Jump to content

Solomon R. Guggenheim Foundation

From Wikipedia, the free encyclopedia
(Redirected from Guggenheim Guadalajara)
Solomon R. Guggenheim Foundation
Formation1937
TypeNonprofit organization
HeadquartersNew York City, United States
Director
Richard Armstrong
Revenue$89,192,827[1] (2015)
Websitewww.guggenheim.org

The Solomon R. Guggenheim Foundation is a nonprofit organization founded in 1937 by philanthropist Solomon R. Guggenheim and his long-time art advisor, artist Hilla von Rebay. The foundation is a leading institution for the collection, preservation, and research of modern and contemporary art and operates several museums around the world. The first museum established by the foundation was The Museum of Non-Objective Painting, in New York City. This became The Solomon R. Guggenheim Museum in 1952, and the foundation moved the collection into its first permanent museum building, in New York City, in 1959. The foundation next opened the Peggy Guggenheim Collection in Venice, Italy, in 1980. Its international network of museums expanded in 1997 to include the Guggenheim Museum Bilbao in Bilbao, Spain, and it expects to open a new museum, Guggenheim Abu Dhabi, in the United Arab Emirates after its construction is completed.

The mission of the foundation is "to promote the understanding and appreciation of art, architecture, and other manifestations of visual culture, primarily of the modern and contemporary periods, and to collect, conserve, and study" modern and contemporary art.[2] The Foundation seeks, in its constituent museums, to unite distinguished architecture and artworks. The foundation's first permanent museum, the Solomon R. Guggenheim Museum, is housed in a modern spiral building designed by Frank Lloyd Wright, and the Guggenheim Bilbao was designed by Frank Gehry. Both of these innovative designs received wide press and critical attention. The Peggy Guggenheim Collection is housed in an 18th-century Italian palace, the Palazzo Venier dei Leoni, on the Grand Canal.

The permanent collection of the foundation is based primarily on nine private collections: Solomon R. Guggenheim's collection of non-objective paintings; Karl Nierendorf's collection of German expressionism and early abstract expressionism; Katherine S. Dreier's gift of paintings and sculptures; Peggy Guggenheim's collection, concentrating on abstraction and surrealism; Justin K. and Hilde Thannhauser's collection of Impressionist, Post-Impressionist, and early modern masterpieces; part of Hilla von Rebay's collection; Giuseppe Panza di Biumo's holdings of American minimalist, post-minimalist, environmental and conceptual art of the 1960s and 1970s; a collection of photographs and mixed media from the Robert Mapplethorpe Foundation; and the Bohen Foundation's collection of film, video, photography and new media.[3] The foundation's collections have expanded greatly through eight decades and include every major movement of 20th- and 21st-century art. Its directors and curators have attempted to form a single collection that is not encyclopedic, but rather based on their unique visions.[4] The collection has grown in scope to include new media and performance art, and the foundation has entered into collaborations with YouTube and BMW.

History

[edit]

Hilla Rebay and early years

[edit]

Solomon R. Guggenheim, a member of a wealthy mining family, began collecting works of the old masters in the 1890s. He retired from his business in 1919 to devote more time to art collecting. In 1926, at age 66, he met artist Hilla von Rebay, who was commissioned by Guggenheim's wife, Irene Rothschild, to paint his portrait.[5] Rebay introduced him to European avant-garde art, in particular abstract art that she felt had a spiritual and utopian aspect (non-objective art).[5] Guggenheim completely changed his collecting strategy.[6] In 1930, the two visited Wassily Kandinsky's studio in Dessau, Germany, and Guggenheim began to purchase Kandinsky's work. The same year, Guggenheim began to display the collection to the public at his apartment in the Plaza Hotel in New York City. Guggenheim's purchases continued with the works of Rudolf Bauer, Fernand Léger, Robert Delaunay, and great artists who were not of the non-objective school, such as Marc Chagall, Jean Metzinger, Albert Gleizes, Pablo Picasso and László Moholy-Nagy.[5][6]

Red Balloon by Paul Klee

In 1937, Guggenheim established the Solomon R. Guggenheim Foundation to foster the appreciation of modern art.[6] The foundation's first venue for the display of art was called the "Museum of Non-Objective Painting". It opened in 1939 under the direction of Rebay, its first curator, in a former automobile showroom at East 54th Street in midtown Manhattan.[7] This moved, in 1947, to another rented space at 1071 Fifth Avenue.[6] Under Rebay's guidance, Guggenheim sought to include in the collection the most important examples of non-objective art available at the time, such as Kandinsky's Composition 8 (1923), Léger's Contrast of Forms (1913) and Delaunay's Simultaneous Windows (2nd Motif, 1st Part) (1912).[8]

By the early 1940s, the foundation had accumulated such a large collection of avant-garde paintings that the need for a permanent building to house the art collection had become apparent.[9] In 1943, Guggenheim and Rebay commissioned architect Frank Lloyd Wright to design the museum building.[10] Rebay conceived of the space as a "temple of the spirit" that would facilitate a new way of looking at the modern pieces in the collection.[11] In 1948, the collection was greatly expanded through the purchase of art dealer Karl Nierendorf's estate of some 730 objects, notably German expressionist paintings.[8] By that time, the foundation's collection included a broad spectrum of expressionist and surrealist works, including paintings by Paul Klee, Oskar Kokoschka and Joan Miró.[3][8] Guggenheim died in 1949, and the museum was renamed the Solomon R. Guggenheim Museum in 1952. The foundation expanded its display activities with a series of traveling exhibitions.[12]

After Guggenheim's death, members of the Guggenheim family who sat on the foundation's board of directors had personal and philosophical differences with Rebay, and in 1952 she resigned as director of the museum.[12] Nevertheless, she left a portion of her personal collection to the foundation in her will, including works by Kandinsky, Klee, Alexander Calder, Gleizes, Piet Mondrian and Kurt Schwitters.[3]

Sweeney and completion of the first building

[edit]
1966 2 Cent U.S. postage stamp honoring Frank Lloyd Wright, showing the Guggenheim in the background

In 1953, the foundation's collecting boundaries extended even further under its new director, James Johnson Sweeney. Sweeney rejected Rebay's dismissal of "objective" painting and sculpture, and he soon acquired Constantin Brâncuși's Adam and Eve (1921), followed by works of other modernist sculptors, including Jean Arp, Alexander Calder, Alberto Giacometti and David Smith.[8] Sweeney reached beyond the 20th century to acquire Paul Cézanne's Man with Crossed Arms (c. 1899).[8] In 1953, the foundation received a gift of 28 important works from the Estate of Katherine S. Dreier, a founder of America's first collection to be called a modern art museum, the Société Anonyme. Dreier had been a colleague of Rebay's. The works included Little French Girl (1914–18) by Brâncuși, an untitled still life (1916) by Juan Gris, a bronze sculpture (1919) by Alexander Archipenko and three collages (1919–21) by German Hanoverian Dadaist Schwitters. It also included works by Calder, Marcel Duchamp, El Lissitzky and Mondrian.[3] Among others, Sweeney also acquired the works of Alberto Giacometti, David Hayes, Willem de Kooning and Jackson Pollock.[13] He also established the Guggenheim International Awards in 1956. Sweeney oversaw the last half dozen years of the construction of the museum building, during which time he had an antagonistic relationship with Frank Lloyd Wright, especially regarding the building's lighting issues.[14][15]

The distinctive cylindrical building, wider at the top than the bottom, with a spiral ramp climbing gently from ground level to the skylight at the top, turned out to be Wright's last major work, as the architect died six months before its opening.[16] The building opened in October 1959 to large crowds[17] and instantly polarized architecture critics,[16][18] though today it is widely praised.[19] Some of the criticism focused on the idea that the building overshadows the artworks displayed inside,[9] and that it is difficult to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral. Prior to its opening, twenty-one artists signed a letter protesting the display of their work in such a space.[16] Upon opening, the museum received a largely favorable response from the public, despite the early misgivings: "overall Wright's design was, and still is, admired for being highly personal and inviting".[20]

