Lygia Clark: The Abandonment of Art, 1948–1988 is the companion catalogue to the exhibition under the same title, co-organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, MoMA, and Connie Butler, Chief Curator, Hammer Museum, with Geaninne Gutiérrez-Guimarães and Beatriz Rabelo Olivetti, Curatorial Assistants, Department of Drawings and Prints, MoMA. The first comprehensive retrospective to take place in North America, this landmark exhibition is matched by the accompanying publication, containing 13 chapters and 380 plates. Read more
MoMA recently launched its first digital-only publication, Picasso: The Making of Cubism 1912–1914, edited by Anne Umland and Blair Hartzell, with Scott Gerson. This immersive, interactive study features over 400 high-resolution images and the latest research on 15 groundbreaking Cubist works created by Picasso between 1912 and 1914, and is available as an iPad app through the App Store, or an interactive PDF through MoMAstore.org. Read more
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
Maira Kalman—much-beloved artist, illustrator, writer, designer, and New Yorker—has been collecting vintage photographs for 30 years, seeking them out at antique shops, flea markets, and countless other places in the city and during her travels. Read more
Ileana Sonnabend: Ambassador for the New is the catalogue published to accompany the exhibition of the same name currently on view at MoMA. Both are a tribute to art dealer and gallerist Ileana Sonnabend (1914–2007) for her taste and enduring influence. Read more
Isaac Julien: RIOT is not your typical exhibition catalogue. With most of the writing done by artist and filmmaker Isaac Julien himself, it is more like an illustrated intellectual biography. Read more
First published in 1971 and newly reissued by MoMA, Living Well Is the Best Revenge by New Yorker staff writer Calvin Tomkins is the now-classic account of the lives of Gerald and Sara Murphy, two fascinating American expatriates who lived an extraordinary life in France in the 1920s. Read more
Beginning in the mid-1990s, a loose affiliation of filmmakers, graduates of the German Film and Television Academy in Berlin, began creating films that offered a new, aesthetically-driven form of cinema. Read more
Artist Charles E. Burchfield is known for his mystical and visionary interpretations of American nature. His paintings of natural scenes and landscapes are often florid and psychedelic—the colors richer and deeper, light more radiant and intense, and always with florid texture that seems to radiate on forever. His paintings are nearly fantastical, but seem to speak to something beyond a pure fantasy realm—it is as if he is communicating his sense of an innate, organic technology at work in the natural world.
The First Hepaticas, a 1917–18 painting by Burchfield, is currently on display as part of the American Modern: Hopper to O’Keeffe exhibition. Burchfield completed The First Hepaticas in the location where he created most of his early works, his childhood home in the city of Salem, Ohio, where he lived from the ages of five to 28. It was there that he experienced what he later deemed his “Golden Year,” 1917, because of a prolific, inspired output.
Hepaticas are a wildflower found in most Northeastern states in America. Their appearance at the end of winter is taken to signal the coming of spring, as they are often one of the first flora to sprout amongst the carpet of brush and fallen leaves left from the cold seasons.
Here, Burchfield captures this symbolic moment. Most of The First Hepaticas is a gloomy landscape of drab, brown leafless trees, some with hollows like gaping mouths. In the bottom right corner you see a small grouping of white flowers haloed by light. The flowers are suggestive of life and optimism in the morass of gloom and deadness. They are harbingers of regeneration, and perhaps Burchfield believes we can learn from nature in this respect.
Several of Burchfield’s early paintings (spanning the years 1916–20) are included in the show and in the exhibition catalogue. The catalogue also includes an essay by MoMA Drawings curator Esther Adler, “The Problem of Our American Collection: MoMA Collects at Home” exploring the museum’s beginnings, drawing on numerous quotations from Alfred H. Barr Jr., founding director of MoMA. The essay provides much insight into the ideas that founded the institution, and the roles figures like Burchfield and his contemporaries played in the shaping of its collection.
American Modern: Hopper to O’Keeffe is on view now until January 26, 2014, in The Michael H. Dunn Gallery on the second floor.
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