MoMA | Tag: Juliet Kinchin

Posts tagged ‘Juliet Kinchin’

August 14, 2012 | Collection & Exhibitions, Publications

Space-Hoppers in Glasgow: Century of the Child Book

Posted by Charles Kim, Associate Publisher, Department of Publications

Cover of the Century of the Child: Growing by Design, 1900–2000 publication

On the cover of MoMA’s new book, Century of the Child: Growing by Design, 1900–2000, two boys decked out in astronaut suits hold onto their Space Hoppers.

August 1, 2012 | Collection & Exhibitions, Design, Videos

The Spirit of Play—a Czech Collaboration

Posted by Juliet Kinchin, Curator, Department of Architecture and Design Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design

MoMA’s Century of the Child: Growing by Design, 1900–2000 exhibition includes objects from across the 20th century and from around the world.

February 15, 2011 | Collection & Exhibitions, Counter Space

Eat, Drink, (Read!) MoMA

Posted by Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design

Roberto Sambonet (Italian, 1924–1995). Center Line Set of Cookware. 1964. Stainless steel. Manufactured by Sambonet S.p.A., Vercelli, Italy. Gift of the manufacturer, 1972

Several exciting things are happening now in the world of Counter Space—time for an update!

December 23, 2010 | Collection & Exhibitions, Counter Space, Events & Programs

Kitchen Culture, In Motion

Posted by Sheetal Prajapati, Associate Educator, Public Programs

After viewing the exhibition Counter Space: Design and the Modern Kitchen, our team at MoMA was inspired by the Frankfurt Kitchen’s impact on our modern-day experiences of preparing and sharing food in our homes.

December 21, 2009 | Events & Programs

At Play, Seriously, in the Museum

Posted by Wendy Woon, Edward John Noble Deputy Director for Education

Alfred H.Barr Jr.'s experimental interpretative installations for Picasso: Forty Years of His Art (1940) and Cubism and Abstract Art (1936) at MoMA

My last blog post pondered whether a museum could be a place to foster your own creativity rather than simply appreciating that of the “masters.”

In her book Museum Legs: Fatigue and Hope in the Face of Art, Amy Whitaker makes the case that “teaching people to make art can also be politically disruptive because it teaches people to have their own opinion, giving them a say.”

Marcel Duchamp was definitive on the point of viewers having a say: ”All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

Duchamp’s view defies traditional assumptions about art and viewers, often considered the art museum “dance”—the museum leads, the viewer follows.

Often people think they need extensive amounts of information from experts to fully appreciate art, but all that’s really needed is the confidence and opportunity to share your thoughts and opinions, and perhaps a bit of context as a framework—a kind of a personal trainer to help guide the way, but not do the “creative work” of interpretation.