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Solomon R. Guggenheim Museum

March 13, 2023

"The Guggenheim" redirects here. For other Guggenheim Museums, see List of Guggenheim Museums.

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum at 1071 Fifth Avenue between 88th and 89th Streets on the Upper East Side of Manhattan in New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern, and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, Hilla von Rebay. The museum adopted its current name in 1952, three years after the death of its founder Solomon R. Guggenheim.

Solomon R. Guggenheim Museum
View from Fifth Avenue
Established1937
Location1071 Fifth Avenue at 89th Street
Manhattan, New York City
Coordinates40°46′59″N 73°57′32″W / 40.78306°N 73.95889°W / 40.78306; -73.95889Coordinates: 40°46′59″N 73°57′32″W / 40.78306°N 73.95889°W / 40.78306; -73.95889
TypeArt museum
Visitors953,925 (2016)[1]
DirectorRichard Armstrong
Public transit accessSubway: ​​ trains at 86th Street
Bus: M1, M2, M3, M4, M86 SBS
Websitewww.guggenheim.org
Built1956–1959
ArchitectFrank Lloyd Wright
Architectural style(s)Modern
CriteriaCultural: (ii)
Designated2019 (43rd session)
Part ofThe 20th-Century Architecture of Frank Lloyd Wright
Reference no.1496-008
RegionEurope and North America
DesignatedMay 19, 2005 (2005-05-19)[2]
Reference no.05000443[2]
DesignatedOctober 6, 2008 (2008-10-06)[3]
DesignatedAugust 14, 1990 (1990-08-14)[4][5]
Reference no.1774 (exterior), 1775 (interior)

The museum's building, a landmark work of 20th-century architecture designed by Frank Lloyd Wright, drew controversy for the unusual shape of its display spaces and took 15 years to design and build; it was completed in 1959. It consists of a six-story, bowl-shaped main gallery to the south, a four-story "monitor" to the north, and a ten-story annex to the northeast. The main gallery contains a six-story helical ramp that extends along its perimeter, as well as a central ceiling skylight. The Thannhauser Collection is housed within the top three stories of the monitor, and there are additional galleries in the annex and a learning center in the basement. The building underwent expansion and extensive renovations from 1990 to 1992, when the annex was built, and it was renovated again from 2005 to 2008.

The museum's collection has grown over the decades and is founded upon several important private collections, beginning with that of Solomon R. Guggenheim. The collection, which includes around 8,000 works as of 2022, is shared with sister museums in the Spanish city of Bilbao and elsewhere. In 2013, nearly 1.2 million people visited the museum, and it hosted the most popular exhibition in New York City.[6]

History

Early years and Hilla Rebay

Solomon R. Guggenheim, a member of a wealthy mining family, had been collecting works of the old masters since the 1890s.[7] In 1926, he met artist Hilla von Rebay,[7][8] who introduced him to European avant-garde art, in particular abstract art that she felt had a spiritual and utopian aspect (non-objective art).[7] Guggenheim completely changed his collecting strategy, turning to the work of Wassily Kandinsky, among others. He began to display his collection to the public at his apartment in the Plaza Hotel in New York City.[7][9][10] Guggenheim and Rebay initially considered building a museum at Rockefeller Center in Manhattan.[8] As the collection grew, Guggenheim established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art.[8][9][11]

 
Albert Gleizes, 1915, Composition for "Jazz", oil on cardboard, 73 × 73 cm

The foundation's first venue for the display of art, the Museum of Non-Objective Painting, opened in 1939 under the direction of Rebay, at 24 East 54th Street in midtown Manhattan.[8][11][12] Under Rebay's guidance, Guggenheim sought to include in the collection the most important examples of non-objective art available at the time by early modernists.[7][9][13] Guggenheim wanted to display the collection at the 1939 New York World's Fair in Queens, but Rebay advocated, instead, for a more permanent location in Manhattan.[8] By the early 1940s, the foundation had accumulated such a large collection of avant-garde paintings that the need for a permanent museum building had become apparent.[14] Rebay wanted to establish the permanent building before the octogenarian Guggenheim died.[8]

Design process

In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house and display the collection.[15][16] Rebay thought the 76-year-old Wright was dead, but Guggenheim's wife Irene Rothschild Guggenheim knew better and suggested that Rebay contact him.[17] Wright accepted the opportunity to experiment with his "organic" style in an urban setting, saying that he had never seen a museum that was properly designed.[18] Wright was hired to design the building in June 1943.[15][19][20] He was to receive a 10 percent commission on the project, which was expected to cost at least $1 million.[20] It took Wright 15 years, more than 700 sketches, and six sets of working drawings to create and complete the museum, after a series of difficulties and delays;[21][22] the cost eventually doubled from the initial estimate.[23]

Rebay had conceived of a space that would facilitate a new way of looking at modern art. She 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!"[24][25] The critic Paul Goldberger later wrote that Wright's modernist building was 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."[26] The Guggenheim was the only museum designed by Wright; its urban location required Wright to design the building in a vertical rather than a horizontal form, far different from his earlier, rural works.[27] Since Wright was not licensed as an architect in New York, he relied on Arthur Cort Holden, of the architectural firm Holden, McLaughlin & Associates, to deal with New York City's Board of Standards and Appeals.[28]

 
Staircase at the Vatican Museums designed by Giuseppe Momo in 1932

From 1943 to early 1944, Wright produced four differing designs. One of the plans had a hexagonal shape and level floors for the galleries, though all the others had circular schemes and used a ramp continuing around the building.[29][30][a] In his notes, Wright indicated that he wanted a "well proportioned floor space from bottom to top – a wheel chair going around and up and down".[18][20][31] His original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia.[18][27] Several architecture professors have speculated that the helical ramp and glass dome of Giuseppe Momo's 1932 staircase at the Vatican Museums was an inspiration for Wright's ramp and atrium.[32][33][34]

Site selection and announcement of plans

Wright expected that the museum would be located in lower Manhattan.[35] Instead, in March 1944, Rebay and Guggenheim acquired a site on Manhattan's Upper East Side, at the corner of 89th Street and the Museum Mile section of Fifth Avenue, overlooking Central Park.[20][36][37] They had considered numerous locations in Manhattan, as well as in the Riverdale section of the Bronx, overlooking the Hudson River.[20][38] Guggenheim felt that the Fifth Avenue site's proximity to Central Park was important; the park afforded relief from the noise, congestion and concrete of the city.[27] Wright's preliminary sketches fit the site nearly perfectly, although the site was about 25 feet (7.6 m) narrower than what Wright had anticipated.[39] Guggenheim approved Wright's sketches in mid-1944.[20] Wright called the planned building an "Archeseum ... a building in which to see the highest".[37][40]

Wright's designs for the museum building were announced in July 1945,[37] at which point the museum was expected to cost $1 million and be completed within a year.[41] The main feature of the structure was a main gallery with a helical ramp, surrounding a lightwell with a skylight.[41][42] Guests would board an elevator to reach the top of the ramp; a second, steeper, ramp would serve as an emergency exit.[20] There would be a movie theater in the basement; an elevator tower topped by an observatory; a smaller building featuring a smaller theater;[43] storage space, a library, and a cafe.[41][44] Preliminary plans also included apartments for Guggenheim and Rebay, but these plans were scrapped.[43] Guggenheim acquired an additional parcel of land on 88th Street that July.[45] Wright built a model of the museum at Taliesin, his home in Wisconsin,[46] and displayed the model at the Plaza Hotel that September.[47][48]

Difficulties

The building's construction was delayed, first because of material shortages caused by World War II,[45][49] then by increasing construction costs after the war ended.[43][45] By late 1946, Guggenheim and Rebay had redesigned the basement theater to accommodate concerts.[49] Rebay and Wright disagreed over several aspects of the design, such as the means by which the paintings were to be mounted,[45][50] although they both wanted the design to "reflect the unity of art and architecture".[51] Wright continued to modify his plans during the late 1940s, largely because of concerns over the building's lighting, and he created another model of the museum in 1947.[52] The collection was greatly expanded in 1948 through the purchase of art dealer Karl Nierendorf's estate of some 730 objects.[13]

Progress remained stalled through the late 1940s,[53] and William Muschenheim renovated an existing townhouse on the site, at 1071 Fifth Avenue, for the museum's use.[53][54] Guggenheim's health was in decline, but he refused Wright's offer to downsize the planned building so it could be completed during Guggenheim's lifetime.[52] After Guggenheim died in 1949, members of the Guggenheim family on the foundation's board of directors had personal and philosophical differences with Rebay.[55] Under Rebay's leadership, the museum had become what Aline B. Saarinen described as an "esoteric, occult place in which a mystic language was spoken".[56][57] Some of the museum's staff and trustees wished to oust Rebay and cancel Wright's design.[53][54] Wright, however, persuaded several members of the Guggenheim family to acquire additional land on Fifth Avenue so his design could be developed in full.[53][58]

To accommodate the growing collection, in August 1951 the Guggenheim Foundation acquired an apartment building at 1 East 88th Street to remodel for museum use.[59][60] It now owned a continuous frontage on Fifth Avenue from 88th to 89th Street.[60][61] This prompted Wright to redesign the new building yet again, proposing a multi-story annex with apartments behind the museum.[53][61][51] The foundation also announced that the museum would start exhibiting "objective" works of art, as well as older artwork.[57][62] Rebay, who disagreed with this policy, resigned as director of the museum in March 1952.[63][64] Nevertheless, she left a portion of her personal collection to the foundation in her will.[65] Shortly after Rebay resigned, Wright filed plans for the building, which was projected to cost $2 million.[23] The museum was renamed the Solomon R. Guggenheim Museum in 1952.[55]

Sweeney era

James Johnson Sweeney was appointed as the museum's director in October 1952.[66][67] Sweeney expanded the foundation's collecting criteria, rejecting Rebay's dismissal of "objective" painting and sculpture.[68][69] He also started exhibiting some of the works that had been placed in storage under Rebay's leadership.[57][70] In 1953, the museum hosted a retrospective of Wright's work entitled "Sixty Years of Living Architecture",[71][72] housed in a temporary pavilion that Wright had designed.[73][53]

Construction and opening

 
Photo of the construction taken on November 12, 1957

Sweeney and Wright had a strained relationship, as they disagreed over basic elements of the planned building.[53][74] Sweeney, who believed that the museum's architecture should be subservient to the art collection, forced Wright to redesign the museum to accommodate more offices and storage facilities.[74] The building's lighting issues were a significant point of contention between the two men.[75][76] In addition, the New York City Department of Buildings (DOB) rejected Wright's application for a construction permit in 1953 because the design did not meet building codes.[77] Wright tasked Holden with ensuring that the design met building codes[78] and published revised drawings in 1954 and 1956.[79] Museum staff nevertheless complained that Wright's design did not provide enough storage or laboratory space.[77] To save money, Wright modified the design again in 1955, though these savings were canceled out by increasing construction costs.[76]

Four general contractors submitted construction bids in late 1954,[76] and the foundation ultimately hired the Euclid Construction Corporation.[80][73] The museum rented the Oliver Gould Jennings House at 7 East 72nd Street and relocated there before construction began.[76] On May 6, 1956, demolition of the existing buildings on the site began.[80][81] The DOB issued a construction permit on May 23,[76] and work on the museum building began on August 14.[73][76] Wright opened an office in New York City to oversee the construction, which he felt required his personal attention, and appointed his son-in-law William Wesley Peters to supervise the day-to-day work.[53][73] In practice, neither Wright nor Peters visited the site frequently, so Holden's William Short ended up managing the project.[76]

Sweeney wanted the new museum to allow "building up a collection which offers up a standard of judgment".[82] He wished to change the color scheme, level out the sloping walls, and remove the clerestory windows, which led to prolonged disputes with Wright.[83][84][85] By early 1958, Harry F. Guggenheim had to handle all communications between Sweeney and Wright, who would not speak to each other.[84] The building topped out in May 1958,[86][87] and the scaffolding on the facade was removed by that August.[87][88] In the meantime, Wright published drawings of the design in several architectural magazines, as he feared that the design would be compromised after his death.[84][83] Against Wright's request, Sweeney painted the walls white, and he hung paintings from metal bars instead of placing them directly on the walls.[83][85] The building was Wright's last major work; he died in April 1959, six months before its opening.[89]

The building soft-opened for members of the media on October 20, 1959.[84] It was formally dedicated the next day,[90][91][92] drawing 600 visitors per hour.[92][93] The building's design was generally able to accommodate the retrospectives and temporary exhibits that the museum hosted over the years.[10]

Messer era

Sweeney resigned as the museum's director in July 1960, citing philosophical differences with the board of trustees.[94][95] H. H. Arnason took over as the museum's temporary director.[57][96] Arnason launched "the first survey of Abstract Expressionism in a New York museum" during his brief time as director.[57][97] Thomas M. Messer, director of the Boston Institute of Contemporary Art, succeeded Sweeney as director of the museum in January 1961; he worked under Sweeney, who continued to run the foundation.[98][99] Messer stayed for 27 years, the longest tenure of any director of a major New York art institution.[100] Under Messer's leadership, the museum pivoted toward more contemporary artists, including those from Europe and Latin America.[101] Messer was not considered "an especially controversial director", though he also did not adhere to "the blockbuster school of exhibiting".[102]

1960s

When Messer joined the Guggenheim, the museum's ability to present artworks was still doubted because of the tilted and curved walls.[103] Almost immediately after becoming director, in 1962, Messer put on a large exhibition that combined the Guggenheim's paintings with sculptures on loan from the Hirshhorn collection.[103] In particular, there were difficulties installing three-dimensional sculptures because the slope of the floor, and the curvature of the walls could combine to produce vexing optical illusions.[104] Though the combination proved generally to work well in the Guggenheim, Messer recalled that, at the time, "I was scared. I half felt that this would be my last exhibition."[103] Messer had staged a smaller sculpture exhibition the previous year, in which he discovered how to compensate for the space's unusual geometry by constructing special plinths at a particular angle, but this was impossible for one piece, an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical.[104]

 
The skylight in the center of the museum

Messer acquired a private collection from art dealer Justin Thannhauser in 1963.[105][106] Following this acquisition, the Guggenheim Museum hired Peters to renovate the monitor's second floor.[107][108] Thannhauser's collection was displayed within the monitor after the renovation was completed in 1965.[108] The foundation auctioned off artwork from the 15th and 16th centuries, which was incompatible with the museum's modern-art collection.[109] Rebay, who died in 1967, bequeathed over 600 artworks to the Guggenheim, although the museum did not receive the collection until 1971.[110] To raise money for further acquisitions, such as the works in Rebay's collections, the Guggenheim also sold off some modern artwork, including several Kandinsky works.[111]

To accommodate the expanding collection, in 1963, the Guggenheim announced plans for a four-story annex,[112] which the New York City Board of Standards and Appeals approved the next year.[113] The annex was downsized to two stories in 1966 due to complaints from local residents,[114] and it was completed in 1968.[107][115] This freed up space on the top two levels of the main gallery, which had been used as workshops and storage space ever since the building had opened. Museum officials opened the top levels to the public in 1968.[116]

1970s and 1980s

In 1971, with increasing costs and decreasing endowment income, the Guggenheim recorded a large deficit for the first time in its history.[117] Additionally, although Wright had included space for a cafe at the southern end of the museum building, the cafe had never opened because the space had instead been used by the conservation and framing departments.[107] The foundation proposed adding a lobby and restaurant in the museum's driveway area in early 1973[118] but had difficulty agreeing on the plans,[119] which were revised that November.[120] As part of the project, designed by Donald E. Freed, the museum closed its driveway and added a dining area and bookstore there.[120][121] Amid a growing operating deficit, as well as a shortage of exhibit space, the Guggenheim announced in 1977 that it would raise $20 million over the following five years.[122] Museum officials also planned to expand the annex on 89th Street.[122]

Messer became director of the Guggenheim Foundation in 1980 and continued to also serve as the museum director, promoting two curators to directorial positions.[123] The Guggenheim renovated the Thannhauser wing in the early 1980s.[124] Following these changes, John Russell of The New York Times wrote that the Thannhauser Collection "may now be said to be the equivalent of the Frick in the domain of modern art."[124] "Works & Process", a series of performances at the Guggenheim, commenced in 1984.[125]

In 1982 Gwathmey Siegel & Associates Architects drew up designs for an 11-story annex on 88th Street, behind the existing museum building.[126] The original plan, announced in 1985, would have cantilevered over the existing building.[126][127] The design was downsized to 10 stories in early 1987 due to opposition from local residents.[128][129] At the time, the building could only exhibit 150 pieces at once, about three percent of the 5,000 works in the museum's collection.[130] In anticipation of the annex's construction and a wider-ranging renovation of the older building, Gwathmey Siegel also renovated the Thannhauser wing's second floor and the top level of the main gallery's ramp in 1987.[131] The Board of Standards and Appeals approved the 89th Street annex that October,[132][133] despite continuing opposition.[134] Messer retired the next month, on the 50th anniversary of the collection's founding.[135] The New York City Board of Estimate approved plans for the Guggenheim's annex in 1988,[136] and the New York Supreme Court upheld the Board of Estimate's decision.[137]

Krens era

Thomas Krens, former director of the Williams College Museum of Art, took over as the director of both the museum and the foundation in January 1988.[138][139] Over his nearly two-decade tenure, Krens led a rapid expansion of the museum's collections.[140] Under Krens, the museum mounted some of its most popular exhibitions,[141] including "Africa: The Art of a Continent" in 1996;[142] "China: 5,000 Years" in 1998;[143] "Brazil: Body & Soul" in 2001;[144] and "The Aztec Empire" in 2004.[145] Unusual exhibitions included "The Art of the Motorcycle", a commercial art installation of motorcycles.[146][147]

1990s

 
An interior view of the museum on a busy day

Shortly after becoming director, Krens decided to spend $24 million on renovating the Guggenheim.[148] Renovation work commenced in late 1989; initially the museum remained open during the project.[149] The museum building would later close for 18 months.[150][151] The monitor wing was restored, the 88th Street wing was converted from a conservation laboratory to a restaurant, and additional exhibition space was created at the top of the main gallery.[148] The 89th Street annex was built as part of this project,[134] and the basement was extended underneath Fifth Avenue.[152] The windows were replaced, and the clerestory windows along the ramp were unsealed and restored to their original design.[152][153] The building's exhibition space roughly doubled, allowing the museum to show six percent of the works in its collection.[154]

