Posts tagged with "Guggenheim":

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Rem Koolhaas ditches the city for the countryside in upcoming Guggenheim exhibition

Office for Metropolitan Architecture's (OMA) founding principal Rem Koolhaas and the Solomon R. Guggenheim Museum are teaming up to explore the earth's changing non-urban areas in an upcoming exhibition. Koolhaas, along with AMO, the OMA think tank, jettisons the city to speculate on the future of the countryside, an arguably less sexy topic for architects who love their Tokyos and Rios. By interrogating changing rural areas today, the exhibition, provisionally titled Countryside: Future of the World, will explore the effect of migration, automation and AI, radical politics, and ecological change on less-populated regions worldwide. “The fact that more than 50 percent of the world’s population now lives in cities has become an excuse to ignore the countryside,” said Koolhaas in a press release. “I have long been fascinated by the transformation of the city, but since looking at the countryside more closely in recent years, I have been surprised by the intensity of change taking place there. The story of this transformation is largely untold, and it is particularly meaningful to present it in one of the world’s great museums in one of the world’s densest cities.” The 50 percent figure Koolhaas cites is one of those urban myths that won't die, a tired United Nations statistic drawn from definitions of  "city" that vary wildly from country to country. Nevertheless, Countryside builds on work current work at AMO, as well as student work at the Harvard Graduate School of Design. The Guggenheim will announce further details on the exhibition, which is slated to open in fall 2019, as they become available.
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Guggenheim’s rotunda animated by high-tech dance

If you were lucky enough to experience Falls the Shadow, you saw an event that could only have taken place at the Guggenheim Museum. Created for the building's spiraling rotunda and expansive ground floor as part of the museum's Works & Process Rotunda Projects initiative, this dance was designed to be seen from the rampways that coil upwards. But unlike a Busby Berkeley production number, where multiple dancers formulate dynamic patterns read in plan, this piece interplays the sinewy bodies of four dancers with the motion-activated videos that interact with them. Russian-born American Ballet Theater principal dancer Daniil Simkin, together with his father, Dmitrij, a former dancer who is the project’s video designer, have created a dance piece that maps in 3D. The dancers wear grey leotards with white stripes up the side, made by Dior, which activate motion sensors. An infrared camera scans the dancers’ outlines at 60 frames per second and transmits that information to a computer, which projects images around the dancers. The speed of the computer processing is crucial: “If there is a lag, the brain sees it as a technological trick,” Simkin told The New York Times. “If there is no lag… it is like magic, giving another layer to the movement.” Seen on the inside of the rotunda, as well as on the floor and on the dancers’ bodies, the projections are fluid and undulating. The digital patterns radiate like iron filings, spreading out from the movements of the dancers. At one point the dancers “throw” light force fields at each other, and then tumble upwards in concentric circles, in waves, in blocks of white. Often projection-related projects at the museum have been directed at the building's exterior, but in this project, they animate in its cylindrical interior. Falls the Shadow might refer to a novel based on the Dr. Who science fiction TV series or the T.S. Eliot poem, The Hollow Men, which uses it as a refrain. Text is part of this project as well, as phrases such as “Shape without form,” “Gesture without Motion,” “We Whisper Together,” and “Shade without Color” snake across the rotunda. The piece is a cohesive triumph, synchronizing choreography, music and imagery within the perfect container.
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See Frank Lloyd Wright in three places this June

At three places this June, New Yorkers will have the opportunity to see Frank Lloyd Wright's work, and a bit of the man himself. New York's Yossi Milo Gallery is presenting Ezra Stoller's images of Wright's most iconic buildings on the 150th anniversary of his birth. Stoller, a master chronicler of modern architecture who died in 2004, first photographed Frank Lloyd Wright's schools in Spring Green, Wisconsin and Scottsdale, Arizona in 1945. Black-and-white images of Taliesin and Taliesin West (the summer and winter campuses, respectively) will share wall space alongside prints of the Marin County Civic Center, the SC Johnson Research Tower, Fallingwater, and the Guggenheim, just uptown. That exhibition, aptly named Ezra Stoller Photographs Frank Lloyd Wright Architecture, opens June 29 and runs through the end of the summer. Over at MoMA, curators are set to unveil a new anthology-style show that will address Wright's multiple practices as an architect, designer, builder, and thinker. Frank Lloyd Wright at 150: Unpacking the Archive divides itself into 12 sections, each devoted to a selection of objects from the Frank Lloyd Wright Foundation Archives. These items, from the 1890s through the 1950s, will be displayed alongside objects from the MoMA and other collections. Unpacking the Archive opens June 12 and is organized in collaboration with Columbia University's Avery Architectural & Fine Arts Library. But wait, there's more: the Guggenheim Museum is celebrating Wright's birthday on June 8 with, among other things, reduced-price admission for all visitors and an actor/historian playing Wright who will blow out birthday candles in the rotunda.
Ezra Stoller Photographs Frank Lloyd Wright Architecture is on view at Yossi Milo Gallery from June 29 through August 25. More information can be found on the gallery's websiteFrank Lloyd Wright at 150: Unpacking the Archive runs from June 12 through October 1 at MoMA, with hours and additional programming information at moma.orgFrank Lloyd Wright 150th Birthday Celebration will be held on June 8 at the Guggenheim, and the fête's full schedule is here.
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Guggenheim Museum to celebrate Frank Lloyd Wright’s 150th birthday

