Discover the most popular and inspiring quotes and sayings on the topic of Guggenheim. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Guggenheim Quotes And Sayings by 93 Authors including George Gaylord Simpson,John Oates,Jim Woodring,Lewis H. Lapham,Jerry Saltz for you to enjoy and share.
I have a debt, a loyalty to the museum; the best place for me to do what I wanted to do.
You don't want to pitch a tent and live inside the Louvre. You want to check it out, appreciate it, and move somewhere else.
That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I've paid homage to it many times in my drawings.
I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
Vehement silhouettes of Manhattan - that vertical city with unimaginable diamonds.
The Metropolitan Museum of Art is unsurpassed at presenting more than 50 centuries of work. I go there constantly, seeing things over and over, better than I've ever seen them before.
I currently live in the Plaza in New York and I love it - all that history, all those interesting stories.
East 103rd, New York, New York
Abstract art: a construction site for high fashion, for advertising, for furniture.
The skyscraper establishes the block, the block creates the street, the street offers itself to man.
the basement. Katz
only slightly less magnificent than the neighboring palazzo.
What is more dramatic, even romantic, than the tumbled towers of lower Manhattan, rising suddenly to the clouds like a magic castle girdled by water? Its very touch of jumbled jaggedness, its towering-sided canyons, are its magnificence.
Participant Inc. gallery,
i am a museum full of art but you had your eyes shut
The gallery is generating work for the masses.
Venice is the perfect place for a phase of art to die. No other city on earth embraces entropy quite like this magical floating mall.
But with Celine, she managed to amass a collection of a thousand pieces, each one hand-selected for its historical value and beauty, and then turn her apartment into a masterpiece that you could sit back and enjoy. She wasn't just a collector, she was a curator.
CASTLES IN THE AIR Laurie
I wanted to improve the suburban office building; to create a great urban space in a suburban environment with all that implies about interaction, collaboration and creativity.
Many years ago, we were only able to build boxes. Today, architects from all over the world are working with us - Zaha Hadid from London, Gerkan, Marg and Partner from Hamburg, Kengo Kuma from Japan. We brought design and digitalization from abroad to China.
The skyline in Alfred Hitchcock's 'Rope' is made up: no, you don't get the Waldorf and the Chrysler and the Empire State buildings and a dozen other magnificent structures in one window.
I've become convinced that Los Angeles is going to become the next contemporary art capital - no other city has more contemporary gallery space than Los Angeles. We've come into our own, finally.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
Then, the stunningly white cubes that make up the Getty Museum. It's an architectural masterpiece funded by a venal billionaire's trust, housing third-rate art. Pure L.A.: might makes right and packaging is all. Traffic
42nd Street with its quarter mile of marquees offering porn of all types, colors, sizes, and flavors.
I adore my apartment in New York. It was a ballroom that I remade, so it's like a loft but done by Louis the Fifteenth.
Gardette-LePrete Mansion is
We live in a world of crisis, of challenge, and ... it's in our galleries that we can unpack the civilizations that we're seeing the current manifestations of.
I search for surprise in my architecture. A work of art should cause the emotion of newness.
10 East 53rd Street
I can pick out people in this city to follow. I can be in a show at the Museum of Modern Art, my space in the Museum of Modern Art is my mailbox, my mail is delivered there. Whenever I want mail, I have to go through this city to get my mail.
The implausible, well-nigh-miraculous functioning anarchy that we know as New York is adorned with every excellence of Western art. It is a city of manifold suggestions, which ministers to every ambition, engenders a thousand talents, nurtures ingenuity and experimentation.
Museums, I love museums.
MFA programs are to the world of art what gentrification is to your neighborhood.
I sometimes go and sit there. it is my museum of broken things.
Good evening, and welcome to a private showing of three paintings, displayed here for the first time. Each is a collectors' item in its own way - not because of any special artistic quality, but because each captures on a canvas, and suspends in time and space, a frozen moment of a nightmare.
The Whitney is a museum that has a great rapport with younger artists and the community.
I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.
My sculpture thrives in the context of the city, interacting with people in the course of their daily lives.
Santiago Martinez Delgado made a Master piece in the Colombian Congress building worthy of admiration ...
It agitates me that the skyline there is forever our limit, I long for the power of unlimited vision ... If I could behold all I imagine.
By night the skyscraper looms in the smoke and the stars and has a soul.
Marc Jacobs is full of creative people and Louis Vuitton is again a name on the door, a name that has existed for many years but I'm a collaborator there and I bring in other people, other artists and I work with a great creative design team.
Someday my paintings will be hanging in the Louvre. [Vincent Van Gogh]
Downtown Toronto is a very good place to talk about the neutrality of modernist architecture. I'm sure this kind of box-building was interesting in the Twenties, Thirties and Forties, but I think it's absolutely ridiculous to build like this in 2013.
I have admired David Bromley's work for years. He possesses such a wild and vivid imagination and really sees the beauty in everything.
