Visitors to MoMA Studio: Common Senses in the days after Hurricane Sandy. Photo by Jackie Armstrong
When I received notice that MoMA would be reopening to the public and its employees on Wednesday, October 31, after being closed for two days due to Hurricane Sandy, I have to admit that I wondered if it was too soon.
During this election season, it’s hard to imagine a time when photographs—let alone television, the Internet, and social media—did not play a central role in presidential campaigns.
These notes accompany screenings of Ida Lupino’s Never Fear (The Young Lovers) on November 8, 9, and 10 in Theater 3.
Ida Lupino (1918–1995) played a nearly unique role in the history of film directing.
In the audio slide show above, photographer Anne Collier talks about her work featured in New Photography 2012.
The Department of Education continuously seeks new ways to increase visitor engagement with art. It’s exciting to brainstorm ideas with colleagues, test them out, and see the most promising ideas put into practice.
French Cancan. 1955. France. Directed by Jean Renoir
These notes accompany screenings of Jean Renoir’s French Cancan on October 31 and November 1 and 2 in Theater 3.
As regular followers of this series know, I can’t get enough of Jean Renoir. I feel a stronger emotional kinship with him than with any other filmmaker, except possibly Charles Chaplin or John Ford.
In the audio slideshow above, the Shanghai-based artists Ji Weiyu and Song Tao, who work together under the collective name Birdhead, talk about their installation in MoMA’s New Photography 2012 exhibition.
Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
Walking around the galleries on a Tuesday, when MoMA is closed to the public and virtually empty, is a rare treat Museum employees can enjoy.
MoMA Design Studio‘s little designer, Sky Chu. Photo by Martin Seck
A few months ago, my team and I here at MoMA had the challenge of designing the title wall for the exhibition Century of the Child: Growing By Design, 1900–2000, a broad survey of 20th-century design for children with “children and childhood as a paradigm for progressive design thinking.” When we met with the curators, Juliet Kinchin and Aidan O’Connor, they suggested trying a less formal approach for the design of the title wall, perhaps using handwriting. So two of our experienced designers spent two days experimenting with every type of handwriting font and non-digital handwriting they could think of. The results were good, but not quite right. It was clear to us that we needed to take a different approach. That’s when we suddenly realized, what could be better than having an actual child help us? And that’s how my 6-year-old son Sky became a MoMA designer. He sat down at the dinner table one night, wrote out the title of the exhibition three times, and then said, “done.” So it was. And after we enlarged the text, we realized the average letter height is as tall as Sky himself—3 feet, 9 inches!
The little designer leaping in front of his work, and one of his own alphabets. Photos by Martin Seck and Ingrid Chou
Tottenville High School Marching Band leading the audience out of the Child in the City of Play symposium through MoMA Studio: Common Senses. Photo by Sarah Kennedy
It’s not often that you leave a symposium feeling more awake than when you started, but that was certainly the case for every attendee and participant of last week’s The Child in the City of Play: Growing by Design
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