October 18, 2013  |  Artists, Learning and Engagement
Walk Like a Surrealist

In regard to poetry, modernist poet Ezra Pound repeatedly urged his fellow practitioners to “Make It New.” Working in counterpoint to the tradition of the guided city tour, my participatory walks take their cue from poetry, where writer and reader collaborate in creating and gleaning new meanings for the world. Tuning in to the nuances of the everyday, we might make visual poems on the sidewalk with found objects, a duet with light, or monuments with our bodies in response to civic statues in public space.

“Pipe Dream” is a new walk debuting at MoMA on Saturday, November 16. It’ll take us down seldom-seen Museum hallways, through the Magritte exhibition, and outside into the sensory tangle of midtown Manhattan. Drawing from Surrealist techniques, we will create within, and rediscover, a neighborhood often cast off as one that only serves big business and rigorous consumers. But since the walk is essentially a set of prompts and reveals, I don’t want to give away too much! Come experience it for yourself.

You can also experience “Pipe Dream” as part of Into the Participatory Walk, a three-session workshop at MoMA that begins on Thursday, November 7. There, we’ll explore poetic decision making and figure out how to create a participatory walk together. I’ll be hosting a “dress rehearsal” of “Pipe Dream” when the Museum is closed as part of the workshop.

"Our Open Studios" by Todd Shalom

“Our Open Studios” by Todd Shalom. Photo courtesy of Elastic City

I’ve been leading participatory walks for 10 years, arriving to this form after studying poetry and sound. Over time, my poems increasingly strained against the confines of the page and became more like musical scores, so I had to create a new medium. I discovered the work of the Acoustic Ecology movement and their soundwalks, which facilitate active listening in the environment. Adopting some of their techniques and applying a lot of my own creation, I led my first sound-based walk in San Francisco in 2003.

In 2010 I founded Elastic City, a New York–based non-profit organization that commissions artists to lead participatory walks throughout the world. I quietly collaborate with the artists, many of whom work in visual media, and help them to adapt their talents to the walk form. I might assist the artist in solidifying a walk concept, planning a route, shaping the arc of the walk, or tweaking a particular moment.

"You Name It" by Todd Shalom

“You Name It” by Todd Shalom. Photo: Christian Kaye

Every artist, every medium, and every object or situation we encounter offers a multiplicity of contextualizing frames and potential lenses with which to look at them. My walks try to get us inside of as many frames and to use as many lenses as possible to get at a whole new reality, if only momentarily. We all have the ability to rearrange our relationships to the world and to one another. After leading “Fabstractions” (see the video above), I’ll just say that I now look at telephone booths very differently.

October 17, 2013  |  Events & Programs, Learning and Engagement
(FAQ) Frequently Asked Questions

Photograph courtesy of Paul Ramirez Jonas

As part of my research for Artists Experiment, I went to MoMA to sit side by side with the volunteers that staff the information desks. I was not 100% sure what I would find, but my instincts told me that there was something interesting about the situation Read more

October 16, 2013  |  Learning and Engagement
Combining Poetry with Visual Art to See (and Feel) in a New Way

Kenneth Goldsmith performs a guerilla reading in the MoMA galleries.

Kenneth Goldsmith performs a guerilla reading in the MoMA galleries. Photo: Jackie Armstrong

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” – Leonardo da Vinci

When visiting a museum, especially in New York City, it’s easy to wander around without pausing to look at specific works of art. After all, there’s so much to see and crowds to contend with. Read more

Games Artists Play, at MoMA
Pablo Helguera (left) and the author (right)

Pablo Helguera (left) and the author (right)

Teaching a workshop on art and game theory is the second cooperative venture Pablo Helguera and I have undertaken in the last couple of years. The first was a diet. Bear with me; the two are not unrelated. Frustrated with our personal efforts to shed a couple of pounds, we were ready for an experiment. A website offered a new set of motivations: We were required to report our weight to one another on a weekly basis, to allow our wives to monitor our progress, and (here is the kicker) we gave them our credit card information with the understanding that if we failed to lose the specified weight, we would automatically donate money to the National Rifle Association (NRA). How is this related? Game theory studies how and why people make decisions. Pablo and I wanted to lose weight but we also enjoyed eating —and the latter was prevailing, one dessert at a time. The structure of the diet added new elements to our decisions—our weight became public, our competitive natures were activated, and given our feelings about the NRA, our political and moral sense was now at stake in our menu decisions. No donations were made. The pounds melted away. It would have been a considerably different situation if the rules had been changed—for example if there were a slim and happy winner and a loser who ignominiously and publicly contributed to the NRA. Had we entered a diet with those rules we might have emerged even thinner, but as friends, we most likely would not have joined in the first place.