If Frank Lloyd Wright were still alive, June 8 would be his 150th birthday. Sadly, the architect who is one of America's most renowned is no longer with us, but the occasion can still be celebrated. The Solomon R. Guggenheim Museum, one of Wright's best works, is putting on a series of events to mark the date.

The activities will be about the museum building itself and Frank Loyd Wright's involvement with it. June 8 will kick off with a special open day, starting at 10 a.m. and running through to 5.45 p.m. Admission will be reduced to $1.50 in reference to architect's would-be age. The Guggenheim’s newly renovated Cafe 3 will display large rare photographs of the museum during its construction phase. A special birthday cake will also be on the day's menu.

Between 10 a.m. and 1 p.m., an actor-historian will be walking around playing the role of Frank Lloyd Wright. (Hopefully, he will not emulate all of the architect's traits—one of which was to be often aloof and a no-show.)

In case you miss it, further activities will be put on throughout the month including architecture-specific tours of the museum as part of the Art in the Round program, sketch workshops such as Drawing the Guggenheim, and a variety of family programs. In addition to this, the Guggenheim Store will also be selling new Wright-related merchandise, and the museum’s website will feature new content about the architect.

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Mesoamerican architecture will dance at Guggenheim’s upcoming performance

In its upcoming event, Latin American Circle Presents: An Evening of Performance, the Guggenheim Museum in New York will host three Latin American performance artists whose work ranges from dancing architecture to musical kitchen tools. Guatemalan artist Naufus Ramírez-Figueroa’s piece, A Brief History of Architecture in Guatemala, “examine[s] the tendency of architecture to memorialize regimes of power and exploitation” through the art of dance. Each dancers’ costumes will represent some of the more iconic and historic building types of Mesoamerica, including a Mayan pyramid, colonial church, and modernist block. Rio de Janeiro–based collective OPAVIVARÁ! will turn kitchen tools into instruments to explore the parallels of celebration and protest, and Argentinian artist Amalia Pica will use two dozen participants to present some of the issues with democratic communication. The event is part of the Guggenheim’s recent initiatives to diversify its collection and programming and feature more contemporary Latin American art. The event will take place in the Guggenheim’s Frank Lloyd Wright rotunda on May 5 from 7 to 9 pm. For more information on the event or to purchase tickets, please visit the Guggenheim website here.
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This otherworldly art installation brings sweet silence to New York City

In the city, it can be hard to find places of total quiet. A new exhibition at the Guggenheim, though, tries to tone down loud New York, at least for a couple of minutes.

Artist Doug Wheeler has created expansive works with luminous materials since the 1960s. His latest piece, PSAD Synthetic Desert III, creates the impression of infinite space as it plunges visitors into almost complete silence. With help from what are essentially large Magic Erasers, Wheeler transformed a regular museum gallery into an almost totally silent space meant to evoke the northern Arizona desert.

Wheeler first conceived of Synthetic Desert in the late 1960s and early 1970s, but this is the first time his installation has been realized. Tucked away on an upper floor of the Guggenheim, visitors pass through three sound-cushioned antechambers before entering the installation on a carpeted gangway.

Save for a recording of the desert, the luminous purple-gray space is so soundless you can hear a whole constellation of funny bodily noises that are typically unhearable in everyday life. While sound in a quiet room registers at 30 decibels, in Wheeler's semi-anechoic chamber, noise levels check in at about 10 to 15 decibels.

