Guggenheim's Instagram Audience Analytics and Demographics
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PROFILE OVERVIEW OF GUGGENHEIM
56.3% of guggenheim's followers are female and 43.7% are male. Average engagement rate on the posts is around 0.10%. The average number of likes per post is 4020 and the average number of comments is 26.
Guggenheim loves posting about Art.
Check guggenheim's audience demography. This analytics report shows guggenheim's audience demographic percentage for key statistic like number of followers, average engagement rate, topic of interests, top-5 countries, core gender and so forth.
GENDER OF ENGAGERS FOR GUGGENHEIM
AUDIENCE INTERESTS OF GUGGENHEIM
- Art & Design 63.89 %
- Beauty & Fashion 60.03 %
- Photography 49.12 %
- Travel & Tourism 43.59 %
- Business & Careers 41.72 %
- Restaurants, Food & Grocery 41.66 %
- Books and Literature 39.59 %
- Home & Garden 39.27 %
- Fitness & Yoga 36.11 %
- Entertainment 35.56 %
- Luxury Goods 34.89 %
Today’s #FrankLloydWrightFridays illustration is by @edgarmorenodesign—“The Guggenheim’s interior is a celebration of human ingenuity. Its curves beautifully mimic the movement of a ribbon. My illustration captures the view from underneath its spectacular skylight.” ⠀ __ #Guggenheim
Congratulations to Simone Leigh (@simoneyvetteleigh), who will be representing the United States at the 2022 Venice Biennale—the first Black woman to do so. Take a look back at Leigh’s exhibition, “Loophole of Retreat,” presented on the occasion of her winning the 2018 Hugo Boss Prize. ⠀ __ Photo: David Heald #SimoneLeigh #Guggenheim
#WorkoftheWeek: Malick Sidibé opened Studio Malick in the Bagadadji neighborhood of Bamako, Mali, in 1962. Unlike those of his predecessors, his studio was an electrified indoor establishment that achieved its heyday during the 1960s and ’70s. ⠀ Under the repressive socialism of President Modibo Keïta (1960–68) in the mid-1960s and the subsequent military dictatorship of President Moussa Traoré (1968–91), Studio Malick’s photographs represent the irreverent attitudes and activities of men and women in Bamako who were frustrated by and defied restrictive governmental policies. Violating curfew, they organized and attended late-night parties, wore provocative Western clothing, and enjoyed imported consumer goods such as records and alcohol, at times illegally. Thus, portraits made by Sidibé and his assistants during the late 1960s and ’70s—like “Soirée familiale” (pictured)— depict recalcitrant individuals enjoying forbidden freedoms. ⠀ __ “Soirée familiale” (1966), © Malick Sidibé #MalickSidibé #GuggenheimCollection #Guggenheim
Now on view, “Knotted, Torn, Scattered: Sculpture after Abstract Expressionism” features sculptural work in the Guggenheim collection from the 1960s and ’70s by six artists who helped redefine the legacy of postwar art in the United States. The works in this exhibition—produced by Lynda Benglis, Maren Hassinger, Robert Morris, Senga Nengudi, Richard Serra, and Tony Smith—respond to and critique the innovations of Abstract Expressionist painters by emphasizing process, material, and performance. ⠀ In conjunction with the museum’s presentation of Jackson Pollock’s groundbreaking, large-scale painting “Mural” (1943), “Knotted, Torn, Scattered” illustrates how many younger artists saw Pollock’s art as an impetus to experiment with new creative techniques in three-dimensional space. ⠀ 🎟 Click the link in our bio to learn more and reserve your timed tickets online. ⠀ __ Pictured (from left): Maren Hassinger, “Untitled” (1972), © Maren Hassinger; Tony Smith, “Wingbone” (1962), © Tony Smith Estate / Artists Rights Society (ARS), New York; Robert Morris, “Untitled, 1970, Pink Felt” (1970), © 2020 The Estate of Robert Morris / Artists Rights Society (ARS), New York; Senga Nengudi, “Performance Piece” (1978/2013), © Senga Nengudi #KnottedTornScattered #GuggenheimCollection #Guggenheim
Today’s #FrankLloydWrightFridays illustration is by @designsbymaha—“I made this sketch after visiting the Guggenheim for the first time. I was inspired by how the museum’s organic architecture breaks the linearity of the surrounding buildings. I wanted to capture the magical feeling of how it stands out from the rest of the block and lures you in.” ⠀ __ #Guggenheim
Happy birthday to Faith Ringgold! 🎉 ⠀ “Woman on a Bridge #1 of 5: Tar Beach” (pictured here) is the first quilt in Ringgold’s colorful and lighthearted series, “Women on a Bridge,” and depicts the fantasies of its spirited heroine and narrate Cassie Louise Lightfoot, who, on a summer night in Harlem, flies over the George Washington Bridge. “Sleeping on Tar Beach was magical…” she explains in the text on the quilt, “only eight years old and in the third grade and I can fly. That means I am free to go wherever I want to for the rest of my life.” For Ringgold, this phantasmic flight through the urban night sky symbolizes the potential for freedom and self-possession. ⠀ Tap the link in our bio to hear curator Ashley James (@ohashuhlee) share the story of this important collection work, and go on a journey through the piece’s compelling details. ⠀ __ “Woman on a Bridge #1 of 5: Tar Beach” (1988), © 2020 Faith Ringgold/Artists Rights Society, New York, courtesy ACA Galleries #FaithRinggold #GuggenheimCollection #Guggenheim
We're supporting PLAN YOUR VOTE (@PlanYourVote), a 2020 artist initiative that brings together the creative community to offer all the voting resources you need to exercise your rights. This artwork is by Guggenheim Collection artist Julie Mehretu (@juliemehretu). ⠀ Today you should: ⠀ ✔️Register if you haven’t already (voter registration deadlines are quickly approaching—New Yorkers have until October 9 to register!). ✔️Verify your registration if you have any doubt. ✔️Check your absentee status if you aren’t sure. ✔️Set a reminder in case you forget. ⠀ Click the link in our bio for more information, or go to PlanYourVote.org. ⠀ __ #PlanYourVote #JulieMehretu #VoteDotOrg #Vote #VoteReady #Vote2020 #Guggenheim
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