Game theory opens a set tools to think about rational and irrational decisions. These decisions are always conceived in terms of pairs and groups—otherwise they are not games—so we can begin to understand how we decide what to do in relation to other people. If we are interested in art that is relational, interactive, cooperative, or participatory perhaps we should look at this theory of relations. Pablo and I are not experts in game theory. But we both think games like the Prisoner’s Dilemma, the Dictator Game, the Ultimatum Game, and others are interesting starting points for a discussion of interpersonal behavior. When played in public—as we intend to do in the class—the games have an interesting performative quality that can lead to a rich conversation on a topic we are quite conversant in—participatory, cooperative art. Quite frankly, as much as we have written about social practice art, this is a new field, and we are all still struggling to get a handle on how to think about it.

I’m looking forward to the workshop as an experiment in this emerging discussion and hope you will join us on October 22 and 24 at MoMA for Games Artists Play: The Game as a Socially Engaged Art Form.



MoMA Class: The Market Is the Medium
caption TK

Workers dining outside the Museum on 54 Street before an exhibition opening. Photo: Amy Whitaker

I first started teaching business as a creative practice when I landed at the Slade School of Fine Art in London to study for an MFA in painting—MBA already in hand.  Read more

September 23, 2013  |  Events & Programs, Learning and Engagement
The Real History of Multimedia
Homage to New York: a Self-Constructing & Self-Destroying Work of Art Conceived and Built by Jean Tinguely. Exhibition Date: March 17, 1960. Photographer: David Gahr

Homage to New York: a Self-Constructing and Self-Destroying Work of Art Conceived and Built by Jean Tinguely. The Museum of Modern Art, March 17, 1960. Photo: David Gahr

I began my scholarly work on the history of multimedia when I discovered, much to my surprise and dismay, that most people thought it all started in the 1980s with the personal computer and the CD-ROM. Read more

September 20, 2013  |  Learning and Engagement
MoMA Studio: Exchange Café—What Do You Exchange?

Organized in collaboration with Caroline Woolard, a Brooklyn-based artist who participated in MoMA’s inaugural Artists Experiment initiative, MoMA Studio: Exchange Café was designed to be a social space focused on exchanged-based practices. Taking the form of a café, the Studio encouraged visitors to question notions of reciprocity, value, and property through shared experiences. Read more

September 16, 2013  |  Learning and Engagement
MOOCS and Museums: Not Such Strange Bedfellows After All

artinquiry-squareThis past spring MoMA decided to team up with the MOOC (Massive Open Online Course) provider Coursera to offer professional development for K–12 teachers all over the world. As the assistant director of School and Teacher Programs at MoMA, the MOOC ball landed in my court. Read more

August 8, 2013  |  Learning and Engagement
Learning to Debate Art, One Puzzle at a Time
Instructor Pablo Helguera in MoMA's galleries. Art featured: Sol LeWitt. Wall Drawing #1144, Broken Bands of Color in Four Directions. 2004. Synthetic polymer paint. Given anonymously. © 2013 Sol LeWitt/Artists Rights Society (ARS), New York

Instructor Pablo Helguera in MoMA’s galleries. Art featured: Sol LeWitt. Wall Drawing #1144, Broken Bands of Color in Four Directions. 2004. Synthetic polymer paint. Given anonymously. © 2013 Sol LeWitt/Artists Rights Society (ARS), New York

One of the strongest memories I have of my student days at the School of the Art Institute of Chicago are the long nights of study alongside a coffeepot and the tome Art Through the Ages by Helen Gardner. My goal was to memorize practically every caption of the 2,000 or so images in that book, Read more

Asking the Big Questions: Agora Conversations in MoMA’s Sculpture Garden
Agora: What makes something art?, facilitated by Petra Pankow. The Abby Aldrich Rockefeller Sculpture Garden, July 9, 2013

Agora: What makes something art?, facilitated by Petra Pankow. The Abby Aldrich Rockefeller Sculpture Garden, July 9, 2013

“What do we want from museums?” As the topic for the final meeting of this summer’s educator-facilitated, public discussion series, Agora, this question fittingly articulated the line of thinking that motivated the program’s unique format and approach. While Agora (named after the ancient Greek tradition of philosophical inquiry) Read more

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