Messer and the ramp

[edit]
The Guggenheim's gallery – part of the spiral ramp

Thomas M. Messer succeeded Sweeney as director of the museum (but not the foundation) in 1961 and stayed for 27 years, the longest tenure of any of the city's major arts institutions' directors.[21] When Messer took over, the museum's ability to present art at all was still in doubt due to the challenges presented by continuous spiral ramp gallery that is both tilted and has curved walls.[22] Almost immediately, in 1962, he took a risk putting on a large exhibition that combined the Guggenheim's paintings with sculptures on loan from the Hirshhorn Museum.[22] Three-dimensional sculpture, in particular, raised "the problem of installing such a show in a museum bearing so close a resemblance to the circular geography of hell", where any vertical object appears tilted in a "drunken lurch" because the slope of the floor and the curvature of the walls could combine to produce vexing optical illusions.[23]

It turned out that the combination could work well in the Guggenheim's space, but, Messer recalled that at the time, "I was scared. I half felt that this would be my last exhibition."[22] Messer had the foresight to prepare by staging a smaller sculpture exhibition the previous year, in which he discovered how to compensate for the space's weird geometry by constructing special plinths at a particular angle, so the pieces were not at a true vertical yet appeared to be so.[23] In the earlier sculpture show, this trick proved impossible for one piece, an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical, "suggesting hallucination" in the disorienting context of the tilted floor.[23]

The next year, Messer acquired a private collection from art dealer Justin K. Thannhauser for the foundation's permanent collection.[24] These 73 works include Impressionist, Post-Impressionist and French modern masterpieces, including important works by Paul Gauguin, Édouard Manet, Camille Pissarro, Vincent van Gogh and 32 works by Pablo Picasso.[3][25]

Global expansion

[edit]
Main articles: Peggy Guggenheim Collection, Guggenheim Museum Bilbao, and Deutsche Guggenheim
The Peggy Guggenheim Collection, in Venice

Peggy Guggenheim, Solomon's niece, collected and displayed art beginning in 1938.[26] At Messer's urging, she donated her art collection and home in Venice, the Palazzo Venier dei Leoni, to the foundation in 1976.[27] After her death in 1979, the collection of more than 300 works was re-opened to the public as the Peggy Guggenheim Collection in 1980 by the foundation, which was then under the direction of Peter Lawson-Johnston.[28][29] It includes early 20th century works of prominent American modernists and Italian futurists. Pieces in the collection embrace Cubism, Surrealism and Abstract expressionism. Some of the notable artists are Picasso, Dalí, Magritte, Brâncuși (including a sculpture from the Bird in Space series), eleven works by Pollock, Braque, Duchamp, Léger, Severini, Picabia, de Chirico, Mondrian, Kandinsky, Miró, Giacometti, Klee, Gorky, Calder, Max Ernst and Peggy Guggenheim's daughter, Pegeen Vail Guggenheim.[3][26]

Since 1985, the United States has selected the foundation to operate the U.S. Pavilion of the Venice Biennale, an exhibition held every other summer. In 1986, the foundation purchased the Palladian-style pavilion, built in 1930.[29][30]

Thomas Krens, director of the foundation from 1988 to 2008, led a rapid expansion of the foundation's collections.[31] In 1991, he broadened the foundation's holdings by acquiring the Panza Collection. Assembled by Count Giuseppe di Biumo and his wife, Giovanna, the Panza Collection includes examples of Minimalist sculptures by Carl Andre, Dan Flavin and Donald Judd, and Minimalist paintings by Robert Mangold, Brice Marden and Robert Ryman, as well as an array of Post-Minimal, Conceptual, and perceptual art by Robert Morris, Richard Serra, James Turrell, Lawrence Weiner and others, notably American examples of the 1960s and 1970s.[3][32] In 1992, the Robert Mapplethorpe Foundation gifted 200 of his best photographs to the foundation. The works spanned his entire output, from his early collages, Polaroids, portraits of celebrities, self-portraits, male and female nudes, flowers and statues. It also featured mixed-media constructions and included his well-known 1998 Self-Portrait. The acquisition initiated the foundation's photography exhibition program.[3]

Also in 1992, the New York museum building's exhibition and other space was expanded by the addition of an adjoining rectangular tower, taller than the original spiral, and a renovation of the original building.[33] The same year, the foundation opened the small Guggenheim Museum SoHo in the SoHo neighborhood of downtown Manhattan, designed by Arata Isozaki, and hosted exhibits that included Marc Chagall and the Jewish Theater, Paul Klee at the Guggenheim Museum, Robert Rauschenberg: A Retrospective, and Andy Warhol: The Last Supper.[34] This space was kept after the main museum was re-opened, but it closed in 2002 due to an economic downturn.[35] To finance these moves, controversially, the foundation sold works by Kandinsky, Chagall and Modigliani to raise $47 million, drawing considerable criticism for trading masters for "trendy" latecomers. In The New York Times, critic Michael Kimmelman wrote that the sales "stretched the accepted rules of deaccessioning further than many American institutions have been willing to do."[36] Krens defended the action as consistent with the museum's principles, including expanding its international collection and building its "postwar collection to the strength of our pre-war holdings"[32] and pointed out that such sales are a regular practice by museums.[36]

The Guggenheim Museum Bilbao, along the Nervión River in downtown Bilbao

One of Krens's most significant initiatives was to expand the foundation's international presence.[37] The Guggenheim Museum Bilbao opened in 1997. Designed by Frank Gehry, the titanium, glass and limestone Guggenheim Bilbao is a centerpiece of the revitalization of the Basque city of Bilbao, Spain.[38] The building was greeted with glowing praise from architecture critics.[39] The Basque government funded the construction, while the Foundation purchased the artworks and manages the facility.[38] The museum's permanent collection includes works by modern and contemporary Basque and Spanish artists like Eduardo Chillida, Juan Muñoz and Antonio Saura, as well as works from the foundation, and it has organized various exhibitions curated by the Solomon R. Guggenheim Museum in New York.[40]

Also in 1997, the foundation opened a small gallery in the Unter den Linden area of Berlin, Germany, as the Deutsche Guggenheim, in cooperation with the Deutsche Bank.[9] The Deutsche Guggenheim had four exhibitions each year, complemented by educational programming, and it annually commissioned one, or occasionally two, new artworks or series by contemporary artists, which were then displayed at the museum in a special exhibition.[41] After 14 years of operation, Deutsche Guggenheim closed at the end of 2012.[42]

Krens exhibitions and abortive projects

[edit]

Under Krens, the foundation mounted some of its most popular exhibitions: "Africa: The Art of a Continent" in 1996; "China: 5,000 Years" in 1998, "Brazil: Body & Soul" in 2001; and "The Aztec Empire" in 2004.[43] Unusual exhibitions included commercial art installations of Giorgio Armani suits and motorcycles. The New Criterion's Hilton Kramer condemned both The Art of the Motorcycle[44] and the retrospective of the work of fashion designer Armani.[45] Others disagreed.[46] A 2009 retrospective of Frank Lloyd Wright at the original New York building showcased the architect on the 50th anniversary of the opening of the building and was the museum's most popular exhibit since it began keeping such attendance records in 1992.[9]

The Art of the Motorcycle exhibition in Las Vegas

In 2001, the foundation opened two new museums in Las Vegas, Guggenheim Las Vegas and Guggenheim Hermitage Museum, both designed by architect Rem Koolhaas. The museums showcased highlights of the collections, respectively, of the foundation and the Hermitage Museum in Saint Petersburg, Russia.[47][48] The first and larger of the two hosted one exhibition: "The Art of the Motorcycle", before closing in 2003.[49] The latter held ten exhibitions of masterworks by leading artists from the last six centuries, including Van Eyck, Titian, Velázquez, Van Gogh, Picasso, Pollock and Lichtenstein. The Guggenheim Hermitage Museum closed in 2008.[47]

