MoMA

CATEGORY: ARTISTS

Posts in ‘Artists’
Feed
Moma_agora_tal_beery_020-150x150
Continuing the Conversation: How Will Art Survive Us?
Tal Beery with Agora participant from

Tal Beery with Agora participant from “How Will Art Survive Us?” Wednesday July 13, 2016, Photo: Manuel Martagon. © 2016 The Museum of Modern Art, New York

How Will Art Survive Us? I had the pleasure of presenting on this beautifully provocative topic at MoMA’s Agora program this past July. I discussed two works, one ongoing pedagogical project, School of Apocalypse at Pioneer Works, and one sculpture, Eroding Plazas and Accumulating Resistance, made with the Occupy Museums collective. Facing social and ecological changes that may threaten the very survival of our species, our times require large-scale collective adaptation. The arts, and arts institutions, are crucial here. They hold space for new stories and act as arenas for the rehearsal of new structures and modes of engagement that will be the most effective tools for surviving what we have become. Read more

American-people-series-20_die-150x150
From the Archives: Faith Ringgold, the Art Workers Coalition, and the Fight for Inclusion at The Museum of Modern Art
Faith Ringgold. American People Series #20: Die. 1967. Oil on canvas, two panels, 72 × 144″ (182.9 × 365.8 cm). The Museum of Modern Art, New York. Purchase, and gift of Sarah Peter. © 2016 Faith Ringgold/Artists Rights Society (ARS), New York

Faith Ringgold. American People Series #20: Die. 1967. Oil on canvas, two panels, 72 × 144″ (182.9 × 365.8 cm). The Museum of Modern Art, New York. Purchase, and gift of Sarah Peter. © 2016 Faith Ringgold/Artists Rights Society (ARS), New York

After seeing Faith Ringgold’s monumental, harrowing painting, American People Series #20: Die (1967), currently installed in the Museum and reading Thomas J. Lax’s incredibly thoughtful and moving post (as well as this recent notice from ARTnews, I was inspired to reflect upon this new acquisition. Read more

Kerryjamesmarshall_untitledpoliceman-150x150
July 9, 2016  |  Artists, Collection & Exhibitions
How Do Black Lives Matter in MoMA’s Collection?

Less than a month after 49 people were killed and 53 wounded by a single gunman at a gay Latino party in Orlando, Florida, Alton Sterling and Philando Castile’s gruesome murders by police officers were captured on video and widely circulated. The two recordings of Sterling’s death were made by Abdullah Muflahi, a local store owner, and Arthur Reed, an activist, while Castile’s was made in a lucid, terrifying account by his girlfriend, Diamond Reynolds, under police duress as he died next to her. At least 5.4 million people have seen Reynolds’s video as of Saturday morning. Read more

Peyton-150x150
May 27, 2016  |  Artists, Collection & Exhibitions
Lasting Impressions: The Monotype Medium from Edgar Degas to Elizabeth Peyton

A selection of monotypes from the Museum’s collection currently on view highlights the unique qualities of this printmaking process and reflects an enduring interest in the monotype medium within the context of an extended investigation into one artist’s experimentation with the technique: the exhibition Edgar Degas: A Strange New Beauty. To create a monotype, an artist draws with ink or paint on a metal plate, which is then sandwiched with a damp sheet of paper and run through a printing press. Read more

Moma_wafaa_dynamic_encounters_030_lq-150x150
May 17, 2016  |  Artists, Learning and Engagement
Experiments in Engagement with Wafaa Bilal

As the fellow for public programs at MoMA, part of my focus is working with artists to develop experimental programs that position the Museum as a resource for the public, artists, and “non-artists” alike. This season, I worked with artist Wafaa Bilal to develop a two-day public workshop, Dynamic Encounters: Experiments in Engagement to develop, execute, and present what Bilal calls an “open-ended performance” workshop that became a space for experimentation not only for participants but for Bilal and the Museum as well. Read more

