“Coming into Brancusi’s studio was like entering another world.” – Man Ray, 1963This short but evocative quote currently appears high on the wall just inside the entrance to The Edward Steichen Photography Galleries, on MoMA’s third floor.
Posts by Lucy Gallun
“This is real time, it is modern history in the making.”—Sarah Charlesworth on her work, Movie-Television-News-History, June 21, 1979
Moiré (from a French textile description) occurs when two patterns (meshes, concentric rings, grids, etc.) are overlaid, creating visual interference at their intersections.
In conjunction with MoMA’s current Cindy Sherman retrospective (on view through June 11), the artist selected films that have informed her artistic practice for a special </i>Carte Blanche: Cindy Sherman</a> film series (which runs April 2–10 in MoMA’s theaters). Below are Cindy Sherman’s comments on the films, as told to Lucy Gallun.</small>
Some of Cindy Sherman’s characters bring an immediate context to mind. You gaze at the picture, and there’s the flood of a specific time and place. A scene forms and the figure becomes the protagonist of a narrative. Others are, at first take, more obscure or bizarre.
As I’ve assisted Roxana Marcoci and Eva Respini with the exhibition Staging Action: Performance in Photography since 1960—which opened January 28 in The Robert and Joyce Menschel Gallery on the third floor—I’ve come to recognize the variety of layered themes that are present in the show, despite the fact that the exhibition itself only includes about 50 works (many of which are new acquisitions).
If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions). For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site).
© Copyright 2016 The Museum of Modern Art