As far as films go, it’s one of those that everyone talks about, but few get around to actually seeing. I’m talking about Andy Warhol’s Empire, his infamous 1964 film that consists of a single, stationary eight-hour view of the Empire State Building at night. Better yet: the film was shot at 24 frames per second and is projected at 16—which means that this epically-long stationary shot of the Empire State is actually seen in slow motion. Though heralded conceptually, it has been repeatedly described as unwatchable. Which is exactly why I wanted to see it. All eight hours of it. Read more
Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
The works have been selected. Handlers contracted. Opening parties and after-parties and after-after-parties arranged. It’s almost time for the cultural glitterati to come together and salute each other’s art (and, just as important, artful outfits). Yes, the Armory Show is nearly upon us!
George Cukor (1899–1983) was not the kind of auteur who was stylistically flashy, and his philosophical point of view was not rigidly defined by a dogmatic personality. His talents were more subtle, but, nonetheless, genuine. Cukor’s Holiday was adapted from the Broadway success by Philip Barry, who went on to write The Animal Kingdom and The Philadelphia Story. Read more
As video-streaming technology becomes more ubiquitous, we’ve been antsy to try a walkthrough of an exhibition at MoMA. Department of Architecture and Design curator Juliet Kinchin and curatorial assistant Aidan O’Connor have been brave enough to be the first.
How well do you know your MoMA? If you think you can identify the artist and title of each of these works—all currently on view throughout the Museum—please submit your answers by leaving a comment on this post. We’ll provide the answers—along with some information about each work—in two weeks (on Friday, March 4).
ANSWERS TO THE FEBRUARY 4 CHALLENGE: Read more
As I’ve assisted Roxana Marcoci and Eva Respini with the exhibition Staging Action: Performance in Photography since 1960—which opened January 28 in The Robert and Joyce Menschel Gallery on the third floor—I’ve come to recognize the variety of layered themes that are present in the show, despite the fact that the exhibition itself only includes about 50 works (many of which are new acquisitions). Read more
Sergei Eisenstein was born in 1898 and died, at the age of 50, 63 years ago last week. By the age of 30 he was world-renowned for his theory of montage, as applied to his youthful masterpieces Strike, Battleship Potemkin, and October (Ten Days That Shook the World). These films found heroics in collectives (among workers, sailors, or, in the case of his 1929 Old and New, farmers) and in stick-figure commemoration of the Bolshevik Revolutionaries. In 1930, he was invited to come to Hollywood by Paramount Pictures, and during his time there he pursued several aborted projects, including a film version of Theodore Dreiser’s An American Tragedy (which was finally made in 1931 by Josef von Sternberg, vacationing from Marlene Dietrich). To delay returning to Russia, Eisenstein persuaded Upton Sinclair and his wife to finance the intended epic Que Viva Mexico! Read more