Before Romare Bearden turned to the medium of collage in 1964—the multilayered compositions, for which he is best known—he was steeped in the language of drawing and painting. The Visitation (1941) (now on view in the exhibition One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North) exemplifies a critical early moment in the development of an artist who would become a leading voice in the cultural life of Harlem and in the history of American art. Recently acquired by MoMA, The Visitation returns to the Museum’s galleries for the first time since the 1971 retrospective Romare Bearden: The Prevalence of Ritual.
Posts by Judy Hecker
Scenes for a New Heritage: Contemporary Art from the Collection, a sweeping reinstallation of MoMA’s Contemporary Galleries, is a markedly cross-medium selection of works from the Museum’s collection. Created in the past three decades by more than 30 international artists, the works in the exhibition span a range of approaches that respond to the political, social, and cultural flux of our time.
Situated prominently in one of the final galleries, and on view at MoMA for the first time, Mark Bradford’s set of untitled 2012 etchings leave an unexpected mark—both literally and figuratively.
As the groundbreaking exhibition Henri Matisse: The Cut-Outs enters its final weeks, visitors can rest assured that there’s more Matisse to discover at MoMA. Head to the fifth-floor Painting and Sculpture Galleries, where you’ll encounter an entire room devoted to Matisse’s early-20th-century work—an especially fertile period for this modern master—with an unexpected twist.
Recently I had the honor of meeting Justice Albie Sachs, one of the first judges appointed to South Africa’s new Constitutional Court by Nelson Mandela in 1994, and taking him through the exhibition Impressions from South Africa, 1965 to Now at MoMA.
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