Jasper Johns (American, born 1930). Untitled. 2013. Watercolor on paper. 22 1/4 × 31″ (56.5 × 78.7 cm). (© Jasper Johns/Licensed by VAGA, New York, NY. Photograph: Jerry Thompson (click to enlarge)
Last week, we noted the interview Jasper Johns gave the Financial Times regarding his Regrets, the octogenarian’s latest body of work and title of his forthcoming show at the Museum of Modern Art…
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Brazilian art, Lygia Clark, Museum of Modern Art (via The Radical Brazilian Artist Who Abandoned Art)
As the visitor to the Museum of Modern Art walks across a swarming fifth floor this summer, she will find Lygia Clark: The Abandonment of Art, 1948–1988, the first comprehensive retrospective of the Brazilian artist’s career in America. The show is organized chronologically, starting with Clark’s early works from the 1950s and moving through her more radical experiments with participation and the sensorial awareness of spectators.
Very soon after my review of Louis Draper was published in Hyperallergic Weekend (February 7, 2016), I got an email from the Virginia Museum of Fine Arts and from the Museum of Modern Art. Pryor Green, who sent the email from Virginia, included her office phone and official email, should I wish to speak to her.
Follow-Up to My Review: Does the Museum of Modern Art Even Know About This Great Photographer?
This morning, three Hyperallergic editors — Elisa Wouk Almino, Jillian Steinhauer, and Benjamin Sutton — ventured out to see the Museum of Modern Art’s latest foray into avant-garde pop star curating: Björk (an exhibition that needs no subtitle).
Charles Silver has worked at the Museum of Modern Art (MoMA) since 1970, first in the film studies center and then (and still) as a curator in the department of film. His recent exhibitions include Roman Polanski, The Great War: A Cinematic Legacy, and An Auteurist History of Film, a screening series that lasted for five years. In his writing, including books on the history of the Western, Charles Chaplin, and Marlene Dietrich, Silver seamlessly blends his personal relationship to film with humor, behind-the-scenes tidbits, and analysis.
(via Join MoMA PopRally for Decoding Alibis, An Interactive Event Exploring Sigmar Polke, July 23)
The critically acclaimed Sigmar Polke retrospective at the Museum of Modern Art (MoMA) closes on August 3, but before it’s gone, we have the perfect event that will help you explore, discover, and learn about one of the most powerful exhibitions in New York.
MoMA Turns Their Private Garden into a Public Park for the Mornings
Installation view of The Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art,…
I found it rather soothing to watching two employees at the Museum of Modern Art polish the large Alberto Giacometti sculpture, “Tall Figure, III” (1960), in the museum courtyard. They completely ignored the visitors walking by and continued to complete…
The Museum of Modern Art’s current retrospective of Sturtevant’s work, Double Trouble, is a study in movement. Along with her many near-replications of other artists’ work (including takes on Keith Haring, Andy Warhol, Félix Gonzalez-Torres, and Joseph Beuys) it features her more recent video works. These videos — “Finite Infinite” (2010), a corridor-long projection of a dog running; “Dillinger Running Series” (2000), in which Sturtevant-as-Beuys races along the wall to a pounding beat; and “Pacman” (2012), featuring footage of the eponymous game, with Pac-Man racing after and consuming dots and fruits — each introduce elements of a pervasive theme that relates to racing, consuming, and being consumed. Juxtaposed with her “copy” pieces, these videos shed light on her work: Sturtevant’s practice consumes pieces by other artists as she races ahead, making herself invisible behind the work of others in order to avoid being consumed in turn.
Ever since the Museum of Modern Art’s contract negotiations with members of the United Autoworkers Local 2110 took a very public turn earlier this month, the Instagram account @MoMALocal2110 has been telling the stories of workers who would be affected by the proposed healthcare cuts. As negotiations between the museum and Local 2110 continue — and continue to get nowhere — MoMA’s union members are using Instagram to emphasize the human dimension of the often murky business of contract bargaining and broadcast their appeal beyond the negotiating table to coworkers, colleagues at other institutions, and the public. Their talks with museum administration may be deadlocked, but in the court of public opinion Instagram is giving the MoMA workers a decisive advantage.
How MoMA Workers Are Using Instagram to Put Faces on Contract Negotiations
