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#Guggenheim60—“I remember capturing this photograph in 1997, during my first trip to New York City. At that time, I was studying architecture and the Guggenheim was one of my favorites. One of my habits with emblematic buildings, was to take a ‘special’ photo as seen in the image. Fortunately, I will return to the city in October of this year, and of course I will visit the museum.”—Gugg visitor @nakious __ 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 #NewYorkCity #Architecture

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For the 2008 exhibition “theanyspacewhatever,” #PierreHuyghe, whose work often plays with the constructs of time and reality, staged “OPENING”—a happening that occurred on three evenings over the course of the exhibition. In this piece Huyghe darkened the Guggenheim's rotunda and disrupted its spatial flow, distributing headlamps to visitors and inviting them to roam the spiral ramp in blackout conditions. Theatrical and disorienting “OPENING” transformed visitors' experience of the museum, filling its cavernous interior with roving beams of light and encouraging moments of wonder and discovery. __ 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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Online ticketing for our performing-arts series @worksandprocess, starts today! The new season “looks backward and forwards” ( @nytimes) with commissions by @MachineDazzle and @CarolineAdelaideShaw; a behind-the-scenes glimpse of the @MetOpera’s #Akhnaten; #WPRotunda performances by @DanceTheatreofHarlem, @RoomfulofTeeth, and @CalebTeicher and Ben Folds ( @MurkanPianist); a sneak peek at Seared with @mcctheater; and so much more! Visit worksandprocess.org for the full season lineup and to purchase tickets. __ Image: Dance Theatre of Harlem New York Company Premiere, January 1971. Photo: Suzanne Vlamis #Guggenheim #PerformingArts

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#WorkoftheWeek: “Untitled” by Maria Helena Vieira da Silva resembles an architectural construction; its fragmented, brightly colored shapes and black lines emerge from the background in a tense, grid-like formation. Having studied painting with Fernand Léger, Vieira da Silva adopted the restricted palette and faceted forms of the Cubists. Rather than planning out her richly textured compositions, she often began by laying down lines, and allowed the work to evolve as she progressed—a practice akin to that of the Surrealists. __ “Untitled” (1953), on view in #ArtisticLicense, is being exhibited at the Guggenheim Museum in New York for the first time. Plan your visit at guggenheim.org/artisticlicense. #Guggenheim #MariaHelenaVieiradaSilva #GuggenheimCollection

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To our followers in Spain—@museoguggenheim’s exhibition “A Backward Glance. Giorgio Morandi and the Old Masters,” explores the relationship between Morandi’s signature still lifes and historical masterworks that the artist appreciated and studied. Learn more at giorgiomorandi.guggenheim-bilbao.eus. #MorandiGuggenheimBilbao

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To our followers in Spain—@museoguggenheim’s “Learning Through Art 2019” features works by students participating in #LearningThroughArt—the artist-in-residence program in Bilbao’s elementary schools. Designed to support the primary school curriculum using art as a tool, this program encourages questions, ignites curiosity, promotes new inspiring ideas, and stimulates the excitement of discovery. Learn more at guggenheim-bilbao.eus. #GuggenheimBilbao.

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Summer is heating up at tonight's #ArtAfterDark with @JADALAREIGN! Check out our Story ⬆️ for an inside scoop of the party. __ Photo: Ben Hider #Guggenheim

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“The Guggenheim has held a place in my imagination from the first time I saw it on film. I don’t remember the film, but I’ve wanted to visit for decades. I was in New York City for only 48 hours and was able to visit and view the Hilma af Klint exhibition. I was moved—the museum seems to have been designed for her art.”—Gugg visitor @meg_fender #FrankLloydWrightFridays __ #Guggenheim #FrankLloydWright #Architecture #NewYorkCity

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“After doing extensive research behind the history and planning of the Guggenheim for a term paper for my Art History class at the State College at New Paltz ( @SunyNewPaltz), I took a bus to Manhattan to visit the museum and I was much better prepared to appreciate what I saw. I was interested not only in the unique architecture, but how the art work was exhibited. The glass dome made for an interesting photograph as well as the design of the water fountain. The museum guides were also helpful in providing Frank Lloyd Wright's thinking and planning. It's also interesting, now, to see how people dressed in 1961, compared to today.”—Gugg visitor David Miles #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

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The second part of “Implicit Tensions: Mapplethorpe Now” is now on view, addressing Robert Mapplethorpe’s complex legacy in the field of contemporary art. In addition to a focused selection of Mapplethorpe’s photographs, the exhibition features the work of six Guggenheim collection artists who explore identity through photographic portraiture: Rotimi Fani-Kayode, @LyleAshtonHarris, @GlennLigon, Zanele Muholi ( @muholizanele), Catherine Opie ( @csopie), and Paul Mpagi Sepuya ( @pagmi). Plan your visit at guggenheim.org/mapplethorpe. #ImplicitTensions #Mapplethorpe __ Photos: David Heald #Guggenheim # RotimiFaniKayode #LyleAshtonHarris #GlennLigon #ZaneleMuholi #CatherineOpie #PaulMpagiSepuya

