MoMA’s Jackson Pollock Conservation Project: Bringing the Project to Conclusion: Restoration of Number 1A, 1948
Readers who have been following the blog will recognize a pattern in our approach to conservation treatment of Number 1A, 1948, the final of three Jackson Pollock paintings that have been the focus of our 18-month project. Read more
One of the most relevant figures in 20th-century art, and a paradigm of the communion of art and politics, León Ferrari sadly passed away last July, at age 92. Paying homage to his achievements and extraordinary legacy, a selection of his work, drawn from MoMA’s collection, was recently on view outside the Museum’s second-floor Marron Atrium. Read more
What happens when the Museum turns into a laboratory for artists?
This year MoMA’s Department of Education invited artists Allison Smith, Paul Ramirez Jonas, and the creative collective The Office for Creative Research to be part of the second year of Artists Experiment, an initiative to develop public engagement experiences through collaboration with contemporary artists. Exploring MoMA’s history, resources, and spaces, each of these artists approaches the Museum like a laboratory—a place for thinking, collaborating, and experimenting with the museum experience and our visitors.
San Francisco–based artist Allison Smith’s work investigates the cultural phenomenon of historical reenactment, or “living history,” using it as a means of addressing the relationship between American history, social activism, and craft.
At MoMA, Allison is researching the history of the Department of Education, specifically exploring the work and programs developed by MoMA’s first director of education, Victor D’Amico. Allison is considering how MoMA’s rich history can speak to our current education practices, mining strategies and ideas from the past to inspire new experiences at the Museum today.
Brooklyn-based artist Paul Ramirez Jonas is interested in articulating shared stories and histories, working with and transforming different forms of public art and public symbols.
Paul has been looking at the visitor experience at MoMA, exploring public spaces designed for interaction including the bookstore and the Museum’s information desks.
He asks the question, how can we build on the visitor experience at MoMA.
New York–based collective The Office for Creative Research (O-C-R) includes artists and data experts Jer Thorp, Ben Rubin, and Mark Hansen, a multidisciplinary research group exploring new modes of engagement with data, through unique practices that borrow from science, technology, and the arts.
O-C-R is looking at massive amounts of information from the Museum’s collection database. From image titles to notes on how to install a work, O-C-R is thinking about how this data can be explored and activated by Museum visitors to facilitate interaction, learning, and exchange.
What can you expect?
Throughout the winter and spring, Artists Experiment will present a range of programs and interactions developed with each of these artists. To kick things off, we invite you to join us for the January 29 launch event, Social Exchange: Artists’ Reception. This special event is a chance to meet the artists in person and get a little taste of what’s to come. The Office for Creative Research and Allison Smith are creating an interactive, performative work for the evening, and Chef Lynn Bound is preparing a special menu in collaboration with Paul Ramirez Jonas. We hope you’ll join us for this warm, winter celebration!
Look out for other upcoming Artists Experiment programs at MoMA.org/artistsexperiment.
In regard to poetry, modernist poet Ezra Pound repeatedly urged his fellow practitioners to “Make It New.” Working in counterpoint to the tradition of the guided city tour, my participatory walks take their cue from poetry, where writer and reader collaborate in creating and gleaning new meanings for the world. Tuning in to the nuances of the everyday, we might make visual poems on the sidewalk with found objects, a duet with light, or monuments with our bodies in response to civic statues in public space.
“Pipe Dream” is a new walk debuting at MoMA on Saturday, November 16. It’ll take us down seldom-seen Museum hallways, through the Magritte exhibition, and outside into the sensory tangle of midtown Manhattan. Drawing from Surrealist techniques, we will create within, and rediscover, a neighborhood often cast off as one that only serves big business and rigorous consumers. But since the walk is essentially a set of prompts and reveals, I don’t want to give away too much! Come experience it for yourself.
You can also experience “Pipe Dream” as part of Into the Participatory Walk, a three-session workshop at MoMA that begins on Thursday, November 7. There, we’ll explore poetic decision making and figure out how to create a participatory walk together. I’ll be hosting a “dress rehearsal” of “Pipe Dream” when the Museum is closed as part of the workshop.
I’ve been leading participatory walks for 10 years, arriving to this form after studying poetry and sound. Over time, my poems increasingly strained against the confines of the page and became more like musical scores, so I had to create a new medium. I discovered the work of the Acoustic Ecology movement and their soundwalks, which facilitate active listening in the environment. Adopting some of their techniques and applying a lot of my own creation, I led my first sound-based walk in San Francisco in 2003.
In 2010 I founded Elastic City, a New York–based non-profit organization that commissions artists to lead participatory walks throughout the world. I quietly collaborate with the artists, many of whom work in visual media, and help them to adapt their talents to the walk form. I might assist the artist in solidifying a walk concept, planning a route, shaping the arc of the walk, or tweaking a particular moment.
Every artist, every medium, and every object or situation we encounter offers a multiplicity of contextualizing frames and potential lenses with which to look at them. My walks try to get us inside of as many frames and to use as many lenses as possible to get at a whole new reality, if only momentarily. We all have the ability to rearrange our relationships to the world and to one another. After leading “Fabstractions” (see the video above), I’ll just say that I now look at telephone booths very differently.
I’ve been intrigued by Dorothea Rockburne’s wall drawing Neighbourhood (1973) since I began working at MoMA. It was acquired by the Museum in 1978, just five years after it was first made, but has been on view infrequently since then, and I really wanted to see it in person. Read more
In conjunction with the Museum’s first major exhibition of sound art, Soundings: A Contemporary Score, MoMA’s PopRally committee is thrilled to present the first U.S. performance by cyclo. (Carsten Nicolai and Ryoji Ikeda), entitled cyclo.id., on October 6. Read more
In 1947, The Museum of Modern Art published a deluxe portfolio of The Prints of Paul Klee, a luxurious green ribbon-bound box encasing 40 individual prints of Paul Klee’s etchings and lithographs, and a booklet by James Thrall Soby, then Chairman of the Museum’s Department of Painting and Sculpture. Read more
One of the recent additions to MoMA’s design collection is the record jacket for the Rolling Stones album Let it Bleed, with cover art by Robert Brownjohn. Those of us of a certain age are likely to remember not only our first LP purchase Read more
One of the most exciting things about working for an institution that collects contemporary art is the opportunity to see what artists are currently creating and contemplating. It’s a very rewarding part of my job to organize visits in which publishers show our curatorial staff the prints and books they have recently published. On one such visit last winter, Forth Estate—a Brooklyn-based publisher that has worked with emerging artists since its founding in 2005 Read more
Everyone is buzzing about Doug Aitken’s latest project, Station to Station: A Nomadic Happening, a train traveling from the Atlantic to the Pacific, making nine stops along the way to host one-night only, site-specific happenings throughout September. Read more