Guggenheim Quotes

I really did go back to Dresden with Guggenheim money (God love it) in 1967. It looked a lot like Dayton, Ohio, more open spaces than Dayton has.

Some photographers could vomit on a piece of paper and call it art, you know... Hang it in the Guggenheim, or whatever. Sell a print for two hundred pounds? But I can't do that. I just-- Maybe I have too much respect for walls... or something.

I've never given much thought to grants but now that LeRoi Jones has a Guggenheim I have to consider the possibility of a new era, for good or ill. So if you're sitting down there on a bundle of loose cash I'd appreciate any and all advice as to how I might lay my hands on some of it. - in a letter to Richard Scowcroft dated 5/13/1965

I am not going to kill you. First I'm going to beat on you for a few hours. Then I might move on to the cutting.

How could the recipient of two Guggenheims and the author of four novels, a dozen short stories, two musicals, two books on black mythology, dozens of essays, and a prizewinning autobiography virtually “disappear” from her readership for three full decades?

Just because you're paranoid doesn't mean they're not out to get you[?]

He who cannot revenge himself is weak. He who will not is comtemptible.

En eso consiste a menudo la escritura: encontrar tesoros ocultos, dar brillo a los hechos gastados y revitalizar el alma desesperada mediante el soplo de la imaginación.

...talvez el tiempo no pasa, sino que nosotros pasamos a través del tiempo; tal vez el espacio está lleno de presencias de todas las épocas, como decía mi abuela, y todo lo que ha sucedido y lo que sucederá coexiste en un presente eterno.

The disk, of Swiss manufacture, unfolded into a tent whose vast interior defied belief; Less was fascinated by its pockets, air vents, rain flies; its stitching, netting, and circular Guggenheim ceiling. But, like the Swiss, it was neutral; it did not love him back

After considering several possibilities, the astute detective determined that the lovers must’ve walked into the Guggenheim at the precise instant in which the museum entered the dimension of dreams, and they unwittingly fell into a time that is not marked by clocks.

The body is only a garment. How many times you have changed your clothing in this life, yet because of this you would not say that you have changed.

Goldman laid low until the 1927 executions of anarchists and convicted bank robbers Nicola Sacco and Bartolomeo Vanzetti stirred her back into action. With the support of admirers such as novelist Theodore Dreiser and philanthropist Peggy Guggenheim, Goldman began to write her memoirs as a way to reach the public in America. If she could not reach its shores, at least her words could.

The following month, the Guggenheim announced that after a two-decade relationship in which the Sacklers had donated $9 million, the museum would no longer accept any future donations from the family. The same week, the National Portrait Gallery in London revealed that it had turned down a $1.3 million gift from the Sacklers. Two days after the National Portrait Gallery, the Tate announced that it would not “seek or accept further donations from the Sacklers.

The Guggenheim Museum in Bilbao, Spain, looked like something out of an alien hallucination—a swirling collage of warped metallic forms that appeared to have been propped up against one another in an almost random way. Stretching into the distance, the chaotic mass of shapes was draped in more than thirty thousand titanium tiles that glinted like fish scales and gave the structure a simultaneously organic and extraterrestrial feel, as if some futuristic leviathan had crawled out of the water to sun herself on the riverbank.

Peter is still amazed at the degree to which a certain widening gyre of accolades can change an artist's work, literally change it, not just the new stuff but the old as well, the pieces that have been around for a while, that have seemed "interesting" or "promising" but minor, until (not often, just once in a while) an artist is by some obscure consensus declared to have been neglected, misrepresented, ahead of his time. What's astonishing to Peter is the way the work itself seems to change, more or less in the way of a reasonably pretty girl who is suddenly treated as a beauty. Peculiar, clever Victoria Hwang is going to be in Artforum next month, and probably in the collections of the Whitney and the Guggenheim; Renee Zellweger - moonfaced, squinty-eyed, a character actress if ever there was one - was just on the cover of Vogue, looking ravishing in a silver gown. It is, of course, a trick of perception - the understanding that that funny little artist or that quirky-looking girl must be taken with new seriousness - but Peter suspects there's a deeper change at work. Being the focus of that much attention (and, yes, of that much money) seems to differently excite the molecules of the art or the actress or the politician. It's not just a phenomenon of altered expectations, it's a genuine transubstantiation, brought about by altered expectations. Renée Zellweger becomes a beauty, and would look like a beauty to someone who had never heard of her. Victoria Hwang's videos and sculptures are about, it seems, to become not just intriguing and amusing but significant.

