MoMA | Author: Christopher Y. Lew

Posts by Christopher Y. Lew

August 15, 2011 | Events & Programs, Family & Kids, MoMA PS1

MoMA Teens Enliven Clifford Owens’s Anthology

Posted by Christopher Y. Lew, Assistant Curator, MoMA PS1

Clifford Owens. Anthology (Saya Woolfalk score). performance still

Clifford Owens needed help. Since May he has been in residence at MoMA PS1 where has been preparing for his fall exhibition Anthology. Owens has been interpreting and carrying out performance scores written by African-American artists. While most scores are written instructions for actions, Saya Woolfalk’s contribution is a graphical score that resembles a drawing complete with costumed characters and stick figures interacting with one another.

August 16, 2010 | MoMA PS1

Deana Lawson: Assembled Histories

Posted by Christopher Y. Lew, Assistant Curator, MoMA PS1

In this video interview, artist Deana Lawson talks about her photography-based work, including her thought-provoking piece in the Greater New York 2010 exhibition—Assemblage (2010), an installation consisting of hundreds of four-by-six-inch glossy photographs T-pinned to the walls of one of MoMA PS1’s third-floor galleries.

June 28, 2010 | MoMA PS1

Xaviera Simmons: Image Builder

Posted by Christopher Y. Lew, Assistant Curator, MoMA PS1

In this video, mixed-media artist Xaviera Simmons talks about her work and her striking new photo installation, Superunknown (Alive In The), currently on view in Greater New York, MoMA PS1‘s quinquennial showcase of works made in the past five years by artists and collectives living and working in the metropolitan New York area.

November 30, 2009 | MoMA PS1

The Bruce High Quality Foundation Intervenes in 1969

Posted by Christopher Y. Lew, Assistant Curator, MoMA PS1

[youtube]http://www.youtube.com/watch?v=4d-lJalQw5E[/youtube]

One of the most interesting aspects of organizing exhibitions at P.S.1 is the focus on living artists. For the current 1969 exhibition—which explores a wide range of art in MoMA’s collection made during this turbulent year—we invited a younger group of artists to create interventions in the galleries that reflect and even disrupt the collection show. We included The Bruce High Quality Foundation as their work is rooted in artistic practices that emerged in the late ’60s, especially Bruce Nauman’s studio performances and Joseph Beuys’s conflation of art and broader society. Additionally, the collaborative nature of the Foundation resonates with many of the collective actions of the period. In keeping with their anonymous mode of operations, the Foundation secretly enacted this masked showdown with the 1969 artworks while the exhibition was being installed.