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PODCAST

Solomon R. Guggenheim Museum

Solomon R. Guggenheim Museum

Listen to audio about exhibitions and artworks at the Solomon R. Guggenheim Museum in New York City. Frank Lloyd Wright"s landmark building is home to a collection of modern and contemporary masterpieces.

All Episodes

00:01:35

"Studio,” 1913

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads Blaise Cendrars’s poem “Studio,” 1913. Blaise Cendrars’s poem references Marc Chagall and his studio in the artist colony La Ruche (The Beehive) in Paris. Transcript Padgett: "Studio," by Blaise Cendrars. The Beehive Stairways, doors, stairways And his door opens like a newspaper Covered with visiting cards Then it closes. Disorder, total disorder Photographs of Léger, photographs of Tobeen, which you don’t see And on the back On the back Frantic works Sketches, drawings,

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00:03:22

"The Well-Tempered Clavier," Book 1, Fugue No. 12 in...

Solomon R. Guggenheim Museum ·

2024/11/08

Pianist John Bitoy performs an excerpt of Johann Sebastian Bach’s "The Well-Tempered Clavier," Book 1, Fugue No. 12 in F Minor, BWV 857, published in 1722. František Kupka looked to the fugue, a musical structure characterized by interweaving and repeating a primary theme and one or more contrasting themes, as inspiration for "Disks of Newton (Study for “Fugue in Two Colors”)." Through the work’s subtitle, Kupka subtly points to eighteenth-century Baroque composer Johann Sebastian Bach, who

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00:05:46

Learn more about Harmony and Dissonance from the...

Solomon R. Guggenheim Museum ·

2024/11/08

Transcript Tracey Bashkoff: Welcome to the Guggenheim. I’m Tracey Bashkoff, Senior Director of Collections, and Senior Curator. Vivien Greene: And I’m Vivien Greene, Senior Curator of 19th and Early 20th Century Art. We curated this exhibition, "Harmony and Dissonance: Orphism in Paris, 1910–1930." Bellara Huang: I am Bellara Huang, Curatorial Assistant of Exhibitions, and I supported Tracey and Vivien over the last two years on this project. Bashkoff: Here you’ll see artworks that explore

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00:00:51

"The Head,” 1914

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads Blaise Cendrars’s poem “The Head,” 1914. Blaise Cendrars wrote “The Head” about Alexander Archipenko and his work. Transcript Padgett: "The Head,” by Blaise Cendrars. The guillotine is the masterpiece of plastic art Its click Creates perpetual motion Everyone knows about Christopher Columbus’s egg Which was a flat egg, a stationary egg, the egg of an inventor Archipenko’s sculpture is the first ovoidal egg Held in intense equilibrium Like an immobile top On its animated

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00:01:58

“Tower,” 1913

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads excerpts from Blaise Cendrars’s poem “Tower,” 1913. In “Tower,” Blaise Cendrars invokes Robert Delaunay, whose series of Eiffel Tower paintings shares the same subject as this poem. Transcript Padgett: "Tower," by Blaise Cendrars. 1910 Castellammare I was dining on an orange in the shade of an orange tree When, suddenly . . . It wasn’t the eruption of Vesuvius It wasn’t the cloud of grasshoppers, one of the ten plagues of Egypt Nor Pompeii It wasn’t the resuscitated cries of

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00:01:20

“She Has a Body on Her Dress,” 1914

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads Blaise Cendrars’s, “She Has a Body on Her Dress,” 1914. Many Orphist artists attended “Tango Thursdays” at the Bal Bullier dancehall in Paris. Sonia Delaunay observed the sinuous movements of the interlocked dancers, as seen in the painting Bal Bullier, while wearing her Simultaneous Dress, which consisted of multicolored fragments of fabric, extending her colorful forms from painting to life. Transcript Padgett: “She Has a Body on Her Dress,” by Blaise Cendrars. A woman’s body

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00:03:13

"The Prose of the Trans-Siberian and of Little...

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads excerpts from Blaise Cendrars’s poem “The Prose of the Trans-Siberian and of Little Jehanne of France,” 1913. A collaboration between Sonia Delaunay and Cendrars, the “first simultaneous book” features her painting running down the left side, inspired by this poem, set in multicolored type on the right. Cendrars’s montaged verse recounts a young man’s impressions on the Trans-Siberian Railway, and with the accordioned panels mimicking a folding train schedule, the work achieves a

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00:01:39

"Easter in New York,” 1912

Solomon R. Guggenheim Museum ·

2024/11/08

Ron Padgett reads an excerpt from Blaise Cendrars’s poem “Easter in New York,” 1912. Sonia Delaunay designed the binding for Blaise Cendrars’s “Easter in New York” poetry booklet. Transcript Padgett: "Easter in New York,” by Blaise Cendrars. Lord, cold as a shroud the dawn slipped away And left the skyscrapers naked in the day. Already a giant noise resounds across the day. Already the trains are lurching and roaring away. The subways run and thunder underground. The bridges shake with the

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00:01:42

“King Porter Stomp,” 1924, composed around 1906

Solomon R. Guggenheim Museum ·

2024/11/08

Jelly Roll Morton performs “King Porter Stomp” (1924) with Joe “King” Oliver on trumpet, composed around 1906. In the early 1910s, popular dances from the Americas arrived in Paris. Cafés and ballrooms cultivated an electric atmosphere, where paired bodies moved with the rhythms and improvisations of African American ragtime and early jazz.

