What is it about the Haus-Rucker-Co. Mind Expander/Flyhead Helmet that so pleases everyone, I wonder? People love it. They just do. It is nice looking, with its translucent green double bubble mask, prismatic eyepieces, and groovy power pack, but the cool factor explodes once you realize what it is and what it’s meant to do. Read more
INSIDE/OUT: A MoMA/MoMA PS1 BLOG
This is the first post in the new series Off the Shelf, which explores unique MoMA publications from the Museum Archives.
During our intern walkthrough of the exhibition Staging Action: Performance in Photography since 1960, we learned about Yoko Ono and George Maciunas‘s Fluxus Wallpaper, which is displayed along the third-floor hallway at the entrance to Staging Action and Pictures by Women: A History of Modern Photography. Read more
Saying something new and interesting about La Regle du ju (The Rules of the Game) by Jean Renoir (1894–1979) is more than a challenge. Perhaps no film (with the possible exception of Citizen Kane) has been so universally acclaimed by critics of all stripes and persuasions. Read more
I never visited the Warehouse, the Chicago club where legendary Frankie Knuckles was DJ (and where the moniker “House Music” was born), but I was lucky enough to dance all night at the Power Plant, the club he opened there in the early 1980s. Later, during a visit to NYC in the summer of 1983 (before I moved here in 1987), my friends took me out for a delirious pilgrimage to hear the mighty sounds of Larry Levan at Paradise Garage. This former garage at 84 King Street was a place of few words. Dance was the message. Read more
In her session of In the Making, teaching artist Kerry Downey has been tackling the difficult world of abstract art and the way in which non-representational art can express emotions. For her first field trip of the season, she took the group on a strange, confusing, and ultimately beautiful journey through the amazing environs of Long Island City’s Flux Factory. 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.
Here are five works from MoMA’s collection representing the flowers, as well as the showers, that come with spring. Read more
Looking at Music 3.0 invites interaction. Visitors select songs to hear (and dance to), videos to watch, and zines to read. Three digital art projects go one step further, allowing user and machine to take an active role. Laurie Anderson, The Residents, and Perry Hoberman harnessed what in the 1990s were the latest digital tools to make truly interactive works. Read more
Two recent acquisitions on view in the exhibition I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, which just opened in the Drawings Galleries, prove that text-based art need not be disembodied. While On Kawara‘s series of telegrams sent to his Dutch gallerist—one of which lent the show its title—used neutral typewriting, modest scale, and the simplest of phrases to attest to a human presence, works by Fiona Banner and Paul Chan assert corporeality through scrawled handwriting, imposing size, and thick, evocative diction. This is art that describes the body at the same time that it re-creates it. Read more
My father strolled, my uncles strolled, and so does Fluxus. The word “stroller” is not my own. I heard it at my uncle’s funeral. A strange woman said it. I did not know her. I suppose my uncle did. He knew a lot of people. When it came time for folks to say a few words about the deceased, the woman stood up and said, “He was a stroller.” Everyone laughed. At first I thought she was calling him a baby carriage but I knew what she meant. Read more
Leo McCarey (1898–1969) was a key figure in 1930s Hollywood. We have previously shown two of his Laurel and Hardy shorts; Duck Soup (1933), with the Marx Brothers; and his melancholy meditation on old age, Make Way for Tomorrow (1937). Although we did not include it, The Awful Truth, from the same year, is one of the best screwball comedies, and he made several other noteworthy films during his best decade. Read more
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