In Dialogue: The Guggenheim Collection – Guadalupe Maravilla (Preview) #art #indialogue #guggenheim @guggenheim

Uploaded April 2025 | Updated September 2026, 2 weeks ago

In the first season of the Guggenheim New York’s "In Dialogue" video series, curators sit down with artists to discuss an artwork that has recently entered the museum’s collection. Each conversation, in its own way, highlights the notion of mutual care—exploring the increasingly urgent role contemporary art can play in bringing people together in the face of environmental, economic, social, and technological systems that radically impact our lives. This season features discussions with artists Rose B. Simpson, Ian Cheng, Firelei Báez, Guadalupe Maravilla, and Steffani Jemison.

In this episode filmed at The Wright restaurant, located within the iconic Guggenheim New York, multimedia artist Guadalupe Maravilla discusses the artwork “Disease Thrower #3” (2019) with curator Geaninne Gutiérrez-Guimarães. Explore the personal stories and profound meaning behind this piece, which uses gongs and found objects in ways both therapeutic and thought-provoking.
Discover artworks such as “Disease Thrower #3” in the Guggenheim New York’s Collection Online by visiting Guggenheim.org.

In Dialogue: The Guggenheim Collection – Guadalupe Maravilla (Preview) #art #indialogue #guggenheim

“Only The Young” at the Guggenheim #ExperimentalArtInKorea #Guggenheim #art #shorts

Beatriz Milhazes – As quatro estações (The Four Seasons, 1997)

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Vasily Kandinsky’s Winter Landscape with Church (1910–11)

In Dialogue: The Guggenheim Collection (Trailer) #InDialogue #GuggenheimCollection #shorts

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$Dawoud Bey Untitled #14 (Site of John Brown’s Tannery) (2017) #art #guggenheimmuseum #shorts The viewer is drawn to the house because it is brighter than the encircling foliage; however, the building is photographed from such a distance that it occupies only a small fraction of the image. The emphasis is on the space it takes to reach it, rather than the house itself. Thick clouds fill the sky, with one small parting directly above the house, the edges of which are lit by a bright spot of light as if from a full moon that would peek out if a breeze were to pull the clouds past. The camera angle is low, creating the sensation that the photographer was crouched or lying on his belly to capture the home of abolitionist John Brown, much how people seeking freedom on the Underground Railroad may have lay waiting at a distance for the sun to fall lower before emerging into open spaces. Dawoud Beys Untitled #14 (Site of John Brown’s Tannery) (2017) is on view in Going Dark: The Contemporary Figure at the Edge of Visibility. Designed for our blind and low-vision communities, listen to the complete audio on the Guggenheim Digital Guide, provided by Bloomberg Connects and generously supported by ORNELLAIA: gu.gg/3PozcJZ$

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