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CATEGORY: CURRENT EXHIBITIONS

Posts in ‘Current Exhibitions’
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Polke Pop-Up Activity Space
MoMA visitors participate in a Polke Pop-Up Activity

MoMA visitors participate in a Polke Pop-Up Activity

If you happen to visit the exhibition Alibis: Sigmar Polke 1963–2010 on Tuesday afternoons you will notice something different: the sight of Museum visitors making art inspired by Sigmar Polke’s processes, in close proximity to his works of art. This shift toward more hands-on learning experiences is not something that happened overnight. Read more

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June 25, 2014  |  Current Exhibitions
The Cien House: Building Conceptions in Space
Pezo von Ellrichshausen, Mauricio Pezo, Sófia von Ellrichshausen. Cien House, Concepción, Chile. 2009–11. Concrete model, 14 × 14 × 5" (35.6 × 35.6 × 12.7 cm). Photo: Pamela Popeson

Pezo von Ellrichshausen, Mauricio Pezo, Sófia von Ellrichshausen. Cien House, Concepción, Chile. 2009–11. Concrete model, 14 × 14 × 5″ (35.6 × 35.6 × 12.7 cm). Photo: Pamela Popeson

I’m a big fan of buildings, which is to say walking around looking at buildings, taking city architecture tours by bike, or car trips out to a particular site, checking out exteriors, interiors—all of it. But for me, architects’ models and drawings are really where it’s at.

There’s an intimacy to architectural drawings and models that fosters a feeling of a sort of partnership, offering an insider’s invitation to that place where it’s clear that the ideas behind making buildings are about so much more than the plans for access elevators or where to put the closets. Read more

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Talking John Cage with David Platzker and Jon Hendricks

John Cage. 4'33" (In Proportional Notation). 1952/53. Ink on paper, each page: 11 x 8 1/2" (27.9 x 21.6 cm). The Museum of Modern Art, New York. Acquired through the generosity of Henry Kravis in honor of Marie-Josée Kravis, 2012. © 2014 John Cage Trust

John Cage. 4’33″ (In Proportional Notation). 1952/53. Ink on paper, each page: 11 x 8 1/2″ (27.9 x 21.6 cm). The Museum of Modern Art, New York. Acquired through the generosity of Henry Kravis in honor of Marie-Josée Kravis, 2012. © 2014 John Cage Trust

I had the pleasure of speaking with David Platzker and Jon Hendricks, curators of There Will Never Be Silence: Scoring John Cage’s 4’33″ (October 12, 2013 to June 22, 2014), about the development of the show. David Platzker has been Curator, Department of Drawings and Prints, since May 2013. Jon Hendricks is an artist and Fluxus Consulting Curator of the Gilbert and Lila Silverman Fluxus Collection. Read more

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June 12, 2014  |  Artists, Current Exhibitions
Tapping the Subconscious: The Hypnotic Art of Matt Mullican
Matt Mullican. Untitled (Learning from That Person's Work: Room 1). 2005. Installation of ink on paper collage mounted on 12 cotton sheets, wood, cable, and video component (color, sound; 14:04 min.), 12 units, each 109 x 88.5", installation dimensions variable. Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art and the Friends of Contemporary Drawing. © 2014 Matt Mullican

Matt Mullican. Untitled (Learning from That Person’s Work: Room 1). 2005. Installation of ink on paper collage mounted on 12 cotton sheets, wood, cable, and video component (color, sound; 14:04 min.), 12 units, each 109 x 88.5″, installation dimensions variable. Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art and the Friends of Contemporary Drawing. © 2014 Matt Mullican

Matt Mullican. Untitled (Learning from That Person’s Work) (detail). 2005. Courtesy of la Biennale di Venezia. © 2014 Matt Mullican

Matt Mullican. Untitled (Learning from That Person’s Work) (detail). 2005. Courtesy of la Biennale di Venezia. © 2014 Matt Mullican

When I think of art created from an altered state of mind or from the subconscious, I immediately go to the automatic drawing practices of the Surrealists, or of art brut and “outsider art.” Art brut, literally “raw art,” is a term coined by artist Jean Dubuffet in the mid-1940s to describe work made outside of the established art world. Over the years it has been used to categorize art created by the mentally ill, the incarcerated, and the formally untrained. Read more

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June 4, 2014  |  Current Exhibitions, Publications
Sigmar Polke Der Illusionist
Cover of Alibis: Sigmar Polke 1963-2010, published by the Museum of Modern Art, New York