To achieve this super-quiet, the museum used 1,000 pieces of sound-absorbing melamine foam on one side of the room and on the floor. 600 grey foam wedges line the walls, and 400 pyramids of the same material fill space below the platform where visitors sit and take it all in. The Guggenheim worked closely with Arup sound designers Raj Patel and Joseph Digerness to realize the exhibition, and BASF, the company that created the foam, is an exhibition sponsor.

PSAD Synthetic Desert III  is on view through August 2 at the Solomon R. Guggenheim Museum. More information about reservations and walk-in tickets can be found on the museum's website.

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Tap dancer Michelle Dorrance (literally) plays the Guggenheim

The Guggenheim Museum was used like a beatbox on February 16 by MacArthur “Genius” and tap dancer Michelle Dorrance, in collaboration with Nicholas Van Young, in a performance in the rotunda as part of the museum's Works & Process series. This is the first in a long-running series to take place at the Frank Lloyd Wright–designed rotunda. With the audience snaked up the ramp, dancers performed on the floor as well as in strategically placed spots on the ramp. The dancers used boxes, tuned tubes, balls (which were floating in the fountain), hands, and of course their feet, to make percussive sounds. Like an updated Busby Berkeley production number where patterns are seen from above, the dancers had to find creative workarounds to the sounds made by their usual tap dancing—the noise was just too much and too muddled for the acoustics of the hall. The evening started with dancers pushing and playing with wooden boxes in a rhythmic and playful way. Other segments included tapping plastic tubes of different lengths (and therefore different pitches) on the walls of the ramp, pairs of dancers rapping smaller sticks together as they parried, silent conductor Van Young leading the audience in a round of controlled clapping, and performers drumming on different sized balls in the fountain. A double-bass and chimes made appearances, too. The dancers played with perspective as well. Their curtain call bows at the end of the performance had them bend forward from a horizontal position, i.e. laying down on the floor and bending forward to a seated position. They really did play the building. A video of the performance can be found here. Go the Guggenheim website for more on the Works & Process series.
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Survey of Agnes Martin’s moving, minimalist paintings is on view at the Guggenheim

“I used to look in my mind for the unwritten page If my mind was empty enough I could see it…” —Agnes Martin The Agnes Martin retrospective at the Solomon R. Guggenheim Museum in New York, which opened at the Tate Modern in June 2015 before traveling to Düsseldorf then Los Angeles, presents an intensively engaging collection of work by perhaps the most emotionally honest abstract expressionist painter of the twentieth century. Never before has a painter combined the subtle influence of nature with geometric structure in the pursuit of beauty and enlightenment within a non-representational, self-discovered lexicon that prioritizes giving up the things you do not like for those things that are “acceptable to your mind.” Though Martin’s work from early to late periods feels calculated and in a sense cerebral in its adherence to the line and its parental grids, it consistently negates ideology, substance, and relatability. It is the cellular mechanism of the metaphysical in her work that constitutes substance or nature in her paintings. This quality of tonal otherworldliness inspires sensations of optimism or hope through vulnerability, delicacy, and craft in a way that offers critique of the minimalist tendency in terms of its inherent philosophical attraction to emptiness and its ironic relationship to feeling or sensitivity. Martin once stated, “My paintings have neither object nor space nor line nor anything—no forms. They are light, lightness, about merging, about formlessness, breaking down form.” The influence of artistic peers such as Barnett Newman, Ad Reinhardt and Donald Judd, as well as East Asian thought, contribute to her oeuvre, which could be thought of as a collection of spiritual messages. Martin’s writings, such as her poem “The Untroubled Mind,” which can be found at the end of the show’s amazing catalogue by Francis Morris and Tiffany Bell, reference William Blake, Taosim, Lao Tzu and Zen Buddhism, all of which contribute in some meaningful way to the “habits of her mind.” Themes of renunciation and longing for innocence dominate her work. Installation View: Agnes Martin, Solomon R. Guggenheim Museum, New York, October 7, 2016– January 11, 2017. (Photo: David Heald © Solomon R. Guggenheim Foundation) Installation View: Agnes Martin, Solomon R. Guggenheim Museum, New York, October 7, 2016– January 11, 2017. (Photo: David Heald © Solomon R. Guggenheim Foundation) The chronological survey evolves from the subtle, monochromatic, biomorphic compositions of the mid-1950s through crisp color fields in earth tones suggestive of shape or boundary at different scales, with a deliberate relationship to the edge of the painting. Martin’s move from Taos, New Mexico to New York City corresponds to a dramatic shift in her work defined by serialist expression using found objects which introduce repetition at a smaller scale in her work. These remarkable assemblages are dressed in the same palette as her paintings, which vacillate between the unbelievably cool or neutral and its notional, somewhat muted contrasts—ochre, purple, black—a dialogue perhaps between innocence and experience. Her titles, such as This Rain, The Garden, Beach, all reflect the painter’s conception of nature and solace in cycles, repetition, and solitude. Martin’s work of the early 1960s, such as White Flower, Little Sister, and Starlight bring her serialism back to the canvas in the form of an atmospheric code in which grids, dots, dashes, columns, and rows eventuate deconstructed fields, alternative constructions of her favorite geometric forms (triangles, circles, and lozenges), and new relationships based on a language of negative space, line weight, density, scale, tone and module. As her language continues to proliferate while the visitor travels up the ramps of the Guggenheim, the lines grow faint, condense into weathered stripes or color bars, expand, contract, disappear and reappear, gaining more texture in the process of forming a distressed system or spiritual text. Though the gallery is somewhat dark and it is at times difficult to identify with the rationality of the paintings and their respective, internal arrangements of lines, color, shapes and textures in the disconcerting context of ramps, the survey is stunningly mantric and will leave you feeling curiously wrought and unquestionably human. At once intense yet quiet, the show has “an immense presence” and “powerful energy that almost takes physical hold of the viewer”. Bell and Morris’ catalogue for the survey acts as a cipher for the moments of transition in Martin’s work and the continual questions she asks of us in terms of self-knowledge, perfection, pre-conditional states and the process of destiny. “Beauty is the mystery of life. It is not in the eye, it is in the mind.” —Agnes Martin The exhibition is on view through January 11, 2017.
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New Guggenheim exhibit delves into place, politics, history, and more, with East Asian artists

