Solomon R. Guggenheim Museum

Transcript: This painting is “Living Room in Murnau” or “Interior” from circa 1910. It depicts Gabriele Münter's bedroom in her house in Murnau where she predominantly lived. She had bought this house in 1909 and would maintain it until the end of her life. But because it had no electricity or running water until the 1930s, it was very much initially a summertime country house. Nonetheless, the ho...

Transcript: Gabriele Münter frequently mined the confines of her immediate surroundings and domestic objects of personal significance for her still life compositions. Gabriele Münter, very interestingly, is bridging multiple genres. This painting from circa 1908 to ‘09, “Christmas Still Life”, is an interior scene, presumably the artist's home either in Munich or in the village of Murnau, but ther...

Transcript: Gabriele Münter considered portrait painting “the boldest and the most difficult, the most spiritual, the most extreme task for the artist.” She strove to transcend mere outward appearance, aiming instead to capture the sitter’s “inner life.” Her vision suggests an empathy toward other people and an astute understanding of the human condition. Her early forays into portraiture reveal t...

Transcript: Albertine Happel was Gabriele Münter's aunt who came to the United States from Prussia, now Germany, in 1845 when she was six years old. Albertine married Hartman Happel, and they had six children. Hartman had passed away by the time Münter visited St. Louis in 1898. She returned again in 1900, this time with her No. 2 Bulls-Eye Kodak camera. It was on the second trip that she took thi...

Transcript: The sitter in this photograph is Mary Allen, whose maiden name was Bruce before she married Münter's late uncle William Schueber. After William's death, she married Jonathan Gaddis Allen. She lived with her family in Marshall, Texas, a major center of trade and industry at the turn of the 20th century. This portrait is one of several that demonstrates Münter's nuanced understanding of...

Transcript: Gabriele Münter used her No. 2 Bulls-Eye Kodak camera to take a variety of photographs—from instantaneous captures outside, or “snap shots,” to long exposures indoors. These images from her U.S. period (1898–1900) reveal an early sensitivity to light and framing, as well as a steady grasp of her camera’s full potential. Münter often adapted the camera to her own methods. Rather than ho...

Transcript:Gabriele Münter (1877–1962) was at the forefront of experimental art in Europe during the first half of the twentieth century. Her connection to the United States and her early adoption of the photographic medium, however, are lesser known aspects of her career. From 1898 to 1900, the artist visited maternal relatives in this country with her sister, Emmy. The journey proved crucial to...

Transcript: This landscape photograph of her Aunt Annie Hamilton's house set against the arid landscape of Plainview, Texas is considered by many to be Gabriele Münter's first photograph. It appears in the small album Münter compiled from her U.S. period with an inscription beneath in her handwriting that reads “Home Sweet Home at Aunt Annie's,” indicating Münter's use of American vernacular. The...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Explore "Woman on a Bridge #1 of 5: Tar Beach (1988)", one of the most important works by Faith Ringgold, a renowned artist, writer, and activist. This monumental quilt, the first in a series of five, tells the story of a young girl who dreams of flying from her Harlem rooftop to celebrate her own freedom and self-possession. This exhibition dives into Ringgold’s artistic influences and the lastin...

Description About the Artist’s Process and Technique by Solomon R. Guggenheim Museum

About the Artist by Solomon R. Guggenheim Museum

Learn More About "Beatriz Milhazes: Rigor and Beauty" by Solomon R. Guggenheim Museum

Symbolism by Solomon R. Guggenheim Museum

Jean Genet: The Blacks: A Clown Show by Solomon R. Guggenheim Museum

Materiality: Shea Butter and Tiles by Solomon R. Guggenheim Museum

Liberation, Community and Expression by Solomon R. Guggenheim Museum

Navigating Contradiction and Fluidity by Solomon R. Guggenheim Museum

Exhibition Introduction by Solomon R. Guggenheim Museum

Experiencing the Exhibition as a Witness by Solomon R. Guggenheim Museum

LeRoi Jones: Preface to a Twenty Volume Suicide Note (For Kellie Jones, born 16 May 1959) by Solomon R. Guggenheim Museum