Admiring a painting by Mark Rothko during a Meet Me at MoMA program. Photo by Jason Brownrigg
For The MoMA Alzheimer’s Project, my colleagues and I work to expand upon MoMA’s programs for individuals with dementia and their caregivers, which currently include gallery conversations and art-making programs at MoMA as well as off-site visits to assisted-living facilities.
Discovery wall in Material Lab. Photo: Michael Nagle
When my colleagues Cari Frisch, Kirsten Schroeder, and I set out to create our latest interactive space at MoMA, we knew we wanted to focus on artist materials—we just weren’t sure what kinds of interactive experiences to provide.
From left: My drawing from class. Frank Lloyd Wright. American System-Built Houses for The Richards Company, project, Milwaukee, Wisconsin, Plan of model C3. c. 1915–17. Lithograph. Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund. © 2011 Frank Lloyd Wright Foundation/Artists Rights Society (ARS), New York
“You have one minute. Grab a piece of scrap paper and draw a house.” And with that simple direction, Professor Jennifer Gray began MoMA’s continuing education class, Dwell: Histories of Modern Housing.
I frantically drew, erased, and redrew my house, wondering what the other students were conjuring up and scribbling down. I was curious if the drawings would be as different as the classmates, who ranged from a Czech woman to a Brooklyn architect to a retired empty-nester to me, an art director at an advertising agency. They weren’t. And that was exactly the point of this seemingly rudimentary exercise.
Gyula Kosice. Escultura Movil Articulada (Mobile Articulated Sculpture). 1948
Next Wednesday, February 2, MoMA will present another iteration of Modern Poets, our long-running series of readings and performances in which poets and writers reflect upon modern and contemporary art and culture. This program is presented in conjunction with the exhibition On Line: Drawing Through the Twentieth Century</a>, which explores the transformation of drawing, the potential of mark making, and line and gesture through diverse mediums. Taking the concept of the political line as a point of departure, we have invited a group of international poets selected by Chilean-born poet Cecilia Vicuña—who will also read from her own collection of poems—to share their reflections on this extended notion, as it relates to them personally or to the world more universally.
George Maciunas. One Year. 1973–74. Various empty containers and packaging. Above: Alison Knowles. Selections from The Identical Lunch. 1969. Screenprints on canvas. Installation view of both works at MoMA. The Museum of Modern Art. The Gilbert and Lila Silverman Fluxus Collection. Photo: Jason Mandella
This week MoMA launches Instruction Lab in the mezzanine of the Lewis B. and Dorothy Cullman Education and Research Building, inspired by the Fluxus works included in the current Contemporary Art from the Collection exhibition.
“I like boring things.” – Andy Warhol
As we prepared for the Andy Warhol: Motion Pictures exhibition, we struggled with how to create an online experience for the exhibition. Our colleagues in Graphic Design came up with a simple and elegant idea: a site where people could submit their own “screen tests” in the style of Warhol’s iconic works, and view others’ submissions. The site is live at MoMA.org/screentests.
After viewing the exhibition Counter Space: Design and the Modern Kitchen, our team at MoMA was inspired by the Frankfurt Kitchen’s impact on our modern-day experiences of preparing and sharing food in our homes.
The Raincoats perform at MoMA, November 20, 2010. Photo by Jason Bergman
Kathy King. Interior Monologue. 2010
When I began teaching at MoMA several years ago, I realized that it was the perfect place to use my background as a conservator, artist, and art historian, since the collection already provided the best learning resource: the artworks themselves.
Film poster for Born into Brothels: Calcutta's Red Light Kids
When you hear teens open a question with “I want to know, ’cause I want to be a director,” you understand why you’re doing what you’re doing—why you choose to stay at work late on Friday evenings, why you spend your time off screening films, why you pour over the DVD extras to learn as much as you can about a film’s context. For years now, artist and educator Alejandro Duran and Anne Morra, an associate curator in MoMA’s Department of Film, have been doing just that to guide young artists in the dissection and interpretation of some of the world’s great films.
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