For the past five weeks, we have organized a series of weekly monotype printmaking workshops, Degas in Process: Make a Monotype, in conjunction with the exhibition Edgar Degas: A Strange New Beauty, on view on MoMA’s sixth floor through July 24. Taking Degas’s innovative use of the monotype as a starting point, these workshops are led by teaching artists—Justin Sanz, Sophy Naess, Neil Berger, Kerry Downey, and Bruce Waldman—each of whom brings a unique creative approach to their session and offers a glimpse into the sustained relevance of the monotype technique in contemporary artistic practice.
Posts by Sarah Kennedy
“CHESS SET FOR PLAYING AS LONG AS YOU CAN REMEMBER WHERE ALL YOUR PIECES ARE.”
These are the words inscribed on a brass plaque on the underside of Yoko Ono’s original White Chess Set (1966)—a work that is currently on display in the exhibition Yoko Ono: One Woman Show, 1960–1971 (open through September 7, 2015). In conjunction with this show, an exhibition copy of Yoko Ono’s celebrated work is installed and open for public engagement in MoMA’s Abby Aldrich Rockefeller Sculpture Garden throughout the summer.
When you’re at a museum, how often do you have the impression that “freedom reigns,” or that you can “create anything?” Or have you ever experienced the sense of belonging to a larger community wherein people “from very different backgrounds and places…feel that there is something that can unite [them]?” We believe it is essential to nurture these opportunities through our educational initiatives, such as MoMA Studio.
Over the last month and a half, MoMA Studio: Beyond the Cut-Out has been animated by a constant flow of creative visitors working on the various activities offered in the space, which range from stamping to collaging to bookmaking. One of the most rewarding aspects of the Studio is the way that each visitor’s approach to the art-making prompts reveals an inventive interpretation and a personal take on the Studio’s themes,
There has been a lot of excitement around the opening of the exhibition Henri Matisse: The Cut-Outs. The Museum has been teeming with energetic visitors who see it and walk away feeling buoyed and inspired. We anticipated that this would be a common response to the exhibition, so over the past few months, in dialogue with the exhibition curators—Karl Buchberg, Jodi Hauptman, and Samantha Friedman—we have been designing educational programming that can complement a visitor’s experience in the galleries and provide an outlet for the creative energy that Matisse’s cut-outs generate.
This past May and June, MoMA’s Education and Research Building mezzanine was the site of MoMA Studio: Breathe with Me, an interactive space that explored the intersections between art, therapeutic practice, and the ways in which we relate to objects and people through physical encounters.
We are entering the fourth week of MoMA Studio: Breathe with Me and want to share some of the highlights of the artist-led workshops that have activated the space so far. Each one revealed the ways in which Lygia Clark’s work continues to resonate with contemporary artists and their hopes to engage the public in experiences of art that are physical and social in nature.
Last Friday, May 16, we celebrated the opening of MoMA Studio: Breathe with Me, an interactive space that has been organized in conjunction with the exhibition Lygia Clark: The Abandonment of Art, 1948–1988, on view in the sixth-floor galleries through August 24, 2014. Taking Clark’s art as a reference point, the Studio presents a series of drop-in programs, participatory experiences, and artist-led workshops that explore the intersections between art, therapeutic practice, and the ways in which we relate to objects and people through physical encounters.
Like all previous MoMA Studios, MoMA Studio: Breathe with Me is a free, interactive space open to visitors of all ages, and offers experiential learning experiences that complement looking and talking about works of art in the galleries, allowing for engagement with art in hands-on, creative ways. Visitors can experiment, learn, play, and create as they make connections between their lives, their own creativity, and the processes and materials of modern and contemporary art.
The process of putting this particular MoMA Studio together has been a unique experience due to the nature of Lygia Clark’s work, which is often dynamic and sensorial in nature—a quality that is highlighted in the exhibition itself, which has a central component that is about engaging the public in participatory ways within the galleries. This aspect of the exhibition parallels the planning of our Studio programming and has allowed for a fruitful collaboration with the curatorial team and the exhibition facilitators.
In developing the focus and scope of MoMA Studio: Breathe with Me, and in the hopes of revealing the profound resonance Clark’s work has had with contemporary artists, we have collaborated with a talented group of artists from near and far, to present an exciting series of programs for this MoMA Studio. These artists include Ricardo Basbaum, Carlito Carvalhosa, Stephanie Diamond and Tamara Vanderwal, Michel Groisman, Jeanine Oleson, and Allison Smith.
Perhaps more than previous Studios, this one is conceived as a space that comes alive most with the activation of the workshops and events by willing participants, in collaboration with artists. This week the workshops kicked off with Carlito Carvalhosa’s public action in the The Abby Aldrich Rockefeller Sculpture Garden and MoMA Studio on May 20 and 21, followed by Michel Groisman’s Polvo and Sirva-Se workshops, which begin tomorrow, May 22 and run through the Memorial Day weekend. We are following Clark’s philosophy, “the work is in the act,” and we invite you all to join us! Visit MoMA.org/MoMAstudio for details.
MoMA Studio: Common Senses opened on September 24 in the mezzanine of MoMA’s Lewis B. and Dorothy Cullman Education and Research Building.
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