Sometimes you can palpably feel excitement building for an artist. It might be a rising star from Los Angeles who works in drawing and video, or a Brooklyn-based painter featured in Greater New York 2010 at MoMA PS1 and about to break through. It is less often a woman artist of the New York School, whose presence in MoMA’s collection has heretofore consisted of one drawing, two prints, and a small tabletop sculpture, and who has been dead for sixteen years. Read more
MoMA’s Education Department prides itself on crafting personal experiences with works of art for our visitors. In exploring new ways to enhance these experiences, we were surprised to find that video has a remarkable ability to help us focus our gaze in a way that is often very difficult to do in the galleries. It might seem like a strange concept—that looking at a work of art on your computer screen would help you to look and think about art more deeply—but this is precisely what we discovered as we developed two online courses over the last year. Read more
I’ve written before about some of the various ways that works are acquired for MoMA’s collection, a primary one being in preparation for upcoming exhibitions. Abstract Expressionist New York, opening here next month, provided one such opportunity. Read more
In 1952, The Museum of Modern Art established the International Program of Circulating Exhibitions, which was supported by a grant from the Rockefeller Brothers Fund, with the aim of sending exhibitions to museums around the world. The following year, the International Council was organized to provide long-term financial support to the program.
Amy Horschak: In light of MoMA’s upcoming installation Abstract Expressionist New York and the exhibition of many of the “AbEx” artists abroad by the International Program (IP) in the 1950s, can you comment on the often-made claims that the IP was, at that time, part of a CIA project? Read more