Cover of Robert Heinecken: Object Matter, published by The Museum of Modern Art, New York
Robert Heinecken: Object Matter, the first retrospective since the artist’s death in 2006, contains over 100 photo-based works created by Heinecken between 1962 and 1999. Heinecken was best known for working in the medium of photography and with manipulating images, but surprisingly, he seldom used a camera,
Jasper Johns. Untitled. 2013. Ink on plastic, 27 1/2 × 36″ (69.9 × 91.4 cm). The Museum of Modern Art, New York. Promised gift from a private collection. © Jasper Johns/Licensed by VAGA, New York, NY. Photo: Jerry Thompson
It caught my eye when I read last week that Jasper Johns has created a print on translucent paper for the May issue of Art in America magazine. Apparently, the print will feature several of Johns’s “signature motifs,” but the translucent paper might be considered somewhat of a signature motif in its own way.
Left: Howard Chandler Christy. Gee!! I Wish I Were a Man. 1917. Lithograph. Gift of Abby Aldrich Rockefeller, 1940. The Museum of Modern Art, New York; Right: Photo of “yeomanettes” taken in New York City, May 8, 1919. Collection Naval History & Heritage Command
Right now the U.S. military is preparing to allow women to serve in combat roles for the first time, and pressure is growing from international precedent for the U.K. to follow suit. Yet there are still many who feel that the frontline is just not a place fit for a woman. Such a prospect was certainly out of the question a century ago during World War I.
Paul Gauguin. Tahitian Woman with Evil Spirit (recto). c. 1900. Oil transfer drawing. The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller (by exchange), Vincent d’Aquila and Harry Soviak Bequest Fund (by exchange), and acquired through the generosity of The Abby Aldrich Rockefeller Endowment for Prints, Sue and Edgar Wachenheim III, Mary M. Spencer, and Stephen Dull, 2014
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.
Installation view of A World of Its Own: Photographic Practices in the Studio, The Museum of Modern Art, February 8–October 5, 2014
“Coming into Brancusi’s studio was like entering another world.” – Man Ray, 1963
Man Ray. Laboratory of the Future. 1935. Gelatin silver print, 9 1/16 x 7″ (23.1 x 17.8 cm). The Museum of Modern Art, New York. Gift of James Johnson Sweeney. © 2014 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris
Illustration from Girls Standing on Lawns by Maira Kalman. © 2014 Maira Kalman
Maira Kalman—much-beloved artist, illustrator, writer, designer, and New Yorker—has been collecting vintage photographs for 30 years, seeking them out at antique shops, flea markets, and countless other places in the city and during her travels.
Serra Sabuncuoglu and Robert Barry participate in Performing John Cage, The Museum of Modern Art, February 18, 2014. Photo by Sarah Kennedy
Twice daily, from February 7 to 20, MoMA staff and invited artists performed John Cage’s score 4’33” in an area just outside the exhibition There Will Never Be Silence: Scoring John Cage’s 4’33”. Over the course of those two weeks, 28 renditions of 4’33” were performed by 20 staff members and eight guest artists.
Gerhard Heufler, Hans Georg Schiebel. Camcopter S-100 Unmanned Aerial Vehicle. 2004. Carbon fiber and titanium, 41″ X 49″ X 10′ 1 5/8″ (104.2 x 123.8 x 310 cm). Gift of Schiebel Electronische Gerate GmbH. Photo: Jonathan Muzikar
As artists continue to expand the definition of drawing, and art historians redefine the medium accordingly, the kinds of works on paper we acquire have become increasingly unorthodox, ranging from room-size installations to the traces of performances. Yet sometimes a humble sheet of paper from the beginning of the 20th century is just as radical.
Installation view of Artist/Novelist, The Museum of Modern Art, January 8–March 31, 2014. Photo: Jennifer Tobias
Leonora Carrington and Max Ernst’s The House of Fear (La Maison de la peur) is currently on view in the mezzanine of MoMA’s Lewis B. and Dorothy Cullman Education and Research Building, as part of the display Artist/Novelist.
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