View of Holding Pattern installation in MoMA PS1 courtyard. Summer 2011. Photo by Interboro Partners
We thought it might be a good time to check in on Holding Pattern, our project for the 2011 Young Architects Program. Holding Pattern was deinstalled from the MoMA PS1 courtyard four months ago, but the deinstallation didn’t mark the end of the project—just the start of its second phase.
Coinciding with the 40th anniversary of MoMA’s groundbreaking Projects series, we’ve redesigned the Projects website, including a vast expansion of the archives.
Elizabeth Catlett. Mother and Child. 1956. Terra cotta. The Museum of Modern Art, New York. Gift of The Friends of Education of The Museum of Modern Art, The Modern Women’s Fund, and Dr. Alfred Gold (by exchange). © 2012 Elizabeth Catlett/Lincensed by VAGA, New York, NY
This past summer, the Museum acquired an important sculpture by the African American artist Elizabeth Catlett (b.1915).
Willem de Kooning in his studio. Photo © 2012 Tom Ferrara. Artwork © 2012 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York
After meeting Bill de Kooning, one thing that first became apparent was that he had amazing skills of observation. Not only was he more visually active than everyone else but he also appeared to enjoy the act of seeing more than anyone.
Participants in the Inked Identity exhibition and Veterans Support Center staff join MoMA educator Sally Paul.
As today is Veterans Day, I’d like to share a little history about MoMA’s commitment to veterans, as well as some news about what we’re doing now. The Museum has a long history of serving veterans—dating back to the creation of the War Veterans’ Art Center
Jan Dibbets. Robin Redbreast’s Territory/Sculpture 1969 (detail). 1970. Publisher: Seth Siegelaub
After spending the past six months processing the Art & Project/Depot VBVR Gift as Project Cataloger at the MoMA Library, it seems timely to report on the venerable cache of materials.
Installation view of The Agnes Gund Garden Lobby, The Museum of Modern Art, Fall, 2011. Photo: Jonathan Muzikar
Edward Steichen Photography Study Center. The Museum of Modern Art, New York, 1967. Reports and Pamphlets, 1960s. The Museum of Modern Art Archives, New York
Creating designs that eventually disappear is both a relief and sad at the same time. It’s like rehearsing for a play for months and months, and then—poof!—the performance is over and only photos and memories are left. Exhibition graphics are similar.
Visitors tour MoMA's galleries. Photo: Martin Seck. Shown, from left: David Smith. Australia. 1951. Painted steel on cinder block base. The Museum of Modern Art. Gift of William Rubin. Mark Rothko. No. 5/No. 22. 1950 (dated on reverse 1949). Oil on canvas. The Museum of Modern Art. Gift of the artist. © 2011 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York
In a city like New York, it’s pretty easy to become jaded—we live in one of the most dynamic places in the world and can easily fall into a “tell me something I don’t know” attitude. And after nearly 30 years here, 13 of them working at MoMA, I definitely am prone to it myself at times; when you can walk past The Starry Night on your way to the staff caffeteria or sit in the shade of Barnett Newman’s Broken Obelisk on your lunch break, it’s easy to start thinking of your surroundings as just that: surroundings.
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