Of New York City’s major monuments and landmarks, the Guggenheim museum is one of the few where time freezes before its white, rigid walls. Inside Blame Frank Loyd’s designs lies a world of imagination by the nourishment of freedom and self-expression. A familiar feeling took place March the 9th, an evening where guests sipped cocktails after being welcomed to the party's vibrant entrance. Its installation was made for guests to dance and observe the astonishing surroundings of an evening later interrupted by dance performances of Kim Brandt, Fluc T, Sam Roeck, and Quenton Stuckey, all who circled their way down the audience. Beats played by DJ Ryan McNamara at the center of the venue were accompanied by two male dancers who showed off their bold moves and a funky sense of humor.
The celebration was purposefully made to recognize artists whose work has been acquired through funds raised by the Young Collectors Council, its 20th anniversary had Sarah Arison, Laura de Gunzburg and Nell Diamond as event chairs. But beneath the YCC cheering crowd, there lied over 140 chosen works welcoming modernity at the Guggenheim, and most importantly, giving us something interesting to talk and think about.
As the evening reached its end, I found myself looking at the sky-high ceiling once again. This time though I realized something different, I hadn’t carefully observed Alexander Calder’s hanging mobiles floating above the stylish party. Calder’s ‘Red Lily Pads’ made my second pistachio flavored macaroon taste better - it couldn't get more colorful than that.