One of the most extraordinary works in the current exhibition Gauguin: Metamorphoses is Tahitian Woman with Evil Spirit (c. 1900), which was acquired for MoMA’s collection just weeks before the exhibition opened. Among the many exceptionally innovative works on paper that are the focus of the exhibition, this exciting new acquisition stands out for its monumental scale and magisterial presence. Read more
Posts tagged ‘prints’
One might be surprised to learn that the source material for Jorinde Voigt’s 2011 Gardens of Pleasure—a series of five lithographs with ink additions published by Helga Maria Klosterfelde Edition—is in fact 17th-century Chinese erotic art. Read more
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
Door, window, table, basket, mirror, rug. These six simple elements—found in many a living room and throughout the glossy pages of any home furnishing catalogue—are the components of a series that Richard Artschwager began creating in 1974. Read more
MoMA’s recently launched website, Louise Bourgeois: The Complete Prints & Books, seems to effortlessly reveal Bourgeois’s creative process. You might not suspect that a highly organized sea of intricate data lives behind that elegant design. Read more
The Museum of Modern Art has launched Louise Bourgeois: The Complete Prints & Books, a major website documenting Bourgeois’s extensive work in the printmaking medium. This site offers a range of innovative, interactive approaches to the artist’s work, including the ability to examine her creative process, and to place her prints and illustrated books within the broader context of her sculpture and drawings. When discussing the various mediums, Bourgeois said: “There is no rivalry…they say the same things in different ways.” All of these works explore her fundamental themes of loneliness, anxiety, fear, jealousy, anger, and pain.
In 1990, Bourgeois decided to donate a full archive of her printed work to MoMA. This includes all completed compositions, as well as the many states and variations leading up to them. Numbering some 3,500 sheets, this unique collection makes it possible to reconstruct the artist’s step-by-step working methods. The website presents, diagrammatically, all the stages of Bourgeois’s evolving compositions and reveals the myriad ways in which she altered shapes, added tiny scratched lines, or experimented with vivid color, all in pursuit of a final vision. In addition, individual works can be examined at close range through a “Zoom” feature—particularly useful for studying prints—or compared and contrasted with a pioneering “Compare Works” mode.
The Louise Bourgeois: The Complete Prints & Books website is the work of an integrated team of contributors, including MoMA’s curatorial, digital media, and collection and exhibition technologies staffs, as well as independent web designers and programmers and the staff of the Louise Bourgeois Studio. My own involvement with Bourgeois began when we met in 1976. I have been a committed scholar of her work ever since, and a friend until her death in 2010. The launch of what will be the definitive scholarly resource on Bourgeois’s prints—aimed also at the general art public—is a source of great pride and a sense of accomplishment for me, as well as for the entire Department of Prints and Illustrated Books at MoMA.
Please visit MoMA.org/bourgeoisprints to learn more about Louise Bourgeois’s prints and illustrated books, and her creative process.
Perhaps you were one of the lucky ones to stumble across these billboards in New York City over the last several weeks?
Between February 20 and March 18, Felix Gonzalez-Torres’s “Untitled” (1991) peppered the New York skyline, on six billboards throughout Manhattan, Brooklyn, and Queens. Read more
Stepping off the streets of an ever-changing New York into the (also ever-changing) galleries of MoMA, a neatly compact silver trailer sits waiting for you on the second floor, as if ready to whisk you away from the city to embark on an adventure on the open road. Read more
In my admittedly limited experience, Venice in the summer is hot—water-guzzling, gelato-melting, desperate-for-shade hot—not unlike what we’ve experienced here in New York over the last several weeks. In the summer of 2007, as I dashed between air-conditioned venues at the Venice Biennale, I remember the relief I felt at finding myself in a cool, dark space inside an exhibition hall. I remember equally clearly the work that was on view there, a video, dolefullhouse, by the young Japanese artist Tabaimo. Read more