Guggenheim Museum’s Post

Max Ernst's "City with Animals" blends Cubist structure with vibrant animal forms, reflecting his early artistic influences from artists Heinrich Campendonk and Franz Marc. Created during a time of political and cultural upheaval (World War I erupted, the Russian empire fell, and new, avante-garde art movements began to emerge across Europe), this surreal landscape foreshadows the dreamlike, fantastical imagery of Ernst's later work with the Surrealist movement. The bird-like figure hints at the artist's alter ego, "Loplop." At the same time, the mysterious bowler-hat man may represent his father. Pictured: Max Ernst, "City with Animals," ca. 1919. © 2024 Artists Rights Society (ARS), New York / ADAGP, Paris.

Albert Gleizes, an artist who looked to Orphism, sought to merge Cubism's fragmented forms with the vibrant, dynamic energy of the city. His 1917 work, "On Brooklyn Bridge," is a stunning example of this, capturing the architectural brilliance of the bridge through bold diagonals and pulsating orbs, reflecting Orphism's focus on modernity and motion. See this work in our upcoming exhibition opening on November 8, "Harmony and Dissonance: Orphism in Paris, 1910–1930". Pictured: Albert Gleizes, "On Brooklyn Bridge," 1917. © 2024 Artists Rights Society (ARS), New York/ADAGP, Paris.

In Paris for Art Basel? Join us for a talk featuring Dr. Stephanie Rosenthal (Director, Guggenheim Abu Dhabi), Paul Frèches (Managing Director, Centre Pompidou x West Bund Museum), and Doryun Chong (Deputy Director & Chief Curator, M+). Explore how Abu Dhabi, Shanghai, and Hong Kong are shaping the future of global arts and culture! #GuggenheimAbuDhabi Learn more: https://gu.gg/4eW3IVs

Puerto Rican artist Beatriz Santiago Muñoz's "The Black Cave" delves into Paso del Indio, an indigenous burial ground in Puerto Rico that was discovered during highway construction and later paved over. Through interviews with local residents and archaeologists, Muñoz’s video reflects on the site’s origins, becoming an allegory for the island’s complex history. The camera follows two boys exploring the area, their curiosity symbolizing the romantic yet ultimately misguided desire to preserve paradise. 📽: Beatriz Santiago Muñoz, "The Black Cave," 2013. © Beatriz Santiago Muñoz.

"To depict a distant emotional memory from many of my visits to the museum, I used simple desktop objects to recreate the iconic architecture masterpiece. Time and people have changed, but the elegance and awe of the museum inside and out endures." —Guggenheim Visitor and Artist Derrick Lin

Ana Mendieta’s "Silueta" series blends performance, sculpture, and nature. After arriving in the U.S. as a Cuban exile, Mendieta began carving feminine forms into the earth, using her body to symbolize the union of land, sea, and sky. Working in Iowa and Mexico, she crafted her "Siluetas" from natural materials like flowers, branches, and fire, drawing on Afro-Cuban rituals and Santeria. These ephemeral works, captured in photos and films, reflect her deep connection to nature and her search for a universal feminine force. Pictured: Ana Mendieta, "Untitled: Silueta Series," 1976; "Untitled: Silueta Series," 1978; "Untitled: Silueta Series," 1979; "Silueta Muerta," 1976. © Estate of Ana Mendieta.

Mark Bradford's "Daddy, Daddy, Daddy" is a bold, layered piece that uses paper, string, and found materials to tell a story of urban life. Drawing from his environment in South Central Los Angeles, Bradford embeds cultural and social references into his works. By piecing together fragments of street posters and signage, Bradford creates a textured surface that feels like it holds the history of the city itself. His work frequently explores themes of identity, race, and power, making it visually striking and deeply meaningful. The title also invites reflection on authority, relationships, and the world around us. This work is on view in "By Way Of: Material and Motion in the Guggenheim Collection". Pictured: Mark Bradford, "Daddy, Daddy, Daddy," 2001. © Mark Bradford.

ART MOVEMENT: CONCEPTUAL ART This movement is based on the idea that the true essence of art lies in the concept or idea, which can exist even without a physical object to represent it. Artists like Joseph Kosuth wrote essays challenging traditional notions of how art derives its meaning. Kosuth’s series "First Investigations" (subtitled "Art as Idea as Idea") features photostats of dictionary definitions for words like “water,” “meaning,” and “idea.” Accompanying these images are certificates of documentation and ownership (not meant for display), which state that the works can be created and recreated for exhibitions. This approach reflects Kosuth’s effort to question the special status of unique art objects and their place in museums. Pictured: Joseph Kosuth, "Titled '(Art as Idea as Idea)' [Water]," 1966. © 2024 Joseph Kosuth/Artists Rights Society (ARS), New York.

Giacomo Balla’s "Abstract Speed + Sound" (1913-14) captures the rush and energy of a racing car. Inspired by the Futurist love of movement and speed, Balla translates the motion of a speeding automobile into bold lines and dynamic shapes. This painting, part of a series, explores how the landscape is transformed as a car zooms through it, with crisscross patterns representing the sounds of the car's engine. The work’s energy spills out of the frame, inviting viewers to feel the power of speed. This work is in the Peggy Guggenheim Collection. Learn more: https://gu.gg/4erQdwF

Happy World Architecture Day!