. Guggenheim

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PrideMonth: “Can a traditional medium like self-portraiture be radically queer? How can existing visual languages be reconstructed as a way to reclaim agency for queer bodies and POC (person of color)? Self-identified 'visual activist' Zanele Muholi ( muholizanele) has dedicated their artistic career to combating racism, homophobia, transphobia and other forms of bigotry and violence through image making. In their recent ongoing photo series ‘Somnyama Ngonyama (Hail the Dark Lionness)’ (2014–), Muholi produces self-portraits using various household and collected items- from rubber gloves to extension cords- to construct strikingly theatrical images in which they adopt different personas and styles. Echoing the aesthetics of fashion photography and black-and-white portraiture, these photographs place the artist's body front and center; a combative reframing of how the black queer body is approached and aestheticized.”—Assistant Curator, Xiaorui Zhu-Nowell ( xzhunowell) — Images from left to right: “Siphe, Johannesburg” (2018); “Ngwane I, Oslo” (2018)

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PrideMonth: “For Ad Minoliti ( minoliti), color theory is queer theory. In her expansive painting and conceptual practice, color and figuration become a framework in which to think through multitude, subjectivity, and difference. If queer theory proposes the construction of community through differences, not through sameness or identities, Minoliti’s engagements with color and geometric forms propose the same radical undoing. In her work, form always informs politics, and seemingly rudimentary concepts like ‘color,’ ‘figure,’ and ‘shape’ become inseparable from gendered concepts. The playfulness and humor that abounds in her work also operates as a form of art-historical critique, nullifying modernist, masculinist readings of form and universality.”—Assistant Curator, Xiaorui Zhu-Nowell ( xzhunowell)

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ArtisticLicense is a nytimes Critic's Pick! “A rare, dazzling, dizzying cornucopia of objects, viewpoints and agendas”—Roberta Smith ( robertasmithnyt). Plan your visit this weekend to the museum's first artist-curated exhibition. Learn more at guggenheim.org/artisticlicense. Photo: Ben Hider Guggenheim

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“I was assigned by LOOK magazine in 1960 to photograph model and actress Isabella Albonico and the Hat. Once she placed the hat on her, I immediately said ‘we are going to the Guggenheim.’ Frank Lloyd Wright was a dear friend of mine and one memory I have of him that I will never forget was after a long walk at his house in wrighttaliesin, Frank picked up a cane and gave it to me. I noted that I don’t have a need for it and he responded ‘son some day you will.’ Just last year I started to use the cane.”— tonyvaccarophotographer Guggenheim60 2019 is the 60th anniversary of our FrankLloydWright-designed building, and we’d love to hear about your memories of the Guggenheim over the last six decades! Send us your old photographs or videos taken at the museum and we’ll select our favorites to share with you here. Share your Guggenheim60 memories at the link in bio. Guggenheim Photograph by Tony Vaccaro. Copyright Toby Vaccaro / Tony Vaccaro Archives. Guggenheim FrankLloydWright NewYorkCity

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“The way you understand a sculpture is by relating it to your own body, so you feel its edges and its presence in space by that relationship.”—Simone Leigh ( simoneyvetteleigh), winner of the 2018 Hugo Boss Prize. SimoneLeigh HUGOBOSSPRIZE Guggenheim

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In 2008, Cai Guo-Qiang’s ( caistudio) “Inopportune: Stage One” (2004) was presented in the museum’s rotunda, simulating the trajectory of an exploding automobile tumbling through space. In its processional arrangement, the piece recalls stop-motion photography or a sequence of freeze-frames from a movie. Although this installation was originally shown in an expansive horizontal layout, when invited by the Guggenheim to consider the rotunda space for his 2008 retrospective, the artist radically reconfigured the work. The cars were suspended from the oculus and staggered vertically, inviting viewers to experience the work fully as they walked up the ramps. Since opening in 1959, our Frank Lloyd Wright-designed museum has served as inspiration for invention, challenging artists and architects to react to its eccentric, organic design. Follow Guggenheim60 to discover more artist interventions during our 60th anniversary year! Photos: David Heald Guggenheim

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“I'm looking for the unexpected. I'm looking for things I've never seen before.”—Robert Mapplethorpe. MapplethorpeMondays See “Self Portrait” (1985) in “Implicit Tensions: Mapplethorpe Now,” on view through July 10 and share your visit using Mapplethorpe. Guggenheim

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PrideMonth: “How is queerness articulated in historical contexts and in societies where your sexuality and what you desire is regulated? What do our beliefs about historical subjects imply about our understandings of intimacy, gender, and sexuality? Wu Tsang’s ( wu_tsang) films often portray alternative models of social relations and uncover hidden histories and narratives. Her film 'Duilian' (2016) uncovers the queer history of one of China's most famous poets, Qiu Jin. Drafted from the life of the Chinese revolutionary poet Qiu Jin (played by boychild), Duilian strays from official narratives about the historical figure, and instead focuses on the intimate relationship between the poet and her friend and calligrapher, Wu Zhiying (played by the artist). Through acts of decoding and deliberate ‘mistranslation’ to established narratives, her film exposes ‘history’ as irrational and intimate, and rejects a construct of historical subjectivity that is devoid from passions and affects.”—Assistant Curator, Xiaorui Zhu-Nowell ( xzhunowell)

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