The renovation was completed on June 27, 1992.[155][156] The museum relocated its offices to the annex, basement, and the new Guggenheim Museum SoHo, and it moved storage space and conservation activities to other buildings.[152] The completion of the annex allowed the Guggenheim to display more works from its permanent collection, as well as temporary exhibitions.[157] The Guggenheim Foundation acquired 200 photographs from Robert Mapplethorpe in 1992[158][159] and renamed the annex's fourth-floor gallery after Mapplethorpe in 1993.[160]

To finance the renovation and new acquisitions, the foundation sold works by Kandinsky, Chagall, and Modigliani, raising $47 million. This move was controversial, 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."[153][161] Krens defended the action as consistent with the museum's principles by expanding its international collection and building its "postwar collection to the strength of our pre-war holdings",[162] and he noted that museums regularly conduct such sales.[161] He also expanded the foundation's international presence by opening museums abroad.[163] Krens was also criticized for his businesslike style and perceived populism and commercialization.[146][164] 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 names in the arts."[165] The museum cut back its operating hours in 1994; this resulted in a 25 percent decline in annual attendance, even as the city's other art museums saw increased attendance.[166]

Samuel J. LeFrak announced in December 1993 that he would donate $10 million, the largest cash donation in the museum's history, with the Fifth Avenue building to be renamed for him and his wife.[167][168] The next month, Ronald O. Perelman announced that he would also donate $10 million.[169][170] The New York City Landmarks Preservation Commission (LPC), which had designated the building as a landmark, repeatedly refused to allow officials to place a sign with LeFrak's name outside the building.[171] Consequently, LeFrak rescinded $8 million of his donation.[171][166] Peter B. Lewis donated $10 million in 1995[172] for the restoration of the museum's auditorium, which was renamed the Peter B. Lewis Theater after the project was completed the next year.[166][173] Lewis donated an additional $50 million in 1998, and several other trustees, including Perelman, increased their donations.[173]

2000s

 
Students sketching at the entrance to the Engelberg Center

The museum opened an arts center in the basement in 2001; originally named for the Sackler family,[174] it was renamed the Gail May Engelberg Center for Arts Education in 2022.[175][176] Also in 2001, as part of a Frank Gehry retrospective at the museum, Gehry designed a canopy, which was installed outside the fifth floor.[177][178] It remained in place for six years after the retrospective ended.[177][179]

By 2004, museum officials were raising $25 million for another restoration of the building and had hired Swanke Hayden Connell Architects to survey the building. By then, the structure had developed numerous leaks.[179] Officials started renovating the museum in September 2005 to repair cracks[180] and modernize systems and exterior details,[181] after architects and engineers determined that the building was structurally sound.[180][182] The restoration mainly consisted of exterior and infrastructure upgrades, preserving as many historical details as possible while allowing museum operations to continue.[183][184] On September 22, 2008, the Guggenheim celebrated the project's completion with the premiere of artist Jenny Holzer's tribute For the Guggenheim.[185] The renovation had cost $29 million and was funded by the Solomon R. Guggenheim Foundation's board of trustees, the city's Department of Cultural Affairs, the New York state government, and MAPEI Corporation.[186]

Meanwhile, during the early 2000s, Krens was involved in a long-running dispute with Lewis, who was also chairman of the foundation's board of directors.[187] When admission declined by 60 percent following the September 11 attacks in 2001, the museum faced budgetary deficits, as one-quarter of its revenue came from ticket sales.[188] Lewis donated $12 million to the museum in 2002 under the condition that Krens tighten the budget.[189][190] Despite having given $77 million, more than any other donor in the Guggenheim's history,[187][191] Lewis did not have as much influence over the board's decisions as did top donors at the city's other art museums.[187] Lewis resigned from the board of directors in 2005, expressing opposition to Krens's plans for additional museums around the world.[191][192]

Longtime curator Lisa Dennison was hired as the museum's new director in 2005, working under Krens, who continued to direct the foundation.[193][194] By 2006, the museum had a $35 million deficit in its operating budget, even as Dennison rejected the idea of funding exhibits through corporate sponsorships.[195] Dennison resigned in July 2007 to work at auction house Sotheby's.[196] Tensions between Krens and the board continued, and Krens stepped down as the director of the foundation in February 2008.[140]

Armstrong era

 
Richard Armstrong, 2012

Richard Armstrong, former director of the Carnegie Museum of Art, became the director of the museum and the foundation in November 2008.[197][198] The New York Times said the Guggenheim Foundation had selected Armstrong because his "calmer, steadier presence" contrasted with the "nearly 20 often tumultuous years of Mr. Krens’s maverick vision".[199] In addition to its permanent collections, which continue to grow,[7] the foundation administers loan exhibitions and co-organizes exhibitions with other museums to foster public outreach.[200] The museum hosted exhibitions such as America (2016), one of the smallest exhibits ever hosted in the Guggenheim.[201]

About 140 maintenance workers and art installers joined a labor union in 2019, marking the first time that the museum's employees had unionized.[202][203] The same year, Chaédria LaBouvier became the first black woman curator to create a solo exhibition and first black person to write a text published by the museum.[204][205] She accused the museum of racism and alleged that, among other things, officials withheld resources and refused to let journalists interview her.[205] Within a month of these criticisms, the museum hired its first full-time black curator, Ashley James.[206] The museum's chief curator and deputy director, Nancy Spector, resigned in 2020, following accusations that Spector had racially discriminated against LaBouvier.[205][207] The Guggenheim approved a plan for increasing racial diversity in August 2020,[208][209] and it hired a "chief culture and inclusion officer" in 2021.[210]

During the COVID-19 pandemic, the Guggenheim temporarily closed in March 2020.[211] It reopened that October,[212][213] having recorded a monthly net loss of $1.4 million while it was closed.[214] The museum fired numerous staff members during the pandemic.[215][216] Armstrong announced in mid-2022 that he planned to resign in 2023.[217][218]

Architecture

Wright's design for the Guggenheim Museum incorporated geometric motifs, such as squares, circles, rectangles, triangles and lozenges. The massing contains two spiraling structures, the six-story main gallery to the south and the smaller "monitor" to the north, which are connected by a "bridge" on the second story. The ten-story rectangular annex, to the northeast, appears behind the spiraling structures as viewed from Central Park.[219]

The building embodies Wright's attempts "to render the inherent plasticity of organic forms in architecture".[220] Wright's design included details inspired by nature,[38] although it also expresses his take on modernist architecture's rigid geometry.[221] Wright described a symbolic meaning to the building's shapes: "[T]hese 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."[222] Forms echo one another throughout: oval-shaped columns, for example, reiterate the geometry of the fountain. Circularity is the leitmotif, from the main gallery to the inlays in the museum's terrazzo floors.[38]

Exterior

Wright originally wanted to construct a marble facade,[153][223] but builder George N. Cohen constructed the facade of gunite, a type of sprayed concrete, as a cost-cutting measure.[152] Wright's and Cohen's names appear on a tile placed along the building's exterior; this is likely the only time when Wright and a builder shared credit for a building's construction.[152][224] Wright had also proposed a red-colored exterior, which was never realized.[29][225][224] Instead, the facade was covered in an ivory-colored coating of vinyl plastic,[226][227] known as a "cocoon".[227][228] The engineers involved in the original construction thought that the "cocoon" would not crack, so the facade was built without expansion joints; they were wrong: the facade cracked in subsequent years.[184] During subsequent renovations, conservators found that the facade was originally painted brownish yellow, which was covered with numerous coats of white or off-white paint over the years.[224]

The sidewalk in front of the museum acts as a forecourt, with metal circles inset into its surface, similar in design to the floor inside the museum. Next to the sidewalk are curving parapets that surround planting beds, some of which are below ground level.[229][230] The planting beds originally contained shrubs, sycamore trees, and other vegetation.[231]

Original building

 
Main entrance on Fifth Avenue
 
Ramp at the building's southwest corner
 
Close-up of the monitor/Thannhauser Collection wing

The museum's main entrance is at the center of the Fifth Avenue facade.[229][232] It consists of an aluminum-framed glass wall with several doors, recessed within a low foyer. A doorway directly in front of the entrance leads to the bookstore, while the museum galleries are accessed by doors to the right.[229][232][233] Above the main entrance is a "bridge" connecting the main gallery and monitor building, which is supported by several lozenge-shaped piers.[232] The underside of the bridge contains recessed lighting that illuminates the main entrance.[229][232] The main entrance was originally the entrance to a driveway that curved toward 89th Street, with separate entrances to the monitor and main gallery.[35][232] The glass wall was installed after the driveway was closed in the 1970s, and the museum's bookstore was placed directly behind the wall.[121][234] To the south of the main entrance is a curved wall, which forms the base of the main gallery.[235] There is a ramp adjacent to this wall, which leads to the basement auditorium.[230][235]

At the southeast corner of the museum, on 88th Street, is a rectangular structure, which contains no openings except for five circular portals at ground level.[232][236] The structure contains the museum's cafe, which was part of Wright's original plans but was not developed until 1992. The second floor of the rectangular structure contains the High Gallery.[232] Immediately to the east, on 88th Street, is an aluminum service gate with circular designs.[232][236]

The bridge, which carries the Guggenheim's second story, projects at the museum's southwest corner. The museum's name stretches along the bottom edge of the bridge's Fifth Avenue facade.[230] The main gallery rises above the southern part of the bridge; it consists of a "bowl"-shaped massing, with several concrete "bands" separated by recessed aluminum skylights.[236] From the street, the building looks like a white ribbon curled into a cylindrical stack, wider at the top than the bottom, displaying nearly all curved surfaces. Its appearance is in sharp contrast to the typically rectangular Manhattan buildings that surround it, a fact relished by Wright, who claimed that his museum would make the nearby Metropolitan Museum of Art "look like a Protestant barn".[89] At the top of the "bowl" is a parapet, which surrounds three smaller skylights, as well as the large twelve-sided dome atop the main gallery.[236]

The northern part of the bridge contains a four-story wing, originally known as the monitor. Although the monitor's interior is cylindrical, its exterior contains different materials and shapes on each story.[237] The monitor's first two stories contain a round concrete facade,[237][238] while the upper two stories are cantilevered outward from the monitor's core.[238] The third story contains rectangular aluminum windows with semicircular panes at their tops.[236] The fourth story contains a square terrace and additional windows.[236][237] Above the fourth story is a fascia with lozenge patterns, as well as a hexagonal roof with an aluminum frame. The roof is interrupted by a lozenge-shaped shaft, which contains a stairway.[236][239]

Annex

A ten-story tower at the museum's northeastern corner, with offices, artist's studios and apartments, included in Wright's 1951 plan for the museum was a rectangular structure, aligned on a north–south axis, and would have contained porches at each story on the northern and southern elevations.[230] Wright's original plan for the tower went unrealized, largely for financial reasons, until the 1990–1992 renovation and expansion.[240][241][242] Instead William Wesley Peters designed a shorter wing on the site in 1968, with two double-height floors. This wing was made of concrete, with relief carvings of squares and octagons on its facade, and housed the museum's library, storage space, and the Thannhauser Gallery.[108][115] Its steel framework could accommodate the weight of six additional stories if it were expanded.[107][115]

Gwathmey Siegel & Associates designed a 10-story annex that was finally built in the renovation.[240][241] The annex, measuring 32 feet (9.8 m) wide and 135 feet (41 m) tall, uses the 1968 wing's steel framework.[241] During the renovation, Gwathmey Siegel removed the 1968 concrete facade and replaced it with a limestone grid.[242][241] They analyzed Wright's original sketches when they designed the tower.[154][242]

Interior

The core part of Guggenheim's interior consists of the monitor section to the north, the larger main gallery to the south, and a lecture hall beneath the main gallery.[243][244] To the east of the main entrance is the bookstore, in the area that was originally part of the museum's driveway.[230][245] To the south of the main entrance is a small circular vestibule, which contains a floor with metal arcs and a low plaster ceiling with recessed lighting.[245] South of the main rotunda is a cafe, added during the 1990s renovation.[107][230]

The triangular service core, at the northeast corner of the main gallery, contains an elevator and a staircase.[219][246] The staircase wraps around the elevator, which is housed within a semicircular shaft;[246][247] the core also contains restrooms and mechanical areas.[247] According to author Robert McCarter, Wright had used "complete geometries" for the stairs and ramps because he wanted visitors to experience the museum on foot.[246] Other rooms, such as the staff kitchen, were designed with curved equipment because of the interior's unusual design.[248] The museum's interior is generally painted white, and parts of the interior are repainted nearly every day.[224]

Main gallery

 
The museum's main gallery

Wright designed the main gallery (also described as a rotunda) as an open-air atrium, surrounded by a helical ramp.[89][245][226] Wright's design differed from the conventional approach to museum layout, in which visitors pass through a series of interconnected rooms and retrace their steps when exiting.[220] Under Wright's plan, guests rode an elevator to the top of the building and descended the ramp, viewing the main gallery itself as a work of art.[242][246] The ramp's design recalled a nautilus shell, with continuous spaces flowing one into another.[221][249] The open rotunda allows guests to observe works on different levels simultaneously and interact with guests on other levels.[242] Structurally, the ramp acts like an enormous arch, preventing the columns in the main gallery from collapsing inward.[238]

The main gallery has a beige terrazzo floor with inlaid metal circles.[223][250] At ground level are information and admissions desks made of wood, and windows facing southeast toward Fifth Avenue and 88th Street.[250] The ramp, made of reinforced concrete, ascends at a 5 percent slope[84][226] from ground level and rises one story, where it wraps around a planter and passes through a double-height archway.[250] It rises five additional stories before ending at the sixth floor,[84][226][250] with a total length of 1,416 feet (432 m).[224] Its width increases as it ascends,[251] from 25 feet (7.6 m) on the lowest level to 32 feet (9.8 m) at the top.[226] The ramp protrudes into the northeastern corner of the atrium at each story, forming a rounded balcony.[245] There are connections to other galleries at the second and fourth stories, and to a triangular gallery at the sixth story.[250] The ramp has a low parapet along the atrium side,[252] measuring 36 inches (910 mm) high.[224]

The walls and ceilings are made of plaster.[252][250] To create the concrete walls, workers sprayed several layers of concrete onto plywood moldings, each layer being reinforced with steel.[226][228] Wright intended the low ceilings and slanted walls to provide a "more intimate environment" to display the artwork.[253] The walls are tilted at a 97-degree angle, and the ceilings measure 9.5 feet (2.9 m) tall.[45][226] Jaroslav Josef Polívka assisted Wright with the structural design, and he initially designed the gallery ramp without perimeter columns.[254] Later in the design, Wright added a dozen concrete ribs along the walls of the main gallery, which both provide structural reinforcement and divide the ramp into sections.[226][245][255] The ramp passes through 70 sections in total.[226] Alhough Wright wanted the paintings displayed as if they were on an easel,[89][251] paintings are mounted onto horizontal bars that protrude from the sloped wall.[256][257] There is limited space for sculptures within each bay,[89] and wider paintings frequently span the center of the curved wall.[258]

The ramp was originally illuminated by clerestory windows along the perimeter of each level,[255] which were sealed when the building was completed.[246][256] Each level of the ramp also contains recessed lighting on its ceiling.[246][245] The domed skylight is around 95 feet (29 m) high[259][226][257] and is the same width as the atrium.[233] Metal bars divide the skylight into numerous panes. Along the dome are six hairpin-shaped "spokes", which surround a circular glass panel and connect with the "ribs" along the gallery's perimeter.[260][245] These spokes divide the skylight into twelve sections.[255][245] The original plans called for the dome to be illuminated by 24 floodlights.[228] The clerestory windows and skylight were restored in 1992.[153][261]

Monitor section

The museum's "monitor" houses the Thannhauser Collection.[262] Its galleries surround an atrium that is circular except for a stair hall at one end of the space.[250] The floors are supported by columns with lozenge-shaped cross-sections.[250][263] Like the main gallery, the monitor contains a triangular service core, although its core is placed at the center of the structure.[263] The monitor was originally supposed to include apartments for Rebay and Guggenheim, but this area became offices and storage space.[264] In 1965, the second floor of the monitor was renovated to display some of the museum's growing permanent collection.[232][265] Part of the fourth floor was similarly converted in 1980.[232] With the restoration of the museum in the early 1990s, the second through fourth floors were converted entirely to exhibition space and renamed the Thannhauser Building.[107][232][265]

Gail May Engelberg Center for Arts Education

 
Peter B. Lewis Theater

The Gail May Engelberg Center for Arts Education, completed in 2001, covers 8,200 square feet (760 m2) on the lower level of the museum, below the main gallery.[174] It was a gift of the Mortimer D. Sackler family and was originally named for them.[266] The 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 266-seat Peter B. Lewis Theater.[267][174] Following criticism over the Sackler family's involvement in the opioid epidemic in the United States,[268][269] the center was renamed in 2022 for museum trustee Gail May Engelberg,[175] who along with her husband Alfred Engelberg had donated $15 million to the museum.[176]

The basement space looks out onto a sloped driveway outside the southwest corner of the museum.[244] The Peter B. Lewis Theater is directly beneath the main gallery and contains two levels of seating: an orchestra level and a balcony. There is a coatroom at the balcony level, separated from the balcony seats by a metal partition. The southeast corner of the orchestra level contains a raised wooden stage. The theater's walls contain embedded piers, as well as semicircular window openings.[270] The plaster ceiling contains recessed cove lighting.[247][270] When the theater was built, it could be accessed directly from the triangular service core, as well as via the driveway outside the museum.[247]

Annex galleries

The 89th Street annex contains 10,290 square feet (956 m2) of additional exhibition space.[156] There are four exhibition galleries with flat walls that are "more appropriate for the display of art".[242][240] Each of the gallery levels,[271] are double-height spaces.[107][241] A loading dock is below the galleries, while two office stories and a mechanical floor are above.[271] A steel-and-glass lobby connects the annex to the monitor's ground level, and ramps and passageways connect with the monitor's three upper stories.[271] The annex is linked to the main gallery's stair tower at the fourth, fifth, and seventh stories.[107][241] It also connects to rooftop terraces above the monitor and main gallery.[156][271]