In 2001 the foundation also established the Sackler Center for Arts Education on the campus of the original New York building.[50] The same year, the foundation received a gift of the large collection of the Bohen Foundation, which, for two decades, commissioned new works of art with an emphasis on film, video, photography and new media. Artists included in the collection are Pierre Huyghe, Sophie Calle and Jac Leirner.[5] The foundation planned for a large Guggenheim museum on the waterfront in lower Manhattan, and it engaged Frank Gehry as the architect. His designs for the building were showcased in 2001 at the Fifth Avenue museum,[51] but these plans were disrupted by the economic downturn of the early 2000s and the September 11, 2001 attacks, which prompted reconsideration of any plans in lower Manhattan.[52] Other projects were considered but not completed in Rio de Janeiro, Vilnius, Salzburg, Taichung[53] and Guadalajara[54]

On January 19, 2005, the philanthropist Peter B. Lewis resigned from his position as chairman of the foundation, expressing his opposition to Krens' plans for further global expansion of the Guggenheim museums. Lewis had been the largest donor in the history of the Guggenheim.[55] Tensions continued, however, and on February 27, 2008, Krens resigned from his position at the foundation. He remained, however, as an advisor for international affairs.[56] Over his two decades at the head of the foundation, Krens was criticized not only for the deaccessioning of older works of the museum[36] but for both his businesslike style and perceived populism and commercialization.[46][57] One writer commented, "Krens has been both praised and vilified for turning what was once a small New York institution into a worldwide brand, creating the first truly multinational arts institution. ... Krens transformed the Guggenheim into one of the best-known brand name in the arts."[58]

Armstrong and later years

[edit]
Richard Armstrong, 2012

Richard Armstrong became the fifth director of the foundation on November 4, 2008. He had been director of the Carnegie Museum of Art in Pittsburgh, Pennsylvania for 12 years, where he had also served as chief curator and curator of contemporary art.[59] In addition to its permanent collections, which continue to grow,[5] the foundation administers loan exhibitions and co-organizes exhibitions with other museums to foster public outreach.[60]

In 2006, Abu Dhabi, the capital of the United Arab Emirates, announced an agreement with the Guggenheim Foundation to build a new museum, "Guggenheim Abu Dhabi". Gehry designed the structure,[61] which will, if completed, be the foundation's largest by far.[62] It began construction on the northwest tip of Saadiyat Island,[29] where a performing arts center and other museums have been built.[63] The completion date has been pushed back repeatedly.[64][65] The museum is expected to house modern and contemporary collections that will focus on Middle-Eastern contemporary art and to display special exhibitions from the foundation's main collection.[29]

In 2011, the city of Helsinki, Finland, commissioned the foundation to study the feasibility of constructing a museum there.[62] The study recommended building the museum in Helsinki's South Harbor. In 2012, the proposal was rejected by the city board, and in 2013, the foundation made a revised proposal.[66] The Guggenheim's licensing fee was to be funded by private sources; one journalist called the Foundation's cost and revenue estimates "speculative at best".[67] An international architecture competition solicited designs for the museum,[68] and in 2015, a design was chosen.[69] In 2016 the Helsinki city council voted to reject the plan.[70]

Armstrong left the museum at the end of 2023.[71][72] In June 2024, Mariët Westermann, previously the vice chancellor of New York University Abu Dhabi, became the Guggenheim's first female director.[73][74]

Restitution claims

[edit]

In 2007, the heirs of Berlin banker Paul von Mendelssohn-Bartholdy requested the restitution of the Picasso painting "Le Moulin de la Galette" (1900), which they claimed he had sold under duress by the Nazis.[75][76] The museum and the heirs settled the lawsuit in 2009.[77] The presiding judge, Jed Rakoff, criticized the secrecy of the accord.[78][79] In 2018, the museum returned the Ernst Ludwig Kirchner painting Artillerymen (1915) to the heirs of Alfred Flechtheim, who had owned the painting before it fell into the hands of a Nazi collector in 1938.[80][81]

In 2023, the heirs of Karl and Rosie Adler sued the Guggenheim to claim the restitution of a Picasso painting, Woman Ironing (La repasseuse) (1904), which the Adlers sold to Justin Thannhauser in 1938, allegedly for a fraction of its value, to escape the Holocaust. They alleged that Thannhauser knowingly purchased the painting, and art from other Jews on the run, profiting unfairly from their distress.[82][83] The museum says they contacted the Adler family before acquiring the painting as a part of Thannhauser's bequest of his art collection in 1976, and at that time Karl Adler did not object.[84][85]

The Guggenheim lists 289 artworks on the Nazi Era Provenance Internet Portal (NEPIP) but does not publish provenance for its collection.[86][87]

Architecture

[edit]

The foundation has long sought, in its constituent museums, to unite its artworks with distinguished architecture. In 1943, Hilla von Rebay and Solomon R. Guggenheim commissioned Frank Lloyd Wright to build the foundation's first permanent museum.[88] Rebay wrote to Wright that "each of these great masterpieces should be organized into space, and only you ... would test the possibilities to do so. … I want a temple of spirit, a monument!"[89] The resultant achievement, the Solomon R. Guggenheim Museum, in New York City, testifies not only to Wright's architectural genius, but also to the adventurous spirit that characterized its founders.[90] The critic Paul Goldberger later wrote that, before Wright's modernist building, "there were only two common models for museum design: Beaux-arts Palace ... and the International Style Pavilion."[91] Goldberger thought the building a catalyst for change, making it "socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim."[91]

New York

[edit]
An interior view of the museum

Before settling on the present site for the Solomon R. Guggenheim Museum on Fifth Avenue between 88th and 89th Streets, Wright, Rebay and Guggenheim considered numerous locations in Manhattan, as well as in the Riverdale section of the Bronx, overlooking the Hudson River.[92] Guggenheim felt that the site's proximity to Central Park was important; the park afforded relief from the noise, congestion and concrete of the city.[93] Nature also provided the museum with inspiration.[92] The building embodies Wright's attempts "to render the inherent plasticity of organic forms in architecture."[94] The Guggenheim was to be the only museum designed by Wright. The city location required Wright to design the building in a vertical rather than a horizontal form, far different from his earlier, rural works.[93]

Wright's original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia.[93] His design dispensed with the conventional approach to museum layout, in which visitors are led through a series of interconnected rooms and forced to retrace their steps when exiting.[94] Wright's plan was for the museum guests to ride to the top of the building by elevator, to descend at a leisurely pace along the gentle slope of the continuous ramp, and to view the atrium of the building as the last work of art. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously and even to interact with guests on other levels.[95] The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another.[96]

Even as it embraced nature, Wright's design also expresses his take on modernist architecture's rigid geometry.[96] Wright ascribed a symbolic meaning to the building's shapes. He explained, "these geometric forms suggest certain human ideas, moods, sentiments – as for instance: the circle, infinity; the triangle, structural unity; the spiral, organic progress; the square, integrity."[97] Forms echo one another throughout: oval-shaped columns, for example, reiterate the geometry of the fountain. Circularity is the leitmotif, from the rotunda to the inlaid design of the terrazzo floors.[92]

The Guggenheim atrium, looking up at the skylight

Wright's vision took 16 years to be fulfilled. Set in sharp contrast to typically rectangular Manhattan buildings that surround it, the Solomon R. Guggenheim Museum building opened in October 1959. Even before it opened, the design polarized architecture critics.[16][18] Some believed that the building would overshadow the museum's artworks.[9][98][99] "On the contrary", wrote the architect, the design makes "the building and the painting an uninterrupted, beautiful symphony such as never existed in the World of Art before."[98] Other critics, and many artists, felt that it is awkward to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral.[16] The building, nevertheless, became widely praised[19][90][100] and inspired many other architects.[93]

