Nora Schultz is a German artist working in Berlin whose work is currently included in the group exhibition Ecstatic Alphabets/Heaps of Language, on view until August 27, 2012.
Posts by Eleonore Hugendubel
Here is the final installment of the four-part Q&A with Dexter Sinister, contributing artists to the exhibition Ecstatic Alphabets/Heaps of Language, on view in the Museum’s third-floor Special Exhibitions Gallery until August 27, 2012.
Dexter Sinister’s work is currently included in the exhibition Ecstatic Alphabets/Heaps of Language (on view until August 27). Following part one and part two, here is the third part of the Q&A about their contribution to the show: the third issue of their journal Bulletins of The Serving Library doubling as the exhibition catalogue, plus a trailer.
Today’s post is a continuation of a Q&A with Dexter Sinister, the artist collective that contributed to the exhibition Ecstatic Alphabets/Heaps of Language (on view until August 27). In the previous post, they discussed their contribution to the show: the third issue of their journal Bulletins of The Serving Library doubling as the exhibition catalogue, plus a trailer. Here is the next part of the conversation…
A brilliant yellow Madonna, a set of skeleton feet, a grey giant leaning obdurately on his club, a green and boyish-looking St. Michael slaying the dragon, a pitch-black snake—these and other figures make up a curious cast of characters currently on view in MoMA’s Sculpture Garden.
MoMA’s lobby is a site of perpetual flux and frenzy, a public passageway for people to meet, greet, rest, or chat before embarking on their next experience, either inside or outside the Museum’s walls. When asked by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, to think of forms that would visually complement and invigorate the rectangular and column-filled lobby space, Paula Hayes, a New York-based sculptor and landscape designer, who enjoys “knocking something off kilter a bit,” was ready to take up the challenge.
On one of my recent early-morning checks of the fifth-floor collection galleries—a daily duty of the curatorial staff, to spot any oddities—an elusive, visceral feeling gave me pause. It took me a moment to recognize that it was prompted by the wall color, which, as I moved from the European Expressionist gallery to the adjacent Matisse room, had changed from a light grey to what appeared to be a bright white. This color change is subtle enough to likely go unnoticed by many visitors, but deserves a brief moment of attention.
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