Landmark designations

The New York City Landmarks Preservation Commission designated the museum building and its interior as New York City landmarks on August 14, 1990,[272][273] two years after the annex's opponents had asked the commission to consider such a designation.[274] At the time, the Guggenheim was one of the youngest buildings to have city landmark status, having been completed 31 years earlier.[224] The museum was added to the National Register of Historic Places (NRHP) on May 19, 2005,[2] and was re-added to the NRHP as a National Historic Landmark on October 6, 2008.[3] In July 2019, the Guggenheim was among eight properties by Wright placed on the World Heritage List under the title "The 20th-Century Architecture of Frank Lloyd Wright".[275][276]

Collection

The Guggenheim has about 8,000 works in its collection as of 2022.[277][278] About 1,700 of these works are part of the Guggenheim's online collection.[278] The museum building has a relatively small capacity; according to The Wall Street Journal, following the 1992 renovation, the Guggenheim could show "upward of 6%" of its 5,000-piece collection.[154] In contrast to other visual-art museums, the Guggenheim does not divide its collection into departments.[279] The museum shares its collection with the Peggy Guggenheim Collection in Venice and Guggenheim Museum Bilbao.[279]

Personal collections

The Guggenheim Museum has acquired private collections throughout its history, including those of Guggenheim, Karl Nierendorf, Katherine Sophie Dreier, Thannhauser, Rebay, Giuseppe Panza, Mapplethorpe, and the Bohen Foundation.[280][281] The earliest works in the museum's collection include those by modernists such as Rudolf Bauer, Rebay, Kandinsky, Piet Mondrian, Marc Chagall, Robert Delaunay, Fernand Léger, Amedeo Modigliani and Pablo Picasso.[65] Parts of the original collection have been sold over the years; 620 of the original works were designated as part of the Solomon R. Guggenheim Founding Collection in 2007.[282] The Founding Collection contains artwork from over 60 artists,[282] including more than 150 works by Kandinsky.[283]

In 1948, the Museum of Non-Objective Art acquired Nierendorf's 730 objects, notably German expressionist paintings.[284][13] The Guggenheim still had 121 works from the Nierendorf collection in the 1990s;[285] these comprise a broad spectrum of expressionist and surrealist works, including paintings by Paul Klee, Oskar Kokoschka, and Joan Miró.[13][65][284] In 1953, the Guggenheim acquired 28 pieces from Dreier's collection,[b] which included works by Alexander Archipenko, Constantin Brâncuși, Alexander Calder, Marcel Duchamp, Juan Gris, El Lissitzky, Mondrian, and Kurt Schwitters.[65]

The Thannhauser Collection, acquired in 1963, consists of 73 works,[105][106] largely in the Impressionist, Post-Impressionist and French modern styles.[286] Thannhauser's collection includes pieces by Paul Gauguin, Édouard Manet, Camille Pissarro, Vincent van Gogh, and 32 works by Picasso.[65][287] Rebay also left a portion of her personal collection to the foundation in her will, including works by Kandinsky, Klee, Calder, Albert Gleizes, Mondrian, and Schwitters.[65] The Guggenheim received Rebay's collection in 1971, four years after her death,[279] because of a prolonged lawsuit over the collection.[110] In 1990 the museum acquired the Panza Collection from Giovanna and Giuseppe Panza in 1990[288][289] It 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 postminimal, conceptual, and perceptual art by Robert Morris, Richard Serra, James Turrell, Lawrence Weiner and others, notably American examples of the 1960s and 1970s.[162][289]

In 1992, the Robert Mapplethorpe Foundation gifted 200 of Mapplethorpe's best photographs to the foundation.[158][159] 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.[65] In 2001, the foundation received a gift of the collection of the Bohen Foundation, which, for two decades, commissioned new works of art with an emphasis on film, video, photography and new media. The Bohen collection comprises around 275 works by 45 artists,[290] including Pierre Huyghe and Sophie Calle.[7] In 2022, the Guggenheim and the Museum of Contemporary Art, Chicago, jointly received 100 works gifted by the D. Daskalopoulos Collection.[291][292]

Other notable works

Under Sweeney's tenure, in the 1950s, the Guggenheim acquired Constantin Brâncuși's Adam and Eve (1921) and works by other modernist sculptors such as Joseph Csaky, Jean Arp, Calder, Alberto Giacometti and David Smith.[13] Sweeney reached beyond the 20th century to acquire Paul Cézanne's Man with Crossed Arms (c. 1899)[13] and works by David Hayes, Willem de Kooning and Jackson Pollock.[293]

Selected works in the collection

  •  

    Paul Cézanne, c. 1899, Homme aux bras croisés (Man With Crossed Arms), oil on canvas, 92 x 72.7 cm

  •  

    Georges Braque, 1909, Violin and Palette (Violon et palette, Dans l'atelier), oil on canvas, 91.7 x 42.8 cm

  •  

    Wassily Kandinsky, 1910, Landscape with Factory Chimney, oil on canvas, 66.2 x 82 cm

  •  

    Franz Marc, 1911, The Yellow Cow, oil on canvas, 140.5 x 189.2 cm

  •  

    Juan Gris, 1911, Maisons à Paris (Houses in Paris), 1911, oil on canvas, 52.4 x 34.2 cm

  •  

    Fernand Léger, 1911–12, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm

  •  

    Jean Metzinger, 1912, Femme à l'Éventail (Woman with a Fan), oil on canvas, 90.7 x 64.2 cm

  •  

    Fernand Léger, 1912–13, Nude Model in the Studio (Le modèle nu dans l'atelier), oil on burlap, 128.6 x 95.9 cm

  •  

    Alexander Archipenko, 1913, Pierrot-carrousel, painted plaster, 61 × 48.6 × 34 cm

  •  

    Marc Chagall, 1913, Paris par la fenêtre (Paris Through the Window), oil on canvas, 136 x 141.9 cm

  •  

    Raymond Duchamp-Villon, 1914 (cast c. 1930), Le cheval (The Horse), bronze, 43.6 × 41 cm

  •  

    Albert Gleizes, 1914–15, Portrait of an Army Doctor (Portrait d'un médecin militaire), oil on canvas, 119.8 x 95.1 cm

  •  

    Albert Gleizes, 1915, Brooklyn Bridge (Pont de Brooklyn), oil and gouache on canvas, 102 x 102 cm cm

  •  

    Juan Gris, 1917, Compotier et nappe à carreaux (Fruit Dish on a Checkered Tablecloth), oil on wood panel, 80.6 x 53.9 cm

  •  

    Amedeo Modigliani, 1917, Nude (Nu), oil on canvas, 73 × 116.7 cm

  •  

    Theo van Doesburg, 1918, Composition XI, oil on canvas, 57 x 101 cm

  •  

    Paul Klee, 1922, Red Balloon (Roter Ballon) oil on chalk-primed gauze, mounted on board, 31.7 × 31.1 cm

Governance and staff

The Solomon R. Guggenheim Foundation operates and owns the Solomon R. Guggenheim Museum.[294] The foundation's art and museum committee is responsible for proposing acquisitions and deaccessions from the foundation's collection, while the foundation's board of trustees determines whether to enact the art and museum committee's proposals.[295] J. Tomilson Hill has served as the board's chair since 2021,[296] while Marcy Withington has been the foundation's chief financial officer since 2018.[297] As of 2022, Richard Armstrong is the director of both the Guggenheim Foundation and the museum.[294] The museum employed 315 full-time and part-time staff members in 2020.[298][299]

Reception and commentary

Contemporary views

Even before the building opened, the design polarized architecture critics[89][300] and was controversial among the public.[301][302] Some critics believed the building would overshadow the museum's artworks.[303] Emily Genauer of the New York Herald Tribune said the building had been likened to "a giant corkscrew, a washing machine and a marshmallow",[304] while Solomon's niece Peggy Guggenheim believed it resembled "a huge garage".[305] Members of the public felt that the building contrasted with the character of Fifth Avenue.[302] Other critics, and many artists, worried that it would be difficult to properly hang paintings in the shallow, windowless, concave exhibition niches around the main gallery.[306][77][89] Prior to the opening of the museum, 21 artists signed a letter protesting the display of their work in such a space.[87][307] Phyllis Mark of the New Leader commented that the walls and ceilings would "disorient the viewer" and noted that the museum could only display five percent of its collection in the new building.[259]

Art critics reviewed the structure especially harshly.[308] John Canaday of The New York Times wrote that the design would be worthy of merit if it were "stripped of its pictures",[309][310] while Hilton Kramer of Arts Magazine opined that the structure was "what is probably [Wright's] most useless edifice".[311] Architectural critic Lewis Mumford summed up the opprobrium:

Wright has allotted the paintings and sculptures on view only as much space as would not infringe upon his abstract composition. ... [He] created a shell whose form has no relation to its function and offered no possibility of future departure from his rigid preconceptions. [The ramp] has, for a museum, a low ceiling – nine feet eight inches [295 cm] so only a picture well within the vertical boundaries thus created can be shown. The wall ... slanted outward, following the outward slant of the exterior wall, and paintings were not supposed to be hung vertically or shown in their true plane but were to be tilted back against it. ... Nor [can a visitor] escape the light shining in his eyes from the narrow slots in the wall.[312]

During his lifetime, Wright dismissed criticism of the structure, saying: "For the first time, art will be seen through an open window and, of all places, in New York".[313] He also felt that his design complemented Central Park, particularly with the shrubbery around the new building, which formed "a little park with a building in it".[87][314] Wright believed that the building would be well suited to avant-garde art, "which purported to represent space and form in a new, fully integrated manner".[252]

The building also received critical acclaim. In a 1958 survey of the "Seven Wonders of American Architecture", five hundred architects ranked the Guggenheim as the 18th-best structure of more than 100 selected buildings.[315] When the building opened, modernist architects such as Philip Johnson and Edward Durell Stone praised Wright's design,[316][317] and Genauer regarded it as "the most beautiful building in America".[304][317] This sentiment was shared even by commentators who questioned the building's functionality, including Robert M. Coates of The New Yorker, who wrote: "My question is not 'Is it art?' (I believe it is) but 'How well will it house art?'".[317][318] A writer for the New York Daily Mirror said the Guggenheim "should be put in a museum to show how mad the twentieth century is."[318] Directors of other major New York City museums also praised the building, though some of them were skeptical of whether the structure could function well as a museum.[308][316]

Impact and retrospective commentary

In later years, the building became widely praised.[319][320] Marcus Whiffen and Frederick Koeper wrote: "The dynamic interior of the Guggenheim is, for some, too competitive for the display of art, but no one disputes that it is one of the memorable spaces in all of architecture."[321][322] Paul Goldberger said in 2009: "I think the legacy of this building is in the message that architecture does not have to lie down and play dead in front of art."[323] According to Herbert Muschamp, the Guggenheim was "one of New York's most distinguished landmarks", as well as Wright's best-known design.[324][325] The American Institute of Architects gave a Twenty-five Year Award to the Guggenheim in 1986, describing the museum's building as "an architectural landmark and a monument to Wright's unique vision".[108][326]

 
2 cent U.S. postage stamp honoring Wright, with the Guggenheim in the background (1966)

Several writers described the Guggenheim as representing Wright's tendency toward organic architecture.[327] According to William J. R. Curtis, the building was "the apotheosis of Wright's organic philosophy".[321][328] Peter Blake commented that the Guggenheim was Wright's "only completed work of uncompromising plasticity and continuity",[329][330] a claim with which Wright's biographer Robert C. Twombly agreed.[329][331] Critics came to regard the Guggenheim as the best work of Wright's later career,[332] as well as a culmination of the helical shapes that Wright had used in his designs since 1925.[333][334] Spiro Kostof called the museum "a gift of pure architecture",[329][335] and Edgar Kaufmann Jr. said the building was "one of the irrefutably grand achievements of modern architecture".[329][336]

The museum building inspired other architects' designs.[27][108] Several similar buildings were developed in the 1960s, although they generally used less concrete than the Guggenheim did.[108] Deborah Solomon of The New York Times Magazine wrote in 2002 that the Guggenheim inspired the phenomenon of "the museum that is just walls", wherein museums competed for the best-designed buildings.[337] The building was also depicted in a two-cent postage stamp issued in Wright's honor in 1966.[338][339]

Attendance

When the building opened, it was popular with the general public.[340] A 1960 Gallup poll found that 38 percent of visitors came for the building itself, while an additional 43 percent wanted to see both the building and the art.[340][341] The Guggenheim did not keep precise attendance records until 1992.[342] Before its 1990s renovation, the museum had an estimated 600,000 annual visitors.[343] This increased to between 900,000 and 1 million annual visitors by the early 2000s.[179] The museum had 960,000 annual visitors before the September 11 attacks, but attendance decreased below that level for several years after the attacks.[195] In 2013, nearly 1.2 million people visited the museum, and its James Turrell exhibition was the most popular in New York City in terms of daily attendance.[6] As a result of the COVID-19 pandemic, the Guggenheim had 154,000 visitors in 2020, an 88 percent decrease from the preceding year.[344]

According to museum officials, various surveys over the years indicated that the majority of guests came because of the building's architecture, rather than for its artwork.[179] The New York Times reported in 2001 that nearly 70 percent of visitors were tourists and that half of all guests were foreigners.[188] By contrast, the Times reported in 2010 that between 55 and 65 percent of visitors were from the New York metropolitan area.[345] According to a 2018 study, 73 percent of the museum's visitors were white, while 8 percent were black.[209]

In 2009, a retrospective of Frank Lloyd Wright attracted 372,000 visitors in three months, becoming the museum's single most popular exhibit.[346] This record was broken the next year by a Kandinsky exhibit.[342][345] As of 2022, the most popular exhibition in the museum's history was a 2019 exhibition of Hilma af Klint paintings,[347] which attracted over 600,000 visitors in six months.[348]

See also

References

Notes

  1. ^ Wright had experimented with a ramp design as early as 1924, when he had drawn plans for a visitor center at Sugarloaf Mountain in Maryland, which was never built.[31] He later used the ramp design at the V. C. Morris Gift Shop in San Francisco, completed in 1948, and at the David and Gladys Wright House in Arizona, which he completed for his son in 1952.[30]
  2. ^ Dreier was one of Rebay's colleagues and a founder of modern-art organization Société Anonyme.[65]