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00:03:51

Meet 2024 Guggenheim Poet-in-Residence Meg Day

Solomon R. Guggenheim Museum ·

2024/09/11

Meg Day shares their relationship with poetry and their goals for the residency.Transcript Meg Day: Well, it's such an exciting time (laughs). It's really, really thrilling to imagine welcoming signing poets, deaf poets into the Guggenheim to, to engage with and, and respond to the art and the architecture, especially as part of a, a community that doesn't often have, like, a place to gather, right, doesn't have, like, a creative hub. I'm Meg Day, the Guggenheim Museum's 2024 Poet-in-Residence

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00:04:59

Description of Thanks,, 2023

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work.Transcript Narrator: "Thanks," is a painting by Jenny Holzer from 2023. Nearly 5 feet tall by 4 feet wide, the vertically oriented linen canvas is covered in various gleaming hues of gold leaf. Stacked from top to bottom, four rectangles of gold leaf in varying sizes are aligned along the left side of the painting, a few inches from the edge. They are set against a bright copper-toned background with an allover grid-like pattern, made from sheets of leaf

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00:03:08

Description of cruciform Water board, 2024

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: This work by Jenny Holzer from 2024 is titled "cruciform Water board." The vertically oriented painting is 2 feet high by 1 1/2 feet wide and made of oil paint on linen canvas. Two deep black geometric blocks, one stacked over the other, comprise much of the composition. The larger of the two sits roughly in the top three-fifths of the canvas, while the second block sits below it in the bottom two-fifths. The blocks are the same

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00:01:29

Description of blades, 2024

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: Jenny Holzer’s "blades," from 2024, consists of two cast replicas of human scapulae, or shoulder blades. Each is about 6 inches tall by 5 inches wide, with a depth of 2 inches. The replicas are made of urethane resin and are pigmented with acrylic paint, appearing slightly milky and yellowed. Composed in an angled shape, they are oriented with the pointed edge tilted upward like wings. They are attached to the “web walls” of the

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00:04:48

Description of stake in the heart, 2024

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: These paintings by Jenny Holzer from 2024 are collectively titled "stake in the heart." The work is comprised of seven rectangular linen canvases, each measuring the same size at roughly 3 1/2 feet tall by 2 1/2 feet wide. Each canvas gleams, its entire surface nearly covered in gold leaf. Light bounces off the metal in various directions as one approaches and moves around the work. The composition of each canvas displays a rough

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00:02:53

Description of STILL LIFE, 2017

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: Jenny Holzer’s "Still Life" is part of a series of sculptural works. This one is from 2017 and made of marble cut into a massive rectangular form about two feet tall by two-and-a-half feet wide by seven feet long. Its smooth, shiny Breccia Medicea surface shows the stone’s swirls of black, grey, cream, white, pink, and burgundy. The swirling marbled formations of the veins give the impression of the silt of streams, patterns left by

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00:04:45

Description of broken, 2024

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: Three marble benches sit among a field of irregular chunks of granite, limestone, and marble in Jenny Holzer’s 2024 artwork titled "broken." The benches, in red or white granite, are roughly 3 feet long, 1 1/2 feet deep, and 1 1/2 feet high. Each is made of three polished stone slabs: a long rectangle for the seat supported by legs made of a smaller slab on either end, arranged perpendicular to the seat. The benches look solid and

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00:05:25

Description of Protect Protect metal, 2023

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: This 2023 painting by Jenny Holzer is titled "Protect Protect metal." The horizontally oriented canvas is enormous, about 8 1/2 feet wide and 6 1/2 feet tall. Gleaming gold leaf gilds much of the linen canvas’s surface. Light bounces off the metal in various directions as one approaches and moves around the work. Much of the gold surface has a subtle grid pattern, built by the delicate metallic squares of carefully applied leaf. The

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00:05:07

Description of Battle Rhythm, 2024

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: "Battle Rhythm" is a painting by Jenny Holzer from 2024. Vertically oriented, the linen canvas is about 6 1/2 feet tall and 5 feet wide. From afar, it glimmers and glows in gold and copper tones. At first glance, the composition appears to be a graphic of 10 bright gold shapes placed in a circular format, sitting equidistant from one another like numbers on a clockface. Upon closer inspection, each of the 10 shapes is a circle about

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00:02:49

Description of Plaques, 1981–84

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: In the early 1980s, Jenny Holzer began presenting her text series "Living," from 1980 to 1982, and "Survival" from 1983 to 1985, on plaques of cast bronze and aluminum, and enamel on metal. The bronze and aluminum works are rectangular in shape, on average ten inches wide and 8 inches tall. Depending on their material, most of each plaque’s surface is roughly textured like an orange peel, and colored dark bronze or charcoal

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00:06:05

Description of 26, 2019

Solomon R. Guggenheim Museum ·

2024/08/07

Access a slow-looking exercise of this work. Transcript Narrator: This painting by Jenny Holzer from 2019 is titled "26." On rectangular paper, measuring about 3 feet tall by just over 2 feet wide, are markings of graphite and dark blue watercolor. The most prominent in the composition is the blue watercolor, painted in thin, horizontal lines against the ivory paper. The lines run through the right quarter of the paper until they seem to spill off its right edge. The lines are slightly irregular

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684 results