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As part of the 2008 exhibition "theanyspacewhatever," #AngelaBulloch inserted a night sky into the ceiling of the rotunda. "Firmamental Night Sky: Oculus.12" (2008) digitally simulated a constellation of stars as seen from beyond the earth's atmosphere, melting away the physical confines of the museum. Utilizing software that produces computerized images of visible star fields, the installation offered galaxy views not otherwise visible to the human eye, creating a fiction of time and space that shifted the perceived notion of reality. __ 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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#WorkoftheWeek: Robert Morris’s “Untitled (Black Felt)” is comprised of hanging strips of heavy felt that respond to gravity. The sculpture was formed through the simple actions of cutting and dropping, and is an example of anti-form. This term is associated with a group of sculptors who embraced chance and worked from the principle that form should be derived from the characteristic qualities of a chosen material. __ “Untitled (Black Felt)” (ca. 1969), on view in #ArtisticLicense, is being exhibited at the Guggenheim Museum in New York for the first time. Plan your visit at guggenheim.org/artisticlicense. Photo: Ben Hider © 2019 The Estate of Robert Morris / Artists Rights Society (ARS), New York #RobertMorris #Guggenheim #GuggenheimCollection

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#GuessTheArtist answer: Doris Salcedo, “A Flor De Piel” (2011-12) __ To create this work, Salcedo stitched together hundreds of rose petals, each chemically treated to preserve its dark color and pliant texture. Salcedo created this work in homage to a Colombian nurse who was kidnapped and tortured to death after providing care to injured parties on both sides of Colombia’s protracted civil war. She has described the work as a floral offering to those who have been affected by violence. #GuggenheimCollection #DorisSalcedo #Guggenheim

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#GuessTheArtist—this artist is highly regarded for their evocative political sculpture, installation, and performance with themes and subjects related to historical incidences of mass violence, trauma, racism, and colonialism. 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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#FrankLloydWrightFridays—caption this 🍦 __ 📷 Gugg visitor @mikadololo #Guggenheim #FrankLloydWright #Architecture #NewYorkCity #NationalIceCreamMonth

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Happy #WorldEmojiDay! 👁️ 🌈 🐍 ✨reminds us of Vasily Kandinsky’s “Around the Circle (Autour du cercle)” (1940). Which emojis do you see within this work? Comment below. __ #GuggenheimCollection #Guggenheim #Kandinsky

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In 2008, #DouglasGordon presented a site-specific, text-based installation, “prettymucheverywordwritten,spoken,heard,overheardfrom1989…” (2008) throughout the rotunda, walls, floor, and lobby as part of the exhibition “theanyspacewhatever.” Gordon’s text installations utilize and animate their surrounding architecture and are “completed” through the audience’s interaction with them. This work, which included phrases such as “Nothing will ever be the same,” “I’m closer than you think,” and “There is something you should know,” evoked ambiguity and revealed the artist’s obsession with opposites—fact and fiction, good and evil, and so on—and the ways in which such dichotomies often collapse into one another. __ 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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#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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“I'm happy to live close to the Guggenheim Museum, it always inspires me.”—Gugg visitor @retroflin #FrankLloydWrightFridays Share your photos of the #Guggenheim using the hashtag #FrankLloydWrightFridays for a chance to be featured ✨ __ #FrankLloydWright #NewYorkCity #Architecture

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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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"I always notice the museum's beautiful Monstera before going up the spiral. I adore plants, so this view grounded me before immersing for hours in the ‘Hilma af Klint: Paintings for the Future’ exhibition."—Gugg visitor @green_in_grayscale #FrankLloydWrightFridays __ #Guggenheim #FrankLloydWright #Architecture #NewYorkCity

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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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Happy #Pride New York City! "Love is the greatest virtue of the heart"—Frank Lloyd Wright #NYCPride 🌈 ❤️ __ Photo: David Heald #WorldPride #Pride2019 #Guggenheim #NewYorkCity

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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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“After many visits to #NewYorkCity, I finally had the chance to visit the #Guggenheim Museum. Both the art and the architecture inside of the building were captivating.”—Gugg visitor @dieggoacosta #FrankLloydWrightFridays __ #Guggenheim #FrankLloydWright #Architecture #NewYorkCity

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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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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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Tickets to #ArtAfterDark on Friday, July 26 are on sale! This event will feature a DJ set by @JADALAREIGN, cash bar, and an after-hours viewing of #ArtisticLicense, #Mapplethorpe, and #BasquiatDefacement. Buy tickets at guggenheim.org/AADTickets. Photo: Ben Hider #Guggenheim

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“It’s a real treat when visiting the Guggenheim on a sunny afternoon, when the building receives direct sunlight. As the sun moves, a natural shadow play is performed along the curves of the building, concluding with long silhouettes that constitute a performance bow at sunset.”—Gugg visitor @dudemanshouse #FrankLloydWrightFridays __ #SummerSolstice #Guggenheim #Frank LloydWright #Architecture #NewYorkCity

