One of the most extraordinary works in the current exhibition Gauguin: Metamorphoses is Tahitian Woman with Evil Spirit (c. 1900), which was acquired for MoMA’s collection just weeks before the exhibition opened. Among the many exceptionally innovative works on paper that are the focus of the exhibition, this exciting new acquisition stands out for its monumental scale and magisterial presence.
Posts by Lotte Johnson
Sound forms the nucleus of much of American artist Christian Marclay’s practice. From innovative sound collages, with turntables and records employed as instruments; to the splicing and reconstituting of physical records to create strange, jumping concoctions of melodies
“The world is one, a seamless whole, for those who can see it; for those who can learn to observe, to regard, to understand.”—Donald Richie
As I emerged from Kurenboh, a gallery tucked away in the Kuramae area of Tokyo, the words of Donald Richie, former Curator of Film at MoMA (1969–72), resonated in my mind.
Over the past six months, my conception of the medium of the print has been reinvigorated and challenged in every respect. I have been working with Sarah Suzuki, Associate Curator of Prints and Illustrated Books, on the exhibition Printin’ (opening February 15), which she cocurated with the artist Ellen Gallagher.
Stepping off the streets of an ever-changing New York into the (also ever-changing) galleries of MoMA, a neatly compact silver trailer sits waiting for you on the second floor, as if ready to whisk you away from the city to embark on an adventure on the open road.
A couple of weekends ago I walked around Manhattan’s Lower East Side in silence, holding a postcard with a rectangular hole cut out of it in front of me, seeing the city anew through a cardboard window. I was being led around by two artists on a “silent performative tour” of the area
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