Citations

  1. ^ "Visitor figures 2016" (PDF). The Art Newspaper. April 2017. p. 14. Retrieved June 8, 2018.
  2. ^ a b c "National Register Information System". National Register of Historic Places. National Park Service. March 13, 2009.
  3. ^ a b "National Register of Historic Places; New Listings October 6 – October 10, 2008", NPS.gov, October 17, 2008. Retrieved May 8, 2009.
  4. ^ "The Solomon R. Guggenheim Museum" (PDF). New York City Landmarks Preservation Commission. August 14, 1990. Retrieved June 18, 2019.
  5. ^ "The Solomon R. Guggenheim Museum: Interior" (PDF). New York City Landmarks Preservation Commission. August 14, 1990. Retrieved June 18, 2019.
  6. ^ a b "Top 100 Art Museum Attendance", The Art Newspaper, 2014, pp. 11 and 15, accessed July 8, 2014.
  7. ^ a b c d e f g "Exhibition of Works Reflecting the Evolution of the Guggenheim's Collection Opens in Bilbao", artdaily.org, 2009. Retrieved April 18, 2012.
  8. ^ a b c d e f Stern, Mellins & Fishman 1995, p. 808.
  9. ^ a b c "Biography: Solomon R. Guggenheim", Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim, Solomon R. Guggenheim Foundation. Retrieved March 8, 2012.
  10. ^ a b Loebl 2002, p. 283.
  11. ^ a b Krens 1993, p. 8.
  12. ^ Vail 2009, pp. 25, 36.
  13. ^ a b c d e f Calnek, Anthony, et al. The Guggenheim Collection, pp. 39–40, New York: The Solomon R. Guggenheim Foundation, 2006
  14. ^ "Guggenheim Foundation History". Guggenheim. February 29, 2016. Retrieved October 21, 2019.
  15. ^ a b Pfeiffer 1995, p. 5.
  16. ^ Vail 2009, p. 333.
  17. ^ Stern, Mellins & Fishman 1995, pp. 808–809.
  18. ^ a b c Landmarks Preservation Commission Interior 1990, p. 7.
  19. ^ Stern, Mellins & Fishman 1995, p. 807.
  20. ^ a b c d e f g Stern, Mellins & Fishman 1995, p. 809.
  21. ^ . Archived from the original on May 1, 2016. Retrieved August 13, 2016.
  22. ^ Stern, Mellins & Fishman 1995, pp. 807–808.
  23. ^ a b "Art Museum Plan 5th Ave. Filed; Cylindrical Building Designed by Frank Lloyd Wright to Cost $2,000,000". The New York Times. April 4, 1952. ISSN 0362-4331. Retrieved October 3, 2022.
  24. ^ The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum, pp. 217–18, New York: Guggenheim Museum Publications, 2009
  25. ^ Levine 1996, p. 299.
  26. ^ "55 Years Ago Tuesday: Guggenheim Museum Officially Opens". CBS News. October 22, 2014. Retrieved October 5, 2022.
  27. ^ a b c d Storrer 2002, pp. 400–01
  28. ^ Dal Co, Francesco (2017). The Guggenheim: Frank Lloyd Wright's Iconoclastic Masterpiece. New Haven: Yale University Press. p. 58. ISBN 978-0300226058. OCLC 969981835.
  29. ^ a b McCarter 1997, p. 310.
  30. ^ a b Hitchcock, Henry-Russell (1981). Arquitectura de los siglos XIX y XX (6th ed.). Madrid: Ediciones Cátedra. p. 477. ISBN 9788437624464.
  31. ^ a b Pfeiffer 1995, p. 6.
  32. ^ Tanzj, Daniela; Bentivegna, Andrea (July 23, 2015). "The Vatican Museums and the Guggenheim: Two Ingenious Spirals of Art". La Voce di New York.
  33. ^ Hersey, George L. (1993). High Renaissance art in St. Peter's and the Vatican: an interpretative guide. Chicago: University of Chicago Press. p. 128. ISBN 9780226327822.
  34. ^ Mindel, Lee F. (February 28, 2013). "Compares the Oculi at the Vatican and the Guggenheim Museum". Architectural Digest.
  35. ^ a b McCarter 1997, p. 308.
  36. ^ "Ultra-Modern Museum to Rise in 5th Ave. To House Non-Objective Art Collection". The New York Times. March 21, 1944. ISSN 0362-4331. Retrieved October 3, 2022.
  37. ^ a b c National Park Service 2005, p. 19.
  38. ^ a b c Ballon 2009, pp. 22–27
  39. ^ Pfeiffer 1995, pp. 11, 21.
  40. ^ Landmarks Preservation Commission 1990, p. 8.
  41. ^ a b c "Museum Building to Rise as Spiral; New Guggenheim Structure Designed by F.L. Wright Is Called First of Kind". The New York Times. July 10, 1945. ISSN 0362-4331. Retrieved October 3, 2022.
  42. ^ "Wright Designs Bizarre 5th Av. Art Museum: His First Building in City, on Novel Lines, to House Guggenheim Collection". New York Herald Tribune. July 10, 1945. p. 7. ISSN 1941-0646. ProQuest 1337120835.
  43. ^ a b c Pfeiffer 1995, p. 21.
  44. ^ Landmarks Preservation Commission Interior 1990, p. 8.
  45. ^ a b c d e Stern, Mellins & Fishman 1995, p. 811.
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March 13, 2023
solomon, guggenheim, museum, guggenheim, redirects, here, other, guggenheim, museums, list, guggenheim, museums, often, referred, guggenheim, museum, 1071, fifth, avenue, between, 88th, 89th, streets, upper, east, side, manhattan, york, city, permanent, home, . The Guggenheim redirects here For other Guggenheim Museums see List of Guggenheim Museums The Solomon R Guggenheim Museum often referred to as The Guggenheim is an art museum at 1071 Fifth Avenue between 88th and 89th Streets on the Upper East Side of Manhattan in New York City It is the permanent home of a continuously expanding collection of Impressionist Post Impressionist early Modern and contemporary art and also features special exhibitions throughout the year The museum was established by the Solomon R Guggenheim Foundation in 1939 as the Museum of Non Objective Painting under the guidance of its first director Hilla von Rebay The museum adopted its current name in 1952 three years after the death of its founder Solomon R Guggenheim Solomon R Guggenheim MuseumView from Fifth AvenueEstablished1937Location1071 Fifth Avenue at 89th StreetManhattan New York CityCoordinates40 46 59 N 73 57 32 W 40 78306 N 73 95889 W 40 78306 73 95889 Coordinates 40 46 59 N 73 57 32 W 40 78306 N 73 95889 W 40 78306 73 95889TypeArt museumVisitors953 925 2016 1 DirectorRichard ArmstrongPublic transit accessSubway trains at 86th StreetBus M1 M2 M3 M4 M86 SBSWebsitewww wbr guggenheim wbr orgBuilt1956 1959ArchitectFrank Lloyd WrightArchitectural style s ModernUNESCO World Heritage SiteCriteriaCultural ii Designated2019 43rd session Part ofThe 20th Century Architecture of Frank Lloyd WrightReference no 1496 008RegionEurope and North AmericaU S National Register of Historic PlacesDesignatedMay 19 2005 2005 05 19 2 Reference no 05000443 2 U S National Historic LandmarkDesignatedOctober 6 2008 2008 10 06 3 New York City LandmarkDesignatedAugust 14 1990 1990 08 14 4 5 Reference no 1774 exterior 1775 interior The museum s building a landmark work of 20th century architecture designed by Frank Lloyd Wright drew controversy for the unusual shape of its display spaces and took 15 years to design and build it was completed in 1959 It consists of a six story bowl shaped main gallery to the south a four story monitor to the north and a ten story annex to the northeast The main gallery contains a six story helical ramp that extends along its perimeter as well as a central ceiling skylight The Thannhauser Collection is housed within the top three stories of the monitor and there are additional galleries in the annex and a learning center in the basement The building underwent expansion and extensive renovations from 1990 to 1992 when the annex was built and it was renovated again from 2005 to 2008 The museum s collection has grown over the decades and is founded upon several important private collections beginning with that of Solomon R Guggenheim The collection which includes around 8 000 works as of 2022 update is shared with sister museums in the Spanish city of Bilbao and elsewhere In 2013 nearly 1 2 million people visited the museum and it hosted the most popular exhibition in New York City 6 Contents 1 History 1 1 Early years and Hilla Rebay 1 1 1 Design process 1 1 2 Site selection and announcement of plans 1 1 3 Difficulties 1 2 Sweeney era 1 2 1 Construction and opening 1 3 Messer era 1 3 1 1960s 1 3 2 1970s and 1980s 1 4 Krens era 1 4 1 1990s 1 4 2 2000s 1 5 Armstrong era 2 Architecture 2 1 Exterior 2 1 1 Original building 2 1 2 Annex 2 2 Interior 2 2 1 Main gallery 2 2 2 Monitor section 2 2 3 Gail May Engelberg Center for Arts Education 2 2 4 Annex galleries 2 3 Landmark designations 3 Collection 3 1 Personal collections 3 2 Other notable works 3 3 Selected works in the collection 4 Governance and staff 5 Reception and commentary 5 1 Contemporary views 5 2 Impact and retrospective commentary 6 Attendance 7 See also 8 References 8 1 Notes 8 2 Citations 8 3 Sources 9 External linksHistory EditEarly years and Hilla Rebay Edit Solomon R Guggenheim a member of a wealthy mining family had been collecting works of the old masters since the 1890s 7 In 1926 he met artist Hilla von Rebay 7 8 who introduced him to European avant garde art in particular abstract art that she felt had a spiritual and utopian aspect non objective art 7 Guggenheim completely changed his collecting strategy turning to the work of Wassily Kandinsky among others He began to display his collection to the public at his apartment in the Plaza Hotel in New York City 7 9 10 Guggenheim and Rebay initially considered building a museum at Rockefeller Center in Manhattan 8 As the collection grew Guggenheim established the Solomon R Guggenheim Foundation in 1937 to foster the appreciation of modern art 8 9 11 Albert Gleizes 1915 Composition for Jazz oil on cardboard 73 73 cm The foundation s first venue for the display of art the Museum of Non Objective Painting opened in 1939 under the direction of Rebay at 24 East 54th Street in midtown Manhattan 8 11 12 Under Rebay s guidance Guggenheim sought to include in the collection the most important examples of non objective art available at the time by early modernists 7 9 13 Guggenheim wanted to display the collection at the 1939 New York World s Fair in Queens but Rebay advocated instead for a more permanent location in Manhattan 8 By the early 1940s the foundation had accumulated such a large collection of avant garde paintings that the need for a permanent museum building had become apparent 14 Rebay wanted to establish the permanent building before the octogenarian Guggenheim died 8 Design process Edit In 1943 Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house and display the collection 15 16 Rebay thought the 76 year old Wright was dead but Guggenheim s wife Irene Rothschild Guggenheim knew better and suggested that Rebay contact him 17 Wright accepted the opportunity to experiment with his organic style in an urban setting saying that he had never seen a museum that was properly designed 18 Wright was hired to design the building in June 1943 15 19 20 He was to receive a 10 percent commission on the project which was expected to cost at least 1 million 20 It took Wright 15 years more than 700 sketches and six sets of working drawings to create and complete the museum after a series of difficulties and delays 21 22 the cost eventually doubled from the initial estimate 23 Rebay had conceived of a space that would facilitate a new way of looking at modern art She 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 24 25 The critic Paul Goldberger later wrote that Wright s modernist building was 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 26 The Guggenheim was the only museum designed by Wright its urban location required Wright to design the building in a vertical rather than a horizontal form far different from his earlier rural works 27 Since Wright was not licensed as an architect in New York he relied on Arthur Cort Holden of the architectural firm Holden McLaughlin amp Associates to deal with New York City s Board of Standards and Appeals 28 Staircase at the Vatican Museums designed by Giuseppe Momo in 1932 From 1943 to early 1944 Wright produced four differing designs One of the plans had a hexagonal shape and level floors for the galleries though all the others had circular schemes and used a ramp continuing around the building 29 30 a In his notes Wright indicated that he wanted a well proportioned floor space from bottom to top a wheel chair going around and up and down 18 20 31 His original concept was called an inverted ziggurat because it resembled the steep steps on the ziggurats built in ancient Mesopotamia 18 27 Several architecture professors have speculated that the helical ramp and glass dome of Giuseppe Momo s 1932 staircase at the Vatican Museums was an inspiration for Wright s ramp and atrium 32 33 34 Site selection and announcement of plans Edit Wright expected that the museum would be located in lower Manhattan 35 Instead in March 1944 Rebay and Guggenheim acquired a site on Manhattan s Upper East Side at the corner of 89th Street and the Museum Mile section of Fifth Avenue overlooking Central Park 20 36 37 They had considered numerous locations in Manhattan as well as in the Riverdale section of the Bronx overlooking the Hudson River 20 38 Guggenheim felt that the Fifth Avenue site s proximity to Central Park was important the park afforded relief from the noise congestion and concrete of the city 27 Wright s preliminary sketches fit the site nearly perfectly although the site was about 25 feet 7 6 m narrower than what Wright had anticipated 39 Guggenheim approved Wright s sketches in mid 1944 20 Wright called the planned building an Archeseum a building in which to see the highest 37 40 Wright s designs for the museum building were announced in July 1945 37 at which point the museum was expected to cost 1 million and be completed within a year 41 The main feature of the structure was a main gallery with a helical ramp surrounding a lightwell with a skylight 41 42 Guests would board an elevator to reach the top of the ramp a second steeper ramp would serve as an emergency exit 20 There would be a movie theater in the basement an elevator tower topped by an observatory a smaller building featuring a smaller theater 43 storage space a library and a cafe 41 44 Preliminary plans also included apartments for Guggenheim and Rebay but these plans were scrapped 43 Guggenheim acquired an additional parcel of land on 88th Street that July 45 Wright built a model of the museum at Taliesin his home in Wisconsin 46 and displayed the model at the Plaza Hotel that September 47 48 Difficulties Edit The building s construction was delayed first because of material shortages caused by World War II 45 49 then by increasing construction costs after the war ended 43 45 By late 1946 Guggenheim and Rebay had redesigned the basement theater to accommodate concerts 49 Rebay and Wright disagreed over several aspects of the design such as the means by which the paintings were to be mounted 45 50 although they both wanted the design to reflect the unity of art and architecture 51 Wright continued to modify his plans during the late 1940s largely because of concerns over the building s lighting and he created another model of the museum in 1947 52 The collection was greatly expanded in 1948 through the purchase of art dealer Karl Nierendorf s estate of some 730 objects 13 Progress remained stalled through the late 1940s 53 and William Muschenheim renovated an existing townhouse on the site at 1071 Fifth Avenue for the museum s use 53 54 Guggenheim s health was in decline but he refused Wright s offer to downsize the planned building so it could be completed during Guggenheim s lifetime 52 After Guggenheim died in 1949 members of the Guggenheim family on the foundation s board of directors had personal and philosophical differences with Rebay 55 Under Rebay s leadership the museum had become what Aline B Saarinen described as an esoteric occult place in which a mystic language was spoken 56 57 Some of the museum s staff and trustees wished to oust Rebay and cancel Wright s design 53 54 Wright however persuaded several members of the Guggenheim family to acquire additional land on Fifth Avenue so his design could be developed in full 53 58 To accommodate the growing collection in August 1951 the Guggenheim Foundation acquired an apartment building at 1 East 88th Street to remodel for museum use 59 60 It now owned a continuous frontage on Fifth Avenue from 88th to 89th Street 60 61 This prompted Wright to redesign the new building yet again proposing a multi story annex with apartments behind the museum 53 61 51 The foundation also announced that the museum would start exhibiting objective works of art as well as older artwork 57 62 Rebay who disagreed with this policy resigned as director of the museum in March 1952 63 64 Nevertheless she left a portion of her personal collection to the foundation in her will 65 Shortly after Rebay resigned Wright filed plans for the building which was projected to cost 2 million 23 The museum was renamed the Solomon R Guggenheim Museum in 1952 55 Sweeney era Edit James Johnson Sweeney was appointed as the museum s director in October 1952 66 67 Sweeney expanded the foundation s collecting criteria rejecting Rebay s dismissal of objective painting and sculpture 68 69 He also started exhibiting some of the works that had been placed in storage under Rebay s leadership 57 70 In 1953 the museum hosted a retrospective of Wright s work entitled Sixty Years of Living Architecture 71 72 housed in a temporary pavilion that Wright had designed 73 53 Construction and opening Edit Photo of the construction taken on November 12 1957 Sweeney and Wright had a strained relationship as they disagreed over basic elements of the planned building 53 74 Sweeney who believed that the museum s architecture should be subservient to the art collection forced Wright to redesign the museum to accommodate more offices and storage facilities 74 The building s lighting issues were a significant point of contention between the two men 75 76 In addition the New York City Department of Buildings DOB rejected Wright s application for a construction permit in 1953 because the design did not meet building codes 77 Wright tasked Holden with ensuring that the design met building codes 78 and published revised drawings in 1954 and 1956 79 Museum staff nevertheless complained that Wright s design did not provide enough storage or laboratory space 77 To save money Wright modified the design again in 1955 though these savings were canceled out by increasing construction costs 76 Four general contractors submitted construction bids in late 1954 76 and the foundation ultimately hired the Euclid Construction Corporation 80 73 The museum rented the Oliver Gould Jennings House at 7 East 72nd Street and relocated there before construction began 76 On May 6 1956 demolition of the existing buildings on the site began 80 81 The DOB issued a construction permit on May 23 76 and work on the museum building began on August 14 73 76 Wright opened an office in New York City to oversee the construction which he felt required his personal attention and appointed his son in law William Wesley Peters to supervise the day to day work 53 73 In practice neither Wright nor Peters visited the site frequently so Holden s William Short ended up managing the project 76 Sweeney wanted the new museum to allow building up a collection which offers up a standard of judgment 82 He wished to change the color scheme level out the sloping walls and remove the clerestory windows which led to prolonged disputes with Wright 83 84 85 By early 1958 Harry F Guggenheim had to handle all communications between Sweeney and Wright who would not speak to each other 84 The building topped out in May 1958 86 87 and the scaffolding on the facade was removed by that August 87 88 In the meantime Wright published drawings of the design in several architectural magazines as he feared that the design would be compromised after his death 84 83 Against Wright s request Sweeney painted the walls white and he hung paintings from metal bars instead of placing them directly on the walls 83 85 The building was Wright s last major work he died in April 1959 six months before its opening 89 The building soft opened for members of the media on October 20 1959 84 It was formally dedicated the next day 90 91 92 drawing 600 visitors per hour 92 93 The building s design was generally able to accommodate the retrospectives and temporary exhibits that the museum hosted over the years 10 Messer era Edit Sweeney resigned as the museum s director in July 1960 citing philosophical differences with the board of trustees 94 95 H H Arnason took over as the museum s temporary director 57 96 Arnason