Moma_chloe_bass__065-150x150
May 6, 2016  |  Artists, Learning and Engagement
“It’s amazing we don’t have more fights”: A Workshop on Museum Intimacies

Two weekends ago I had the pleasure of facilitating “It’s amazing we don’t have more fights,” a workshop version of my ongoing project The Book of Everyday Instruction. The Book of Everyday Instruction is an eight-chapter project (continuing through the end of 2017) investigating one-on-one social interaction. Each chapter focuses on a different central question. For chapter four, “It’s amazing we don’t have more fights,” I want to know how we shape stories simply through the relationship of two bodies in space. Read more

In2346_120_cccr-150x150
April 29, 2016  |  Artists, Collection & Exhibitions
Exploring the Legacy of Marcel Broodthaers with Dominique Gonzalez-Foerster and Rodney Graham

In 1964, the 40-year-old Marcel Broodthaers entered the world of art with his first solo exhibition. Until the early 1960s, he was a poet and photographer with ventures in filmmaking, journalism, and dealing books—but he had not yet exhibited visual art. He heralded his arrival on the art scene with an invitation printed in block lettering that declared: “I, too, wondered whether I could not sell something and succeed in life.” In this sideways shift, Broodthaers launched his own career with the same wit and skepticism that would characterize his approach to art. Read more

1-envelope-150x150
April 1, 2016  |  Artists, Library and Archives
From the Archives: Seeing Double with Ray Johnson

It’s no secret that Ray Johnson’s tongue-in-cheek and often ambiguous style was meant to both highlight and obscure meaning through an appropriation of words and images. His life-long commitment to that practice is visible in a collection of correspondence sent to Robert Rauschenberg between the years 1952 and 1965, which is newly available in MoMA’s Archives. This collection—which includes small collages, newspaper clippings, postcards, and flyers—serves as an excellent example of Johnson’s enigmatic mail art of the 1950s and 1960s. Read more

Erasures-a-poetry-workshop_17-150x150
Creating from Erasing: A Workshop Inspired by Marcel Broodthaers
Diane Bertolo, book artist, leads participants in an erasure.

Artist Diane Bertolo leads participants in an erasure. All images: Erasures: A Poetry Workshop Inspired by Marcel Broodthaers, March 22, 2016, The Museum of Modern Art. Photographer: Beatriz Meseguer/onwhitewall.com. © 2016 The Museum of Modern Art, New York

Marcel Broodthaers: A Retrospective bursts at the seams with text in all forms. Given Marcel Broodthaers’s interest in language, it’s fitting that MoMA’s second-floor bookstore is where, every Tuesday for the next four weeks, visitors have the opportunity to explore the artist’s work in a workshop led by Elizabeth Zuba, a poet and translator of the artist’s work, and Diane Bertolo, an artist and Broodthaers enthusiast. Read more

10_mariahassabi-_-plastic-at-moma-_-2016-150x150
March 16, 2016  |  Artists, Collection & Exhibitions
Forgotten Bodies and Their Images: Maria Hassabi’s PLASTIC
Maria Hassabi. PLASTIC. 2015. Installation view, The Museum of Modern Art, February 21–March 20, 2016. Pictured: Maria Hassabi, Oisín Monaghan, Molly Lieber, Hristoula Harakas. Photo: Thomas Poravas. © Maria Hassabi

Maria Hassabi. PLASTIC. 2015. Installation view, The Museum of Modern Art, February 21–March 20, 2016. Pictured: Maria Hassabi, Oisín Monaghan, Molly Lieber, Hristoula Harakas. Photo: Thomas Poravas. © Maria Hassabi

There are forgotten bodies throughout The Museum of Modern Art. At least, that is how artist and choreographer Maria Hassabi refers to them. On staircases, in the Marron Atrium, and on furniture, visible from balconies and vantage points throughout the building, dancers fall, walk, crawl, or lounge on the floor, alongside accumulated dust and discarded ticket stubs. Read more