The building's surface was made out of concrete to reduce the cost, inferior to the stone finish that Wright had wanted.[101] The small rotunda (or "Monitor building", as Wright called it) next to the large rotunda was intended to house apartments for Rebay and Guggenheim but instead became offices and storage space.[102] In 1965, the second floor of the Monitor building was renovated to display the museum's growing permanent collection, and with the restoration of the museum in 1990–92, it was turned over entirely to exhibition space and christened the Thannhauser Building, in honor of one of the most important bequests to the museum.[103] Wright's original plan for an adjoining tower, artists' studios and apartments went unrealized, largely for financial reasons. However, as part of the restoration, architects Gwathmey Siegel and Associates analyzed Wright's original sketches to design the rectangular 10-story limestone tower, that stands behind, and taller than, the original spiral building (replacing a much smaller structure), which has four additional exhibition galleries with flat walls that are "more appropriate for the display of art."[33][95] Also in the original construction, the main gallery skylight had been covered, which compromised Wight's carefully articulated lighting effects. This changed in 1992 when the skylight was restored to its original design.[101] Funding for the alterations was raised partly through the controversial sale of masterworks by the foundation in 1991.[101]

In 2001, the museum opened the Sackler Center for Arts Education to the public, which was another part of Wright's original design for the building, through a gift of the Mortimer D. Sackler family. Located just below the large rotunda, this 8,200-square-foot education facility provides classes and lectures about the visual and performing arts and opportunities to interact with the museum's collections and special exhibitions through its labs, exhibition spaces, conference rooms and the Peter B. Lewis Theater.[50] Between September 2005 and July 2008, the Guggenheim Museum underwent a significant exterior restoration to repair cracks and[104] modernize systems and exterior details.[105] Artist Jenny Holzer painted a tribute, For the Guggenheim, in honor of Peter B. Lewis, a major benefactor in the restoration project.[106] The museum was registered as a National Historic Landmark on October 6, 2008.[107]

Venice

[edit]
Further information: Peggy Guggenheim Collection
Peggy Guggenheim, Marseille, 1937

Peggy Guggenheim purchased the Palazzo Venier dei Leoni in 1948 to house and display her collection to the public, and she resided there for thirty years.[108][109] Although sometimes mistaken for a modern building,[110] it is an 18th-century palace designed by the Venetian architect Lorenzo Boschetti.[109] The building was unfinished and has an unusually low elevation on the Grand Canal. The museum's website describes its "long low façade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute."[111]

The Foundation took control of the building in 1979 following Guggenheim's death and took steps to expand gallery space. By 1985, "all of the rooms on the main floor had been converted into galleries ... the white Istrian stone facade and the unique canal terrace had been restored", and a protruding arcade wing, called the barchessa, had been rebuilt by architect Giorgio Bellavitis.[112] Since 1985, the museum has been open year-round.[111] In 1993, the foundation converted apartments adjacent to the museum into a garden annex, a shop and more galleries.[112] In 1995, the Nasher Sculpture Garden was completed,[112] Since 1993, the museum has doubled in size, from 2,000 to 4,000 square meters.[29] and it was renovated in 2012.[113]

Bilbao

[edit]
Further information: Guggenheim Museum Bilbao
The museum is clad in glass, titanium, and limestone

In 1991, the Basque government suggested to the foundation that it would fund a Guggenheim museum to be built in Bilbao.[114][115] The foundation selected Frank Gehry as the architect, and its director, Thomas Krens, encouraged him to design something daring and innovative.[116] The curves on the exterior of the building were intended to appear random; the architect said that "the randomness of the curves are designed to catch the light".[117] The interior "is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country."[29]

When the Guggenheim Museum Bilbao opened to the public in 1997, it was immediately hailed as one of the world's most spectacular buildings, a masterpiece of the 20th century.[118] Architect Philip Johnson described it as "the greatest building of our time",[119] while critic Calvin Tomkins, in The New Yorker, characterized it as "a fantastic dream ship of undulating form in a cloak of titanium", its brilliantly reflective panels also reminiscent of fish scales.[118] Herbert Muschamp praised its "mercurial brilliance" in The New York Times Magazine.[120] The Independent calls the museum "an astonishing architectural feat".[29]

The museum is seamlessly integrated into the urban context, unfolding its interconnecting shapes of stone, glass and titanium on a 32,500-square-meter site along the Nervión River in the old industrial heart of the city; while modest from street level, it is most impressive when viewed from the river.[114][120] Eleven thousand square meters of exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes. The remaining nine galleries are irregularly shaped and can be identified from the outside by their swirling organic forms and titanium cladding. The largest gallery measures 30 meters wide and 130 meters long.[115][120] Since 2005, it has housed Richard Serra's monumental installation "The Matter of Time".[121][122]

Berlin

[edit]
Further information: Deutsche Guggenheim

Deutsche Guggenheim, in Berlin, opened one month after the Guggenheim Museum Bilbao, in 1997.[123] Designed by American architect Richard Gluckman in a minimalist style, the modest Berlin gallery occupied a corner of the ground floor of the sandstone Deutsche Bank building, in the Unter der Linden boulevard, constructed in 1920.[29][124] It closed in 2013.[125]

Abu Dhabi

[edit]
Further information: Guggenheim Abu Dhabi

The museum in Abu Dhabi is planned to be the foundation's largest facility by far.[62][126] Gehry's design features exhibition galleries, education and research space, a conservation laboratory, a center for contemporary Arab, Islamic and Middle Eastern culture, and a center for "art and technology".[127] Inspired by traditional middle-eastern covered courtyards and wind towers, used to cool structures exposed to the desert sun, the museum's clusters of horizontal and vertical galleries of various sizes are connected by catwalks and planned around a central, covered courtyard, incorporating natural features intended to maximize the energy efficiency of the building. The largest galleries will offer a grand scale for the display of large contemporary art installations.[127] Parts of the building will be four stories tall, with "clusters of block and cone-shaped connected galleries seemingly piled on top of each other."[29][128] The museum is intended to be a centerpiece in the island's plan for contemporary art and culture".[129]

The new museum began construction on a peninsula at the northwestern tip of Saadiyat Island adjacent to Abu Dhabi.[127][130] Gehry commented, "The site itself, virtually on the water or close to the water on all sides, in a desert landscape with the beautiful sea and the light quality of the place suggested some of the direction."[128] The completion date was pushed back from 2011 to at least 2017.[65] In March 2011, over 130 artists announced a plan to boycott the Abu Dhabi museum, citing reports of abuses of foreign workers, including the arbitrary withholding of wages, unsafe working conditions and failure of companies to pay recruitment fees to laborers.[131] Continued progress awaits the approval of construction applications and contracts by the Tourism Development & Investment Company (TDIC).[132] As of early 2016, no progress had been made on construction, and the Guggenheim Foundation confirmed that "TDIC has not yet awarded a contract."[133]

Helsinki design (never built)

[edit]
Main article: Guggenheim Helsinki Plan

The Guggenheim Helsinki Design Competition in 2014–2015 was the Solomon R. Guggenheim Foundation's first open, international architectural competition. It received 1,715 submissions from 77 countries, a record for a museum design competition.[134] The design chosen for a proposed €130 million Guggenheim museum in Helsinki, Finland, envisioned "an indistinct jumble of pavilions faced in charred wood" and glass.[69] The winning design was by Paris-based Moreau Kusunoki Architectes.[69][134] Critics objected to the dark color of the design's exterior, which contrasts with the surrounding architecture, as well as the shape of the building. Osku Pajamaki, vice chairman of the city's executive board, said: "The symbol of the lighthouse is arrogant in the middle of the historical center ... [like] a Guggenheim museum next to Notre Dame in Paris. People are approaching from the sea, and the first thing that they will see is that the citizens of Helsinki bought their identity from the Guggenheim."[135] The proposed museum was rejected by the Helsinki city council in 2016.[70]