Cover of Alibis: Sigmar Polke 1963-2010, published by the Museum of Modern Art, New York

Alibis: Sigmar Polke 1963–2010 is the first comprehensive Sigmar Polke retrospective to cover the broad range of mediums he worked in from 1963 until his death in 2010. The accompanying catalogue is as comprehensive and diverse as the show, Read more

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John Cage and the Northwest School
Mark Tobey. The Void Devouring the Gadget Era. 1942. Tempera on board, 21 7/8 x 30" (55.3 x 76.0 cm). The Museum of Modern Art, New York. Gift of the artist, 1964. © 2014 Estate of Mark Tobey/Artists Rights Society (ARS), New York

Mark Tobey. The Void Devouring the Gadget Era. 1942. Tempera on board, 21 7/8 x 30″ (55.3 x 76.0 cm). The Museum of Modern Art, New York. Gift of the artist, 1964. © 2014 Estate of Mark Tobey/Artists Rights Society (ARS), New York

The first gallery of the exhibition There Will Never Be Silence: Scoring John Cage’s 4’33″ contains works by John Cage’s contemporaries and influences, including such well-known names as Marcel Duchamp, Joseph Albers, Jasper Johns, Barnett Newman, and Robert Rauschenberg. Works by two lesser-known West Coast artists, Mark Tobey and Morris Graves, also occupy this space, pointing to Cage’s brief but seminal years living in Seattle. Read more

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Yoko Ono’s Secret Piece
Yoko Ono Grapefruit

Yoko Ono. Grapefruit. 1964. Artist’s book (Tokyo: Wunternaum Press). Offset on paper, 5 1/2 x 5 1/16″ (13.9 x 13.8 x 3.1 cm) (overall, closed)

Many of the works featured in the exhibition There Will Never Be Silence: Scoring John Cage’s 4’33″ were created around 1960, as a generation of artists and students of John Cage reacted to the radical possibilities opened up by his 4’33″. The score had finally been published eight years after its first performance at Woodstock in 1952. Read more

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April 25, 2014  |  Artists, Current Exhibitions
Rebel Photography: Robert Heinecken as Visual Guerrilla
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Cover of Robert Heinecken: Object Matter, published by The Museum of Modern Art, New York

Robert Heinecken: Object Matter, the first retrospective since the artist’s death in 2006, contains over 100 photo-based works created by Heinecken between 1962 and 1999. Heinecken was best known for working in the medium of photography and with manipulating images, but surprisingly, he seldom used a camera, Read more

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April 24, 2014  |  Artists, Current Exhibitions
The Inscrutable Gestures of Jasper Johns
Jasper Johns. Untitled. 2013. Ink on plastic, 27 1/2 × 36" (69.9 × 91.4 cm). The Museum of Modern Art, New York. Promised gift from a private collection. © Jasper Johns/Licensed by VAGA, New York, NY. Photo: Jerry Thompson

Jasper Johns. Untitled. 2013. Ink on plastic, 27 1/2 × 36″ (69.9 × 91.4 cm). The Museum of Modern Art, New York. Promised gift from a private collection. © Jasper Johns/Licensed by VAGA, New York, NY. Photo: Jerry Thompson

It caught my eye when I read last week that Jasper Johns has created a print on translucent paper for the May issue of Art in America magazine. Apparently, the print will feature several of Johns’s “signature motifs,” but the translucent paper might be considered somewhat of a signature motif in its own way. Read more

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“Women in the War. We Can’t Win Without Them”
Left: 2.Howard Chandler. Christy, Gee!! I Wish I Were a Man, 1917. Lithograph. Gift of Abby Aldrich Rockefeller, 1940. The Museum of Modern Art, New York; Right: Photo of “yeomanettes” taken in New York City, May 8, 1919. Collection Naval History & Heritage Command

Left: Howard Chandler Christy. Gee!! I Wish I Were a Man. 1917. Lithograph. Gift of Abby Aldrich Rockefeller, 1940. The Museum of Modern Art, New York; Right: Photo of “yeomanettes” taken in New York City, May 8, 1919. Collection Naval History & Heritage Command

Right now the U.S. military is preparing to allow women to serve in combat roles for the first time, and pressure is growing from international precedent for the U.K. to follow suit. Yet there are still many who feel that the frontline is just not a place fit for a woman. Such a prospect was certainly out of the question a century ago during World War I. Read more