Guggenheim | Inspiration Galore

Continuing on my journey of discovering inspirational and creative spaces, I ventured to The Guggenheim, a staple of the New York City art scene since its opening in 1959. Not only is the architecture of this building stunning, the interior aestheticism will take you for a spin (literally).

Upon entering this beautiful behemoth of spiraling gallery space, museum goers are escorted into an elevator and taken up to the sixth floor in order to begin their descent down each floor of exhibitions. The unique architecture of the space is an experience in itself, the unconventional rotunda design provides visitors a fluid sense of interacting with the contemporary collections in a way that feels more personal. As I began working my way down each floor I couldn't help but notice the amount of young artists that stood along the sidelines, sketchbook and pencil in hand, consumed with the artwork in front of them in attempt to find inspiration in the work of the greats. Frank Lloyd Wright, the architect behind the art museum, sought to elevate and enhance the human experience through his designs and I must say he succeeded.

Vision by Alphonse Osbert

From Van Goh to Picasso and every great artists in-between the stark contrast of the slanting white walls and the modernism adorning them draws your undivided attention into each individual piece. As I was working my way past Calder and Pollock, I noticed something ahead, something that didn't match the rest...was that a burgundy hallway in the distance? Yes, it was in fact and it led to my favorite exhibition, Mystical Symbolism: The Salon de la Rose+Croix in Paris 1982-1987. The exhibition space features works that take a step away from the contemporary and more modern art of the main space of the Guggenheim and takes you to a more magical and extravagant artistic point of view. With blue velvet sofas accenting the space and beautiful frames surrounding the paintings, I was completely enamored with the change in atmosphere.

The Death of Orpheus by Jean Delville

Personage by Joan Miró

Stepping back into the main space, I continued in my journey through contemporary art and I had a startling realization. I realized how many people move through the museum as quickly as possible without noticing the very short, yet in depth descriptions written about specific works of art that hide within them insight into the minds of artists and their creative process. As an artist I believe it is imperative to understand how other creative minds work, because that open-mindedness allows for the flow and exchange of creative energy. The beauty behind visiting an art museum is just that, allowing yourself to be immersed into the inner-world of an artist through each and every work of art they produce because those canvases are an extension of their being.Although some may joke and ask, "How does this piece make you feel?" that is the point of art to my understanding; creating a piece of work that makes someone feel something, whatever that may be.

Take Miró for example in the above description of his creative process, without reading the description how could one understand the process behind the abstract Personage painting? Now I'm not saying that every artist has to go through a hunger-induced hallucination to create art, but there is beauty in such madness.

The Guggenheim as an entirety opened my mind to the experience of a space and the impact that has on perception, from the architecture to the pragmatic placement of each piece of work the space speaks to the creative process. After leaving the museum, my interest in the uniqueness of the experience left me with a thirst for wanting to know more in how it all came together. So of course, as any millennial would, I took to my right-hand man Google and it all started to make sense in why the nonsense felt so right. In an excerpt from an article about the museum's architect, Frank Lloyd Wright and his creative process;

Good architecture, Wright wrote in a 1908 essay, should promote the democratic ideal of "the highest possible expression of the individual as a unit not inconsistent with a harmonious whole." That vision animates the Guggenheim Museum. In the course of descending the building's spiral ramp, a visitor can focus on works of art without losing awareness of other museumgoers above and below. To that bifocal consciousness, the Guggenheim adds a novel element: a sense of passing time. "The strange thing about the ramp—I always feel I am in a space-time continuum, because I see where I've been and where I'm going," says Bruce Brooks Pfeiffer, director of the Frank Lloyd Wright Archives in Scottsdale, Arizona.

Every moment of my time within this space made me feel as though I were taken into another realm, one that allowed a pure and personal experience of interacting with art, yet also a very conscious collective experience of existing within the space itself.

Keep it creative xx

P. S.