Now on display at the Guggenheim is Tales of Our Time, an exhibition that opens up a discourse on the concepts of geography and nation-state. The exhibition's artists are primarily East Asian (Chia-En Jao, Kan Xuan, Sun Xun, Sun Yuan & Peng Yu, Tsang Kin-Wah, Yangjiang Group, and Zhou Tao) and their work has a site-specific focus that ranges from their homeland to remote border areas and untouched islands. Within this spectrum, notions such as territory, boundaries, and utopia crop up and are used to question the traditional understanding of place.

Tales of Our Time draws on renowned Chinese author Lu Xun's Gushi xin bian (Old Tales Retold, 1936). In this story, ancient Chinese legends critique society, reimagine history, and shed light on contemporary issues. The line between reality and fiction is blurred by artists in the tale, thus causing disruption, drawing up new borders, demolishing old ones, and dividing communities, regions, nations, and continents in the process.

The artworks from the aforementioned artists are all new commissions. However, they don't focus solely on China and its art scene. Social and political tensions found across the globe manifest in the works through themes such as individual and collective memory, migration and urbanization, cultural inclusion and exclusion, and technological development. "The tales told in this exhibition consider our seemingly more connected, globalized world as one that is still filled with fractured land, fragmented history, and upended traditions, but, at the same time, they also propose ways to imagine culture differently," says the museum.

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You can use a solid gold toilet at the Guggenheim starting this weekend

If you have ever wanted to use a toilet cast in 18-karat gold, now is your chance.

Starting on Friday, September 16, Maurizio Cattelan's America opens at the Solomon R. Guggenheim Museum in New York. One of the public toilets in the museum will be replaced by a fully-functional gold replica. The super luxury product serves as social commentary on today's America by allowing the public to participate and giving them a very private, individual experience with the artwork. Cattelan is also taking aim at the art market and its extravagance as well as the American Dream (if your personal American Dream is to sit on a solid gold toilet). It's a signifier of wealth beyond what is comprehensible: Extreme luxury is coupled with a utilitarian bath product.

The toilet references Marcel Duchamp’s Fountain (1917) but with a new twist. Rather than provoking the way art is made and its meaning, Catelan assigns a new function to the toilet as an object of opulence and financial speculation. Additionally, he puts the toilet back in the realm of function, acting as an "artistic transgression." The piece also references Piero Manzoni’s Artist’s Shit (1961) in which Manzoni allegedly canned his own excrement and sold each container at a price equal to its weight in gold. A comment on the value of labor and celebrity in the art market.

