Ellsworth Kelly. Installation view of Sculpture for a Large Wall (1956) and Colors for a Large Wall (1951). Both works The Museum of Modern Art; gift of the artist. © 2012 Ellsworth Kelly
If you’ve visited the Museum in the past few months, you may have seen the special installation of F-111, the massive 23-panel painting that artist James Rosenquist made to wrap around the four walls of the Leo Castelli Gallery
The Born out of Necessity title wall in the Architecture and Design Galleries. Photo: Stephanie Huang
When we first started meeting with curators Paola Antonelli and Kate Carmody about creating graphics for the new Architecture and Design exhibition, Born out of Necessity, they explained that one of the exhibition’s main themes was the design process itself.
Front Cover of Print/Out: 20 Years in Print (MoMA, 2012)
EXTRA! EXTRA! Hot off the presses! EXTRA! EXTRA! Read all about it! Publications available at MoMA!
Rivera’s partnership with the Rockefeller family continues to be one of the most intriguing artist/patron relationships of the 20th century. The research we completed for the exhibition Diego Rivera: Murals for The Museum of Modern Art offered the chance to take a closer look at this unlikely collaboration
General Idea. Magi© Bullet. 1992. Installation of custom-shaped Mylar balloons, dimensions variable with installation. Edition: three. The Museum of Modern Art, New York. Gift of Mark Krayenhoff. © 2012 General Idea. Installation view of Print/Out at The Museum of Modern Art, 2012. Photo: John Wronn
“Visitors are invited to take balloons that have floated to the ground.”
Now that’s a label you don’t typically see on the walls of a museum! Magi© Bullet (1992), by the Canadian artist’s group General Idea, is an installation of silver helium balloons that fills the ceiling of an exhibition space.
Currently on view in the third-floor drawings galleries, Exquisite Corpses: Drawing and Disfiguration includes five works that belong to this titular category of collaborative creation. The “exquisite corpse” was a parlor game played by Surrealist artists and poets in Paris in the 1920s.
Felix Gonzalez-Torres. “Untitled.” 1991. Billboard, dimensions vary with installation. The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser. © The Felix Gonzalez-Torres Foundation, New York. Installation view at 11th Avenue and 38th Street, Manhattan (February 20–March 18, 2012), as part of Print/Out, The Museum of Modern Art, February 19–May 14, 2012. Photo by David Allison
Perhaps you were one of the lucky ones to stumble across these billboards in New York City over the last several weeks?
Felix Gonzalez-Torres. “Untitled.” 1991. Billboard, dimensions vary with installation. The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser. © The Felix Gonzalez-Torres Foundation, New York. Installation view at Neptune Avenue and Guider Avenue, Brooklyn (February 20–March 18, 2012), as part of Print/Out, The Museum of Modern Art, February 19–May 14, 2012. Photo by David Allison
Between February 20 and March 18, Felix Gonzalez-Torres’s “Untitled” (1991) peppered the New York skyline, on six billboards throughout Manhattan, Brooklyn, and Queens.
David Hammons. Untitled (Kool-Aid). 2003. Kool-Aid on paper with terry cloth frame. Collection Alice Kosmin
Have you ever encountered a definition—of art, design, poetry, or any creative endeavor—that you found truly satisfying? The ones that have the soundbite-ready punch that allows them to take hold in the public memory tend to be generic and superficial. Unless, as a curator, you learn to use them as doors into the sublime complexity of the field you explore and love.
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