But along with the prejudices, some nobler instincts also were lost. Men would go on being brave, but never again would they be brave in quite the same way. These men on the Titanic had a touch--there was something about Ben Guggenheim changing to evening dress . . . about Howard Case flicking his cigarette as he waved to Mrs. Graham . . . or even about Colonel Gracie panting along the decks, gallantly if ineffectually searching for Mrs. Candee. Today nobody could carry off these little gestures of chivalry, but they did that night. An air of noblesse oblige has vanished too.

Sooner or later, we all go through a crucible. I'm guessing your's was that island. Most believe there are two types of people who go into a crucible: the ones who grow stronger from the experience and survive it, and the ones who die. But there's a third type: the ones who learn to love the fire. They chose to stay in their crucible because it's easier to embrace the pain when it's all you know anymore,

When the nuns came to be blessed by the Patriarch, who on special holy days, went by my house in a motorboat, I detached the phallus of the horseman and hid it in a drawer. I also did this on certain days when I had to receive stuffy visitors, but occasionally I forgot, and when confronted with this phallus found myself in great embarrassment. The only thing to do in such cases was to ignore it. In Venice a legend spread that I had several phalluses of different sizes, like spare parts, which I used on different occasions.

U vrtu palače, u kojoj je danas Muzej moderne umjetnosti, nalazi se malo groblje pasa. Tu ih je pokopala njihova gospodarica. Voljela ih je i žalila je za njima. Na granitnoj ploči uklesana su njihova imena i nadimci, datumi rođenja i smrti. Nepoznat netko ostavlja tu ruže i uklanja ih kad počnu venuti. Muzej je javni, groblje privatno. Mnogi prođu pored njega a da ga i ne primijete. Nisam uspio otkriti gdje Venecijanci pokapaju svoje ljubimce i da li to uopće čine. U Starom Lazaretu, na mjestu gdje je nekoć bila crkvica Svete Marije Nazarećanke, utočište je pasa lutalica, izgubljenih ili napuštenih, ali nema im grobova ni nadgrobnih ploča. Vlasnica Palače Guggenheim, tvrdila je da "za stanovnike ovoga grada sprovodi bez suza nisu pravi sprovodi". Došla je iz daleka. Pokopana je na groblju podalje od palače u kojoj je živjela sa svojim psima, koji su joj bili odani. Moć, osvajanje i vlast, blago, trgovina i raskoš stvarali su pojednostavljenu sliku Venecije, suviše realističnu i praktičnu. Nje\ina druga strana, praznovjerna i nerazumna, ostaje obično nepoznata. Malo tko zna za mletačke okultiste, spiritiste, gatalice, poklonike bijele i crne magije, šarlatane. Oni su se ponekad krili i od same Venecije. Zaboravljamo velike spletkare, kockare, hohštaplere, špekulante, varalice, trbuhozborce. Tko se još sjeća "blažene" kontese Tagliapietre koja je prelazila s jedne strane Velikoga kanala na drugu hodajući po vodi poput Krista. Ovdje je praznovjerje često jače od vjere. Nekoć je bilo u Laguni mnogo vračara, nadahnutih i poticajnih, malo ih je ostalo. Casanova je u svojim Memoarima ostavio zapis o tome kako ga je jedna od njih izliječila od nezaustavljiva krvarenja. Zatvorila ga je najpre u železni kovčeg po kojom je dugo i jako lupala; zatim mu je, kad je napokon zaspao, privela u snu "divnu ženu pod krinolinom, otmjenu, s krunom na glavi na kojoj je blistalo drago kamenje poput iskrica; blaga i veličanstvena izgleda, uputila se laganim hodom prema mome krevetu i sjela uza me." Budući je zavodnik tada imao osam godina. Sve su te ličnosti pridonosile blagostanju i ugledu Venecije. Povijest im nije dala mjesto koje zaslužuju, prepustila ih je "maloj povijesti".

Chris Krueger, long-time Capitol Hill watcher for Guggenheim Securities, says the people expecting this kind of kumbaya moment are “Pollyannas”. He said: “My reading of the White House is that they already feel pretty good about their legacy, having done what no administration since Harry Truman has done and extended access to healthcare.” These are the facts on the ground, which bode ill for investors, but there is a conundrum: history suggests we are at a point in the political cycle when markets usually do well. After some volatility around the midterms, the stock market has historically settled into a very strong year in the third year of the presidential cycle, according to an analysis by Jeff Hirsch, editor of the Stock Trader’s Almanac. Sweeping in 180 years of data on the Dow Jones Industrial Average and predecessor indices, he calculates the average Year 3 gain to be 10.4 per cent, almost double the next best year, the presidential election year itself.