Collaborations

[edit]
The front of the Guggenheim Museum from 5th Avenue, New York City

The foundation annually lends hundreds of works of art from its collections to other museums and institutions around the world. It also enters into collaborations with partners throughout the world to engage with diverse audiences and to promote cultural discourse. From 2006 to 2011, exhibitions of the foundation's works were seen in more than 80 museums, such as the National Art Museum of China in Beijing during the 2008 Beijing Olympic Games.[136]

YouTube Play

[edit]

In 2010, the Solomon R. Guggenheim Foundation and YouTube, in collaboration with Hewlett-Packard and Intel, presented YouTube Play, A Biennial of Creative Video. More than 23,000 videos from 91 countries were submitted in response to an open call for submissions aimed "to discover and showcase the most exceptional talent working in the ever-expanding realm of online video".[137][138] Foundation curators selected a short list of 125 videos from which a jury, including artists Laurie Anderson and Takashi Murakami and the musical group Animal Collective, picked a playlist of 25 works.[138] These were featured at the YouTube Play event at the Solomon R. Guggenheim Museum in New York on October 21, 2010, during which the videos were projected on the exterior of the museum building and inside the museum's rotunda.[137]

The 25 selected works continued on view at the museum until October 24, 2010. The 125 short list videos were on view throughout the fall of 2010 at kiosks at Guggenheim museums in New York, Berlin, Bilbao and Venice. The project's YouTube channel, youtube.com/play, features all of the short list videos, as well as highlights from the event in New York and information about the project.[139] The collaboration was intended to reach wide audiences beyond the museum environment.[138] New York Times art critic Roberta Smith commented: "It is an idea whose time has come. ... In many ways it is simply an old-fashioned open-submission exhibition of the kind that regional museums and art centers around the country have staged for decades – except that it has gone digital."[137]

BMW Guggenheim Lab

[edit]
Main article: BMW Guggenheim Lab

The BMW Guggenheim Lab is an interdisciplinary travelling project that began in 2011.[140][141] A collaboration between the BMW Group and the foundation, the lab is part urban think tank, part community center, and part gathering space, which explores issues of urban life through public programming and discourse.[142][143] The program is designed to proactively engage residents from each city that it visits, and participants on the Internet and from around the world, in free programs and experiments, and to address ideas and issues of urban living with particular relevance to each city.[144] The Lab's Advisory Committee of experts nominates each city's lab team, an interdisciplinary group that creates the programming for that location.[140][141] The lab was expected to visit nine cities for three months each over the course of six years, with three different structures housing the lab, each of which was to travel to three cities.[145][146] In 2013, however, BMW ended its support of the project.[147]

The lab's structure was designed by the Tokyo-based architecture firm Atelier Bow-Wow.[145][146] The project's three-city cycle was designed around the theme Confronting Comfort, which explored ways of making urban environments more responsive to people's needs, striking a balance between individual and collective comfort, and promoting environmental and social responsibility.[144] The Lab's Advisory Committee members were: Daniel Barenboim, Elizabeth Diller, Nicholas Humphrey, Muchadeyi Masunda, Enrique Peñalosa, Juliet Schor, Rirkrit Tiravanija, and Wang Shi.[140][141] The lab was open from August 3 to October 16, 2011, in New York City's East Village and was attended by over 54,000 visitors from 60 countries.[145][146] The Lab was open in Berlin from May 24 to July 29, 2012.[146][148] The programming of the Berlin Lab focused on four main topics: Empowerment Technologies (Gómez-Márquez), Dynamic Connections (Smith), Urban Micro-Lens (Rose) and the Senseable (SENSEable) City (Ratti).[citation needed] The Lab opened in Mumbai, India, on December 9, 2012, and ran until January 20, 2013. The central location was on the grounds of the Dr. Bhau Daji Lad Museum, with additional satellite locations around the city.[149] Along with neighborhood-specific public programming, the Mumbai Lab program included participatory research studies and design projects.[150]

The program ended with an exhibition, Participatory City: 100 Urban Trends from the BMW Guggenheim Lab, which was on view at the New York museum from October 11, 2013, through January 5, 2014.[147]

Guggenheim UBS MAP Global Art Initiative

[edit]
Main article: Guggenheim UBS MAP Global Art Initiative

The Guggenheim UBS MAP Global Art Initiative was a five-year program, supported by Swiss bank UBS in which the Foundation identified and worked with artists, curators and educators from Asia, Latin America, the Middle East and North Africa to expand its reach in the international art world. For each of the three phases of the project, the museum invited one curator from the chosen region to the Guggenheim Museum in New York City for a two-year curatorial residency to work with a team of Guggenheim staff to identify new artworks that reflect the range of talents in their parts of the world. The resident curators organized international touring exhibitions that highlighted these artworks and helped to organize educational activities.[151][152] The Foundation acquired these artworks for its permanent collection and included them as the focus of exhibitions at the museum in New York and subsequently traveled to two other cultural institutions or other venues around the world. The Foundation supplemented the exhibitions with a series of public and online programs based on the theme of cross-cultural exchange.[153][154] UBS reportedly contributed more than $40 million to the project to pay for its activities and the art acquisitions.[155] Foundation director Richard Armstrong commented: "We are hoping to challenge our Western-centric view of art history."[151]

The first exhibition (phase 1) focused on art from South and Southeast Asia and was curated by Singaporean June Yap, who worked in the curatorial departments of such modern and contemporary art museums as the Institute of Contemporary Arts Singapore and the Singapore Art Museum.[156] The second and third phases of the project focused on Latin America and the Middle East and North Africa.[151]

Robert H.N. Ho Family Foundation

[edit]

The Hong Kong-based Robert H.N. Ho Family Foundation (founded by Robert Hung-Ngai Ho) made a $10 million grant to help the New York museum to commission works for its permanent collection by at least three Chinese-born artists and to hire a curator dedicated to its Chinese art collection. The works were to be exhibited at the museum in New York in three exhibitions between 2014 and 2017 and also at the other Guggenheim museums.[157] The commissions were part of an effort by the museum to broaden the geographical scope of its collection, and the Robert H.N. Ho Family Foundation hoped that the collaboration would foster "a greater understanding of Chinese culture."[158]

See also

[edit]

