View allAll Photos Tagged objectivity
+ the way the grained filter +5.4 and the induced brightness +6 made the picture have a painting look
- more contrast
Quantitative measure of time intervals in which observable change occurs.
It is 9:55 AM. Time to make some coffee and breakfast!
+a nice soft filter
-weird cropping
16/20
Reticulation:
Density - 0
Background - 0
foreground - 0
I put that filter over its self a few times(on accident, but it looks good anyway)
Early years and Hilla Rebay
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Solomon R. Guggenheim, a member of a wealthy mining family, began collecting works of the old masters in the 1890s.[7] In 1926, he met artist Hilla von Rebay,[7][8] who introduced him to European avant-garde art, in particular abstract art that she felt had a spiritual and utopian aspect (non-objective art).[7] Guggenheim completely changed his collecting strategy, turning to the work of Wassily Kandinsky, among others. He began to display his collection to the public at his apartment in the Plaza Hotel in New York City.[7][9][10] Guggenheim and Rebay initially considered building a museum at Rockefeller Center in Manhattan.[8] As the collection grew, Guggenheim established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art.[8][9][11]
Albert Gleizes, 1915, Composition for "Jazz", oil on cardboard, 73 × 73 cm
The foundation's first venue, the Museum of Non-Objective Painting, opened in 1939, under Rebay's direction, at 24 East 54th Street in midtown Manhattan.[8][11][12] Under her guidance, Guggenheim sought to include in the collection the most important examples of non-objective art by early modernists.[7][9][13] He wanted to display the collection at the 1939 New York World's Fair in Queens, but Rebay advocated for a more permanent location in Manhattan.[8] By the early 1940s, the foundation had accumulated such a large collection of avant-garde paintings that the need for a permanent museum was apparent,[14] and Rebay wanted to establish it before Guggenheim died.[8]
Design process
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In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house and display the collection.[15][16] Rebay thought the 76-year-old Wright was dead, but Guggenheim's wife Irene Rothschild Guggenheim knew better and suggested that Rebay contact him.[17] Wright accepted the opportunity to experiment with his "organic" style in an urban setting, saying that he had never seen a museum that was "properly designed".[18] He was hired to design the building in June 1943.[15][19][20] He was to receive a 10 percent commission on the project, which was expected to cost at least $1 million.[20] It took him 15 years, more than 700 sketches and six sets of working drawings to create and complete the museum, after a series of difficulties and delays;[21][22] the cost eventually doubled from the initial estimate.[23]
Rebay envisioned a space that would facilitate a new way of seeing modern art. She wrote Wright that "each of these great masterpieces should be organized into space, and only you ... would test the possibilities to do so. ... I want a temple of spirit, a monument!"[24][25] Critic Paul Goldberger later wrote that Wright's modernist building was a catalyst for change, making it "socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim."[26] The Guggenheim is the only museum Wright designed; its urban location required him to design it in a vertical rather than horizontal form, far different from his earlier, rural works.[27] Since he was not licensed as an architect in New York, he relied on Arthur Cort Holden, of the architectural firm Holden, McLaughlin & Associates, to deal with New York City's Board of Standards and Appeals.[28]
Staircase at the Vatican Museums designed by Giuseppe Momo in 1932
From 1943 to early 1944, Wright produced four differing designs. One had a hexagonal shape and level floors for the galleries, though all the others had circular schemes and used a ramp continuing around the building.[29][30][a] In his notes, he indicated that he wanted a "well proportioned floor space from bottom to top—a wheel chair going around and up and down".[18][20][31] His original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia.[18][27] Several architecture professors have speculated that the helical ramp and glass dome of Giuseppe Momo's 1932 staircase at the Vatican Museums was an inspiration for Wright's ramp and atrium.[32][33][34]
Site selection and announcement of plans