We've dressed up in our best and are prepared to go down like gentlemen.

The house at the end was the biggest and most outlandish house she’d ever seen. It was Guggenheim in concept with sharp angles and futuristic design.

How could the recipient of two Guggenheims and the author of four novels, a dozen short stories, two musicals, two books on black mythology, dozens of essays, and a prizewinning autobiography virtually ‘disappear’ from her readership for three full decades?

Grid art has only gotten better over time. In a Times crossword from 2009 by Elizabeth Gorski, the black squares at the grid’s center formed a spiral, with THE SOLOMON R GUGGENHEIM / MUSEUM as answers spanning the top of the spiral, and—for the geometrically impaired—SPIRAL SHAPE across the bottom. Eight artworks hanging in the spiral-shaped Guggenheim museum appeared as clues, with each artist hung as an answer in the puzzle.

Guggenheimer nam een slok. Ik zuip koffie als de Kolibrie gigantische dauwdruppels, dacht hij. Ook niet té veel koffie drinken. Dat is niet goed voor maag en darmen en hoe heet het, galblaas voor mijn part. La Blaze de galle. Ik zal nog wel ’ns veranderen in iemand die te pas en te onpas patois spreekt. Hij had zin om z’n voorhoofd tegen het oppervlak van de tafel te rammen, de darmen van een of andere aanwezige uit diens lijf te rukken, en zich pirouetterend naar de horizon te bewegen. Weer kon hij de rust bewaren zonder dat er in z’n omgeving ongelukken op het programma stonden.

She seemed to like best my daughter, Pegeen's, paintings, thought when I made the observation that the people in Pegeen's paintings, strangely enough, never seem to be engaged in any conversation with each other, all going their own ways, Mrs. Luce replied, 'Maybe they have nothing to say.

She seemed to like best my daughter, Pegeen's, paintings, though when I made the observation that the people in Pegeen's paintings, strangely enough, never seem to be engaged in any conversation with each other, all going their own ways, Mrs. Luce replied, 'Maybe they have nothing to say.

Benjamin Guggenheim bought an elaborate house at Fifth Avenue and Seventy-second Street which featured a marble entrance hall with a fountain and, on a wall facing the double front door, a stuffed American bald eagle, its wings spread as if in full flight, secured to the marble wall with brass chains. The

We all think we have our problems, but thank God we don't have husbands who don't support the Guggenheim.

Old Guard” names of German Jewish finance—with the exception of the Guggenheims—had migrated to New York City. Familiar on the streets of downtown Manhattan were the two Lehman brothers, prospering as cotton brokers. Marcus Goldman, with bits of commercial paper filling out the lining of his tall silk hat, was still a one-man operation. Two Strauses, Lazarus and son Isidor, who, like the Seligmans and Lehmans, had been peddlers and small shopowners in the prewar South, had moved to New

Solomon Loeb, at his wife’s insistence, had come to New York from Cincinnati and, though not on a par with the Seligmans’ operations, his Kuhn, Loeb & Company was becoming an important investment banking house. In Philadelphia the Guggenheims were not doing at all badly. Meyer Guggenheim had

Give me the choice between a man of tremendous brains and ability but without tenacity, and one of ordinary brains but with a great deal of tenacity and I will select the tenacious one every time.

But Wrieto-San was, if anything, a rugged individualist, a one-man, as we say, like the lone cowboy of the Wild West films. Personally, I like to think that it was the Japanese influence that inspired him to employ a circular design for his final major work, the Guggenheim Museum of New York.

No espero nada. Probablemente tampoco sea él. Probablemente en un punto habrá que soltar. Sé que todo esto dolerá Sé que quizá todo vuelva a estar jodido Y qué más da. Vendrán los días buenos Como las luciérnagas Intermitentemente Y eso bastará Eso bastará.

Lisa Brooks PhD was one of just 175 people to receive a fellowship from the famous John Simon Guggenheim Memorial Foundation. Lisa Brooks PhD received the award based on her prior accomplishments in history, geography and literature and her the future promise of her research.