Notes

[edit]
  1. ^ "Solomon R. Guggenheim Foundation" (PDF). Foundation Center. Retrieved November 21, 2017.
  2. ^ "Mission Statement", Solomon R. Guggenheim Foundation. Retrieved March 6, 2012
  3. ^ a b c d e f g h "Guggenheim Museum New York", Encyclopedia of Art, visual-arts-cork.com. Retrieved April 18, 2012
  4. ^ Spector, pp. 6–7
  5. ^ a b c d e "Exhibition of Works Reflecting the Evolution of the Guggenheim's Collection Opens in Bilbao", artdaily.org, 2009. Retrieved April 18, 2012
  6. ^ a b c d "Biography: Solomon R. Guggenheim", Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim, Solomon R. Guggenheim Foundation. Retrieved March 8, 2012
  7. ^ Vail, pp. 25 and 36
  8. ^ a b c d e Calnek, Anthony, et al. The Guggenheim Collection, pp. 39–40, New York: The Solomon R. Guggenheim Foundation, 2006
  9. ^ a b c d e Winter, Damon. "Solomon R. Guggenheim Museum", The New York Times, October 21, 2009. Retrieved March 7, 2012
  10. ^ Vail, p. 333
  11. ^ The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum, pp. 217–18, New York: Guggenheim Museum Publications, 2009
  12. ^ a b "Biography: Hilla Rebay", Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim, Solomon R. Guggenheim Foundation. Retrieved March 8, 2012
  13. ^ The Global Guggenheim, The Solomon R. Guggenheim Museum Publications. Retrieved March 8, 2012
  14. ^ "James Johnson Sweeney Administrative papers", Solomon R. Guggenheim Museum Publications. Retrieved March 8, 2012
  15. ^ Glueck, Grace. "James Johnson Sweeney Dies; Art Critic and Museum Head", The New York Times, April 15, 1986
  16. ^ a b c d e "Last Monument", Time magazine, November 2, 1959
  17. ^ Spector, p. 16
  18. ^ a b "Controversial Museum Opens in New York", The News and Courier, October 22, 1959, p. 9-A. Retrieved March 1, 2012
  19. ^ a b "The Wright Stuff,"[permanent dead link‍] USA Today (Weekend). November 6, 1998
  20. ^ Wolf, Justin. "The Solomon R. Guggenheim Museum", The Art Story Foundation, accessed July 3, 2014
  21. ^ "Thomas M. Messer", The Writers Directory, Gale Biography In Context Web, Detroit: St. James Press, 2011
  22. ^ a b c Russell, John (November 5, 1987), "Director of Guggenheim Retiring After 27 Years", The New York Times, retrieved April 14, 2012
  23. ^ a b c Canaday, John (August 17, 1962), "Museum Director Solves Problem; Guggenheim Official Faces Troubles of Architecture", The New York Times, pp. 25, 47
  24. ^ Decker, Andrew. "Oral History Interview with Thomas M. Messer, 1994 Oct.-1995 Jan.", Archives of American Art, January 25, 1995. Retrieved March 13, 2012
  25. ^ "Thannhauser, Justin K.: The Frick Collection", Archives Directory for the History of Collecting in America. Retrieved March 13, 2012
  26. ^ a b Peggy Guggenheim, Peggy Guggenheim Collection, archived from the original on March 15, 2013, retrieved June 25, 2010
  27. ^ Vail, Karole. Peggy Guggenheim: A Celebration, p. 77, Guggenheim Museum Publications: New York, 1998
  28. ^ Tacou-Rumney, p. 171
  29. ^ a b c d e f g h i Walsh, John. "The priceless Peggy Guggenheim", The Independent, October 21, 2009. Retrieved March 12, 2012
  30. ^ "US Pavilion". Peggy Guggenheim Collection. The Solomon R. Guggenheim Foundation. Archived from the original on September 27, 2011. Retrieved October 22, 2011.
  31. ^ Carol Vogel. "Guggenheim’s Provocative Director Steps Down", The New York Times, February 28, 2008. Retrieved March 8, 2012
  32. ^ a b Glueck, Grace. "Guggenheim May Sell Artworks to Pay for a Major New Collection", The New York Times, March 5, 1990, accessed March 13, 2012
  33. ^ a b Overview of firm's history, projects, etc. Gwathmey Siegel website
  34. ^ Solomon, Deborah (June 30, 2002). "Is the Go-Go Guggenheim Going, Going ..." The New York Times Magazine. Retrieved July 31, 2013.
  35. ^ Vogel, Carol (February 5, 1999). "Inside Art; Guggenheim Shrinks in SoHo". The New York Times. Retrieved July 31, 2013.
  36. ^ a b c Kimmelman, Michael (April 1, 1990), "Art View; The High Cost of Selling Art", New York Times, retrieved April 9, 2012
  37. ^ Russell, James S. "Guggenheim’s Krens Eyes Hudson Yards Museum, Seeks New Bilbaos", Bloomberg, March 11, 2008. Retrieved March 13, 2012
  38. ^ a b Warren Hodge (August 8, 1999). "Bilbao's Cinderella Story". The New York Times. Retrieved October 21, 2011.
  39. ^ Stoller, p. 3
  40. ^ Stoller, pp. 3–4
  41. ^ "Deutsche Guggenheim Berlin" Archived November 5, 2012, at the Wayback Machine, Guggenheim Foundation. Retrieved March 13, 2012
  42. ^ Vogel, Carol. "Guggenheim to Close Berlin Outpost", The New York Times, February 6, 2012. Retrieved March 13, 2012
  43. ^ Carol Vogel (April 27, 2005) "A Museum Visionary Envisions More", The New York Times. Retrieved February 2, 2011
  44. ^ Plagens, Peter (September 7, 1998), "Rumble on the Ramps.('The Art of the Motorcycle,' Solomon R. Guggenheim Museum, New York, New York)", Newsweek, vol. 132, no. 10, p. 80
  45. ^ Kramer, Hilton (December 11, 2000), "Gehry's New Guggenheim Is Kitschy Theme Park", The New York Observer, New York, NY, archived from the original on October 6, 2008
  46. ^ a b Sudjic, Deyan (January 23, 2005), "Is this the end of the Guggenheim dream?", The Observer, London, UK: Guardian News and Media Limited
  47. ^ a b Peterson, Kristen. "Vegas, Say Goodbye to Guggenheim", Las Vegas Sun, April 10, 2008. Retrieved March 14, 2012
  48. ^ Tinturier, Sandrine. "Guggenheim Museum in Las Vegas" Archived July 14, 2014, at the Wayback Machine, Palacity.com, 2002, accessed July 3, 2014
  49. ^ Bohlen, Celestine (December 24, 2002), "Retrenching Guggenheim Closes Hall In Las Vegas", The New York Times, retrieved October 21, 2011
  50. ^ a b "Sackler Center for Arts Education" Archived February 9, 2014, at the Wayback Machine, The Solomon R. Guggenheim Foundation. Retrieved March 21, 2012
  51. ^ "Guggenheim Museum New York" Archived November 6, 2013, at the Wayback Machine, An Arce Space Catalogue. Retrieved March 14, 2012
  52. ^ Lieberman, Paul. "New York Mayor Backs Waterfront Guggenheim", Los Angeles Times, November 29, 2000. Retrieved March 14, 2012
  53. ^ Fowler, Brenda. "Salzburg Guggenheim Offshoot Exists in Hopes and Blueprints", The New York Times, August 13, 1990, accessed July 3, 2014
  54. ^ Kaufman, Jason Edward. "Why the Guggenheim won’t open a branch in Guadalajara", BanderasNews.com, originally in The Art Newspaper, Museums, Issue 192, June 1, 2008; "Cancela proyecto la fundación Solomon R. Guggenheim en Guadalajara" [Solomon R. Guggenheim foundation cancels project]. El Informador. Guadalajara, Mexico. October 26, 2009.
  55. ^ Vogel, Carol. "Guggenheim Loses Top Donor in Rift on Spending and Vision", January 20, 2005, The New York Times, accessed December 6, 2012
  56. ^ Carol Lewis (February 28, 2008). "Provocative Guggenheim director resigns". The New York Times. Retrieved October 21, 2011.
  57. ^ Gibson, Eric (November 27, 1998), "For Museums, Bigger Is Better", The Wall Street Journal
  58. ^ Mahoney, Sarah (October 2, 2006), "Thomas Krens", Advertising Age, vol. 77, no. 40, p. I-8
  59. ^ Vogel, Carol. "Guggenheim Chooses a Curator, Not a Showman", The New York Times, September 23, 2008. Retrieved March 14, 2012
  60. ^ "Foundation website's collaborations page". Archived from the original on April 5, 2014.
  61. ^ Carol Vogel (July 9, 2006). "Guggenheim Foundation and Abu Dhabi Plan Museum There". The New York Times. Retrieved October 21, 2011.
  62. ^ a b c Carol Vogel (January 18, 2011). "Guggenheim Considers a Museum in Helsinki". The New York Times. Retrieved October 21, 2011.
  63. ^ "Saadiyat Cultural District". Guggenheim Foundation. Archived from the original on November 18, 2011. Retrieved October 21, 2011.
  64. ^ Crook, Lizzie. "Construction set to begin on Frank Gehry's long-awaited Guggenheim Abu Dhabi", Dezeen.com, May 8, 2019
  65. ^ a b "Abu Dhabi's Louvre, Guggenheim delayed again", CBC News, January 25, 2012
  66. ^ "Guggenheim Foundation proposes architectural competition for Helsinki museum", YLE, September 24, 2013
  67. ^ Rosenbaum, Lee. "Guggenheim’s Modified Helsinki Proposal Reduces Costs, Keeps $30-Million Licensing Fee", CultureGrrl, October 10, 2013
  68. ^ "Helsinki city council reserves plot for Guggenheim", Yle Uutiset, 14 January 2014; and Joonas Laitinen, Joonas and Aleksi Teivainen. "Architectural competition for Guggenheim Helsinki to begin this spring", Helsinki Times, 14 January 2014
  69. ^ a b c "Guggenheim Helsinki: Lacking spark". The Economist. June 27, 2015. p. 74.
  70. ^ a b "Guggenheim project seen as 'risky' and 'unconvincing', YLE TV News, December 1, 2016
  71. ^ Cascone, Sarah. "Inflation Hits Museums, as the Guggenheim Becomes the Latest New York Institution to Hike Prices", ArtNet, August 2, 2023
  72. ^ Pissarro, Joachim and Jennifer Stockman. "Richard Armstrong with Joachim Pissarro & Jennifer Stockman", The Brooklyn Rail, June 2024
  73. ^ Tremayne-Pengelly, Alexandra. "Cultural Comings and Goings: The Guggenheim’s New Director and More", Observer, November 21, 2023
  74. ^ Pogrebin, Robin (November 20, 2023). "Guggenheim Selects Director, First Woman to Lead the Museum Group". The New York Times. Retrieved November 20, 2023.
  75. ^ Lufkin, Martha (January 1, 2008). "MoMA and Guggenheim file joint appeal against restitution effort". The Art Newspaper. Retrieved December 17, 2023.
  76. ^ "N.Y. museums fight to keep 2 Picassos". Lewiston Sun Journal. December 9, 2007. Retrieved December 17, 2023.
  77. ^ Kennedy, Randy (February 2, 2009). "Museums and Heirs Settle Dispute Over Picasso". The New York Times. ISSN 0362-4331. Retrieved December 17, 2023.
  78. ^ "Picasso paintings to remain in New York museums following settlement". The Guardian. Associated Press. February 2, 2009. ISSN 0261-3077. Retrieved December 17, 2023.
