Series - Virtual Museum: Guggenheim

Updated: May 10, 2020

Series 1

Walk- through of the Solomon R. Guggenheim Museum and Foundation in New York from our laptops!

These difficult times aren't disabling us to see museums even though we can't go outside at the moment. Please enjoy these series called ' Virtual Museum' where I will add a new post every week of a new art museum I visit.

Mapa-Múndi/BR (Postal) - Rivane Neuenschwander 2007

Ovitz’s Library - Jonas Wood

Jonah Wood’s ‘Ovitz Library’ explore relationships between people and domestic spaces, capturing interiors, family, façades and cluttered tables. As the process of the painting, Wood creates compositions of photographs and collages before serving the basis for drawings. The cumulative effect of these layered actions is a flattened perspective, multiple points of view, and a subtle psychological charge.

In Ovitz’s Library (2013), Wood’s memory of the subject mediates his relationship to the space, as well as the ways that the owner is manifested through his home and possessions. In this pseudo object-portrait, the collector’s aesthetic tastes and reading habits are all on display. Wood relates another dimension of the vital connection people form with the spaces they inhabit.

Series of Vulnerable Arrangements—Voice and Wind - Haegue Yang 2009

In Series of Vulnerable Arrangements—Voice and Wind (2009), Yang’s use of blinds and fans alludes to the concept of home, while simultaneously partitioning the space and dividing viewers from their surroundings and each other. Yang questions why mass production would attempt to capture sensations that are variable, culturally bound and sublime.

Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang’s works reflect the transitory nature of the artist’s own experience of living and working in multiple locations. The domestic materials are unfettered from their mundane roles, engaged as elements of an artwork meant to provoke subjective associations by bringing the private into the public realm. Interspersed amid the subtle sway of the blinds are chemically manufactured scents, emanating from commercial scent emitters and branded with names like Buddha Temple and Ocean Mist.

360 VR experience of the Museum!

Give it a go yourself...

Drifting Ashen Flake Opaque -

Lee Bul 2008

LeBull, (sculptor) creates fantastic constructions evoking future worlds. She assembles turbulent, ornate visions from an array of materials, producing hybrid biological and technological forms in perpetual states of invention, metamorphosis, and ruin. Lee is fascinated by modern society’s dreams of utopia and by their melancholic failures.

Her work draws on a trove of Asian and Western literary, philosophical, and popular-culture explorations of utopia, dystopia, and post-humanity. This artwork is a multimedia project that includes dioramas of urban constructions in states of deformation and collapse. Translated as “my grand narrative,” the title refers to philosopher Jean-François Lyotard’s theory of the postmodern age, in which fragmentary, localised “small narratives” resist the absolutist meta narratives of modernism.

The Circle of Fires - Juan Downey 1979 John Downey is known for a pioneering video artist working on different mediums such as drawing, electronic media, installation, painting, performance and printmaking. The Circle of Fires is created using multi- monitor design, Downey’s video installation encourages viewers to see themselves not as outsiders, but rather as existing within the represented community.

Morning Glory - Sopheap Pich 2011

Sopheap Pich was born in Battambang in Cambodia (an agricultural town) but ended up settling in United States after his family was a refugee at the end of the Khmer Rouge’s reign. When he returned, he created pieces through the use of rattan and bamboo, which were familiar materials form Khmer rural life. Where these materials would be used for functional everyday objects such as baskets and fish traps. Pich’s artistic taste bridges the aesthetic between the two. Repurposing these basic components of Cambodian life, he installs the countries’ shared experience with renewed life.

In Morning Glory (2011), the plant is rendered at monumental scale. Considered a weed by gardeners, it is a plant that, like Pich’s bamboo and rattan, is generally regarded as unexceptional. Transforming the rigid stalks into a more malleable substance, Pich treats the material like a line, making a drawing in space. In its metamorphosis, this spare structure refutes its lightweight appearance with a strength that infuses Cambodian life and culture.

Stay in touch for weekly visual museum tours for amazing sculptures, paintings, interiors and artworks from all over the world!

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