Stories on art, design, conservation, and more shed light on the Guggenheim’s past, present, and future.

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The Guggenheim’s Architectonic Futurisms

Detail: Angiolo Mazzoni, boiler house, control cabin, and personnel facilities at Florence’s Santa Maria Novella railway station (1927–34). Historical photograph. MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy © Archivio Storico - istituto Luce Cinecittà. Photo: © MART, Archivio del ’900
Detail: Angiolo Mazzoni, boiler house, control cabin, and personnel facilities at Florence’s Santa Maria Novella railway station (1927–34). Historical photograph. MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy © Archivio Storico - istituto Luce Cinecittà. Photo: © MART, Archivio del ’900

Along with Antonio Sant’Elia, known for his significant architectural drawings, the author considers the work of architect Angiolo Mazzoni, and explores the connections between the two Futurists. More

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How the Guggenheim Installed James Turrell’s Aten Reign

Video still: How the Guggenheim Installed Aten Reign, Matt Stanton Productions and Amy Koshbin © 2013 Solomon R. Guggenheim Foundation, New York
Video still: How the Guggenheim Installed Aten Reign, Matt Stanton Productions and Amy Koshbin © 2013 Solomon R. Guggenheim Foundation, New York

Among the remarkable aspects of James Turrell's installation last year at the Guggenheim was the impression of weightlessness it created. In this video, the museum's Chief Fabricator explains how the piece's underlying structure was built. More

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Kandinsky's Early Representational Woodcuts

Singer
Vasily Kandinsky, Singer (Sängerin), 1903. Woodcut on Japanese paper, mounted on paper, image: 20 × 14.6 cm; sheet: 27 × 19.1 cm; mount: 35.9 × 24.8 cm. Solomon R. Guggenheim Museum, New York 72.2003 © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris

Before he created his first fully abstract paintings, Vasily Kandinsky made these spare, representational woodcuts, which reduce compositions and narratives to simplified, expressionistic forms. More

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A Complete Futurist Experience in Fortunato Depero’s Cabaret del Diavolo

Detail: Fortunato Depero, Little Black and White Devils, Dance of Devils (Diavoletti neri e bianchi, Danza di diavoli), 1922–23. Pieced wool on cotton backing, 184 × 181 cm. MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy © 2014 Artists Rights Society (ARS), New York/SIAE, Rome. Photo: © MART, Archivio Fotografico
Detail: Fortunato Depero, Little Black and White Devils, Dance of Devils (Diavoletti neri e bianchi, Danza di diavoli), 1922–23. Pieced wool on cotton backing, 184 × 181 cm. MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy © 2014 Artists Rights Society (ARS), New York/SIAE, Rome. Photo: © MART, Archivio Fotografico

Fortunato Depero’s Cabaret del Diavolo in Rome was a restaurant where the top echelons of intellectual and artistic society gathered in the 1920s. It was also a notable example of a concept celebrated by the Futurists: the "total work of art." More