  79. ^ Weiser, Benjamin (March 24, 2009). "Heirs' Secrecy in Settlement Over Picassos Baffles Judge". The New York Times. ISSN 0362-4331. Retrieved December 17, 2023.
  80. ^ Kenney, Nancy (October 4, 2018). "Guggenheim to return Kirchner painting to heirs of Jewish dealer". The Art Newspaper. Retrieved December 17, 2023.
  81. ^ "La Guggenheim Foundation restitue un Kirchner extorqué par les nazis". Le Journal Des Arts (in French). Retrieved December 17, 2023.
  82. ^ Owoseje, Toyin (January 25, 2023). "A Jewish family fleeing the Nazis sold a Picasso in 1938. Their heirs want it back". CNN. Retrieved December 17, 2023.
  83. ^ "Jewish collectors' heirs sue the Guggenheim for return of Blue Period Picasso". The Art Newspaper. January 23, 2023. Retrieved December 17, 2023.
  84. ^ Stevens, Matt (January 29, 2023). "Jewish Heirs Sue Guggenheim Over Ownership of a Prized Picasso". The New York Times. ISSN 0362-4331. Retrieved December 17, 2023.
  85. ^ Edelson, Daniel. "A Jewish family sues the Guggenheim for a Picasso claimed sold under duress during Nazi rule", YNet, January 31, 2023
  86. ^ "A New York Law Requires Museums to Label Nazi-Looted Art. But Are They Following It?". Observer. February 28, 2023. Retrieved January 19, 2024.
  87. ^ "Nazi-Era Provenance Internet Portal". www.nepip.org. Retrieved January 19, 2024.
  88. ^ Bianchini, Riccardo. "The Guggenheim Museum, an American Revolution", Inexhibit museum magazine, accessed July 3, 2014
  89. ^ Levine, p. 299
  90. ^ a b Levine, p. 362
  91. ^ a b "The Secret Life of Buildings: New York Public Library and Guggenheim Museum", Colebrook Bosson Saunders Products Ltd.. Retrieved March 21, 2012
  92. ^ a b c Ballon, pp. 22–27
  93. ^ a b c d Storrer, pp. 400–01
  94. ^ a b Levine, p. 340
  95. ^ a b Perez, Adelyn. "AD Classics: Solomon R. Guggenheim Museum", May 18, 2010. Retrieved March 21, 2012
  96. ^ a b Levine, p. 301
  97. ^ Rudenstine, Angelica Zander. The Guggenheim Museum Collection: Paintings, 1880–1945, New York: Solomon R. Guggenheim Museum, 1976, p. 204
  98. ^ a b “Oct 21, 1959: Guggenheim Museum opens in New York City”, This Day in History, History.com. Retrieved March 21, 2012
  99. ^ Goldberger, Paul. "Spiralling Upward", The New Yorker, May 25, 2009. Retrieved March 21, 2012
  100. ^ "The Solomon R. Guggenheim Museum", The Art Story Foundation. Retrieved on March 21, 2012
  101. ^ a b c Sennott, pp. 572–73
  102. ^ Levine, p. 317
  103. ^ Ballon, pp. 59–61
  104. ^ Haeyoun Park."Face-lift for an Aging Museum," New York Times, April 16, 2007
  105. ^ Guggenheim Museum web site: click link to podcast about restoration (10 MB, audio only, 8 min 45 sec) Archived September 28, 2007, at the Wayback Machine
  106. ^ Ignacio Villarreal. "artdaily.org "Guggenheim Marks Completion of Restoration With First Public Viewing of Work by Artist Jenny Holzer"". Artdaily.com. Retrieved May 8, 2009.
  107. ^ "National Register of Historic Places; New Listings October 6–10, 2008 (Building #05000443)". Nps.gov. October 17, 2008. Retrieved May 8, 2009.
  108. ^ Pierpont, Claudia. "The Collector: The conquests and canvases of Peggy Guggenheim", The New Yorker, May 13, 2002. Retrieved March 26, 2012
  109. ^ a b Vail, p. 77
  110. ^ Lauritzen and Zielcke, p. 229
  111. ^ a b "The Palace" Archived July 16, 2011, at the Wayback Machine, Peggy Guggenheim Collection. Retrieved 10 March 2012
  112. ^ a b c "Peggy Guggenheim Collection, Venice", The Solomon R. Guggenheim Foundation. Retrieved April 3, 2012
  113. ^ "Peggy Guggenheim Collection Gardens", Nelson Byrd Woltz, accessed July 3, 2014
  114. ^ a b Templer, Karen. "Frank Gehry", Salon, October 5, 1999. Retrieved March 27, 2012
  115. ^ a b "Guggenheim Museum Bilbao", The Solomon R. Guggenheim Foundation. Retrieved April 4, 2012
  116. ^ Ghery, Frank. Frank Ghery Talks Architecture and Process (New York: Rizolli, 1999), p. 20
  117. ^ Aggerwal, Artika. "Frank Owen Gerty". Retrieved August 18, 2011.
  118. ^ a b Tomkins, Calvin. "The Maverick", The New Yorker, July 7, 1997. Retrieved March 13, 2012
  119. ^ Tyrnauer, Matt. "Architecture in the Age of Gehry", Vanity Fair, August 2010. Retrieved March 27, 2012
  120. ^ a b c Muschamp, Herbert. "The Miracle in Bilbao", The New York Times Magazine, September 7, 1997. Retrieved April 4, 2012
  121. ^ Charney, Noah. "Inside the Masterpiece: Serra’s Matter of Time" Archived November 29, 2011, at the Wayback Machine, Blouin Artinifo, March 8, 2011. Retrieved March 27, 2012
  122. ^ Hughes, Robert. "Man of Steel", The Guardian, June 22, 2005. Retrieved March 27, 2012
  123. ^ "Deutsche Guggenheim, Berlin" Archived April 7, 2014, at the Wayback Machine, The Solomon R. Guggenheim Foundation. Retrieved April 5, 2012
  124. ^ Cowell, Alan. "New U.S. Sector in Berlin: Little Guggenheim Branch", The New York Times, November 7, 1997. Retrieved February 2, 2011
  125. ^ Kuhla, Karoline. "Final Exhibition: The Guggenheim's Farewell to Berlin", Spiegel Online, November 15, 2012
  126. ^ Cornwell, Rupert (July 10, 2006). "Abu Dhabi named as home of Gehry's new Guggenheim". The Independent. London. Archived from the original on April 5, 2008. Retrieved October 1, 2008.
  127. ^ a b c "Abu Dhabi: The Building" Archived February 18, 2012, at the Wayback Machine, Guggenheim Bilbao Museoa. Retrieved April 5, 2012
  128. ^ a b "Ando, Gehry, Hadid, and Nouvel". Arcspace.com. February 5, 2007. Archived from the original on December 21, 2008. Retrieved October 1, 2008.
  129. ^ Bharadwaj, Vinita. "Cultural Jewels in the Gulf", The New York Times, March 20, 2012
  130. ^ Adam, Georgina. "Guggenheim Abu Dhabi on Hold" Archived December 31, 2011, at the Wayback Machine, The Art Newspaper, October 24, 2011. Retrieved April 3, 2012.
  131. ^ Nicolai Ouroussoff (March 16, 2011). "Abu Dhabi Guggenheim Faces Protest". The New York Times. Retrieved October 21, 2011.
  132. ^ Kaminer, Ariel and Sean O'Driscoll. "Workers at N.Y.U.’s Abu Dhabi Site Faced Harsh Conditions", The New York Times, May 18, 2014
  133. ^ Rosenbaum, Lee. "Guggenheim Abu Dhabi Still Stalled, as Monitoring Report Is Issued on Saadiyat Island Labor Conditions", CultureGrrl, ArtsJournal.com, February 4, 2016
  134. ^ a b "Meet the Architects: Guggenheim Helsinki Design Competition". Guggenheim.org. Archived from the original on July 20, 2015. Retrieved July 16, 2015.
  135. ^ Pogrebin, Robin and Doreen Carvajal. "Guggenheim Helsinki Unveils Design", The New York Times, June 23, 2015
  136. ^ Collaborations Archived April 5, 2014, at the Wayback Machine, The Solomon R. Guggenheim Foundation. Retrieved April 9, 2012
  137. ^ a b c Roberta Smith (October 22, 2010). "Home Video Rises to Museum Grade". The New York Times. Retrieved October 21, 2011.
  138. ^ a b c "YouTube Play". Guggenheim Foundation. Retrieved October 21, 2011.
  139. ^ Emanuella Grinberg (October 23, 2010). "Top 25 videos make up 'ultimate YouTube playlist.'". CNN. Archived from the original on October 25, 2010. Retrieved October 21, 2011.
  140. ^ a b c Vogel, Carol. "A Lab on a Mission", The New York Times, May 6, 2011
  141. ^ a b c "Six-Year Collaboration to Examine Contemporary Urban Issues in Nine Cities Around the World – International Advisory Committee Selects New York BMW Guggenheim Lab Team – Design of First Mobile Laboratory", Associated Press, May 6, 2011
  142. ^ Sharon McHugh (May 17, 2011). "BMW Guggenheim Lab to Launch in NYC". World Architecture News. WorldArchitectureNews.com. Retrieved January 23, 2012.
  143. ^ Official website, Solomon R. Guggenheim Foundation, accessed August 16, 2012
  144. ^ a b "What Is the Lab?", The Solomon R. Guggenheim Foundation. Retrieved April 9, 2012
  145. ^ a b c "BMW Guggenheim Lab to Launch in New York City on August 3 Before Traveling to Berlin and Asia" (Press release). Guggenheim Foundation. May 6, 2011. Archived from the original on January 25, 2012. Retrieved January 23, 2012.
  146. ^ a b c d Carol Vogel (October 27, 2011). "Urban Lab Heads East". The New York Times. Retrieved January 23, 2012.
  147. ^ a b Vogel, Carol. "BMW Ends Support for Guggenheim Lab Project", The New York Times, July 2, 2013
  148. ^ "BMW Guggenheim Lab Berlin to Open in May 2012". Dexigner. November 9, 2011. Retrieved January 23, 2012.
  149. ^ The BMW Guggenheim Lab Gets a Mumbai Makeover, Artinfo.com, October 22, 2012
  150. ^ BMW Guggenheim Lab Mumbai to Open December 9, 2012 Archived October 24, 2012, at the Wayback Machine, UnitedNetworker.com, October 22, 2012
  151. ^ a b c Vogel, Carol. "Guggenheim Project Challenges 'Western-Centric View'", The New York Times, April 11, 2012
  152. ^ "Guggenheim UBS MAP Global Art Initiative: Richard Armstrong Director, Solomon R. Guggenheim Museum and Foundation" Archived July 18, 2012, at the Wayback Machine, Solomon R. Guggenheim Foundation, April 12, 2012, accessed May 8, 2012
  153. ^ Zhang, Kathy. "Guggenheim UBS MAP Global Art Initiative", ArtAsiaPacific magazine, April 24, 2012
  154. ^ Official project webpage Archived October 23, 2012, at the Wayback Machine, Solomon R. Guggenheim Foundation, accessed August 16, 2012
  155. ^ Russeth, Andrew. "Guggenheim, UBS Unite for Global Art Initiative Focused on 'Emerging Markets'", GalleristNY.com, New York Observer, April 2012
  156. ^ Chayka, Kyle. "MAP Quest: Singaporean Curator June Yap on the Guggenheim's Intrepid New UBS-Backed Non-Western Art Initiative", BLOUINARTINFO.com, April 12, 2012
  157. ^ "Guggenheim launches Chinese art initiative" Archived November 7, 2017, at the Wayback Machine, The Wall Street Journal, Associated Press, March 20, 2013
  158. ^ Vogel, Carol. "Guggenheim Gets Grant to Commission Chinese Art", The New York Times, March 19, 2013

