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CATEGORY: COLLECTION & EXHIBITIONS

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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 18, 2014  |  Collection & Exhibitions
Hito Steyerl’s HOW NOT TO BE SEEN: A F**king Didactic Educational .MOV File
Hito Steyerl. HOW NOT TO BE SEEN: A Fucking Didactic Educational .Mov File. 2013. Still image, single screen 1080p .mov file, 14min. © Hito Steyerl. Courtesy Wilfried Lentz Rotterdam

Hito Steyerl. HOW NOT TO BE SEEN: A Fucking Didactic Educational .Mov File. 2013. Still image, single screen 1080p .mov file, 14min. © Hito Steyerl. Courtesy Wilfried Lentz Rotterdam

I go to bed with my phone. It’s often the last thing I look at before falling asleep, and the first thing I touch in the morning. There’s no shortage of people thinking about this type of thing—technology-as-prosthesis or part-object—and its array of consequences, but few get to the heart of the matter quite like Hito Steyerl does. Read more

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June 16, 2014  |  Do You Know Your MoMA?
Do You Know Your MoMA? 6/16/14

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How well do you know your MoMA? If you think you can identify the artist and title of each of these works from MoMA’s collection—all currently on view throughout the Museum—please submit your answers by leaving a comment on this post. We’ll provide the answers next month (on Friday, July 11). 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 11, 2014  |  Collection & Exhibitions, Design
Biophilia, the First App in MoMA’s Collection
Björk Gudmunsdóttir, Scott Snibbe, and Mathias Augustyniak and Michael Amzalag of M/M Paris; with Max Weisel of Relative Wave; Kodama Studios; Sarah Stocker; Mark Danks; John F. Simon, Jr.; and Touch Press. Biophilia. 2011. Interactive digital application for tablet devices. Gift of Björk and One Little Indian

Björk Gudmunsdóttir, with Mathias Augustyniak and Michael Amzalag of M/M Paris, Sjón, Scott Snibbe, Sarah Stocker and Mark Danks of Kodama Studios, Touch Press, Max Weisel of Relative Wave, Nikki Deben, Stephen Malinowski, and John F. Simon, Jr. Biophilia. 2011. Interactive digital application for tablet devices. Gift of Björk and One Little Indian

I cannot forget the first time I heard and saw Björk. It was 1987, she was part of the Sugarcubes, and she was singing the most arresting song, “Birthday.” The video was shot in Rejkyavik—otherworldly light, curious characters, peculiar architecture. She looked like an alien Tinkerbell and her voice was simultaneously haunting, corrosive, and incredibly moving. In the decades since, Björk has never ceased to experiment and surprise. Read more

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June 5, 2014  |  Artists, Collection & Exhibitions
Sigmar Polke’s Printed Dots
Installation view of Alibis: Sigmar Polke 1963–2010, The Museum of Modern Art, New York, April 19–August 3, 2014. © 2014 The Estate of Sigmar Polke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Germany

Installation view of Alibis: Sigmar Polke 1963–2010, The Museum of Modern Art, New York, April 19–August 3, 2014. © 2014 The Estate of Sigmar Polke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Germany

Within the arsenal of unusual and experimental techniques on clamorous display in Alibis: Sigmar Polke 1963–2010, the artist’s prints are notable for their sly celebration of the halftone dot pattern, the tonal register that has enabled images to be reproduced in newspaper photographs, magazine ads, consumer packaging, etc. since the late 19th century. 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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May 28, 2014  |  Collection & Exhibitions, Film
From the Collection: John Cassavetes’s A Pair of Boots (1962)

New York–born actor/director John Cassavetes (1929–1989) began working in early episodic television while directing his first feature film, Shadows, which officially opened in March 1961 in New York City. Concurrent with the production of Shadows, Cassavetes starred in and directed 27 episodes of the early television crime drama Johnny Staccato (which was filmed in Los Angeles but set in a Greenwich Village jazz club), in which he played the title role, a jazz pianist/private detective. 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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May 15, 2014  |  Library and Archives, MoMA PS1
From the MoMA PS1 Archives: High-Class Couture in the Classrooms
Installation view of the MoMA PS1 exhibition, Fashion (Fall 1981): Homer Layne's Collection of Charles James Fashions (October 18–December 13, 1981). Photograph by Ivan Dalla Tana. MoMA PS1 Archives, I.A.631.

Installation view of the MoMA PS1 exhibition, Fashion (Fall 1981): Homer Layne’s Collection of Charles James Fashions (October 18–December 13, 1981). Photograph by Ivan Dalla Tana. MoMA PS1 Archives, I.A.631

On May 5 The Metropolitan Museum of Art held its annual star-studded Costume Institute Gala, complete with red carpet and paparazzi, timed to coincide with the opening of a new fashion exhibition about a legendary couturier: Charles James: Beyond Fashion. But possibly the first gallery exhibit of James’s work opened 33 years ago at MoMA PS1, Read more