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"Peggy Guggenheim"
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Leonora in the morning light
1937. British socialite and painter Leonora Carrington meets Max Ernst, an older, married artist whose work has captivated Europe. She follows him to Paris, and gains recognition under her own name. When Max and his circle are denounced as \"degenerates\" and arrested, Leonora battles terrifying circumstances to survive. 1940. A train carrying exiled German prisoners from a labor camp arrives in southern France, but face capture by the Nazis. Only one man does not flee, determined to ride the train until he reaches home, to find a woman he refers to simply as \"her.\"--Adapted from jacket
BOOK
Was Peggy Guggenheim Jewish? Art Collecting and Representations of Jewish Identity In and Out of Postwar Venice
Peggy Guggenheim (1898–1979), born into the wealthy New York German-Jewish circle portrayed in Stephen Birmingham's Our Crowd, set up permanent residency for herself and her extensive modern art collection in Venice in 1947. Her biography and her representations, by herself and others (some of them anti-Semitic), offer clues about her identity as a Jewish woman and shed light on the shifting identities of modern, secular Jews in the twentieth century.
Journal Article
The unfinished palazzo : life, love and art in Venice : the stories of Luisa Casati, Doris Castlerosse and Peggy Guggenheim
Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Venier family waned and the project was abandoned with only one storey complete. Empty, unfinished, and in a gradual state of decay, the building was considered an eyesore. Yet in the early 20th century the Unfinished Palazzo's quality of fairytale abandonment, and its potential for transformation, were to attract and inspire three fascinating women at key moments in their lives: Luisa Casati, Doris Castlerosse and Peggy Guggenheim. Each chose the Palazzo Venier as the stage on which to build her own world of art and imagination, surrounded by an amazing supporting cast, from d'Annunzio and Nijinsky, via Noel Coward and Cecil Beaton, to Yoko Ono.
Book
A Life Cycle and Economic Assessment of the Peggy Guggenheim Collection in Venice for Environmental and Economic Sustainability
This paper applies selected methodologies for the measurement of the environmental and economic sustainability of the Peggy Guggenheim Collection (PGC) in Venice with a view to assessing the PGC’s sustainability and commitment to implementing selected SDGs. To assess environmental sustainability, a life cycle assessment (LCA) has been carried out. The museum is conceptualized as a “firm” that produces several outputs and needs several inputs. The results provide the number of annual CO2e (and other pollutants) emissions linked to the regular activity of the museum. The environmental cost (in EUR), linked to the impacts obtained from LCA, has been calculated. To assess economic sustainability, a survey and econometric methods were used to value services directly generated by the museum, and input/output methods were used to compute the direct and indirect impacts on the local economy. Nonetheless, PGC visitors (those who travel to Venice with the main objective of visiting the PGC) contribute to around 1.2%/1.4% of Venice’s GDP. The results from input–output tables show that, although the final demand generated by the PGC’s own activities amounted to about EUR 620 million in 2022, the economic benefits of the PGC beyond this final demand are significant and very positive due to carry-over effects. Specifically, the PGC leads to an increase in GDP of around EUR 1.200 million, with a multiplier of 1.9. In terms of employment, around 8200 jobs are associated with the presence of the PGC. The net public finance revenue also clearly benefits, with a net income of around EUR 150 million in 2022. Comparing both the environmental and economic impacts of the PGC, one can conclude that the annual activities performed by the museum are highly sustainable, with the economic pillar strongly offsetting the costs generated using natural resources. The creation of economic value, therefore, is generated in respect of environmental boundaries, even if some minor flaws can be highlighted. The connection between museums and sustainable development goals is highly recognized. The findings show the PGC’s commitment to achieving and implementing selected SDGs, including SDG 4, SDG 11, and SDG 16, by implementing actions and strategies that are aligned with these goals.
Journal Article
Talking prices
How do dealers price contemporary art in a world where objective criteria seem absent?Talking Pricesis the first book to examine this question from a sociological perspective. On the basis of a wide range of qualitative and quantitative data, including interviews with art dealers in New York and Amsterdam, Olav Velthuis shows how contemporary art galleries juggle the contradictory logics of art and economics. In doing so, they rely on a highly ritualized business repertoire. For instance, a sharp distinction between a gallery's museumlike front space and its businesslike back space safeguards the separation of art from commerce.
Velthuis shows that prices, far from being abstract numbers, convey rich meanings to trading partners that extend well beyond the works of art. A high price may indicate not only the quality of a work but also the identity of collectors who bought it before the artist's reputation was established. Such meanings are far from unequivocal. For some, a high price may be a symbol of status; for others, it is a symbol of fraud.