For more on the piece and Cattelan's cheeky sense of humor, see this interview on the Guggenheim website.

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Guggenheim opens US’s largest László Moholy-Nagy exhibition in 50 years

As far as Western modern art pedigrees go, it's hard to beat László Moholy-Nagy: born in Hungary 1895, Moholy-Nagy spent his early years in Budapest studying Impressionism, Cubism, and Futurism. He then traveled to Berlin where he encountered Dada and Constructivism. He was at the Bauhaus from 1923 to 28, in Amsterdam for De Stijl during the 30s, then finally London and Chicago where he founded Institute of Design (later part of IIT). He dabbled in every medium imaginable: painting, film, sculpture, typography, graphic design, theatrical set design, and architecture. But what's most remarkable about Moholy-Nagy—and what shines through in the exhibit Moholy-Nagy: Future Present—is how consistently he explores the same themes across the breadth of his lifetime. Moholy-Nagy was clearly enthralled with light, transparency, planes, and depth—in the words of curator Karole P. B. Vail, who spoke at the exhibit's press preview, he was constantly trying to "materialize light" and "use light to dematerialize matter." As the exhibition moves up the Guggenheim's spiral, chronologically displaying his work, you can see him play with light in countless ways across multiple mediums, starting with painting and concluding with plexiglass (a material invented 1934, three years before he arrived in the US). Over 300 works, some from rarely-seen private collections, are on view. Despite their number, the works never feel densely packed. The Guggenheim spiral also has a natural affinity to Moholy-Nagy: one of his drawing/photomontages depicts a spiraling space not dissimilar from the Guggenheim itself. Moholy-Nagy was fascinated with photography, not least because photography's chemical process turns light into a physical image. Photography also plays with the idea of reproducibility and authenticity. Like putting a urinal into an art gallery, Dadaists love to play with conventions and challenge shared definitions of what constitutes art. That desire manifests throughout Moholy-Nagy's work. In what he called "photoplastics," he would collage photographs, draw over them, then photograph the ensemble anew—where does one photograph begin, the other end? Some of these pieces are genuinely absurd, and I even laughed out-loud at their Monty Python-levels of irrationality. In another famous work on display, Moholy-Nagy designed a set of porcelain enamel-on-steel paintings whose rectangles of color were governed by a series of formulas. This meant the painting could be printed in an industrial sign shop at different sizes without distortion—infinitely reproducible, consumable, and scalable. Works like that, along with his photographic experimentation, evoke a similar question we face today: from the Venice Biennale to Palmyra, we're still grappling with about ability to recreate artifacts. While that debate usually pertains to something lost or decayed, Moholy-Nagy flips the question on its head by starting with something intended to be infinitely duplicated. The exhibition features one project that exists an architectural scale: the recreation of Room of the Present (Raum der Gegenwart), conceived by Moholy-Nagy in 1930 as a space to show modern artworks across all mediums—film, photography, typography, sculpture, architecture, and more. Made with gleaming steel and glass, and filled by the curators with period-appropriate avant-garde works, it does feel like a time capsule from the past. It's no coincidence that the room is made from industrial materials: Moholy-Nagy was an avid experimenter. Gropius brought him to the Bauhaus precisely because his focus on modern materials coincided with the school's move toward creating and licensing designs to industry. From metallic paint to early plastics, it's stimulating to watch Moholy-Nagy play with new materials as they appear over the decades. The exhibition text concludes "Moholy-Nagy was always in pursuit of the “whole man,” seeking out new materials and methods in the steadfast belief that what mattered most were intellectual awareness and the necessity for the assimilation of art, technology, and education." As Vail remarked, he was a "truly utopian artist" who thought technology could improve society, though he was a true humanist as well. As Moholy-Nagy himself said, there was a “specific need of our time for a vision in motion.” As technology—smartphones, 3D printing, virtual reality, self-driving cars—rapidly changes our lives, and tech companies sell us on their utopian, people-friendly vision, we should ask: What exactly does a techno-humanist-utopia look like? The exhibit offers bracing insight into Moholy-Nagy lifetime of art-making, but leaves us to contemplate what Moholy-Nagy's vision for a utopian society looked like. Moholy-Nagy: Future Present will be at the Guggenheim from May 27 to September 7 before traveling to LACMA and the Art Institute of Chicago. Karole P. B. Vail, Curator, is the Guggenheim’s organizing curator for the exhibition, with the assistance of Ylinka Barotto, Curatorial Assistant, and Danielle Toubrinet, Exhibition Assistant.
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[UPDATED] Protesters light up New York’s Guggenheim to challenge working conditions in the Gulf region

