Posts by Paulina Pobocha
October 13, 2010  |  Collection & Exhibitions
Ab Ex NY: Rethinking the Display of the Permanent Collection

Installation view of Abstract Expressionist New York: The Big Picture. Photo: Jason Mandella

Regular visitors to the Museum will have noticed that the fourth-floor Painting and Sculpture Galleries have undergone a complete reinstallation. These spaces, which are typically used to exhibit a broad survey of the Museum’s collection, are now home to Abstract Expressionist New York: The Big Picture</a>, an exhibition featuring approximately 170 paintings, sculptures, drawings, and photographs associated with the movement that put New York on the art world map more than fifty years ago.

January 21, 2010  |  Artists, Collection & Exhibitions
R.H. Quaytman’s Storage Rack: An Archive of Images and Associations

R. H. Quaytman. Iamb: Chapter 12, Excerpts and Exceptions, with Painting Rack. 2001–09. Silkscreen ink, oil paint, and gesso on wood, and wood rack, dimensions and installation variable. The Museum of Modern Art. Purchase

Last year MoMA’s Department of Painting and Sculpture acquired R. H. Quaytman’s Iamb: Chapter 12, Excerpts and Exceptions, with Painting Rack, a work comprised of six paintings, made between 2001 and 2009, set inside (and to the side of) a shallow wooden storage/display case. Two of the paintings were on view in Quaytman’s beautifully installed 2009 solo exhibition at the Miguel Abreu Gallery; the others joined the group in the artist’s studio before coming to the Museum. In general, I find Quaytman’s work to be complicated, but complicated in a completely satisfying way—this is especially true of Iamb: Chapter 12. Some of the panels in the set are minimal, such as an off-white gesso panel interrupted by four vectors; others maximal, like a panel displaying a silkscreen of John Martin’s mezzotint Heaven—The Rivers of Bliss (1824–25). The visual asynchronies of the series are undermined by a unified palette of whites, blacks, and half-tones, and by their placement within the rack, with the works’ absolute proximity to one another forcing a focused consideration of likeness.