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Wright expected that the museum would be in lower Manhattan.[35] Instead, in March 1944, Rebay and Guggenheim acquired a site on Manhattan's Upper East Side, at the corner of 89th Street and the Museum Mile section of Fifth Avenue, overlooking Central Park.[20][36][37] They considered numerous locations in Manhattan, as well as the Riverdale section of the Bronx, overlooking the Hudson River.[20][38] Guggenheim felt that the Fifth Avenue site's proximity to Central Park was important, as the park afforded relief from the noise, congestion and concrete of the city.[27] Wright's preliminary sketches fit the site nearly perfectly, although the site was about 25 feet (7.6 m) narrower than what Wright anticipated.[39] Guggenheim approved Wright's sketches in mid-1944.[20] Wright called the planned building an "Archeseum ... a building in which to see the highest".[37][40]
Wright's designs were announced in July 1945,[37] and the museum was expected to cost $1 million and be completed within a year.[41] The structure's main feature was a main gallery with a helical ramp, surrounding a lightwell with a skylight.[41][42] Guests would board an elevator to reach the top; a second, steeper ramp would serve as an emergency exit.[20] There would be a movie theater in the basement, an elevator tower topped by an observatory, and a smaller building featuring a smaller theater,[43] in addition to storage space, a library and a cafe.[41][44] Preliminary plans also included apartments for Guggenheim and Rebay, but these plans were scrapped.[43] Guggenheim acquired an additional parcel of land on 88th Street that July.[45] Wright built a model of the museum at Taliesin, his home in Wisconsin,[46] and displayed it at the Plaza Hotel that September.[47][48]
Difficulties
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The building's construction was delayed, first because of material shortages caused by World War II,[45][49] then by increasing construction costs after the war.[43][45] By late 1946, Guggenheim and Rebay had redesigned the basement theater to accommodate concerts.[49] Rebay and Wright disagreed over several aspects of the design, such as the means by which the paintings were to be mounted,[45][50] although they both wanted the design to "reflect the unity of art and architecture".[51] Wright continued to modify his plans during the late 1940s, largely because of concerns over the building's lighting, and created another model of the museum in 1947.[52] The collection was greatly expanded in 1948 through the purchase of art dealer Karl Nierendorf's estate of some 730 works.[13]
Progress remained stalled through the late 1940s,[53] and William Muschenheim renovated an existing townhouse on the site, at 1071 Fifth Avenue, for the museum's use.[53][54] Guggenheim's health was in decline, but he refused Wright's offer to downsize the planned building so it could be completed during Guggenheim's lifetime.[52] After Guggenheim died in 1949, members of the Guggenheim family on the foundation's board of directors had personal and philosophical differences with Rebay.[55] Under Rebay's leadership, the museum had become what Aline B. Saarinen described as an "esoteric, occult place in which a mystic language was spoken".[56][57] Some of the museum's staff and trustees wished to oust Rebay and cancel Wright's design.[53][54] Wright, however, persuaded several members of the Guggenheim family to acquire additional land on Fifth Avenue so his design could be developed in full.[53][58]
To accommodate the growing collection, in August 1951 the Guggenheim Foundation acquired an apartment building at 1 East 88th Street to remodel for museum use.[59][60] It now owned a continuous frontage on Fifth Avenue from 88th to 89th Street.[60][61] This prompted Wright to redesign the new building yet again, proposing a multi-story annex with apartments behind the museum.[53][61][51] The foundation also announced that the museum would start exhibiting "objective" works of art, as well as older artwork.[57][62] Rebay, who disagreed with this policy, resigned as director of the museum in March 1952.[63][64] Nevertheless, she left a portion of her personal collection to the foundation in her will.[65] Shortly after Rebay resigned, Wright filed plans for the building, which was now projected to cost $2 million.[23] It was renamed the Solomon R. Guggenheim Museum in 1952.[55]
Sweeney era
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James Johnson Sweeney was appointed the museum's director in October 1952.[66][67] He expanded the foundation's collecting criteria, rejecting Rebay's dismissal of "objective" painting and sculpture,[68][69] and started exhibiting some of the works placed in storage under Rebay's leadership.[57][70] In 1953, the museum hosted a retrospective of Wright's work, "Sixty Years of Living Architecture",[71][72] in a temporary pavilion Wright had designed.[73][53]
Construction and opening
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Photo of the construction, November 12, 1957