Hot on the heels of the perversely beautiful, working solid-gold toilet that will be installed at the Guggenheim, a group of protesters calling themselves the Global Ultra Luxury Faction (G.U.L.F.) projected the words "Ultra Luxury Art/Ultra Low Wages" onto the walls of the Guggenheim Museum to "send a message to the trustees of the Guggenheim Foundation." The group also took the message to the building of the chairman of the board. G.U.L.F. is the direct action arm of the Gulf Labor Coalition, an organization of activists and artists who have been pressuring museums building in Abu Dhabi to confront the mistreatment of migrant workers in the region by ensuring fair labor standards. The Guggenheim is a target of this message because "a museum that seeks to profit from forced labor will be judged in public. The cynical marriage of ultra-luxury art and ultra-low wages is null and void. The museum’s leaders broke trust by refusing further negotiations with the Gulf  Labor Coalition over fair labor standards in Abu Dhabi. As they try to walk away from justice, who will hold them to account?" In an email, G.U.L.F. signed off with

Every Day is May Day

A Storm is Blowing from Saadiyat Island


UPDATE Thu, Apr 28, 2016 at 4:52 PM The Guggenheim's Deputy Director of Global Communications Tina Vaz told AN in an email:

"This latest action by Gulf Labor is another example of their willingness to attack the Guggenheim for easy publicity versus pursuing a program of thoughtful advocacy. Their demands are not only beyond the Guggenheim's direct line of influence but beyond the influence of any single arts institution. We are leveraging our advocacy to its fullest, but the issues they are focused on are highly complex and involve many players. The Guggenheim and our UAE partner, the Tourism Development & Investment Company, have dedicated significant energy and resources to and made measurable progress on the issue of workers’ welfare."

UPDATE Thu, Apr 28, 2016 at 6:08 PM Gulf Labor's Andrew Ross told AN in an email:

"Over the last six years, Gulf Labor members have devoted countless hours of uncompensated labor doing research in the field--taking testimony from workers and building contacts with them---writing reports, articles, and books (see The Gulf: High Culture/Hard Labor), making agit prop art (52 Weeks, and residency at the Venice Biennale), engaging in dialogue with a range of institutions, including NYU, the Guggenheim, and the Louvre, building partnerships with a range of NGOs (including Human Rights Watch, Amnesty, ILO, and ITUC), and spinning off initiatives like Who Builds Your Architecture? Andrew Ross of Gulf Labor told AN in an email:

By contrast, the Guggenheim, despite the vast power of its brand name, has done little but dragged its feet. In the face of all our cumulative efforts to raise labor standards in the Gulf, its shocking to hear a museum representative seek to denigrate committed, hard-working artists and writers as publicity-seekers.The museum leadership and trustees should be ashamed. And, if they do not take action soon, the Guggenheim name will be further tarnished by its association with human rights abuses."

UPDATE  Fri, Apr 29, 2016 at 12:16 PM Vaz told AN in an email:

"The facts do not support Gulf Labor's attempts to revise history. Those who are knowledgeable about the Guggenheim's engagement in Abu Dhabi - including artists, diplomats and NGOs - are all too familiar with the resources we have dedicated to this issue since 2007, including countless meetings, contributions to the Employment Practices Policy that governs working conditions on Saadiyat Island, and visits to see the workers' accommodation village ourselves. Meanwhile, most of Gulf Labor's work has been dedicated to generating media attention that is singularly focused on the Guggenheim, instead of a sincere effort to develop an advocacy program to address labor rights. Their continued attacks on us underscore the unproductive nature of their approach, which is precisely what led us to discontinue direct meetings."

UPDATE Sat, Apr 30, 2016 at 2:56 PM Ross told AN in an email:

"Look behind the museum's PR facade and you will still find the grim reality of workers conditions in Abu Dhabi. Every investigative team to visit the Gulf states has reported that there is near-zero political will to enforce labor regulations. If the Guggenheim leaders continue to put their trust in the UAE authorities and shun NGO expertise, then they will be stepping away from the obligation to improve the welfare of hundreds of thousands of workers by setting a fair labor precedent."