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!
#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)
“My grandfather Max Cutler shot this film in 1960 a year after the Guggenheim opened. My grandparents traveled the world and my grandfather took his 16mm Bolex to shoot films. He also wrote a daily entry in his diary from 1952-2010, until the day my grandmother died. He edited his films by hand and added classical music as a soundtrack. My grandparents were married for 68 years and adventured to almost every country in the world. In the entry documenting their day at the museum he writes ‘We easily parked at 88th and 5th Solomon Guggenheim’s circular ramp museum-the foyer with permanent collections of a few prints (one of Picasso). Brancusi’s sculpture of a white seal-we picked up a program which described the current Spanish moderns Rivera’s painted window screens, Nonnel, an earlier artist with more of a Seurat, Monet appearance. This we started at the top and circled to the foyer again…’ In the film my grandmother and their two youngest daughters, my aunts Susie and Jeanne, are wandering around the museum. My grandfather died in 2016 at the age of 99 and his films and diaries are a complete work of a life well lived.” —Elizabeth Daniels (@elizabethdaniels01) #Guggenheim60 __ 2019 is the 60th anniversary of our Frank Lloyd Wright-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 guggenheim.org/60 __ From left to right: film shot by Max Cutler; Max Cutler's diaries; portrait of Max Cutler
On view Friday, June 21—"Basquiat's 'Defacement': The Untold Story" presents an early chapter in Jean-Michel Basquiat’s art that continues to resonate today in its potent exploration of social justice. The exhibition takes as its starting point the painting “The Death of Michael Stewart," informally known as "Defacement," created by Jean-Michel Basquiat (1960–1988) in 1983. The work commemorates the fate of the young, black artist Michael Stewart, who was killed at the hands of the New York City Transit Police after allegedly tagging a wall in an East Village subway station. Learn more at guggenheim.org/basquiat. #BasquiatDefacement __ #Guggenheim#Basquiat
To our followers in Spain—@museoguggenheim’s exhibition “Lucio Fontana: On the Threshold” reexamines the career of Lucio Fontana, one of the most innovative artists of the 20th century. Featuring a wide selection of Fontana’s celebrated slashed paintings or “Cuts (tagli)” made in the latter part of his career, the exhibition also presents other major bodies of work since the artist’s beginnings as a figurative sculptor. Learn more at guggenheim-bilbao.eus. #FontanaGuggenheimBilbao –– #GuggenheimBilbao#Guggenheim#LucioFontana
In 2005, #MarinaAbramović staged “Seven Easy Pieces,” a series of seven performances over as many consecutive evenings that occupied the rotunda from 5 p.m. to midnight daily. For the first six nights Abramović reenacted landmark performance works by her peers Bruce Nauman, Vito Acconci, VALIE EXPORT, Gina Pane, and Joseph Beuys, as well as her own 1975 piece “Lips of Thomas.” For the final night she premiered a new work titled “Entering the Other Side” (2005). The project was premised on the fact that little documentation exists for most performances from the 1960s and ‘70s; one often has to rely upon testimonies from witnesses or photographs that capture only fragments of any given piece. “Seven Easy Pieces” examined the possibility of reenacting and preserving an art form that is, by nature, ephemeral. __ 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!
Summer is here! Beginning today, June 18 the museum will be open an hour later on Tuesdays, with music and refreshments in the rotunda until 9 pm. Plan your visit at guggenheim.org/visit. #GuggTuesdays __ #Guggenheim
#MapplethorpeMondays—when asked about his work’s relationship to pornography, Robert Mapplethorpe said: “I wanted people to see that even those extremes could be made into art. Take those pornographic images and make them somehow transcend the image.” Mapplethorpe is widely known for daring imagery that deliberately transgresses social mores, and for the censorship debates that transpired around his work in the United States during the late 1980s and early 1990s. Yet, the driving force behind his artistic ethos was an obsession with perfection that he brought to bear on his approach to each of his subjects. See this work in “Implicit Tensions: Mapplethorpe Now,” on view through July 10 and share your visit using #Mapplethorpe.