Old Post #2 - gargling guggenheim

Written Saturday

I visited the Guggenheim museum in New York yesterday and I enjoyed the experience much more than many other museums I have visited. What stood out for me was the architectural layout, which contrasted with other museums in allowing an openness of meaning in the art itself. The interior is a uniform matte white, with 6 ‘levels’ of art, unified by a spiraling mezzanine. Generally, it avoids flat walls and corners at right angles. The layout operates in two moves. The first creates an economy of attention, the second shows where to focus that attention. The meaning of the space is connected to other spaces with similar functions: it stands out as an expression of fluidity, and a desire to break with uniformity. Essentially, the physical building draws attention to the space itself, makes the space a point of consideration in the experience of the art on the walls. Then, the color of the walls redirects that focus by erasing itself: the white signifies a lack of attention, or at least a desire to avert eyes from itself. Rightly, the space recognizes its participation in creating meaning, and then takes steps away from that power.

Part of what makes art enjoyable is its openness to interpretation, which allows a potential point of identification for a number of viewers while at the same time drawing them together around a particular expression. My favorite art at the Guggenheim drew attention to different forms of meaning: methodological, as well as visual elements other than that on the surface. The building opens the art by avoiding strict genre and historical divisions, while levering open the spatial divisions which divide other museums. The central rotunda that links all the galleries is ringed by a spiraling ramp that avoids stairs and walled off spaces: the walkway allows each gallery space to be experienced as a progression of movement, rather than abrupt transition. The associations between individual works, artists and sections remains available for interpretation, rather than having those associations negated by more abrupt walls or doors.

Duncan