Whereas sociological thought has long viewed prices as reducing qualities to quantities, this pathbreaking and engagingly written book reveals the rich world behind these numerical values. Art dealers distinguish different types of prices and attach moral significance to them. Thus the price mechanism constitutes a symbolic system akin to language.
eBook
Chronology: Jackson Pollock’s Mural, Peggy Guggenheim’s Commission for the East Sixty-First Street Site and Subsequent History to October 1951
Going beyond previous chronologies of Jackson Pollock’s life and work, this chronology focuses on the history of Mural, starting with Peggy Guggenheim’s commission for the entrance hall of her New York residence at 155 East Sixty-First Street and including relevant history of her Art of This Century gallery. While serving as a program officer at the Andrew W. Mellon Foundation (which purchased the property and adjoining brownstones in 2002 for conversion to office space), Rudenstine initiated an extensive study of the history of the work and the site (in collaboration with Charles A. Platt, architect, and Erin Rulli, consultant in preservation of historic properties), establishing an authoritative ground plan of the entrance hall with location and precise dimensions of the wall on which Mural was installed. In tracing the handling of Mural (including material from archival records), and critical access to it from 1943 until its arrival at the University of Iowa in 1951, Rudenstine establishes significant new information.
Journal Article
Painting in the Round
This article considers Mural in tandem with Jackson Pollock’s collaborations with the architects Peter Blake, Marcel Breuer, and Tony Smith. The aim is to show how this commission for Peggy Guggenheim freed the artist to engage with an eclectic European legacy, one that included émigré artists as diverse as Piet Mondrian, Frederick Kiesler, and Hans Richter, who variously troubled ideas about medium specificity in order to establish space as an expansive force-field defined by something other than enclosure. The text is organized around three specific works: Mural (1943) and the consequences of the Getty’s decision to give the painting a subtly shaped stretcher; Mural on Indian Red Ground (1950) installed at Breuer’s Geller House I, the only other architectural commission that Pollock ever realized; and Number 29, 1950 (1950), an experiment in painting on glass that the artist created while being filmed by Hans Namuth. Together, these works show how Pollock came to understand painting’s status as a wall and the conditions governing its installation in the kind of open plan, glass architecture popularized by Mies van der Rohe in the United States at mid-century.
Journal Article
“A Kinetic Pleasure”: Jackson Pollock’s Mural as Critical Intertext
Many key parameters for Jackson Pollock’s “comet”-like trajectory first became established in 1943, the year he painted Mural. Close friendship with photographer Herbert Matter gave Pollock access to sculptor Alexander Calder and curator/critic James Johnson Sweeney, who recommended him to Art of This Century gallery. Concepts involving “a kinetic pleasure—the rhythmic gesture,” displayed at two Museum of Modern Art exhibitions held during the creation of Mural (each organized by Sweeney and designed by Matter), appear crucial to the success of Peggy Guggenheim’s painting. One of these exhibitions focused on Calder and another presented and defined concepts of Action Photography. Hans Namuth’s famous photos of Pollock at work demonstrate his conversion by 1950 of what Sweeney had termed Calder’s “primitive strength of rhythmic evocation,” and utilization of the “unpredictable nature of natural movements and the esthetic possibilities of the unexpected” into an unprecedented externalization of psychological and bodily experience generative of art’s subsequent focus on performativity.
Journal Article
Contributi : il restauro della \Boîte-en-valise\ di Marcel Duchamp della Peggy Guggenheim Collection di Venezia : un’esperienza multidisciplinare nell’ambito della conservazione delle opere polimateriche del XX secolo
\"Spesso pensavo che sarebbe stato molto divertente andare a trascorrere un fine settimana portandosi dietro quella valigia, invece della solita borsa che si riteneva indispensabile,\" osserva Peggy Guggenheim nella sua autobiografia. E a quella valigia da portare sempre con sé la celebre collezionista doveva essere molto legata, non solo perché acquista la prima dell’edizione deluxe e promuove l’intero progetto, ma soprattutto perché è opera del suo consigliere e amico Marcel Duchamp, un’amicizia che ha consegnato alla storia uno dei tandem più importanti e rilevanti nel mondo dell’arte del XX secolo.
Journal Article
Three Kinds of Motion
Book-length essay chronicles Jackson Pollock, Jack Kerouac, and the origin of America's highway system.
eBook