“My piece Rainforest IV was developed from ideas I had as early as 1965…. An offer came, which didn’t get realized…I was asked to make a proposal for a park in Washington. The idea was to have a sounding outdoor sculpture, so my mind began turning around. I thought, ‘wouldn’t it be wonderful if each sculpture sounded completely different from the other and the whole could be run by one machine . . . .'” – David Tudor Read more
CATEGORY: COLLECTION & EXHIBITIONS
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
For the past five weeks, we have organized a series of weekly monotype printmaking workshops, Degas in Process: Make a Monotype, in conjunction with the exhibition Edgar Degas: A Strange New Beauty, on view on MoMA’s sixth floor through July 24. Taking Degas’s innovative use of the monotype as a starting point, these workshops are led by teaching artists—Justin Sanz, Sophy Naess, Neil Berger, Kerry Downey, and Bruce Waldman—each of whom brings a unique creative approach to their session and offers a glimpse into the sustained relevance of the monotype technique in contemporary artistic practice. Read more
Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
You’d have to own a seriously effective pair of horse blinders, or have access to—and reside on—an island without WiFi, newspaper deliveries, or the arrival of other people, to miss the latest election-season shenanigans here in the U.S. Read more
How well do you know your MoMA? If you think you can identify the artist and title of these works from MoMA’s collection—all currently on view in the Museum—please submit your answers by leaving a comment on this post. We’ll provide the answers next month (on Friday, June 17). Read more
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
Looking at the exhibition Edgar Degas: A Strange New Beauty, one can immediately sense how strikingly modern the artworks feel, even after 120 years. Organized by senior curator Jodi Hauptman and curatorial assistant Heidi Hirschl, the show features the artist’s experimental and radical works that have rarely been attached to the widely conceived notion of “Degas” (two words: pink tutus). Read more
A visitor to MoMA’s current Marcel Broodthaers: A Retrospective exhibition must traverse a sea of potted palms to enter the galleries. The palms, along with a series of prints hanging on the surrounding walls, comprise a work entitled L’entrée de l’exposition (The entry to the exhibition). Read more
We are proud to announce the acquisition of Living Architectures, a suite of films by Ila Bêka and Louise Lemoine. These films imaginatively (and often hilariously) explore the daily life of contemporary architecture as it is inhabited and experienced. This acquisition represents the first inroads for the Department of Architecture and Design into the medium of film. Read more
If you’ve read some of my other blog posts, you’ll know that MoMA has been experimenting with “pop-ups”—drop-in learning and art-making spaces—in closer proximity to the galleries for the past couple of years. These impromptu spaces are something that the Department of Education has long advocated for because offering hands-on activities helps visitors make connections to the art on view. Read more
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