Skyline reveals a city's purpose and character. Oxford had its dreaming spires; Manhattan its glittering towers; Edinburgh its eccentric spikes.
The terrifying and edible beauty of Art Nouveau architecture.
The privilege I've had as a curator is not just the discovery of new works ... but what I've discovered about myself and what I can offer in the space of an exhibition - to talk about beauty, to talk about power, to talk about ourselves, and to talk and speak to each other.
The art galleries of Paris contain the finest collection of frames I ever saw.
Forty Wall Street is probably the most beautiful tower in New York.
Sometimes Peggy herself would sell tickets to her museum, and if tourists asked her if Mrs. Guggenheim was still alive, she'd assure them she wasn't.
The best thing about my apartment is that it looks over Oscar de la Renta and all the shops.
Department, 557 Broadway, New York, NY 10012.
whose work also hangs in numerous museums.
Between 7th and 8th Streets, and then the location of the
A painting is worth a thousand confused art-gallery visitors.
I want people to get inspired by public space - their space. People tend to forget about it because they do the daily thing, but putting up these sculptures breaks the routine.
Warren Street was at the high end of the New Romantic scene. They were mostly college art students and people who knew top designers.
exhibition. Lake Eden.
Often the art in New York is related to the buildings, to grandiose things.
. . . my underlying, not-so-hidden agenda is to help enhance and enrich the encounter of the museum-goer with enduring objects, in a time when we all seem to be assailed by random noise and flickering images.
I saw Joseph Cornell's lyrical work for the first time at the Museum of Modern Art in the late seventies and have internalized many of his boxes.
The galleries are simply corporations in the art world - "Here's a million dollars for this latest piece of crap" - but I'm not about to go along with the gallery system.
But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.
Long-time professor of architecture at the University of California, Berkeley, Chris Alexander
Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul.
Everywhere you walk, every place you go is full of art, explicit or hidden! If you can see them, you will be the richest art collector and your memory will be the richest art gallery!
The new building housing the store. The
side of Vicki's, with Alfred on the other,
I have a long history with Soho: even when I was at art college, I came down to Soho to work in the summer.
A walk down 14th street is more amazing than any masterpiece of art.
Museums are custodians of epiphanies, and these epiphanies enter the central nervous system and deep recesses of the mind.
But if I had to choose a single destination where I'd be held captive for the rest of my time in New York, I'd choose the Metropolitan Museum of Art.
On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.
What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.
A lot of our insights are based on the ways in which people spend time at museums. They're curious, open, interested, and engaging. They want to express themselves and see their own identity refracted through the museum's.
The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.
Due to the failure of politics, which has become a process of middle-management, art has become one of the last open spaces to question core beliefs and to design a viable future. Art becomes an open space where we can ask fundamental questions about ourselves.
The greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation's effort, than the inspired flash of a man of genius ...
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
In a cement park across the street is this giant sculpture. It is a giant umbrella frame lying on its side. It's green. Stand under it, during a rainstorm, you'll still get wet - that's why it's art.
Museums that aren't perfect are the ones that I love. Museums that aren't overdesigned. I always like to visit the strange, odd museums. In New York, the Frick is absolutely my favorite, favorite place because I like to think that it was someone's home not that long ago.
A perfect piece of architecture kindles that aimless reverie, which bears the soul we know not whither.
I can't get over the exciting beauty of New York - the pencil buildings so high and far that the blueness of the sky floats about them; the feeling that one's taxis, and shopping, all go on in the deep canyon-beds of natural erosions rather than in the excrescences of human builders.
I love the gallery, the arena of representation. It's a commercial world, and morality is based generally around economics, and that's taking place in the art gallery.
Open spaces sing to my heart
of the art of nature and the nature of art.
This is no ordinary gallery; a stellar infinity impeccably well-organized to harbor spontaneity.
A woman's quest in life should be to find the perfect apartment. And I have found the perfect apartment. The perfect apartment is the first floor of the Metropolitan Museum. With a sofa.
Friday's "Working Lunch" is at The Avenue on St James's Street. It's a bit like eating in an art installation, a White-Out affair that tries for a So-Serious NYC feel, but is occupied by Daddy's Girls wearing pashmina's and too many Pin Stripes worn by too many people called Hugo.
Brownsville, having missed their road and wandered in the
Melbourne, where I grew up, is one of the street art capitals of the world. Something about discovering freshly painted walls always fills me with optimism; it's autonomous and democratic, and reminds me that maybe people are paying attention after all.
That's the place where the books are made, I thought. That's also where Allen Ginsberg offered a friend of mine a Fig Newton outside a deli in the East Village. By the time I first came to New York, I was already half in love.
There's something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.
I started photographing men in 1964. Fourteen years later I got a Guggenheim, even so no one would publish the male nudes.
There are so many things in the world - in the cities - so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make.
Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease.