NYC-ARTS

S2021 E535 | CLIP

Vasily Kandinsky: Around the Circle at the Guggenheim

A visit to the Guggenheim for "Vasily Kandinsky: Around the Circle," an exhibit that looks at Kandinsky’s stylistic journey leading up to his groundbreaking abstractions. The pioneering Russian painter was always a central figure in the history of the museum -- so much so that he even helped inspire the design of the iconic, spiral rotunda.

AIRED: November 11, 2021 | 0:06:24
ABOUT THE PROGRAM
TRANSCRIPT

>> A CENTRAL HAVING IN THE

GUGGENHEIM.

>> HIS GROUND BREAKING ABSTRAXZ,

TO OFFER A THOUGHT PROVOKING

VIEW OF HIS WORK.

>> I THINK WHEN PEOPLE THINK OF

K

KADENSKI, HE IS REINVENTING

HIMSELF AT EVERY TURN.

WE ARE IN THE EXHIBITION AT THE

GUGGENHEIM.

THIS IS OVER 70 WATER COLORS,

WOOD CUTS, AND PAINTINGS FROM

THE GUGGENHEIM COLLECTION.

HIS HE BEGAN COLLECTING HIS WORK

IN THE 1920s.

HE WAS A RUSSIAN-BORN ARTIST,

STARTED IN ART, AFTER ABANDONING

A LAW CAREER.

IT WAS A VIBRATE CULTURE.

BLUE MOUNTAIN IS A CANVAS FROM

1906, WORKING IN AN

EXPRESSIONISTIC MANNER.

WE SEE A BLUE MOUNTAIN,

ANCHORING THE BACKGROUND, IN THE

FOREGROUND, A SERIES OF HORSE

AND RIDERS.

YOU CAN ALMOST FEEL THE WIND

RUSTLING THROUGH THE RIDER'S

HAIR.

HE WAS STILL FINDING HIMSELF AS

AN ARTIST.

AND WORKING IN THIS REALM,

BECOMING LOOSER WITH HIS BRUSH

WORK.

IMAGERY IS LESS IMPORTANT THAN

THOSE COLORS.

LINE AND FORM.

IN JUST A FEW SHORT YEARS, HE AM

CANS TO A MORE ABSTRACT STYLE.

>>> 1913 WAS A VERY IMPORTANT

YEAR FOR KANDIKSKI, HE WOULD DO

WHAT HE WOULD CALL ABSTRACT

CANVASS, PAINTING WITH WIDE

BOARD, HE IS ON THE PRECIPICE.

HE IS ABOUT TO JUMP OFF THE

CLIFF, HE HASN'T DONE SO YET.

THE IMAGERY IS LOOSE, A LOT OF

SWIRLING BRUSH WORK IN THERE.

JUST A FEW MONTHS, PRIOR, TO THE

FALL OF 1920, HE RETURNED TO

NATIVE MOSCOW, WHEN WE COMES

BACK TO MUNICH, HE WANTED TO

CAPTURE THE FEELING OF MOSCOW

ITSELF.

A THREE-HORSE SLED IN THE

CENTER.

A THE PATRON SAINT OF MAS KOE,

TO THE DRAGON.

THIS WORK, UNDERSCORES THE WAY

MEMORY, AND PLACE INFUSED HIS

WORK.

COMPOSITION E, A PAINTING FROM

1923.

THE YEAR PRIOR, KANDENSKI, THE

ART SCHOOL FOUNDED AFTER THE

FIRST WORLD WAR.

THIS PAINTING EPITOMIZES HIS

STYLE IN THIS MOMENT.

A MORE GEMETRY LANGUAGE, THE

CIRCLE, THE SQUARE, THE

TRIANGLE, THE LINE.

THERE IS A WONDERFUL ENERGY TO

THE CANVAS, PULSATING BETWEEN

CALM AND AGGRESSIVE.

THIS GEOM TREE THAT TAKES US

INTO THIS OTHER DIMENSION.

SEVERAL CIRCLES FROM 1926, IS

ANOTHER PAINTING FROM HIS BOW

HOUSE PERIOD.

FOR HIM, IT WAS A SHAPE THAT

REPRESENTED BALANCE AND HARMONY.

IN THIS WORK, IT IS HARD NOT TO

THINK OF ANOTHER DIMENSION, A

SPIRITUAL REALM.

AROUND THE CIRCLE FROM 1940 IS A

LATE LIFE PAINTING, CKANDENSKI

SAID THAT LIGHT OF PARIS

EXPANDED HIS PALLET.

WE SEE PASTELS, AND BIOMORIF I

CAN IMAGERY.

FOR ME, IT BRINGS EVERYTHING

TOGETHER.

THE WAYS IN WHICH HE IS GOING

BACK TO EARLIER MOMENTS IN HIS

CAREER.

WE SEE THIS KIND OF SUSTAINED

INTEREST IN FOLKLOWER, DRAWING

FROM NARRATIVES OF METE MO

MORPHESIS, THINKING ABOUT S

SPIRITUAL ASKENDANCE AND TRANCE

FORMATION.

HIS STORY IS ONE OF ADAPTATION,

AND DISPLACEMENT, AS HE ADAPTS

TO EACH NEW SURROUNDING.

ULTIMATELY, IT IS A STORY OF

RESILIENCE.

IT WAS GROUND-BREAKING.

IT SET THE STAGE FOR SO MANY

ARTISTIC ADVANCEMENTS THROUGH

THE NEXT DECADES.

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