Sweeney and Wright had a strained relationship, as they disagreed over basic elements of the museum's plan.[53][74] Sweeney, who believed its architecture should be subservient to the art, forced Wright to redesign it to accommodate more offices and storage facilities.[74] The building's lighting was a significant point of contention between them.[75][76] The New York City Department of Buildings (DOB) also rejected Wright's application for a construction permit in 1953 because the design did not meet building codes.[77] Wright tasked Holden with ensuring that the design met codes[78] and published revised drawings in 1954 and 1956.[79] Museum staff nevertheless complained that Wright's design did not provide enough storage or laboratory space.[77] To save money, he modified the design again in 1955, though these savings were canceled out by increasing construction costs.[76]
Four general contractors submitted bids in late 1954,[76] and the foundation ultimately hired the Euclid Construction Corporation.[80][73] The museum rented the Oliver Gould Jennings House at 7 East 72nd Street and relocated there before construction began.[76] On May 6, 1956, demolition of the site's existing buildings began.[80][81] The DOB issued a construction permit on May 23,[76] and work on the museum began on August 14.[73][76] Wright opened an office in New York City to oversee the construction, which he felt required his personal attention, and appointed his son-in-law William Wesley Peters to supervise the day-to-day work.[53][73] In practice, neither Wright nor Peters visited the site frequently, so Holden's William Short ended up managing the project.[76]
Sweeney wanted the new museum to allow "building up a collection which offers up a standard of judgment".[82] He wanted to change the color scheme, level out the sloping walls and remove the clerestory windows, which led to prolonged disputes with Wright.[83][84][85] By early 1958, Harry F. Guggenheim had to handle all communications between Sweeney and Wright, who would not speak to each other.[84] The building topped out in May 1958,[86][87] and the scaffolding on the facade was removed by that August.[87][88] Meanwhile, Wright published drawings of the design in several architectural magazines, as he feared the design would be compromised after his death.[84][83] Against his request, Sweeney painted the walls white and hung paintings from metal bars instead of placing them directly on the walls.[83][85] The building was Wright's last major work; he died in April 1959, six months before its opening.[89]
The building soft-opened for members of the media on October 20, 1959.[84] It was formally dedicated the next day,[90][91][92] drawing 600 visitors per hour.[92][93] Its design was generally able to accommodate the retrospectives and temporary exhibits that it hosted over the years.[10]
Messer era
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Sweeney resigned as the museum's director in July 1960, citing philosophical differences with the board of trustees,[94][95] and H. H. Arnason took over as temporary director.[57][96] He launched "the first survey of Abstract Expressionism in a New York museum" during his brief time as director.[57][97] Thomas M. Messer, director of the Boston Institute of Contemporary Art, succeeded Sweeney as director in January 1961; he worked under Sweeney, who continued to run the foundation.[98][99] Messer stayed for 27 years, the longest tenure of any director of a major New York art institution.[100] Under his leadership, the museum's collection expanded significantly.[101] The collection pivoted toward more contemporary artists, including those from Europe and Latin America,[101] and expanded in scope to become "New York's second museum of modern art".[102] Messer was not considered "an especially controversial director", though he also did not adhere to "the blockbuster school of exhibiting".[103]
Chalk & Charcoal
Charcoal Area : 10
Chalk Area : 15
Stroke Pressure : 1
Neon Glow
Glow Size : 24
Glow Brightness : 17
Glow Color : Neon Greenish
+ I like the bounce of the green background mixing with the fuzzy black and white of the foreground
- The double rainbow in the background didn't even turn out in the orig
A
Touch the Art, Smell the Art, Move like the Art. . .
The current exhibition at the MU Gallery explores 17 different ways to experience art and artifacts. The show features some of the most recognizable names in contemporary art like:
Andy Warhol
Pablo Picasso
Judy Chicago
And Salvador Dali
Objective: Make as many portraits of people you see on the youth festival "Live for Life". Commisioned
Stephanie Masline
Objective: Think critically and apply my pro-choice, pro-woman, pro-equality ideals to the real world.
Jamaica Plain, MA
Touch the Art, Smell the Art, Move like the Art. . .
The current exhibition at the MU Gallery explores 17 different ways to experience art and artifacts. The show features some of the most recognizable names in contemporary art like:
Andy Warhol
Pablo Picasso
Judy Chicago
And Salvador Dali