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“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

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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

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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

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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! Photos: Kathryn Carr #Guggenheim

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In 2004 architects Enrique Norten and J. Meejin Yoon created a theatrical exhibition design for ʺThe Aztec Empireʺ that rendered the museum mute; the dark gray wool that covered their undulating wall intervention absorbed both light and sound. Produced in collaboration with two Mexican museums, this presentation pushed beyond the standard representation of Aztec society at its peak by providing a broad chronological and cultural survey. Norten and Yoon are both known for technical and material innovations. Choosing to envelop Frank Lloyd Wright's bays with their design, the architects employed their serpentine ribbon walls as both apparatus and accent for more than 440 artifacts of varying size. __ 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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“When an exhibition travels, we must complete condition checking reports. We examine each painting before it’s packed for transit and again when it arrives at the destination. We check for any change in the condition compared to the original condition report, which is made at the start of each travelling exhibition.”—Michele Heinrici, Associate Director, Registrar (@redheadheinrici) __ Follow along this week as our staff give you a behind-the-scenes look at mounting a traveling exhibition! Photos: Megan Fontanella, Curator, Modern Art and Provenance (@meganfontanella) #Guggenheim #GuggenheimCollection #ExpoGuggenheim

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#MapplethorpeMondays—"The first time I went to 42nd Street and saw those pictures in cellophane, I was straight and didn’t even know that those male magazines existed. I was sixteen and not even old enough to buy them. I’d look in the window at those pictures and I’d get a feeling in my stomach. I was in art school then and I thought, God, if you could get that feeling across in a piece of art . . . It was exciting but definitely forbidden. Because they were always in cellophane you couldn’t get at them. Putting things over the pictures came partly from that, it veiled things a little bit and made them more unreachable.”—Robert Mapplethorpe (1981) __ “Green Bag,” “Black Bag,” and “Red Bag” (all 1971) are among Mapplethorpe’s earliest works in the Guggenheim collection. Made before the artist fully embraced photography as his primary medium, these collaged objects are composed of magazine clippings placed behind the mesh screens of found potato bags he spray-painted different colors. The resulting gridded windows evoke the confessional screens of the Roman Catholic churches Mapplethorpe attended in his youth. In these works, however, they partially obstruct views of explicit images taken from gay pornographic magazines. See this work in “Implicit Tensions: Mapplethorpe Now,” on view through July 10 and share your visit using #Mapplethorpe. __ #Guggenheim #WorldPride #NYCPride

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How does an exhibition travel from one museum to the next? A team of Guggenheim staff including a curator, conservator, registrars, and a preparator, traveled to @museoguggenheim over the summer to assist with the installation of “Van Gogh to Picasso: The Thannhauser Legacy.” Follow along this week as the team gives you a behind-the-scenes look at mounting a traveling exhibition! __ The Thannhauser Collection, comprising the Guggenheim Foundation’s earliest holdings and featuring works by Impressionist, Post-Impressionist, and early modern masters, is currently on view through September 29 at Hôtel de Caumont ( @hoteldecaumont). Nearly 50 works by Cézanne, Degas, Manet, and more are on view for the first time the majority of this special collection has been displayed outside of New York since arriving at the Guggenheim in 1965. __ Photos: Megan Fontanella, Curator, Modern Art and Provenance (@meganfontanella) #Guggenheim #GuggenheimCollection #ExpoGuggenheim

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@amnh—we think your Apatosaurus is a little lost, mind if we give him a tour of our museum?#NationalDinosaurDay __ Drawing by @kathydrasher #Guggenheim

Guggenheim

It’s your last weekend to explore “A Year with Children 2019,” featuring work by students participating in #LearningThroughArt (LTA)—our artist-in-residence program in New York City public elementary schools. LTA partners teaching artists with educators in each of the city’s five boroughs to design projects that explore art and ideas related to the classroom curriculum. The program encourages curiosity, critical thinking, and ongoing collaborative investigation. Learn more at guggenheim.org/ywc2019. __ Participating schools: PS 86 (Kingsbridge Heights), PS 8 (Brooklyn Heights), PS 9 (Prospect Heights), PS 28 (Washington Heights), PS 38 (East Harlem), Mosaic Preparatory Academy (East Harlem), PS 145 (Harlem), PS 219 (Flushing), PS 130 (Bayside), PS 144 (Forest Hills), PS 317 (Rockaway Park), and PS 48 (Grasmere) __ “A Year with Children 2019” is made possible by @jacadi_officiel Photos: David Heald

Guggenheim

#HillaRebay, our first director, was born on this day in 1890. As an art advisor, Rebay helped shape the Founding Collection of the museum, but she was also a practicing artist. She was formally trained as a painter, but her most original efforts are in the medium of paper collage which she began working with as early as 1915. "The Dog (Le chien)," n.d, is on view now in #ArtisticLicense. _ #Guggenheim