A-|A+

MoMA

TAG: CONTEMPORARY CHINESE ART: PRIMARY DOCUMENTS

Posts tagged ‘Contemporary Chinese Art: Primary Documents’
Christinas-world-150x150
October 14, 2010  |  Publications
Christina’s World and Contemporary Chinese Art

[caption id=

Before I read MoMA’s new publication Contemporary Chinese Art: Primary Documents, if someone had asked me to identify a painting from MoMA’s collection that was of central importance to a generation of artists emerging from the Cultural Revolution in China, I’m pretty sure I would not have picked Andrew Wyeth’s Christina’s World. Read more

1-150x150
October 4, 2010  |  Publications
Documenting Histories: Contemporary Chinese Art: Primary Documents

On October 15, MoMA launches the fifth volume in its Primary Documents series, Contemporary Chinese Art: Primary Documents, which was edited by Professor Wu Hung. The publication brings together, translates, and contextualizes primary documents that are pertinent to a deeper understanding of recent artistic practice in China, but which were not previously available in the English language. Read more

Greenbergindiatwodecadesamericanpainting-150x150
August 30, 2010  |  Collection & Exhibitions, Publications
MoMA and the World: The International Program

Clement Greenberg speaking in New Delhi in 1967 at a presentation of the MoMA exhibition Two Decades of American Painting

Clement Greenberg speaking in New Delhi in 1967 at a presentation of the MoMA exhibition Two Decades of American Painting

An interview with Jay Levenson, Director, International Program, The Museum of Modern Art

In 1952, The Museum of Modern Art established the International Program of Circulating Exhibitions, which was supported by a grant from the Rockefeller Brothers Fund, with the aim of sending exhibitions to museums around the world. The following year, the International Council was organized to provide long-term financial support to the program.

Amy Horschak: In light of MoMA’s upcoming installation Abstract Expressionist New York and the exhibition of many of the “AbEx” artists abroad by the International Program (IP) in the 1950s, can you comment on the often-made claims that the IP was, at that time, part of a CIA project? Read more