launched the first survey of Abstract Expressionism in a New York museum during his brief time as director 57 97 Thomas M Messer director of the Boston Institute of Contemporary Art succeeded Sweeney as director of the museum in January 1961 he worked under Sweeney who continued to run the foundation 98 99 Messer stayed for 27 years the longest tenure of any director of a major New York art institution 100 Under Messer s leadership the museum pivoted toward more contemporary artists including those from Europe and Latin America 101 Messer was not considered an especially controversial director though he also did not adhere to the blockbuster school of exhibiting 102 1960s EditWhen Messer joined the Guggenheim the museum s ability to present artworks was still doubted because of the tilted and curved walls 103 Almost immediately after becoming director in 1962 Messer put on a large exhibition that combined the Guggenheim s paintings with sculptures on loan from the Hirshhorn collection 103 In particular there were difficulties installing three dimensional sculptures because the slope of the floor and the curvature of the walls could combine to produce vexing optical illusions 104 Though the combination proved generally to work well in the Guggenheim Messer recalled that at the time I was scared I half felt that this would be my last exhibition 103 Messer had staged a smaller sculpture exhibition the previous year in which he discovered how to compensate for the space s unusual geometry by constructing special plinths at a particular angle but this was impossible for one piece an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical 104 The skylight in the center of the museum Messer acquired a private collection from art dealer Justin Thannhauser in 1963 105 106 Following this acquisition the Guggenheim Museum hired Peters to renovate the monitor s second floor 107 108 Thannhauser s collection was displayed within the monitor after the renovation was completed in 1965 108 The foundation auctioned off artwork from the 15th and 16th centuries which was incompatible with the museum s modern art collection 109 Rebay who died in 1967 bequeathed over 600 artworks to the Guggenheim although the museum did not receive the collection until 1971 110 To raise money for further acquisitions such as the works in Rebay s collections the Guggenheim also sold off some modern artwork including several Kandinsky works 111 To accommodate the expanding collection in 1963 the Guggenheim announced plans for a four story annex 112 which the New York City Board of Standards and Appeals approved the next year 113 The annex was downsized to two stories in 1966 due to complaints from local residents 114 and it was completed in 1968 107 115 This freed up space on the top two levels of the main gallery which had been used as workshops and storage space ever since the building had opened Museum officials opened the top levels to the public in 1968 116 1970s and 1980s Edit In 1971 with increasing costs and decreasing endowment income the Guggenheim recorded a large deficit for the first time in its history 117 Additionally although Wright had included space for a cafe at the southern end of the museum building the cafe had never opened because the space had instead been used by the conservation and framing departments 107 The foundation proposed adding a lobby and restaurant in the museum s driveway area in early 1973 118 but had difficulty agreeing on the plans 119 which were revised that November 120 As part of the project designed by Donald E Freed the museum closed its driveway and added a dining area and bookstore there 120 121 Amid a growing operating deficit as well as a shortage of exhibit space the Guggenheim announced in 1977 that it would raise 20 million over the following five years 122 Museum officials also planned to expand the annex on 89th Street 122 Messer became director of the Guggenheim Foundation in 1980 and continued to also serve as the museum director promoting two curators to directorial positions 123 The Guggenheim renovated the Thannhauser wing in the early 1980s 124 Following these changes John Russell of The New York Times wrote that the Thannhauser Collection may now be said to be the equivalent of the Frick in the domain of modern art 124 Works amp Process a series of performances at the Guggenheim commenced in 1984 125 In 1982 Gwathmey Siegel amp Associates Architects drew up designs for an 11 story annex on 88th Street behind the existing museum building 126 The original plan announced in 1985 would have cantilevered over the existing building 126 127 The design was downsized to 10 stories in early 1987 due to opposition from local residents 128 129 At the time the building could only exhibit 150 pieces at once about three percent of the 5 000 works in the museum s collection 130 In anticipation of the annex s construction and a wider ranging renovation of the older building Gwathmey Siegel also renovated the Thannhauser wing s second floor and the top level of the main gallery s ramp in 1987 131 The Board of Standards and Appeals approved the 89th Street annex that October 132 133 despite continuing opposition 134 Messer retired the next month on the 50th anniversary of the collection s founding 135 The New York City Board of Estimate approved plans for the Guggenheim s annex in 1988 136 and the New York Supreme Court upheld the Board of Estimate s decision 137 Krens era Edit Thomas Krens former director of the Williams College Museum of Art took over as the director of both the museum and the foundation in January 1988 138 139 Over his nearly two decade tenure Krens led a rapid expansion of the museum s collections 140 Under Krens the museum mounted some of its most popular exhibitions 141 including Africa The Art of a Continent in 1996 142 China 5 000 Years in 1998 143 Brazil Body amp Soul in 2001 144 and The Aztec Empire in 2004 145 Unusual exhibitions included The Art of the Motorcycle a commercial art installation of motorcycles 146 147 1990s Edit An interior view of the museum on a busy day Shortly after becoming director Krens decided to spend 24 million on renovating the Guggenheim 148 Renovation work commenced in late 1989 initially the museum remained open during the project 149 The museum building would later close for 18 months 150 151 The monitor wing was restored the 88th Street wing was converted from a conservation laboratory to a restaurant and additional exhibition space was created at the top of the main gallery 148 The 89th Street annex was built as part of this project 134 and the basement was extended underneath Fifth Avenue 152 The windows were replaced and the clerestory windows along the ramp were unsealed and restored to their original design 152 153 The building s exhibition space roughly doubled allowing the museum to show six percent of the works in its collection 154 The renovation was completed on June 27 1992 155 156 The museum relocated its offices to the annex basement and the new Guggenheim Museum SoHo and it moved storage space and conservation activities to other buildings 152 The completion of the annex allowed the Guggenheim to display more works from its permanent collection as well as temporary exhibitions 157 The Guggenheim Foundation acquired 200 photographs from Robert Mapplethorpe in 1992 158 159 and renamed the annex s fourth floor gallery after Mapplethorpe in 1993 160 To finance the renovation and new acquisitions the foundation sold works by Kandinsky Chagall and Modigliani raising 47 million This move was controversial 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 153 161 Krens defended the action as consistent with the museum s principles by expanding its international collection and building its postwar collection to the strength of our pre war holdings 162 and he noted that museums regularly conduct such sales 161 He also expanded the foundation s international presence by opening museums abroad 163 Krens was also criticized for his businesslike style and perceived populism and commercialization 146 164 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 names in the arts 165 The museum cut back its operating hours in 1994 this resulted in a 25 percent decline in annual attendance even as the city s other art museums saw increased attendance 166 Samuel J LeFrak announced in December 1993 that he would donate 10 million the largest cash donation in the museum s history with the Fifth Avenue building to be renamed for him and his wife 167 168 The next month Ronald O Perelman announced that he would also donate 10 million 169 170 The New York City Landmarks Preservation Commission LPC which had designated the building as a landmark repeatedly refused to allow officials to place a sign with LeFrak s name outside the building 171 Consequently LeFrak rescinded 8 million of his donation 171 166 Peter B Lewis donated 10 million in 1995 172 for the restoration of the museum s auditorium which was renamed the Peter B Lewis Theater after the project was completed the next year 166 173 Lewis donated an additional 50 million in 1998 and several other trustees including Perelman increased their donations 173 2000s Edit Students sketching at the entrance to the Engelberg Center The museum opened an arts center in the basement in 2001 originally named for the Sackler family 174 it was renamed the Gail May Engelberg Center for Arts Education in 2022 175 176 Also in 2001 as part of a Frank Gehry retrospective at the museum Gehry designed a canopy which was installed outside the fifth floor 177 178 It remained in place for six years after the retrospective ended 177 179 By 2004 museum officials were raising 25 million for another restoration of the building and had hired Swanke Hayden Connell Architects to survey the building By then the structure had developed numerous leaks 179 Officials started renovating the museum in September 2005 to repair cracks 180 and modernize systems and exterior details 181 after architects and engineers determined that the building was structurally sound 180 182 The restoration mainly consisted of exterior and infrastructure upgrades preserving as many historical details as possible while allowing museum operations to continue 183 184 On September 22 2008 the Guggenheim celebrated the project s completion with the premiere of artist Jenny Holzer s tribute For the Guggenheim 185 The renovation had cost 29 million and was funded by the Solomon R Guggenheim Foundation s board of trustees the city s Department of Cultural Affairs the New York state government and MAPEI Corporation 186 Meanwhile during the early 2000s Krens was involved in a long running dispute with Lewis who was also chairman of the foundation s board of directors 187 When admission declined by 60 percent following the September 11 attacks in 2001 the museum faced budgetary deficits as one quarter of its revenue came from ticket sales 188 Lewis donated 12 million to the museum in 2002 under the condition that Krens tighten the budget 189 190 Despite having given 77 million more than any other donor in the Guggenheim s history 187 191 Lewis did not have as much influence over the board s decisions as did top donors at the city s other art museums 187 Lewis resigned from the board of directors in 2005 expressing opposition to Krens s plans for additional museums around the world 191 192 Longtime curator Lisa Dennison was hired as the museum s new director in 2005 working under Krens who continued to direct the foundation 193 194 By 2006 the museum had a 35 million deficit in its operating budget even as Dennison rejected the idea of funding exhibits through corporate sponsorships 195 Dennison resigned in July 2007 to work at auction house Sotheby s 196 Tensions between Krens and the board continued and Krens stepped down as the director of the foundation in February 2008 140 Armstrong era Edit Richard Armstrong 2012 Richard Armstrong former director of the Carnegie Museum of Art became the director of the museum and the foundation in November 2008 197 198 The New York Times said the Guggenheim Foundation had selected Armstrong because his calmer steadier presence contrasted with the nearly 20 often tumultuous years of Mr Krens s maverick vision 199 In addition to its permanent collections which continue to grow 7 the foundation administers loan exhibitions and co organizes exhibitions with other museums to foster public outreach 200 The museum hosted exhibitions such as America 2016 one of the smallest exhibits ever hosted in the Guggenheim 201 About 140 maintenance workers and art installers joined a labor union in 2019 marking the first time that the museum s employees had unionized 202 203 The same year Chaedria LaBouvier became the first black woman curator to create a solo exhibition and first black person to write a text published by the museum 204 205 She accused the museum of racism and alleged that among other things officials withheld resources and refused to let journalists interview her 205 Within a month of these criticisms the museum hired its first full time black curator Ashley James 206 The museum s chief curator and deputy director Nancy Spector resigned in 2020 following accusations that Spector had racially discriminated against LaBouvier 205 207 The Guggenheim approved a plan for increasing racial diversity in August 2020 208 209 and it hired a chief culture and inclusion officer in 2021 210 During the COVID 19 pandemic the Guggenheim temporarily closed in March 2020 211 It reopened that October 212 213 having recorded a monthly net loss of 1 4 million while it was closed 214 The museum fired numerous staff members during the pandemic 215 216 Armstrong announced in mid 2022 that he planned to resign in 2023 217 218 Architecture EditWright s design for the Guggenheim Museum incorporated geometric motifs such as squares circles rectangles triangles and lozenges The massing contains two spiraling structures the six story main gallery to the south and the smaller monitor to the north which are connected by a bridge on the second story The ten story rectangular annex to the northeast appears behind the spiraling structures as viewed from Central Park 219 The building embodies Wright s attempts to render the inherent plasticity of organic forms in architecture 220 Wright s design included details inspired by nature 38 although it also expresses his take on modernist architecture s rigid geometry 221 Wright described a symbolic meaning to the building s shapes T hese 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 222 Forms echo one another throughout oval shaped columns for example reiterate the geometry of the fountain Circularity is the leitmotif from the main gallery to the inlays in the museum s terrazzo floors 38 Exterior Edit Wright originally wanted to construct a marble facade 153 223 but builder George N Cohen constructed the facade of gunite a type of sprayed concrete as a cost cutting measure 152 Wright s and Cohen s names appear on a tile placed along the building s exterior this is likely the only time when Wright and a builder shared credit for a building s construction 152 224 Wright had also proposed a red colored exterior which was never realized 29 225 224 Instead the facade was covered in an ivory colored coating of vinyl plastic 226 227 known as a cocoon 227 228 The engineers involved in the original construction thought that the cocoon would not crack so the facade was built without expansion joints they were wrong the facade cracked in subsequent years 184 During subsequent renovations conservators found that the facade was originally painted brownish yellow which was covered with numerous coats of white or off white paint over the years 224 The sidewalk in front of the museum acts as a forecourt with metal circles inset into its surface similar in design to the floor inside the museum Next to the sidewalk are curving parapets that surround planting beds some of which are below ground level 229 230 The planting beds originally contained shrubs sycamore trees and other vegetation 231 Original building Edit Main entrance on Fifth Avenue Ramp at the building s southwest corner Close up of the monitor Thannhauser Collection wing The museum s main entrance is at the center of the Fifth Avenue facade 229 232 It consists of an aluminum framed glass wall with several doors recessed within a low foyer A doorway directly in front of the entrance leads to the bookstore while the museum galleries are accessed by doors to the right 229 232 233 Above the main entrance is a bridge connecting the main gallery and monitor building which is supported by several lozenge shaped piers 232 The underside of the bridge contains recessed lighting that illuminates the main entrance 229 232 The main entrance was originally the entrance to a driveway that curved toward 89th Street with separate entrances to the monitor and main gallery 35 232 The glass wall was installed after the driveway was closed in the 1970s and the museum s bookstore was placed directly behind the wall 121 234 To the south of the main entrance is a curved wall which forms the base of the main gallery 235 There is a ramp adjacent to this wall which leads to the basement auditorium 230 235 At the southeast corner of the museum on 88th Street is a rectangular structure which contains no openings except for five circular portals at ground level 232 236 The structure contains the museum s cafe which was part of Wright s original plans but was not developed until 1992 The second floor of the rectangular structure contains the High Gallery 232 Immediately to the east on 88th Street is an aluminum service gate with circular designs 232 236 The bridge which carries the Guggenheim s second story projects at the museum s southwest corner The museum s name stretches along the bottom edge of the bridge s Fifth Avenue facade 230 The main gallery rises above the southern part of the bridge it consists of a bowl shaped massing with several concrete bands separated by recessed aluminum skylights 236 From the street the building looks like a white ribbon curled into a cylindrical stack wider at the top than the bottom displaying nearly all curved surfaces Its appearance is in sharp contrast to the typically rectangular Manhattan buildings that surround it a fact relished by Wright who claimed that his museum would make the nearby Metropolitan Museum of Art look like a Protestant barn 89 At the top of the bowl is a parapet which surrounds three smaller skylights as well as the large twelve sided dome atop the main gallery 236 The northern part of the bridge contains a four story wing originally known as the monitor Although the monitor s interior is cylindrical its exterior contains different materials and shapes on each story 237 The monitor s first two stories contain a round concrete facade 237 238 while the upper two stories are cantilevered outward from the monitor s core 238 The third story contains rectangular aluminum windows with semicircular panes at their tops 236 The fourth story contains a square terrace and additional windows 236 237 Above the fourth story is a fascia with lozenge patterns as well as a hexagonal roof with an aluminum frame The roof is interrupted by a lozenge shaped shaft which contains a stairway 236 239 Annex Edit A ten story tower at the museum s northeastern corner with offices artist s studios and apartments included in Wright s 1951 plan for the museum was a rectangular structure aligned on a north south axis and would have contained porches at each story on the northern and southern elevations 230 Wright s original plan for the tower went unrealized largely for financial reasons until the 1990 1992 renovation and expansion 240 241 242 Instead William Wesley Peters designed a shorter wing on the site in 1968 with two double height floors This wing was made of concrete with relief carvings of squares and octagons on its facade and housed the museum s library storage space and the Thannhauser Gallery 108 115 Its steel framework could accommodate the weight of six additional stories if it were expanded 107 115 Gwathmey Siegel amp Associates