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Guggenheim Museum Archives Reel-To-Reel Collection Five Letters from Rudolf Bauer to Hilla Rebay

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Guggenheim Museum Archives Reel-To-Reel Collection Five Letters from Rudolf Bauer to Hilla Rebay Guggenheim Museum Archives Reel-to-Reel collection Five Letters from Rudolf Bauer to Hilla Rebay MRS. SCHOEKOPF [00:00] Dear Hilla. Of course, to be in time for the World’s Fair does not leave much time for such a building. But with the American know-how, one should be able to manage, provided I can plan as I please. As long as the [territoran?] is cut up like Rockefeller Center, we run into the greatest obstacle. In that case, one would have to design a whole new building plan, that can, of course, never be as good as one for the large site. Before a plan can be drawn here, one would have to know the exact dimensions of the building site. Till (inaudible) time, any design is pointless. As I told [Kiefler?], when he spoke to me about the Rockefeller project, I am totally against the idea of a skyscraper for a museum. They don’t even have to start something like that. The reasons were all given. One of the disturbing elements are the stairs. But that might be eliminated, even in a skyscraper, provided it is not too high, because otherwise [01:00] the building code won’t permit it, on account of the fire hazard, which one could eliminate from the beginning. In place of the staircase, I would propose a dumbwaiter type elevator, which will run continuously and will appear, upon entering it, like a small room, so that the viewer, when he enters this elevator from the last exhibition hall, automatically reaches the next floor. The installation should, of course, be made in such a way that the interruptions which usually occur with changing floor are, so to speak, eliminated and that the visitor is not interrupted in his meditation as he is when he has to find a staircase and climb. Thus, this problem could be easily solved in the aforementioned manner. Also, the concert hall could serve as an extra exhibition hall, not a separate room. Only, there, the architect would have to be very gifted in the field of acoustics. My building should not be higher than four floors, with a recess towards the top. All around the museum’s a corridor, with side and top light, the [02:00] window recess walls about two meters deep, this corridor with recesses for watercolors and small paintings. They cannot hang in a large square hall, as they are meant to be seen more intimately. Besides, [Karlik?] adores this arrangement for a museum. Instead of the word museum, I must try to find another one, perhaps something like antimuseum. Let’s wipe the slate clean. For instance, I insist that certain music may not be played in the concert hall, like Wagner, just as [Boerplands?] and Rembrandts may not hang there either. All the old junk must be eliminated and be made impossible. Actually, I need a much larger space for my building. First, it should be placed alone and isolated, amidst a large lawn area, around the building a large plaza, out of concrete or, better yet, paved in large squares, each slab at least one square meter. And to this plaza should lead, from all sides, several very long staircases. All this for effect and isolation from the surroundings. [03:00] Before entering the museum, one must already be prepared for it from the out— from the outside, everything severely designed. From this exterior then, the crescendo towards the interior. If it will be materialized as I see it, it will be a great, great building, putting other cultural edifices in the shadow, not just modern but in a style that is timeless. This type has the advantage that the building will be impressive to foreigners, Europeans, French, English, et cetera, so that they, in time, will want something like it for their artworks too. All this is very well explained. A complete solution can be very impressive, while an inadequate one can only do a great harm, which will cost much more than might be saved. As long as the difficulty of the site exists, which would have been great for a skyscraper but with this it is different, unless a very great architect comes up with a solution that I do not know, I am in favor [04:00] not to rush into Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 1 of 10 Guggenheim Museum Archives Reel-to-Reel collection Five Letters from Rudolf Bauer to Hilla Rebay anything. But since the possibilities for publicity at the World’s Fair are great and should be taken advantage of, we might have to be satisfied with a makeshift solution. But even for that, where and how? Besides, yours and Guggi’s idea about studios does not fit at all into my plans. That would have to be somewhat separate, not too far away but on its own, fir— (inaudible) —entity and the structure of the whole and, second, because those rooms, in view of the difficulty of the site, would have to take away from the museum and their content. And that should not be. For administration, there have to be at least — more — two rooms. It might be best to have these away from the main building. After all, there are no offices inside a church. And this is more than a church, as will become clear eventually to all those big and small heads. Well, in any case, we could really throw a big thing [05:00] for the World Fair, like no one else. But for that, one needs really big collaborators, really big ones, besides the painters. It might be super to use Marinetti for that. I could talk everything over with him. But he should say that he does not again say nonsense, which is not necessary with the Americans, since they are relatively more generous in their contributions than those half-educated Europeans. Those imbeciles will be taken care of easily enough. Only everything must be perfect. I will be proven right, even if it takes a while before one realizes it. If I had thrown everything overboard three years ago, as I was advised to, then all hopes would be washed away and unknown to you. Because you never encouraged me to hold out. Nobody has, only talked against it. Too bad that I never got ahold of the Maharaja of Indore, because of that lack of gasoline, that he was looking for something and did not find anything better than Hollywood, no matter how great that may be, but [06:00] certainly not for maharajas. You can see from the enclosed note. Also, we must find for our opening at the World’s Fair a few films by Fischinger. And how about a symphony by [Harwell?]? In any case, we can really throw a big bash. But who would be approached over there as collaborator for all the work? The project is so enormous that there are no trained people for it, in the intellectual sense, who should know more than the others but who have to have courage and are enterprising. For instance, with Kiefler as architect one cannot do too much. At the most, he could be assistant to an architect. Strange that the Rockefellers want their architect to build it. Who is he, the one from [Wager?] City? That is not too much that they offer as a contribution. The Palais des Nations in Geneva is supposed to be a great thing but inside they have, of course, the run of the mill pictures. Such a big building, such a big site, even on the water, so much money, contributions, and then those pictures. [07:00] One could go crazy about such stupidity. Always those half-educated nitwits. They are worse than the Hottentots. Those, at least, one can give orders to. So anyway, don’t rush into anything, especially not here. If the site is not large, perhaps one could find a stopgap measure, as follows: The museum itself is meant for the permanent collection. That’s why the walls are left for last, after the paintings are decided upon for each room, so that the material and the color of the walls can be suited to them. The rooms should not be stereotype, all the same but adjusted for the paintings, so that paintings and background were harmonized with ceilings and floors. That still leaves the need for an exhibition hall, in which one can organize exhibits of painters, of course on the avant-garde, before they become museum caliber but when they are ready to be exhibited and seen. With that, one would establish a Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 2 of 10 Guggenheim Museum Archives Reel-to-Reel collection Five Letters from Rudolf Bauer to Hilla Rebay certain flow, with the aim that the museum would be the ultimate top and goal. So perhaps one could put this exhibition hall on the [08:00] Rockefeller corner, in case one does not find a satisfactory to the museum. One can also have lectures in such a hall and nonobjective films, thus, important events but those that I would not like to transfer to the museum. Of course, this exhibition hall could also be a big attraction for the World’s Fair, although a new museum, that is really something brand new, would be a bigger drawing card than a hall, since there are already some of those for modern art. More I cannot tell you now, with regard to your questions.
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