She was full of surprises ⬇️
When her friend, the novelist Antonia White, complimented her on an expensive scarf, the art collector and heiressreplied “this – I use it for a dust-cloth”. It’s a retort that reveals a lot about the decadence and simultaneous unease of the world’s most renowned 20th-century art collector.
The series, made between April 1969 and November 1974, illustrates Guggenheim’s life with snapshots that form a filmic tour of her Venetian day-to-day. These “pictorial narratives” – as Thomas Elson puts it – provide more insight than a solo portrait, each photo “a miniature chapter in its own right”. Art surrounds her at every turn; it’s a natural element of her environment: turquoise walls, the curls and spirals of a silver Alexander Calder headboard, Venini lamps designed by Carlo Scarpa.
As a photographer famed for his use of dramatic monochrome contrasts, it’s striking that Moses made the decision to pack colour film for his Leica camera when visiting the floating city and its American queen. Although he published many images of Guggenheim in his signature style, it is the vivid life these coloured shots capture that lingers.
Later we see these same golden shades neatly stacked with their comrades in her bedroom on the surface of a cabinet. It’s this attentiveness that gives Moses’ work its power. He gives space to details that enhance Guggenheim’s vast personality. Her life was an extended process of self-fashioning, saturated with the talents she saw around her. What Moses manages to explore is the woman behind this carefully curated persona.
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