designed a 10 story annex that was finally built in the renovation 240 241 The annex measuring 32 feet 9 8 m wide and 135 feet 41 m tall uses the 1968 wing s steel framework 241 During the renovation Gwathmey Siegel removed the 1968 concrete facade and replaced it with a limestone grid 242 241 They analyzed Wright s original sketches when they designed the tower 154 242 Interior Edit The core part of Guggenheim s interior consists of the monitor section to the north the larger main gallery to the south and a lecture hall beneath the main gallery 243 244 To the east of the main entrance is the bookstore in the area that was originally part of the museum s driveway 230 245 To the south of the main entrance is a small circular vestibule which contains a floor with metal arcs and a low plaster ceiling with recessed lighting 245 South of the main rotunda is a cafe added during the 1990s renovation 107 230 The triangular service core at the northeast corner of the main gallery contains an elevator and a staircase 219 246 The staircase wraps around the elevator which is housed within a semicircular shaft 246 247 the core also contains restrooms and mechanical areas 247 According to author Robert McCarter Wright had used complete geometries for the stairs and ramps because he wanted visitors to experience the museum on foot 246 Other rooms such as the staff kitchen were designed with curved equipment because of the interior s unusual design 248 The museum s interior is generally painted white and parts of the interior are repainted nearly every day 224 Main gallery Edit The museum s main gallery Wright designed the main gallery also described as a rotunda as an open air atrium surrounded by a helical ramp 89 245 226 Wright s design differed from the conventional approach to museum layout in which visitors pass through a series of interconnected rooms and retrace their steps when exiting 220 Under Wright s plan guests rode an elevator to the top of the building and descended the ramp viewing the main gallery itself as a work of art 242 246 The ramp s design recalled a nautilus shell with continuous spaces flowing one into another 221 249 The open rotunda allows guests to observe works on different levels simultaneously and interact with guests on other levels 242 Structurally the ramp acts like an enormous arch preventing the columns in the main gallery from collapsing inward 238 The main gallery has a beige terrazzo floor with inlaid metal circles 223 250 At ground level are information and admissions desks made of wood and windows facing southeast toward Fifth Avenue and 88th Street 250 The ramp made of reinforced concrete ascends at a 5 percent slope 84 226 from ground level and rises one story where it wraps around a planter and passes through a double height archway 250 It rises five additional stories before ending at the sixth floor 84 226 250 with a total length of 1 416 feet 432 m 224 Its width increases as it ascends 251 from 25 feet 7 6 m on the lowest level to 32 feet 9 8 m at the top 226 The ramp protrudes into the northeastern corner of the atrium at each story forming a rounded balcony 245 There are connections to other galleries at the second and fourth stories and to a triangular gallery at the sixth story 250 The ramp has a low parapet along the atrium side 252 measuring 36 inches 910 mm high 224 The walls and ceilings are made of plaster 252 250 To create the concrete walls workers sprayed several layers of concrete onto plywood moldings each layer being reinforced with steel 226 228 Wright intended the low ceilings and slanted walls to provide a more intimate environment to display the artwork 253 The walls are tilted at a 97 degree angle and the ceilings measure 9 5 feet 2 9 m tall 45 226 Jaroslav Josef Polivka assisted Wright with the structural design and he initially designed the gallery ramp without perimeter columns 254 Later in the design Wright added a dozen concrete ribs along the walls of the main gallery which both provide structural reinforcement and divide the ramp into sections 226 245 255 The ramp passes through 70 sections in total 226 Alhough Wright wanted the paintings displayed as if they were on an easel 89 251 paintings are mounted onto horizontal bars that protrude from the sloped wall 256 257 There is limited space for sculptures within each bay 89 and wider paintings frequently span the center of the curved wall 258 The ramp was originally illuminated by clerestory windows along the perimeter of each level 255 which were sealed when the building was completed 246 256 Each level of the ramp also contains recessed lighting on its ceiling 246 245 The domed skylight is around 95 feet 29 m high 259 226 257 and is the same width as the atrium 233 Metal bars divide the skylight into numerous panes Along the dome are six hairpin shaped spokes which surround a circular glass panel and connect with the ribs along the gallery s perimeter 260 245 These spokes divide the skylight into twelve sections 255 245 The original plans called for the dome to be illuminated by 24 floodlights 228 The clerestory windows and skylight were restored in 1992 153 261 Monitor section Edit The museum s monitor houses the Thannhauser Collection 262 Its galleries surround an atrium that is circular except for a stair hall at one end of the space 250 The floors are supported by columns with lozenge shaped cross sections 250 263 Like the main gallery the monitor contains a triangular service core although its core is placed at the center of the structure 263 The monitor was originally supposed to include apartments for Rebay and Guggenheim but this area became offices and storage space 264 In 1965 the second floor of the monitor was renovated to display some of the museum s growing permanent collection 232 265 Part of the fourth floor was similarly converted in 1980 232 With the restoration of the museum in the early 1990s the second through fourth floors were converted entirely to exhibition space and renamed the Thannhauser Building 107 232 265 Gail May Engelberg Center for Arts Education Edit Peter B Lewis Theater The Gail May Engelberg Center for Arts Education completed in 2001 covers 8 200 square feet 760 m2 on the lower level of the museum below the main gallery 174 It was a gift of the Mortimer D Sackler family and was originally named for them 266 The 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 266 seat Peter B Lewis Theater 267 174 Following criticism over the Sackler family s involvement in the opioid epidemic in the United States 268 269 the center was renamed in 2022 for museum trustee Gail May Engelberg 175 who along with her husband Alfred Engelberg had donated 15 million to the museum 176 The basement space looks out onto a sloped driveway outside the southwest corner of the museum 244 The Peter B Lewis Theater is directly beneath the main gallery and contains two levels of seating an orchestra level and a balcony There is a coatroom at the balcony level separated from the balcony seats by a metal partition The southeast corner of the orchestra level contains a raised wooden stage The theater s walls contain embedded piers as well as semicircular window openings 270 The plaster ceiling contains recessed cove lighting 247 270 When the theater was built it could be accessed directly from the triangular service core as well as via the driveway outside the museum 247 Annex galleries Edit The 89th Street annex contains 10 290 square feet 956 m2 of additional exhibition space 156 There are four exhibition galleries with flat walls that are more appropriate for the display of art 242 240 Each of the gallery levels 271 are double height spaces 107 241 A loading dock is below the galleries while two office stories and a mechanical floor are above 271 A steel and glass lobby connects the annex to the monitor s ground level and ramps and passageways connect with the monitor s three upper stories 271 The annex is linked to the main gallery s stair tower at the fourth fifth and seventh stories 107 241 It also connects to rooftop terraces above the monitor and main gallery 156 271 Landmark designations Edit The New York City Landmarks Preservation Commission designated the museum building and its interior as New York City landmarks on August 14 1990 272 273 two years after the annex s opponents had asked the commission to consider such a designation 274 At the time the Guggenheim was one of the youngest buildings to have city landmark status having been completed 31 years earlier 224 The museum was added to the National Register of Historic Places NRHP on May 19 2005 2 and was re added to the NRHP as a National Historic Landmark on October 6 2008 3 In July 2019 the Guggenheim was among eight properties by Wright placed on the World Heritage List under the title The 20th Century Architecture of Frank Lloyd Wright 275 276 Collection EditThe Guggenheim has about 8 000 works in its collection as of 2022 update 277 278 About 1 700 of these works are part of the Guggenheim s online collection 278 The museum building has a relatively small capacity according to The Wall Street Journal following the 1992 renovation the Guggenheim could show upward of 6 of its 5 000 piece collection 154 In contrast to other visual art museums the Guggenheim does not divide its collection into departments 279 The museum shares its collection with the Peggy Guggenheim Collection in Venice and Guggenheim Museum Bilbao 279 Personal collections Edit The Guggenheim Museum has acquired private collections throughout its history including those of Guggenheim Karl Nierendorf Katherine Sophie Dreier Thannhauser Rebay Giuseppe Panza Mapplethorpe and the Bohen Foundation 280 281 The earliest works in the museum s collection include those by modernists such as Rudolf Bauer Rebay Kandinsky Piet Mondrian Marc Chagall Robert Delaunay Fernand Leger Amedeo Modigliani and Pablo Picasso 65 Parts of the original collection have been sold over the years 620 of the original works were designated as part of the Solomon R Guggenheim Founding Collection in 2007 282 The Founding Collection contains artwork from over 60 artists 282 including more than 150 works by Kandinsky 283 In 1948 the Museum of Non Objective Art acquired Nierendorf s 730 objects notably German expressionist paintings 284 13 The Guggenheim still had 121 works from the Nierendorf collection in the 1990s 285 these comprise a broad spectrum of expressionist and surrealist works including paintings by Paul Klee Oskar Kokoschka and Joan Miro 13 65 284 In 1953 the Guggenheim acquired 28 pieces from Dreier s collection b which included works by Alexander Archipenko Constantin Brancuși Alexander Calder Marcel Duchamp Juan Gris El Lissitzky Mondrian and Kurt Schwitters 65 The Thannhauser Collection acquired in 1963 consists of 73 works 105 106 largely in the Impressionist Post Impressionist and French modern styles 286 Thannhauser s collection includes pieces by Paul Gauguin Edouard Manet Camille Pissarro Vincent van Gogh and 32 works by Picasso 65 287 Rebay also left a portion of her personal collection to the foundation in her will including works by Kandinsky Klee Calder Albert Gleizes Mondrian and Schwitters 65 The Guggenheim received Rebay s collection in 1971 four years after her death 279 because of a prolonged lawsuit over the collection 110 In 1990 the museum acquired the Panza Collection from Giovanna and Giuseppe Panza in 1990 288 289 It 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 postminimal conceptual and perceptual art by Robert Morris Richard Serra James Turrell Lawrence Weiner and others notably American examples of the 1960s and 1970s 162 289 In 1992 the Robert Mapplethorpe Foundation gifted 200 of Mapplethorpe s best photographs to the foundation 158 159 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 65 In 2001 the foundation received a gift of the collection of the Bohen Foundation which for two decades commissioned new works of art with an emphasis on film video photography and new media The Bohen collection comprises around 275 works by 45 artists 290 including Pierre Huyghe and Sophie Calle 7 In 2022 the Guggenheim and the Museum of Contemporary Art Chicago jointly received 100 works gifted by the D Daskalopoulos Collection 291 292 Other notable works Edit Under Sweeney s tenure in the 1950s the Guggenheim acquired Constantin Brancuși s Adam and Eve 1921 and works by other modernist sculptors such as Joseph Csaky Jean Arp Calder Alberto Giacometti and David Smith 13 Sweeney reached beyond the 20th century to acquire Paul Cezanne s Man with Crossed Arms c 1899 13 and works by David Hayes Willem de Kooning and Jackson Pollock 293 Selected works in the collection Edit Paul Cezanne c 1899 Homme aux bras croises Man With Crossed Arms oil on canvas 92 x 72 7 cm Georges Braque 1909 Violin and Palette Violon et palette Dans l atelier oil on canvas 91 7 x 42 8 cm Wassily Kandinsky 1910 Landscape with Factory Chimney oil on canvas 66 2 x 82 cm Franz Marc 1911 The Yellow Cow oil on canvas 140 5 x 189 2 cm Juan Gris 1911 Maisons a Paris Houses in Paris 1911 oil on canvas 52 4 x 34 2 cm Fernand Leger 1911 12 Les Fumeurs The Smokers oil on canvas 129 2 x 96 5 cm Jean Metzinger 1912 Femme a l Eventail Woman with a Fan oil on canvas 90 7 x 64 2 cm Fernand Leger 1912 13 Nude Model in the Studio Le modele nu dans l atelier oil on burlap 128 6 x 95 9 cm Alexander Archipenko 1913 Pierrot carrousel painted plaster 61 48 6 34 cm Marc Chagall 1913 Paris par la fenetre Paris Through the Window oil on canvas 136 x 141 9 cm Raymond Duchamp Villon 1914 cast c 1930 Le cheval The Horse bronze 43 6 41 cm Albert Gleizes 1914 15 Portrait of an Army Doctor Portrait d un medecin militaire oil on canvas 119 8 x 95 1 cm Albert Gleizes 1915 Brooklyn Bridge Pont de Brooklyn oil and gouache on canvas 102 x 102 cm cm Juan Gris 1917 Compotier et nappe a carreaux Fruit Dish on a Checkered Tablecloth oil on wood panel 80 6 x 53 9 cm Amedeo Modigliani 1917 Nude Nu oil on canvas 73 116 7 cm Theo van Doesburg 1918 Composition XI oil on canvas 57 x 101 cm Paul Klee 1922 Red Balloon Roter Ballon oil on chalk primed gauze mounted on board 31 7 31 1 cmGovernance and staff EditThe Solomon R Guggenheim Foundation operates and owns the Solomon R Guggenheim Museum 294 The foundation s art and museum committee is responsible for proposing acquisitions and deaccessions from the foundation s collection while the foundation s board of trustees determines whether to enact the art and museum committee s proposals 295 J Tomilson Hill has served as the board s chair since 2021 296 while Marcy Withington has been the foundation s chief financial officer since 2018 297 As of 2022 update Richard Armstrong is the director of both the Guggenheim Foundation and the museum 294 The museum employed 315 full time and part time staff members in 2020 update 298 299 Reception and commentary EditContemporary views Edit Even before the building opened the design polarized architecture critics 89 300 and was controversial among the public 301 302 Some critics believed the building would overshadow the museum s artworks 303 Emily Genauer of the New York Herald Tribune said the building had been likened to a giant corkscrew a washing machine and a marshmallow 304 while Solomon s niece Peggy Guggenheim believed it resembled a huge garage 305 Members of the public felt that the building contrasted with the character of Fifth Avenue 302 Other critics and many artists worried that it would be difficult to properly hang paintings in the shallow windowless concave exhibition niches around the main gallery 306 77 89 Prior to the opening of the museum 21 artists signed a letter protesting the display of their work in such a space 87 307 Phyllis Mark of the New Leader commented that the walls and ceilings would disorient the viewer and noted that the museum could only display five percent of its collection in the new building 259 Art critics reviewed the structure especially harshly 308 John Canaday of The New York Times wrote that the design would be worthy of merit if it were stripped of its pictures 309 310 while Hilton Kramer of Arts Magazine opined that the structure was what is probably Wright s most useless edifice 311 Architectural critic Lewis Mumford summed up the opprobrium Wright has allotted the paintings and sculptures on view only as much space as would not infringe upon his abstract composition He created a shell whose form has no relation to its function and offered no possibility of future departure from his rigid preconceptions The ramp has for a museum a low ceiling nine feet eight inches 295 cm so only a picture well within the vertical boundaries thus created can be shown The wall slanted outward following the outward slant of the exterior wall and paintings were not supposed to be hung vertically or shown in their true plane but were to be tilted back against it Nor can a visitor escape the light shining in his eyes from the narrow slots in the wall 312 During his lifetime Wright dismissed criticism of the structure saying For the first time art will be seen through an open window and of all places in New York 313 He also felt that his design complemented Central Park particularly with the shrubbery around the new building which formed a little park with a building in it 87 314 Wright believed that the building would be well suited to avant garde art which purported to represent space and form in a new fully integrated manner 252 The building also received critical acclaim In a 1958 survey of the Seven Wonders of American Architecture five hundred architects ranked the Guggenheim as the 18th best structure of more than 100 selected buildings 315 When the building opened modernist architects such as Philip Johnson and Edward Durell Stone praised Wright s design 316 317 and Genauer regarded it as the most beautiful building in America 304 317 This sentiment was shared even by commentators who questioned the building s functionality including Robert M Coates of The New Yorker who wrote My question is not Is it art I believe it is but How well will it house art 317 318 A writer for the New York Daily Mirror said the Guggenheim should be put in a museum to show how mad the twentieth century is 318 Directors of other major New York City museums also praised the building though some of them were skeptical of whether the structure could function well as a museum 308 316 Impact and retrospective commentary Edit In later years the building became widely praised 319 320 Marcus Whiffen and Frederick Koeper wrote The dynamic interior of the Guggenheim is for some too competitive for the display of art but no one disputes that it is one of the memorable spaces in all of architecture 321 322 Paul Goldberger said in 2009 I think the legacy of this building is in the message that architecture does not have to lie down and play dead in front of art 323 According to Herbert Muschamp the Guggenheim was one of New York s most distinguished landmarks as well as Wright s best known design 324 325 The American Institute of Architects gave a Twenty five Year Award to the Guggenheim in 1986 describing the museum s building as an architectural landmark and a monument to Wright s unique vision 108 326 2 cent U S postage stamp honoring Wright with the Guggenheim in the background 1966 Several writers described the Guggenheim as representing Wright s tendency toward organic architecture 327 According to William J R Curtis the building was the apotheosis of Wright s organic philosophy 321 328 Peter Blake commented that the Guggenheim was Wright s only completed work of uncompromising plasticity and continuity 329 330 a claim with which Wright s biographer Robert C Twombly agreed 329 331 Critics came to regard the Guggenheim as the best work of Wright s later career 332 as well as a culmination of the helical shapes that Wright had used in his designs since 1925 333 334 Spiro Kostof called the museum a gift of pure architecture 329 335 and Edgar Kaufmann Jr said the building was one of the irrefutably grand achievements of modern architecture 329 336 The museum building inspired other architects designs 27 108 Several