References

[edit]
  • Ballon, Hillary; et al. (2009). The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum. London: Thames and Hudson.
  • Lauritzen, Peter; Alexander Zielcke (1978). Palaces of Venice. New York: Viking Press. ISBN 0670537241.
  • Levine, Neil (1996). The Architecture of Frank Lloyd Wright. New Jersey: Princeton University Press.
  • Sennott, R. Stephen. Encyclopedia of 20th-Century Architecture: Volume 2 (New York: Fitzroy Dearborn, 2004)
  • Spector, Nancy, ed. (2001). Guggenheim Museum Collection: A to Z. New York: The Solomon R. Guggenheim Foundation.
  • Storrer, William Allin. The Architecture of Frank Lloyd Wright: A Complete Catalogue (Chicago: The University of Chicago Press, 2002)
  • Stoller, Ezra and Jeff Goldberg (1999). Guggenheim Bilbao. New Jersey: Princeton Architectural Press.
  • Tacou-Rumney, Laurence. (1996). Peggy Guggenheim – a collector's album. Paris: Flammarion. ISBN 2080136100.
  • Vail, Karole, ed. (2009). The Museum of Non-Objective Painting. New York: The Solomon R. Guggenheim Foundation.
[edit]
Wikimedia Commons has media related to Solomon R. Guggenheim Foundation.
Retrieved from "https://wiki.riteme.site/w/index.php?title=Solomon_R._Guggenheim_Foundation&oldid=1255618321"