The in-class comment “i don’t always understand art,” or something like that, is a thought that is never too far from my mind on museum visits. For this trip to the Guggeinheim I wasn’t sure what to expect, going in with the image of “a man walking into a cow” from the previous class I was up for anything.
The first thing i encountered were the musical instruments everyone was staring at, waiting for the first person to play them, waiting for the general permission to actually touch the art. Although I don’t recall the artist’s name I found it be a great introduction to the exhibition; a don’t take this so seriously approach. The aura of the Guggenheim changed as more people dared to play with these cymbals.
The exhibition was filled with mixed media, nothing close to “classical.” (Classical being a term that’s up for discussion) I enjoy this different approach to art, especially in a space known for it’s strict definition on “classical ” art. Albeit, a few pieces were lost on me without context, others needed no prior knowledge to understand how strong they were, even in their simplicity.
Carlos Motta’s screen print, ” Brief History of US Interventions in Latin America Since 1946,” was the piece that took me away, the one that reminded me this generation of artists have a lot to work off. The list of US interventions touches the surface of how many times the US has mingled in Latin American affairs, providing a foundation for the current despair in many of the mentioned countries. The success of this piece is similar to the cymbals, in that people can be apart of this art; they can read it, think for themselves and best of all take a copy home (or multiple if like me you want to share with others.) This takes the piece out of the museum, a place in the Upper East Side with a particular audience.