similar buildings were developed in the 1960s although they generally used less concrete than the Guggenheim did 108 Deborah Solomon of The New York Times Magazine wrote in 2002 that the Guggenheim inspired the phenomenon of the museum that is just walls wherein museums competed for the best designed buildings 337 The building was also depicted in a two cent postage stamp issued in Wright s honor in 1966 338 339 Attendance EditWhen the building opened it was popular with the general public 340 A 1960 Gallup poll found that 38 percent of visitors came for the building itself while an additional 43 percent wanted to see both the building and the art 340 341 The Guggenheim did not keep precise attendance records until 1992 342 Before its 1990s renovation the museum had an estimated 600 000 annual visitors 343 This increased to between 900 000 and 1 million annual visitors by the early 2000s 179 The museum had 960 000 annual visitors before the September 11 attacks but attendance decreased below that level for several years after the attacks 195 In 2013 nearly 1 2 million people visited the museum and its James Turrell exhibition was the most popular in New York City in terms of daily attendance 6 As a result of the COVID 19 pandemic the Guggenheim had 154 000 visitors in 2020 an 88 percent decrease from the preceding year 344 According to museum officials various surveys over the years indicated that the majority of guests came because of the building s architecture rather than for its artwork 179 The New York Times reported in 2001 that nearly 70 percent of visitors were tourists and that half of all guests were foreigners 188 By contrast the Times reported in 2010 that between 55 and 65 percent of visitors were from the New York metropolitan area 345 According to a 2018 study 73 percent of the museum s visitors were white while 8 percent were black 209 In 2009 a retrospective of Frank Lloyd Wright attracted 372 000 visitors in three months becoming the museum s single most popular exhibit 346 This record was broken the next year by a Kandinsky exhibit 342 345 As of 2022 update the most popular exhibition in the museum s history was a 2019 exhibition of Hilma af Klint paintings 347 which attracted over 600 000 visitors in six months 348 See also EditList of Frank Lloyd Wright works List of Guggenheim Museums List of National Historic Landmarks in New York City List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets List of World Heritage Sites in the United States National Register of Historic Places listings in Manhattan from 59th to 110th StreetsReferences EditNotes Edit Wright had experimented with a ramp design as early as 1924 when he had drawn plans for a visitor center at Sugarloaf Mountain in Maryland which was never built 31 He later used the ramp design at the V C Morris Gift Shop in San Francisco completed in 1948 and at the David and Gladys Wright House in Arizona which he completed for his son in 1952 30 Dreier was one of Rebay s colleagues and a founder of modern art organization Societe Anonyme 65 Citations Edit Visitor figures 2016 PDF The Art Newspaper April 2017 p 14 Retrieved June 8 2018 a b c National Register Information System National Register of Historic Places National Park Service March 13 2009 a b National Register of Historic Places New Listings October 6 October 10 2008 NPS gov October 17 2008 Retrieved May 8 2009 The Solomon R Guggenheim Museum PDF New York City Landmarks Preservation Commission August 14 1990 Retrieved June 18 2019 The Solomon R Guggenheim Museum Interior PDF New York City Landmarks Preservation Commission August 14 1990 Retrieved June 18 2019 a b Top 100 Art Museum Attendance The Art Newspaper 2014 pp 11 and 15 accessed July 8 2014 a b c d e f g Exhibition of Works Reflecting the Evolution of the Guggenheim s Collection Opens in Bilbao artdaily org 2009 Retrieved April 18 2012 a b c d e f Stern Mellins amp Fishman 1995 p 808 a b c Biography Solomon R Guggenheim Art of Tomorrow Hilla Rebay and Solomon R Guggenheim Solomon R Guggenheim Foundation Retrieved March 8 2012 a b Loebl 2002 p 283 a b Krens 1993 p 8 Vail 2009 pp 25 36 a b c d e f Calnek Anthony et al The Guggenheim Collection pp 39 40 New York The Solomon R Guggenheim Foundation 2006 Guggenheim Foundation History Guggenheim February 29 2016 Retrieved October 21 2019 a b Pfeiffer 1995 p 5 Vail 2009 p 333 Stern Mellins amp Fishman 1995 pp 808 809 a b c Landmarks Preservation Commission Interior 1990 p 7 Stern Mellins amp Fishman 1995 p 807 a b c d e f g Stern Mellins amp Fishman 1995 p 809 Guggenheim Architecture Archived from the original on May 1 2016 Retrieved August 13 2016 Stern Mellins amp Fishman 1995 pp 807 808 a b Art Museum Plan 5th Ave Filed Cylindrical Building Designed by Frank Lloyd Wright to Cost 2 000 000 The New York Times April 4 1952 ISSN 0362 4331 Retrieved October 3 2022 The Guggenheim Frank Lloyd Wright and the Making of the Modern Museum pp 217 18 New York Guggenheim Museum Publications 2009 Levine 1996 p 299 55 Years Ago Tuesday Guggenheim Museum Officially Opens CBS News October 22 2014 Retrieved October 5 2022 a b c d Storrer 2002 pp 400 01 Dal Co Francesco 2017 The Guggenheim Frank Lloyd Wright s Iconoclastic Masterpiece New Haven Yale University Press p 58 ISBN 978 0300226058 OCLC 969981835 a b McCarter 1997 p 310 a b Hitchcock Henry Russell 1981 Arquitectura de los siglos XIX y XX 6th ed Madrid Ediciones Catedra p 477 ISBN 9788437624464 a b Pfeiffer 1995 p 6 Tanzj Daniela Bentivegna Andrea July 23 2015 The Vatican Museums and the Guggenheim Two Ingenious Spirals of Art La Voce di New York Hersey George L 1993 High Renaissance art in St Peter s and the Vatican an interpretative guide Chicago University of Chicago Press p 128 ISBN 9780226327822 Mindel Lee F February 28 2013 Compares the Oculi at the Vatican and the Guggenheim Museum Architectural Digest a b McCarter 1997 p 308 Ultra Modern Museum to Rise in 5th Ave To House Non Objective Art Collection The New York Times March 21 1944 ISSN 0362 4331 Retrieved October 3 2022 a b c National Park Service 2005 p 19 a b c Ballon 2009 pp 22 27 Pfeiffer 1995 pp 11 21 Landmarks Preservation Commission 1990 p 8 a b c Museum Building to Rise as Spiral New Guggenheim Structure Designed by F L Wright Is Called First of Kind The New York Times July 10 1945 ISSN 0362 4331 Retrieved October 3 2022 Wright Designs Bizarre 5th Av Art Museum His First Building in City on Novel Lines to House Guggenheim Collection New York Herald Tribune July 10 1945 p 7 ISSN 1941 0646 ProQuest 1337120835 a b c Pfeiffer 1995 p 21 Landmarks Preservation Commission Interior 1990 p 8 a b c d e Stern Mellins amp Fishman 1995 p 811 Pfeiffer 1995 pp 21 25 Frank Lloyd Wright Shows Plan Of a Fifth Avenue Art Museum New York Herald Tribune September 21 1945 p 34 ISSN 1941 0646 ProQuest 1287100423 Model is Unveiled of New Museum Here Spiral shaped Art Center Proposed for the City The New York Times September 21 1945 ISSN 0362 4331 Retrieved October 3 2022 a b Wright Details How Museum Will Blend Arts Construction on Circular Building of Non Objective Painting Starts in Spring New York Herald Tribune November 5 1946 p 27 ISSN 1941 0646 ProQuest 1287185430 Landmarks Preservation Commission Interior 1990 pp 7 8 a b National Park Service 2005 p 23 a b Pfeiffer 1995 p 25 a b c d e f g h Stern Mellins amp Fishman 1995 p 812 a b National Park Service 2005 p 22 a b Biography Hilla Rebay Art of Tomorrow Hilla Rebay and Solomon R Guggenheim Solomon R Guggenheim Foundation Retrieved March 8 2012 Saarinen Aline B May 30 1954 Lively Gallery for Living Art Manhattan s Guggenheim is off to an exuberant new start as a showcase for pioneers who open up a different corner of vision The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b c d e National Park Service 2005 p 15 National Park Service 2005 pp 22 23 Non Objective Art Museum Plans to Grow Remodeling of Apartment Building Will Allow More Paintings To Be Shown New York Herald Tribune August 5 1951 p 24 ISSN 1941 0646 ProQuest 1322198382 a b Guggenheim Fund Buys Exhibit Site Newsday August 13 1951 p 6 ProQuest 873053656 a b Pfeiffer 1995 p 29 Museum Changing Exhibition Policy Guggenheim Foundation Will Show Old Masters as Well as Non Objective Works The New York Times August 5 1951 ISSN 0362 4331 Retrieved October 3 2022 Miss Rebay Quits as Head Of Non Objective Museum New York Herald Tribune March 30 1952 p 9 ISSN 1941 0646 ProQuest 1313587133 Louchheim Aline B March 30 1952 Museum Will File Plans for Building Changes Made by Non Objective Painting Institution Hilla Rebay Is Director Emeritus The New York Times ISSN 0362 4331 Retrieved October 3 2022 a b c d e f g h Guggenheim Museum New York Encyclopedia of Art visual arts cork com Retrieved April 18 2012 New Director Appointed By Guggenheim Museum The New York Times October 15 1952 ISSN 0362 4331 Retrieved October 3 2022 James J Sweeney Heads Guggenheim Museum New York Herald Tribune October 15 1952 p 27 ISSN 1941 0646 ProQuest 1320022316 Krens 1993 p 11 Museum Points Up Change in Policy Display of American Art Due at Guggenheim Departs From Non Objective The New York Times May 11 1954 ISSN 0362 4331 Retrieved October 3 2022 Krens 1993 pp 11 12 National Park Service 2005 p 26 Louchheim Aline B October 4 1953 Frank Lloyd Wright Talks of His Art And takes a retrospective look at a lifetime of architectural innovation The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b c d Pfeiffer 1995 p 33 a b National Park Service 2005 pp 23 24 Glueck Grace April 15 1986 James Johnson Sweeney Dies Art Critic and Museum Head The New York Times ISSN 0362 4331 Retrieved October 3 2022 a b c d e f g Stern Mellins amp Fishman 1995 p 814 a b c Only Commission in New York Was Guggenheim Art Museum The New York Times April 10 1959 ISSN 0362 4331 Retrieved October 3 2022 National Park Service 2005 pp 25 26 Pfeiffer 1995 pp 29 33 a b Start Guggenheim Museum Job in NY Newsday May 8 1956 p 4 ProQuest 879069229 Guggenheim Museum by Frank Lloyd Wright Is Begun New York Herald Tribune May 7 1956 p A10 ISSN 1941 0646 ProQuest 1327080364 Ashton Dore November 18 1956 Museum Director of Guggenheim Discusses His Plans An Ambitious Program The New York Times ISSN 0362 4331 Retrieved October 3 2022 a b c National Park Service 2005 p 25 a b c d e f Stern Mellins amp Fishman 1995 p 816 a b Pfeiffer 1995 pp 34 35 Window Leaks Overcome PDF Architectural Forum Vol 102 June 1958 p 11 a b c d Stern Mellins amp Fishman 1995 p 815 Guggenheim Museum Progresses The New York Times August 31 1958 p R2 ISSN 0362 4331 ProQuest 114561749 a b c d e f g Art Last Monument Time November 2 1959 Spector 2001 p 16 Knox Sanka October 22 1959 New Art Museum Is Dedicated Here The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b Bird Robert S October 22 1959 600 an Hour See Guggenheim Museum Thrilled Puzzled Angered by Frank Lloyd Wright Structure New York Herald Tribune p 18 ISSN 1941 0646 ProQuest 1328041965 Wood Francis October 22 1959 Guggenheim Art Museum Draws Crowds Praise Newsday p 4 ProQuest 898127716 Lyle David July 21 1960 Guggenheim Museum Head Quits Sweeney Resigns as Director Issue Unrevealed New York Herald Tribune p 1 ISSN 1941 0646 ProQuest 1327113702 Knox Sanka July 21 1960 Guggenheim Museum Director Resigns in Difference of Ideals Sweeney Revised Wright s Design for Building Before Opening Last October The New York Times ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Fund Names Trustee The New York Times December 7 1960 ISSN 0362 4331 Retrieved October 4 2022 Krens 1993 p 19 Knox Sanka January 31 1961 Guggenheim Picks Museum Director Thomas Messer Head of Boston Institute Named to Art Post Here The New York Times ISSN 0362 4331 Retrieved October 4 2022 O Neill Maureen January 31 1961 Name Boston Art Expert Director of Guggenheim Newsday p 4 ProQuest 898266255 Kumar 2011 chapter Thomas Messer National Park Service 2005 p 16 Weber Bruce May 16 2013 Thomas M Messer Museum Director Who Gave Guggenheim Cachet Dies at 93 The New York Times ISSN 0362 4331 Retrieved October 20 2022 a b c Russell John Director of Guggenheim Retiring After 27 Years The New York Times November 5 1987 Retrieved April 14 2012 a b Canaday John August 17 1962 Museum Director Solves Problem Guggenheim Official Faces Troubles of Architecture The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b Spiegler William October 24 1963 Museum Will Get Major Art Collection Newsday p 5 ProQuest 913630157 a b Canaday John October 24 1963 Guggenheim Gets Major Art Works Gift Will Eventually Bring 34 Picassos to Museum The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b c d e f g h Pfeiffer 1995 p 37 a b c d e f Landmarks Preservation Commission 1990 p 12 Guggenheim Art to Be Auctioned Works of Old Masters Will Be Sold in London June 27 The New York Times May 27 1962 ISSN 0362 4331 Retrieved October 4 2022 a b Guggenheim Acquires 250 Works of Modern Art The New York Times May 15 1971 ISSN 0362 4331 Retrieved October 6 2022 Canaday John August 16 1971 Guggenheim Will Auction 47 Works by Kandinsky The New York Times ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Files Plans for an Annex On 13 Foot Stilts The New York Times October 10 1963 ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Museum Will Expand Newsday May 16 1964 p 15 ProQuest 913627428 Raymont Henry November 8 1966 Annex of Museum Cut by 2 Stories Guggenheim Drops Original Plans Calling for 4 Floors Because of the Cost The New York Times ISSN 0362 4331 Retrieved October 3 2022 a b c National Park Service 2005 pp 7 8 The Gallery Art of Architecture The Wall Street Journal May 7 1969 p 20 ISSN 0099 9660 ProQuest 133395635 Admission to Guggenheim Raised From 50 Cents to 1 The New York Times January 4 1972 ISSN 0362 4331 Retrieved October 4 2022 Horsley Carter B February 19 1973 Guggenheim Museum to Alter Facade The New York Times ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Museum to Review Plan to Alter Building s Facade The New York Times April 15 1973 ISSN 0362 4331 Retrieved October 4 2022 a b Goldberger Paul November 10 1973 Guggenheim Modifies Alteration The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b Landmarks Preservation Commission 1990 pp 12 13 a b Fraser C Gerald December 24 1977 Guggenheim Starts Drive to Raise 20 Million The New York Times ISSN 0362 4331 Retrieved October 4 2022 2 Guggenheim Curators Promoted to Directors Seemed Appropriate The New York Times November 8 1980 ISSN 0362 4331 Retrieved October 5 2022 a b Russell John November 28 1982 Art View a Redesigned Wing Adds Luster to the Guggenheim The New York Times ISSN 0362 4331 Retrieved October 4 2022 Works amp Process Archived from the original on December 6 2008 Retrieved August 13 2016 a b Landmarks Preservation Commission 1990 p 13 Goldberger Paul October 10 1985 An Appraisal Architecture a Design for Guggenheim Tower The New York Times ISSN 0362 4331 Retrieved October 4 2022 Goldberger Paul February 11 1987 Guggenheim Museum Proposing Scaled down Design for Addition The New York Times ISSN 0362 4331 Retrieved October 4 2022 Ladd Scott February 11 1987 Revised Design Proposed for Guggenheim Newsday p 35 Retrieved October 4 2022 Ladd Scott July 6 1987 Guggenheim Look Still Arouses Passions Newsday p 27 Retrieved October 4 2022 Mays Vernon April 1989 Revealing Wright PDF Progressive Architecture Vol 68 p 82 Museum Addition Approved The New York Times October 21 1987 ISSN 0362 4331 Retrieved October 4 2022 Lippman Barbara October 22 1987 Museum gets a variance New York Daily News p 141 Retrieved October 4 2022 a b Glueck Grace November 28 1990 Guggenheim Withdraws Design Change The New York Times ISSN 0362 4331 Retrieved October 4 2022 Russell John November 5 1987 Director of Guggenheim Retiring After 27 Years The New York Times ISSN 0362 4331 Retrieved October 4 2022 McGill Douglas C January 15 1988 Guggenheim Expansion Plan Upheld The New York Times ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Plan Upheld The New York Times June 23 1988 ISSN 0362 4331 Retrieved October 4 2022 McGill Douglas C January 13 1988 Guggenheim Names a New Director The New York Times ISSN 0362 4331 Retrieved October 4 2022 Wallach Amei January 13 1988 New Director for Guggenheim Museum Newsday p B9 ProQuest 1813318343 a b Vogel Carol February 28 2008 Provocative Guggenheim director resigns The New York Times ISSN 0362 4331 Retrieved October 4 2022 Vogel Carol April 27 2005 A Museum Visionary Envisions More The New York Times ISSN 0362 4331 Retrieved October 5 2022 Cotter Holland June 7 1996 Art Review An African Anthology Of Rewarding Objects The New York Times ISSN 0362 4331 Retrieved October 5 2022 Scott Janny April 9 1998 Need Chinese Art Call Diplomats Even Kissinger Aided Guggenheim Negotiations for a Show The New York Times ISSN 0362 4331 Retrieved October 5 2022 Travel Advisory Brazilian Treasures On Loan in New York The New York Times September 16 2001 ISSN 0362 4331 Retrieved October 5 2022 Cotter Holland October 15 2004 A Lost Culture Drenched in Blood and Beauty The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b Sudjic Deyan January 23 2005 Is this the end of the Guggenheim dream The Guardian Retrieved October 5 2022 Plagens Peter September 7 1998 Rumble on the Ramps The Art of the Motorcycle Solomon R Guggenheim Museum New York Newsweek Vol 132 no 10 p 80 ProQuest 214306480 a b Glueck Grace August 12 1991 In Guggenheim Restoration Wright Laughs Last The New York Times ISSN 0362 4331 Retrieved October 4 2022 Shepard Joan October 9 1988 Guggenheim Museum will keep its doors open during restoration work New York Daily News p 534 Retrieved October 4 2022 Wallach Amei April 11 1990 Obsession at the Guggenheim Newsday pp 176 184 Retrieved October 4 2022 Guggenheim Museum Closing for 18 Months The New York Times April 27 1990 ISSN 0362 4331 Retrieved October 5 2022 a b c d e Glueck Grace August 12 1991 In Guggenheim Restoration Wright Laughs Last The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b c d Sennott 2004 pp 572 73 a b c Kimball Roger July 2 1992 Leisure amp Arts Rehabbed Guggenheim Museum s Coming out Party The Wall Street Journal p A5 ISSN 0099 9660 ProQuest 135563875 Evening Hours Guggenheim In a New Light The New York Times June 28 1992 ISSN 0362 4331 Retrieved October 4 2022 a b c McGuigan Cathleen June 29 1992 Do the Wright Thing The Guggenheim Museum reopens splendidly restored and with a controversial new addition Newsweek Vol 119 no 26 pp 58 59 62 ProQuest 1879161785 Jermanok Stephen April 17 1994 New York Everything Old Is New Again New York s Master Museums Redesign Themselves The Washington Post p E06 ISSN 0190 8286 ProQuest 307730105 a b Hagen Charles December 4 1992 5 Million to Foundation by Mapplethorpe Group The New York Times ISSN 0362 4331 Retrieved October 6 2022 a b Wallach Amei December 4 1992 5 Million Mapplethorpe Gift Newsday p 201 Retrieved October 6 2022 Hagen Charles December 26 1993 The Year in the Arts Art amp Photography 1993 An Era Ended a Ghost Haunted the Guggenheim The New York Times ISSN 0362 4331 Retrieved October 6 2022 a b Kimmelman Michael April 1 1990 Art View The High Cost of Selling Art The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b Glueck Grace March 5 1990 Guggenheim May Sell Artworks To Pay for a Major New Collection The New York Times ISSN 0362 4331 Retrieved October 4 2022 Russell James S Guggenheim s Krens Eyes Hudson Yards Museum Seeks New Bilbaos Bloomberg March 11 2008 Retrieved March 13 2012 For Museums Bigger Is Better The Wall Street Journal November 27 1998 ISSN 0099 9660 Retrieved October 5 2022 Mahoney Sarah October 2 2006 Thomas Krens Advertising Age Vol 77 no 40 p I 8 a b c Plagens Peter May 20 1996 In a Spiral The Guggenheim Museum s controversial director keeps wheeling and dealing But what s art got to do with it Newsweek Vol 127 no 21 pp 68 70 ProQuest 1866753762 Vogel Carol December 14 1993 Guggenheim Honors the LeFraks The New York Times ISSN 0362 4331 Retrieved October 5 2022 Disch Thomas M December 21 1993 What s in a Name Daily News p 257 Retrieved October 5 2022 Vogel Carol January 20 1994 Revlon s Chairman Donates 10 Million to the Guggenheim The New York Times ISSN 0362 