A larger share of the answer to the question why the Titanic still arouses so much interest, however, may lie in the position that the Titanic held in the world of 1912. The Titanic was not simply a means of conveying people from a place they wished to leave to a place they wanted to be, as is the case with most modern ships. It was a floating symbol of status, almost a materialized article of social faith. Its owners had succeeded admirably in establishing it as a symbol of safety, luxury, exclusiveness, and social privilege. This world was smashed in an evening, indeed, in a matter of hours. The watertight compartments which the owners had puffed so extensively turned out to be worthless. The pride of twentieth-century technology floundered and plunged like the weakest seventeenth-century pink. Millionaires and immigrants from the third-class shared the common experience of death. Death, it was suddenly recognized, could strike down a Rothschild or a Guggenheim as quickly as it could a stoker. All in all, the sinking of the Titanic was a demonstration of man’s fate in microcosm.

Now, with the rise of the merchant class, the buying and selling of things no longer makes education a necessity. People amass wealth without realizing that they need to amass knowledge to better use that wealth—the Peggy Guggenheims of this world are dying. Those stupid people I see on television are the future, and they will fight you every step of the way. They will try to make you like them.

If you saw this place, if you touched the stones, if you saw what I did you'd understand.

I'm ready for my companion to have her way with me, to give her what she wants.

—Ay, Liza, no tenía ni idea de que este sitio estaba aquí. ¡Mira! Eso es una orquídea, aquellas son flores de Bach, esa es una bromelia… Se parece a un sitio al que íbamos en California, ¡qué bonito! ¡Ojalá hubiera más flores en Nueva York! ¡Más cosas verdes! En cuanto me acordé de eso al día siguiente, en medio de la rampa en espiral que recorre el centro del Guggenheim, supe lo que iba a hacer: iba a comprarle una planta a Annie y llevársela a su piso como regalo de agradecimiento. No sabía a santo de qué venía el agradecimiento, pero tampoco me preocupó mucho mientras me apresuraba a salir para buscar una floristería.

Hubris. Blindness. Shame. These are the minions of darkness. Lesser agents to anger, fear and hate. But agents all the same. He has allowed them to enter his thoughts but has refused to face them. To face his greatest failure. But for a Jedi, failure is the greatest teacher. Forgiveness is the path to strength. Understanding is the path to peace. And in that peace… is the power to move mountains.

The spread of concrete also spawned whole new types of architecture. One of its earliest apostles was the American architect Frank Lloyd Wright,56 who understood that concrete made possible entirely new forms. Take the inverted ziggurat of the Solomon R. Guggenheim Museum that Wright designed in New York. Wright created its fanciful geometry with “gun-placed concrete,” aka gunite, a form of the compound made with more sand and less gravel than ordinary concrete, which allows it to be sprayed from a nozzle57 directly onto a vertical surface. Try doing that with brick. Wright’s work paved, so to speak, the way for Walter Gropius’s Bauhaus School, Le Corbusier’s International school, and Richard Neutra’s modernist creations. From Modernism grew Brutalism, the stark, angular, proudly concrete-heavy style that became popular after World War II. Today that term is often applied more broadly to the generic mode that has come to define so much of the visual landscape of our cities—the bluntly utilitarian look of near-identical factories and warehouses, the quadrangular shapes of institutional buildings and cheap apartment blocks, the coldly functional sweep of highway overpasses.

Guggenheims

The Guggenheims, of German-speaking Swiss ancestry, suppressed any sympathy they might have had for Germany as munitions contracts rolled in.

The war was especially profitable for the Guggenheims.

Guggenheims and many others made fortunes from it.

The second was my stupidity in not availing myself of the opportunity of buying ‘La Terre Labourée’, of Miró, in London in 1939 for fifteen hundred dollars. Now, if it were for sale, it would be worth well over fifty thousand.

According to most researchers who have been working intensively on the most powerful families on earth, the names are among others: Warburg, Rothschild, Rockefeller, DuPont, Russell, Onassis, Collins, Morgan, Kennedy, Hapsburg, Li, Bundy and Astor. The following families are closely interwoven with the leading families: Vanderbilt, Bauer, Whitney, Duke, Oppenheim, Grey, Sinclair, Schiff, Solvay, Oppenheimer, Sassoon, Wheeler, Todd, Clinton, Taft, Goldschmidt, Wallenberg, Guggenheim, Bush, Van Duyn and many others. For a long time both the power and money in the world has belonged to these families. Of course not everyone going by one of these names is related to such a powerful family. Many are unaware of what’s really going on in the world. Within the framework of this book, it is important to have a closer look at some of these ruling families.

