In June 2026, I returned to New York City to create the eighteenth painting in my twenty-year Guggenheim series. What began in 2009 as a single painting evolved into a long-term commitment: twenty paintings over twenty years, all centered on Frank Lloyd Wright’s iconic museum.

Working through intense summer heat and shifting conditions, I found myself increasingly drawn to the reflections of city lights along Fifth Avenue and the museum’s presence after dark. During the trip, a memorable conversation sparked a thoughtful analysis of both Charles Sheeler and Charles Demuth, whose ability to elevate architecture into something both monumental and poetic offered a new perspective. The result is My Guggenheim (2026), a painting that views the museum not simply as a building, but as an enduring American icon.

Arrival & First Impressions

The eighteenth Guggenheim began as a field of warm earth tones. At this stage, I was searching for the painting’s mood rather than its details, establishing a foundation of value and atmosphere.

Mapping the Architecture

With the composition established, the Guggenheim and surrounding buildings emerged as a series of simple geometric forms. The goal was not accuracy, but structure.

Finding the Monument

The museum’s iconic spiral began to take shape. I was creating without a compass, pure expression, no defined direction.

The first layers of color established the relationship between the museum, the city, and the sky. Large shapes and broad value patterns guided the composition forward.

Simplification

Details were stripped away in favor of clarity. The painting moved further from direct observation and closer to an interpretation of the Guggenheim as an American monument. A redraw correctly placed the spiral, with the first pass serving as a ghost image, fading into the linen.

Turning Toward Night

The palette shifted dramatically as evening became the dominant influence. Interior lights began to emerge, transforming the building from architecture into beacon. While in town, I stayed in a beautiful apartment on the Upper West Side. Dave and Lauren, friends and collectors, offered me the key to their Manhattan kingdom. The city aglow at night from their 9th story window informed the painting in more ways than I could have imagined.

The first illuminated windows established the visual rhythm that would carry through the finished work. Light became the painting’s primary subject.

Light & Geometry

Additional windows and architectural details sharpened the relationship between the museum’s curves and the city’s rigid grid. Inspired by a magical creative conversation, it was here the work of Charles Sheeler and Charles Demuth found their way into the painting.

The red pathway entered the composition, introducing movement and directing the eye toward the museum’s entrance.

The City Awakens

The surrounding buildings came alive with illuminated windows, creating a dialogue between the Guggenheim and the urban landscape around it.

Subtle refinements to color, contrast, and perspective brought the composition into balance. At this stage, the painting’s final direction was clear. Successive 96 degree, then rainy days forced me indoors to create.

Studio Completion

Back in Idaho, the final adjustments focused on atmosphere, edges, and the interaction of light across the composition. It’s amazing how much light can impact a painting. The feel under bright studio lights, as pictured here, is quite different under a subtle lens.

The finished painting.

Created on location at Fifth Avenue and 89th Street in June 2026, My Guggenheim is the eighteenth painting in a twenty-year series documenting Frank Lloyd Wright’s masterpiece. Influenced by reflections, city lights, and the American Modernist tradition of Charles Sheeler and Charles Demuth, the work presents the Guggenheim not merely as a museum, but as an enduring American icon.

Two paintings remain.

The Fifth Avenue Experience

Over the course of each Guggenheim painting, I meet thousands of interesting people. It’s always exciting to connect with dear friends. To wit, I loved catching-up with Max. We spent our early twenties exploring Manhattan in all its glory.

During day one, I met a fabulous gentleman named Weldon. Weldon stopped by to share some of his brilliant art, including this Guggenheim piece. He also left me with a copy of his memoir, which I read cover-to-cover on my flight home.

Creating on Fifth Avenue often attracts other artists. Really enjoyed the hour we spent together, honoring Frank Lloyd Wright’s masterpiece.

Laurie and Connie stopped by to say hello. We met in Victor, Idaho five years ago, stayed in touch, and reconnected on 89th street. I had the honor of seeing Laurie on Broadway in Death of a Salesman — two weeks later, she earned a Tony Award for her dazzling performance.

That same day, fellow Boston University art major, and New York City roommate, Pat rolled through for a hello. Great to see the man from Jersey.

Another beauty popped by, Joe, a close friend and excellent hockey teammate. We hadn’t seen each other in a decade.

Steve rolled through in his excellent ride. Beyond taking the amazing photo below, Steve was kind enough to hook a brotha up with two street dogs and a Gatorade. I can still taste those bad boys.

Always nice to have an action shot. It’s difficult to photo oneself. Thank you Steve.

My man Silver from Vegas introduced me to his family, Dan and Iva. We had a cocktail at their beautiful Upper East Side apartment, followed by some excellent Chinese food (sesame chicken for the win).

Great to catch up with yet another collector, Ben. We shared a few pints in Midtown. Great to catch up.

Where I first began my professional art career in 2009, same corner, slightly different set-up. Now? I carry wet palettes, a spray bottle, anchor the easel with my heavy backpack, and bring along a chair for longer, more relaxing sessions.

Can’t wait to be out there again next year, for the penultimate lap in the series.