4331 Retrieved October 5 2022 Snow Shauna January 21 1994 A 10 Million Present The Los Angeles Times p 202 Retrieved October 5 2022 a b Vogel Carol December 17 1994 Clash Over Name Puts Museum Gift in Doubt The New York Times ISSN 0362 4331 Retrieved October 5 2022 Vogel Carol October 20 1995 Trustees come through for the Guggenheim The New York Times p C30 ISSN 0362 4331 ProQuest 109472948 a b Vogel Carol April 15 1998 Guggenheim Announces Record Gift 50 Million The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b c Tu Jeni February 1 2002 Higher education meets high art Dance Teacher Archived from the original on September 21 2014 Retrieved August 25 2014 via HighBeam Research a b Block Fang July 21 2022 The Guggenheim s Center for Arts Education Renamed After a 15 Million Donation Barron s Retrieved November 19 2022 a b Donnelly Shannon August 10 2022 Palm Beach philanthropy Gail and Alfred Engelberg commit 15 million to Guggenheim Palm Beach Daily News Retrieved November 19 2022 a b Guggenheim wants Gehry canopy to be permanent addition PDF Architectural Record Vol 190 June 2002 p 34 Muschamp Herbert May 18 2001 Architecture Review Gehry s Vision of Renovating Democracy The New York Times ISSN 0362 4331 Retrieved October 6 2022 a b c d Vogel Carol June 10 2004 Guggenheim Museum Seeks to Restore Its Most Valuable Asset Itself The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b Park Haeyoun Face Lift for an Aging Museum The New York Times April 16 2007 Guggenheim Museum web site click link to podcast about restoration 10 MB audio only 8 min 45 sec Pogrebin Robin September 10 2007 The Restorers Art of the Invisible The New York Times ISSN 0362 4331 Retrieved October 5 2022 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 a b Ulam Alex February 2006 Guggenheim spruces up restoration with custom bridge PDF Architectural Record Vol 194 p 34 Vogel Carol September 23 2008 Guggenheim Chooses a Curator Not a Showman The New York Times ISSN 0362 4331 Retrieved October 5 2022 The Guggenheim Museums and Foundation The Guggenheim Museums and Foundation August 22 2008 Retrieved October 5 2022 a b c Pogrebin Robin January 21 2005 Loyalty Prevails Over Money in Guggenheim Showdown The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b Bohlen Celestine November 20 2001 The Guggenheim s Scaled Back Ambition A Museum Director s Risk Taking Approach Gets a New Look in Hard Times The New York Times ISSN 0362 4331 Retrieved October 5 2022 Kimmelman Michael December 6 2002 Critic s Notebook An Era Ends for the Guggenheim The New York Times ISSN 0362 4331 Retrieved October 5 2022 Guggenheim gets gift with string attached Poughkeepsie Journal December 5 2002 pp 5A Retrieved October 5 2022 a b Guggenheim chairman resigns The Journal News January 21 2005 p 10 Retrieved October 5 2022 Vogel Carol January 20 2005 Guggenheim Loses Top Donor in Rift on Spending and Vision The New York Times ISSN 0362 4331 Retrieved October 5 2022 Vogel Carol September 21 2005 Museum Names New York Director The New York Times ISSN 0362 4331 Retrieved October 5 2022 Lieberman Paul Haithman Diane September 22 2005 New York s Guggenheim Picks New Director The Los Angeles Times p 38 Retrieved October 5 2022 a b Wilson Claire October 23 2006 Elevating the Guggenheim Crain s New York Business Vol 22 no 43 p 1 ProQuest 219156351 Vogel Carol July 31 2007 Director of Guggenheim Resigns to Join Sotheby s The New York Times ISSN 0362 4331 Retrieved October 5 2022 Vogel Carol September 23 2008 Guggenheim Chooses a Curator Not a Showman The New York Times ISSN 0362 4331 Retrieved October 5 2022 Boehm Mike September 25 2008 Guggenheim names Richard Armstrong director Los Angeles Times Retrieved October 5 2022 Vogel Carol September 3 2008 Guggenheim Is Considering New Director The New York Times ISSN 0362 4331 Retrieved October 20 2022 Foundation website s collaborations page Archived April 5 2014 at the Wayback Machine McDermon Daniel August 18 2017 Solid Gold Toilet to Be Removed From Guggenheim in September The New York Times ISSN 0362 4331 Retrieved October 20 2022 Moynihan Colin June 28 2019 Guggenheim Workers Vote to Join a Union the Museum s First The New York Times ISSN 0362 4331 Retrieved October 6 2022 Davis Ben June 28 2019 Art Installers and Maintenance Workers at the Guggenheim Have Voted Yes to Joining a Union Artnet News Retrieved October 6 2022 Mitter Siddhartha July 30 2019 Behind Basquiat s Defacement Reframing a Tragedy The New York Times ISSN 0362 4331 Retrieved June 3 2020 a b c Lewis Helen October 3 2022 The Guggenheim s Scapegoat The Atlantic Retrieved October 6 2022 Pogrebin Robin November 15 2019 Guggenheim Hires First Full Time Black Curator The New York Times ISSN 0362 4331 Retrieved October 6 2022 Pogrebin Robin October 8 2020 Guggenheim s Top Curator Is Out as Inquiry Into Basquiat Show Ends The New York Times ISSN 0362 4331 Retrieved October 6 2022 Small Zachary August 17 2020 Guggenheim Approves Diversity Plan After Staff Complaints of Racism The New York Times ISSN 0362 4331 Retrieved October 6 2022 a b Holmes Helen August 18 2020 After Allegations of Systemic Racism the Guggenheim Has Released a Diversity Plan Observer Retrieved October 6 2022 Holmes Helen July 28 2021 The Guggenheim Museum Has Hired Its First Chief Culture and Inclusion Officer Observer Retrieved October 6 2022 Pogrebin Robin Cooper Michael March 12 2020 New York s Major Cultural Institutions Close in Response to Coronavirus The New York Times ISSN 0362 4331 Retrieved October 4 2022 Guggenheim Museum Reopens To Public After Months Long Pandemic Closure CBS News October 4 2020 Retrieved October 4 2022 Reopen New York City Guggenheim Museum welcomes back visitors on Upper East Side in Manhattan ABC7 New York October 3 2020 Retrieved October 4 2022 Small Zachary September 16 2020 Guggenheim Cuts Staff by 11 Percent Ahead of Reopening The New York Times ISSN 0362 4331 Retrieved October 4 2022 Moynihan Colin July 30 2021 Guggenheim Museum Curators Move to Join a Union The New York Times ISSN 0362 4331 Retrieved October 6 2022 Holmes Helen August 2 2021 Guggenheim Staffers Are Putting Plans in Motion to Join a Union Observer Retrieved October 6 2022 Guggenheim director Richard Armstrong I m calm about the whole future of museums Financial Times July 8 2022 Retrieved October 5 2022 Jacobs Julia July 8 2022 Director of the Guggenheim to Step Down The New York Times ISSN 0362 4331 Retrieved October 5 2022 a b National Park Service 2005 pp 3 4 a b Levine 1996 p 340 a b Levine 1996 p 301 Rudenstine Angelica Zander The Guggenheim Museum Collection Paintings 1880 1945 New York Solomon R Guggenheim Museum 1976 p 204 a b McCarter 1997 pp 315 318 a b c d e f g Waldek Stefanie November 11 2019 7 Things You Didn t Know About New York City s Guggenheim Museum Architectural Digest Retrieved October 7 2022 Bianchini Riccardo The Guggenheim an American revolution inexhibit com 2014 accessed July 5 2014 a b c d e f g h i j National Park Service 2005 p 4 a b Guggenheim Museum Gets a Plastic Coating The New York Times October 19 1958 p R11 ISSN 0362 4331 ProQuest 114449638 a b c Cohen George N November 23 1958 All Concrete With a Glass Dome The Guggenheim Museum A Spiral Ramp Around a Big Inner Court New York Herald Tribune p I1 ISSN 1941 0646 ProQuest 1324046736 a b c d Landmarks Preservation Commission 1990 p 10 a b c d e f National Park Service 2005 p 7 Trees and Shrubs Soon to Flank Guggenheim Museum The New York Times May 27 1959 ISSN 0362 4331 Retrieved October 3 2022 a b c d e f g h i j k National Park Service 2005 p 6 a b McCarter 1997 p 311 National Park Service 2005 pp 6 7 a b Landmarks Preservation Commission 1990 pp 10 11 a b c d e f g Landmarks Preservation Commission 1990 p 11 a b c National Park Service 2005 p 5 a b c Architectural Record 1958 p 190 National Park Service 2005 pp 5 6 a b c Solomon R Guggenheim Museum Gwathmey Siegel Kaufman Architects August 15 2013 Retrieved November 19 2022 a b c d e f National Park Service 2005 p 8 a b c d e f Perez Adelyn AD Classics Solomon R Guggenheim Museum May 18 2010 Retrieved March 21 2012 National Park Service 2005 pp 35 36 a b Architectural Record 1958 p 186 a b c d e f g h Landmarks Preservation Commission Interior 1990 p 12 a b c d e f McCarter 1997 p 315 a b c d Architectural Record 1958 p 188 Museum Kitchen Built on a Curve Designer Coped With Spiral Plan of Guggenheim in Installing Equipment The New York Times January 15 1961 ISSN 0362 4331 Retrieved October 4 2022 McCarter 1997 pp 310 311 a b c d e f g h Landmarks Preservation Commission Interior 1990 p 13 a b Architectural Record 1958 p 185 a b c McCarter 1997 p 318 Pfeiffer 1995 p 7 Jaroslav J Polivka What it s Like to Work with Wright in Tejada Susana ed 2000 Engineering the Organic The Partnership of Jaroslav J Polivka and Frank Lloyd Wright Buffalo State University of New York pp 34 35 a b c McCarter 1997 p 312 a b Stern Mellins amp Fishman 1995 p 818 a b Wood Francis October 21 1959 Art Is Given a New Look At Guggenheim Museum Newsday p 1 ProQuest 898250168 Goldberger Paul June 2 1977 Design Notebook The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b Mark Phyllis November 9 1959 Conflict Between Form and Function In Wright s New Guggenheim Museum New Leader Vol 42 no 41 p 27 ProQuest 1308964071 Guggenheim Museum Spirals Toward Completion PDF Progressive Architecture Vol 40 July 1959 pp 75 77 McCarter 1997 p 319 Wright s Living Organism The Evolution of the Guggenheim Museum The Guggenheim Museums and Foundation October 3 2022 Retrieved October 3 2022 a b Architectural Record 1958 p 189 Levine 1996 p 317 a b Ballon 2009 pp 59 61 Weber Bruce March 31 2010 Mortimer D Sackler Arts Patron Dies at 93 The New York Times Retrieved July 17 2014 Museum gets gift for arts education Milwaukee Journal Sentinel New York Times News Service December 12 1995 p 2E Retrieved August 22 2014 and Kim Kanatani Will Occupy Newly Created Gail Engelberg Chair in Education The Solomon R Guggenheim Foundation Archived from the original Press release on July 26 2014 Retrieved July 17 2014 Sackler Center for Arts Education Archived February 9 2014 at the Wayback Machine The Solomon R Guggenheim Foundation Retrieved March 21 2012 Small Zachary May 10 2022 Guggenheim Removes Sackler Name Over Ties to Opioid Crisis The New York Times ISSN 0362 4331 Retrieved October 3 2022 Guggenheim Museum Quietly Removes Sackler Name Town amp Country May 10 2022 Retrieved October 3 2022 a b Landmarks Preservation Commission Interior 1990 pp 13 14 a b c d Guggenheim Reopens Expanded and Renovated PDF Progressive Architecture Vol 73 August 1992 pp 13 14 Guggenheim Museum Is Designated a Landmark The New York Times August 19 1990 ISSN 0362 4331 Retrieved October 4 2022 Mangaliman Jessie August 17 1990 Aye Given for Museum as Landmark Newsday p 29 Retrieved October 4 2022 Shepard Joan September 1 1988 It ll be hard look at Guggenheim as a landmark New York Daily News p 577 Retrieved October 4 2022 The 20th Century Architecture of Frank Lloyd Wright UNESCO World Heritage Centre Retrieved July 7 2019 Tareen Sophia July 8 2019 Guggenheim Museum Added to UNESCO World Heritage List NBC New York Retrieved July 8 2019 Orden Erica January 21 2011 Where Museums Hide Treasures The Wall Street Journal ISSN 0099 9660 Retrieved October 6 2022 a b Collection Online The Guggenheim Museums and Foundation Retrieved October 6 2022 a b c About the Collection The Guggenheim Museums and Foundation October 6 2022 Retrieved October 6 2022 Loebl 2002 pp 283 284 Budick Ariella May 10 2017 Visionaries at the Guggenheim New York brimming with masterpieces Financial Times Retrieved October 6 2022 a b Vogel Carol May 11 2007 Guggenheim Foundation Takes Steps to Preserve Its Artistic Legacy The New York Times ISSN 0362 4331 Retrieved October 5 2022 Solomon R Guggenheim Founding Collection The Guggenheim Museums and Foundation Retrieved October 5 2022 a b Karl Nierendorf Estate The Guggenheim Museums and Foundation Retrieved October 5 2022 Russell John June 18 1993 Review Art Paul Klee as a Master Of Line Over Color The New York Times ISSN 0362 4331 Retrieved October 5 2022 Loebl 2002 p 284 Thannhauser Justin K The Frick Collection Archives Directory for the History of Collecting in America Retrieved March 13 2012 Yarrow Andrew L February 16 1990 Guggenheim Is Acquiring Over 200 Minimalist Works The New York Times ISSN 0362 4331 Retrieved October 6 2022 a b Fleeson Lucinda February 17 1990 Count s American art going to Guggenheim The Philadelphia Inquirer p 49 Retrieved October 6 2022 Vogel Carol December 21 2001 Inside Art The New York Times ISSN 0362 4331 Retrieved October 6 2022 Chow Vivienne April 13 2022 Mega Collector Dimitris Daskalopoulos Gifts Over 350 Artworks to Four Museums in Three Countries Artnet News Retrieved November 9 2022 Daskalopoulos s great giveaway Greek collector donates 350 works to Tate Guggenheim MCA Chicago and EMST in Athens The Art Newspaper April 13 2022 Retrieved November 9 2022 The Global Guggenheim The Solomon R Guggenheim Museum Publications Retrieved March 8 2012 a b The Guggenheim Museums and Foundation The Guggenheim Museums and Foundation October 7 2022 Retrieved October 7 2022 Solomon R Guggenheim Foundation Collections Management Policy Approved by the Board of Trustees on May 27 2020 PDF Solomon R Guggenheim Foundation May 27 2020 pp 1 3 Retrieved October 7 2022 Pogrebin Robin October 4 2021 Guggenheim Gets New Chairman and Second Ever Black Female Trustee The New York Times ISSN 0362 4331 Retrieved October 7 2022 Marcy Withington The Guggenheim Museums and Foundation October 25 2022 Retrieved October 25 2022 Moynihan Colin April 10 2020 Guggenheim Facing 10 Million Shortfall Turns to Furloughs and Pay Cuts The New York Times ISSN 0362 4331 Retrieved October 6 2022 Kenney Nancy April 10 2020 Guggenheim furloughs 92 employees in New York The Art Newspaper International art news and events Retrieved October 7 2022 Controversial Guggenheim Museum Open The Salem News October 22 1959 p 19 Retrieved October 5 2022 Circular Museum To Open Here Soon Dramatic Sweep Upward to the Light Distinguishes Interior of Guggenheim Museum The New York Times July 19 1959 p R1 ISSN 0362 4331 ProQuest 114744252 a b Pfeiffer 1995 p 35 Goldberger Paul May 18 2009 Frank Lloyd Wright s Final Gift The New Yorker Retrieved October 5 2022 a b Genauer Emily October 21 1959 Frank Lloyd Wright s Spiral Museum Opens Guggenheim Museum Is Ready for Public Controversial 5th Ave Structure Praised by Critics at Preview New York Herald Tribune p 1 ISSN 1941 0646 ProQuest 1324222657 Glueck Grace January 19 1969 Paintings Descending A Ramp Paintings descending a ramp The New York Times ISSN 0362 4331 Retrieved October 4 2022 Pfeiffer 1995 p 34 Knox Sanka December 12 1956 21 Artists Assail Museum Interior Object to Showing Pictures on Spiraling Ramp in Frank Lloyd Wright Building Ramp Spirals in Hollow Core One Criticizes Exterior The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b National Park Service 2005 p 39 Canaday John October 21 1959 Wright Vs Painting A Critique of Guggenheim Museum Finds Design Defeats Its Function The Guggenheim Museum a Provocative Design by Frank Lloyd Wright Will Be Opened Today Wright Vs Painting The New York Times ISSN 0362 4331 Retrieved October 6 2022 National Park Service 2005 pp 39 40 National Park Service 2005 p 40 Mumford Lewis November 28 1959 What Wright Hath Wrought The New Yorker Retrieved October 5 2022 Guggenheim Museum Will Open Oct 21 Frank Lloyd Wright Temple in a Park New York Herald Tribune October 11 1959 p 33 ISSN 1941 0646 ProQuest 1325266446 Saarinen Aline B September 22 1957 Tour With Mr Wright The noted architect offering a preview of his new museum talks of many things art architecture nature and design Tour With Mr Wright The New York Times ISSN 0362 4331 Retrieved October 4 2022 Stern Mellins amp Fishman 1995 pp 815 816 a b Alden Robert October 22 1959 Art Experts Laud Wright s Design Museum Called Greatest in City and Thrilling but Problems Are Cited The New York Times ISSN 0362 4331 Retrieved October 4 2022 a b c National Park Service 2005 p 38 a b Blake Peter December 1959 The Guggenheim Museum or Monument PDF Architectural Forum Vol 103 p 180 The Solomon R Guggenheim Museum The Art Story Foundation Retrieved March 21 2012 Levine 1996 p 362 a b National Park Service 2005 p 42 Whiffen Marcus Koeper Frederick 1981 American architecture 1607 1976 London Routledge and Kegan Paul p 369 ISBN 0 7100 0813 9 OCLC 12089229 Guggenheim Museum The Spiral that Broke All the Rules NPR org August 5 2009 Retrieved October 6 2022 National Park Service 2005 p 44 Muschamp Herbert 1985 Man about Town Frank Lloyd Wright in New York City Mit Press MIT Press p 5 ISBN 978 0 262 63100 6 Boles Doralice D June 1986 Update on the Guggenheim PDF Progressive Architecture Vol 67 p 34 National Park Service 2005 pp 42 43 Curtis William J R 1987 Modern Architecture Since 1900 Oxford Phaidon p 270 ISBN 0 7148 2482 8 OCLC 15657753 a b c d National Park Service 2005 p 43 Blake Peter 1996 The Master Builders Le Corbusier Mies Van Der Rohe Frank Lloyd Wright Norton library Norton p 400 ISBN 978 0 393 31504 2 Twombly Robert C 1991 Frank Lloyd Wright His Life and His Architecture A Wiley Interscience publication Wiley p 316 ISBN 978 0 471 85797 6 Frampton Kenneth 1985 Modern Architecture A Critical History World of art library Thames and Hudson p 190 ISBN 978 0 500 20201 2 Magnago Lampugnani Vittorio Bergdoll Barry Hatje Gerd Pehnt Wolfgang 1986 Encyclopedia of 20th Century Architecture New York N N Abrams p 368 ISBN 0 8109 0860 3 OCLC 11316465 Roth Leland M 1980 A Concise History of American Architecture Icon editions Harper amp Row p 294 Kostof Spiro 1995 A History of Architecture Oxford University Press p 740 ISBN 978 0 19 508378 1 Kaufmann Edgar Jr 1982 Frank Lloyd Wright In Placzek Adolf K ed Macmillan Encyclopedia of Architects New York Free Press ISBN 0 02 925000 5 OCLC 8763713 Solomon Deborah June 30 2002 Is The Go Go Guggenheim Going Going The New York Times ISSN 0362 4331 Retrieved October 6 2022 The Guggenheim Backs Up Frank Lloyd Wright PDF Journal of the American Institute of Architects Vol 45 June 1966 p 36 Landmarks Preservation Commission 1990 pp 11 12 a b Bookbinder Bernie April 29 1960 Poll Shows Public Likes Guggenheim Museum Newsday p 4 ProQuest 898149345 Stern Mellins amp Fishman 1995 p 820 a b Barron James January 8 2010 Kandinsky Helps Guggenheim Set Record Attendance City Room Retrieved October 5 2022 Kimmelman Michael June 21 1992 Art View At the Guggenheim Bigger May Be Better The New York Times ISSN 0362 4331 Retrieved October 5 2022 Sharpe Emily March 30 2021 Visitor Figures 2020 top 100 art museums revealed as attendance drops by 77 worldwide The Art Newspaper International art news and events Retrieved October 5 2022 a b Kandinsky Retrospective Helps Set New Attendance Record for 2009 Guggenheim January 25 2010 Retrieved March 24 2020 Itzkoff Dave August 27 2009 Wright Exhibition Sets Guggenheim Attendance Record ArtsBeat Retrieved October 5 2022 Saad Shirine May 1 2019 How Art Museums Must Transform to Thrive in a Post Hilma af Klint World Slate Magazine Retrieved October 5 2022 Ferren Andrew October 21 2019 In Search of Hilma af Klint Who Upended Art History But Left Few Traces The New York Times ISSN 0362 4331 Retrieved October 5 2022 Sources Edit Ballon Hillary et al 2009 The Guggenheim Frank Lloyd Wright and the Making of the Modern Museum London Thames and Hudson Guggenheim Museum In Progress PDF Architectural Record Vol 123 May 1958 pp 185 190 Krens Thomas 1993 The Genesis of a Museum A History of the Guggenheim Art of this Century The Guggenheim Museum and Its Collection New York Solomom R Guggenheim Foundation ISBN 0 89207 072 2 OCLC 29976871 Kumar Lisa 2011 The Writers Directory Detroit St James Press ISBN 9781558628137 Levine Neil 1996 The Architecture of Frank Lloyd Wright New Jersey Princeton University Press Loebl Suzanne 2002 America s Art Museums A Traveler s Guide to Great Collections Large and Small Norton ISBN 978 0 393 32006 0 span, wikipedia, wiki, book, books, library,

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