The survey of the late Swedish abstract painter has drawn 600,000 visitors, increased museum memberships, and broke another record in catalogue sales.
“What’s S&M?” I overhear a woman asking her husband in the exhibition. “The artist says here that it stands for sex and magic, but this set up doesn’t look very magical.”
Hilma af Klint reminds us that institutionally approved narratives generally function as touchstones for conformists and the weak-kneed.
Witchy and prescient, Hilma af Klint’s paintings from the early 1900s curiously combine spiritualism with an interest in evolutionary biology.
The Smithsonian, Sotheby’s, and landmark institutions across NYC are under pressure to address their financial connections to the Saudi Arabian government in the wake of the suspected murder of Jamal Khashoggi.
In Prurience, Christopher Green asks his audience to “consider if society is in the grip of an actual addiction or a moral panic.”
The guerrilla intervention was in place for two hours during the museum’s pay-what-you-wish period on Saturday.
From a slew of negative reviews on Yelp and Facebook to a Fox anchor calling on chief curator Nancy Spector to resign, the backlash to revelations that the Guggenheim offered the Trumps a gold toilet is many-pronged.
When Donald and Melania Trump requested a Vincent van Gogh painting from the Guggenheim, the museum responded with a counteroffer.
In this piece from his new nonfiction collection, Dragon at the Edge of a Flat World: Portraits and Revelations, Joseph Keckler revisits his stint as an audio guide salesman.
The Guggenheim’s series Turn It On: China on Film, 2000–2017, curated by Ai Weiwei and Wang Fen, gathers documentaries by Chinese artists and filmmakers.
Commedia dell’arte packed less punch, in part because of the formal space of the Guggenheim and McNamara’s status as an art-world darling.