Word: guggenheim
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Marco Rosin is a little nervous about uprooting the lady of the house. In this case, he's not referring to the legendary art patroness Peggy Guggenheim, whose body lies buried next to those of her beloved Lhasa Apsos-including Cappuccino, Peacock and Sir Herbert-in the garden of her Venice palazzetto. Instead, on this warm June afternoon, the Peggy Guggenheim Collection registrar's charge is Alberto Giacometti's 1.5-m bronze Standing Woman, 1947, whose elegantly elongated frame appears like an apparition a few meters from Guggenheim's grave, where it usually guards the benefactress' Byzantine garden seat...
...Standing Woman is one of five works (the others are sculptural pieces by Heinz Mack and G?nther Uecker, and paintings by Jackson Pollock and Lucio Fontana) that have traveled all the way from Venice to Melbourne for the National Gallery of Victoria?s blockbuster show, "Guggenheim Collection: 1940s to Now," which opened June...
...Comprising 68 artists, from earnest Abstract Expressionists to punning Postmodernists, the show follows a similar pattern to the one seen in Bonn earlier this year, and commemorates the 70th anniversary of the Solomon R. Guggenheim Foundation, the New York-based art behemoth that has spread its museum tentacles to Bilbao, Berlin, Las Vegas and, perhaps next, Abu Dhabi. But what makes these five works stand out is not only the fascinating fingerprint of one of the 20th century's most influential collectors but the almost unbelievable logistics of bringing the works (conservatively valued at $15.3 million) by crane, boat, truck...
...custom-built fireproof pine case. In Venice, the five boxes were lifted by crane onto a barge in front of the museum and borne to the port of Tronchetto, from where they were trucked to Frankfurt to join a cargo flight with about 50 crates from Guggenheim Museum Bilbao. Watching every inch of the way to Melbourne was Rosin-"kind of like a dog," he says. When his prizes were delivered at the NGV, Rosin allowed the crates to acclimatize for 24 hours before completing his color-coded condition reports. Only then could installation begin. "You go to an exhibition...
Once you get inside, classical references are out, plunging diagonals are in. And though the gallery spaces are intricately conceived, they don't compete with the art, a complaint that's been raised against Frank Gehry's Guggenheim Museum Bilbao and Daniel Libeskind's addition to the Denver Art Museum. "I wanted a building that artists would appreciate," says Holl. So at eye level the galleries maintain their composure. It's overhead where he gets busier, playing with tilted ceilings and oversize curving alcoves that operate like cloud formations--meaning there's always something interesting going on up there...