Working in a library, it is amazing how consistently one is asked, “Which is your favorite book?” I generally stutter and give a muddled reply about how I like the idea of an accumulation of books, or something along those lines. If really pressed, I have recently started mentioning that I like books about books. Read more
INSIDE/OUT: A MoMA/MoMA PS1 BLOG
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.
With Valentine’s Day just a few days off (thank you, Hallmark and Tiffany’s, for the e-mail reminders), we thought a look at some love- and not-quite-so-love-themed works in the collection was in order. Enjoy, and happy Valentine’s Day! Read more
People often ask me, “How do you discover new films for acquisition for the MoMA collection?” This is a good question that mines the basics of curatorial work, but one that is also impossible to answer in a concise manner. Our collection is growing all the time, and each work has its own unique origin story. Here’s one of them. Read more
These notes accompany the Disney, Iwerks, and Fleischer in the 1930s program on February 9, 10, and 11 in Theater 3.
Last June we presented a brief survey of early animation in both America and Europe. On the continent, with the emergence of figures like Walter Ruttmann and Oskar Fischinger in Germany and (with the coming of sound) Len Lye in Britain, abstraction became the predominant form. Lotte Reiniger continued her silhouettes, eventually landing also in Britain. Ladislas Starevitch spent the first decade of the sound era working on the puppet feature Le Roman de Renard in France. Read more
When you spend a lot of time around objects, you find that some objects continue to unfold with every new encounter while other objects do not. I was charmed from the start by Haus-Rucker & Co.’s Stück Natur (Piece of Nature), a microenvironment in a preserving jar, but didn’t expect it to continue to draw me back in. Read more
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, February 18).
ANSWERS TO THE JANUARY 28 CHALLENGE: Read more
The 1958 Philip Guston drawing Head – Double View is currently on view in The Big Picture, the fourth-floor installment of MoMA’s Abstract Expressionist New York exhibition. One floor down, in the complementary show Ideas Not Theories: Artists and the Club, 1942-1962, the black-on-white composition appears again, this time on the cover of an album by the American composer Morton Feldman. Feldman—who was friends with many of the artists associated with the New York School, Guston in particular—featured the drawing on the jacket of his 1959 Columbia Masterworks release New Directions in Music 2. Read more
Last Chance to See Monika Grzymala and the exhibition On Line: Drawing Through the Twentieth Century
Monika Grzymala’s work always pushes the viewer—it forces us to question how we categorize artworks, what they’re made of, and where they can be installed. Monika has worked with adhesive tape, handmade washi paper, and a diverse range of other materials to create large scale drawings-in-space— works that are grounded in the idea of drawing and the artist’s direct engagement with materials, but that expand into three dimensions, filling and shaping the viewer’s own space. Read more
The 1937 version of Abel Gance’s (1889–1981) J’Accuse is hardly the director’s best film, but I thought it would it would make an interesting and instructive companion piece to the 1919 silent version, which we showed in the recent To Save and Project festival. (Gance’s La Roue is familiar to Museum audiences, and we were unable to screen Napoleon because of the restoration work currently in progress.) The 1937 film begins at almost the end of World War I, after the male protagonists in the story’s love triangle have been reconciled. The original, a peculiar but impassioned antiwar epic, was mostly taken up with the rivalry of the two for the heroine, which was finally interrupted by the coming of the war. So the 1937 film is only partially a remake. Read more
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