There was also a Marino Marini, which I bought from him in Milan. I went to borrow one for the sculpture show, but ended up by buying the only thing available. It was a statue of a horse and rider, the latter with his arms spread way out in ecstasy, and to emphasize this, Marino had added a phallus in full erection. But when he had it cast in bronze for me he had the phallus made separately, so that it could be screwed in and out at leisure.

We have dressed up in our best and are prepared to go down like gentlemen.

evidence for life after death? Wouldn’t they

Lifting the Vibration of Your Mental Field Sound In your meditations use the vibration of sacred chants to create a force field of sound vibration in and around you. The AUM chant is very powerful and has been used by initiates for centuries. Start by breathing in. Very slowly make the sound of A and gradually merge it with the sound of U. Hold that sound and then bring in the M sound. When you have finished keep your eyes closed and feel the vibration of the sound all around you. Start again, repeating the chant. You can do this for as long as you like. Purchase a Tibetan Monk Chanting compact disc or tape. Play it as you meditate. To raise the mental energy in your home, have it playing throughout your house for a day. If there have been arguments in your home or you have been feeling a little down at home, play the sounds on repeat throughout the house until you start to feel the energy lift. You may find that other types of music have a similar effect. Always choose what works for you. For example, the beat of tribal drums, the high notes of an opera singer, or the sacred Aboriginal sounds of the didgeridoo. Use these sounds often as they are exceptional tools for raising mental vibration.

Thought Raise your mental field by introducing higher thought forms on a regular basis. Positive affirmations are accessible and can be fun. Stick quotes and images around your home where you will see them often. Have ‘angel cards’ or positive affirmation cards in a bowl in your home or work place where you can pick them up and look at them often. Read spiritual and personal development books as a way of reprogramming your thinking processes. Gradually change your self talk over from ‘I can’t’, ‘I hate’, ‘I’m no good at’ to ‘I can’, ‘I love’, ‘I embrace’. Do this with the use of positive affirmations and use them regularly. ‘I love who I am’ and ‘I am a loving and happy person’ are wonderful thoughts to have and repeat to yourself as you move about your day to day tasks. Deeper seeds of self-doubt in your mind maybe due to unresolved aspects of yourself. This is addressed in chapter 12.

Alfred P. Sloan Foundation, the David and Lucile Packard Foundation, the American Physical Society, the American Institute of Physics, and the Royal Society of London. His most recent award was a Guggenheim Fellowship in 2015. He is the author of From Eternity to Here and

Hundreds of stories of after-death communication can be found in two books, Hello from Heaven!, by Bill and Judy Guggenheim, and Love beyond Life, by Patricia Romanowski and Joel Martin. Says Judy: “After-death communications—ADCs—are spiritual gifts, intended to reignite our spiritual awareness of who we are and why we’re here, and our awareness that there is no death, and that we have a love for another that is eternal.

Let the Manhattanite baby boomers who could afford it have the Met, have the Frick, the Guggenheim, the Flatiron Building, Central Park. Cassie and Regan and their generation had BAM Café, had Rumble Seat Music, had the Barclays Center, the new waterpark in Prospect Park. They had the youth and they had the numbers. They were ugly but they had the music.

Certas pessoas são dedicadas quando as coisas vão bem, mas desmoronam diante de uma situação adversa.” Os exemplos muito bem-sucedidos descritos nessas entrevistas realmente iam até o fim: “No começo, esse sujeito não era um ótimo escritor. Quer dizer, a gente lia os contos dele e até achava graça, porque seu texto era... assim, meio desajeitado e melodramático. Mas ele foi melhorando e, no ano passado, ganhou uma bolsa Guggenheim.” E essas pessoas procuravam melhorar o tempo todo: “Ela nunca está satisfeita. Seria de imaginar que a essa altura já estivesse, mas ela é sua crítica mais contundente.” As pessoas de mais sucesso eram modelos de perseverança.

Ralph Guggenheim: John, Pete Docter, Andrew Stanton, and Joe Ranft holed up in a room for a week or two and just rewrote the script. Joss Whedon came in again, too. Joss Whedon: We sort of went back in the trenches and made sure we had everything we needed and nothing we didn’t. Ralph Guggenheim: And they rewrote the script top to bottom. The script got approved. We resumed production. It could have been a total disaster. John Lasseter: From that point on, we trusted our instincts to make the movie we wanted to make. And that is when I started really giving our own people creative ownership over things, because I trusted their judgment more than the people at Disney.

It was election time, there were terrorist threats, and the National Health System was on strike. The authorities had no time to waste with a couple in love. And the Guggenheim was just a museum, after all. Who cared about art?