They write, “We welcome Peter Karol’s extended reflection on topics at stake in the Panza Collection Initiative, which contains many important points, but also contains several errors and misstatements, which we are writing to correct.”
The Solomon R. Guggenheim Museum
Posted inNews
Guggenheim Workers Ask Trustees for Help Amid Union Negotiations
Recently unionized workers urge the Guggenheim’s trustees to wield their influence on the museum’s “reluctant” management.
Posted inArt
The Museum Wall That Broke the Art Handler’s Back
Over the summer, Hyperallergic interviewed dozens of art handlers about the variable conditions of their workplaces. This week, we are bringing their stories of accident and injury into the light.
Posted inSponsored
Reflections on Artistic License
Join the Guggenheim Museum for a series of conversations with the six artist-curators of Artistic License on select Tuesdays from June 18–December 17, 6:30 pm.
Posted inComics
Hilma af Klint Inspires an Artist to Take a Closer Look
She was an artist who believed in progress, in the evolution of humanity.
Posted inIn Brief
In a Satirical Segment About the Opioid Epidemic, John Oliver Calls Out the Sackler Family
“The Sacklers love putting their names on things. Although until very recently they have been miraculously good at keeping their name off the opioid crisis,” Oliver quipped in the segment, making note of Nan Goldin’s art world protests against the family.
Posted inArt
Fixating on Giacometti’s Doomed Woman
Who is this nameless woman whose first (and last) breaths were drawn nearly 90 years ago?
Posted inArt
Giacometti and Fears of Emasculation
A retrospective at the Guggenheim presents Giacometti as one of art history’s great vanishers of women.
Posted inArt
Danh Vo’s “Tiny Diasporas” at the Guggenheim
Seph Rodney and Nile Davies discuss the retrospective of Danh Vo in a global context, scrutinizing the politics of belonging, objects, and history.
Posted inArt
How Pre-Columbian Art Influenced Josef Albers
The Josef Albers in Mexico exhibition is a necessary corrective to Albers’s reputation as more pedagogue than painter and the misconception that abstraction can ever be free of outside influence.
