All works by David Horvitz. 2015. Courtesy of Chert, Berlin
In advance of The Making of Mail Art, an artist-led MoMA Class taking place on February 21, the instructors—Zanna Gilbert, a postdoctoral fellow in the Department of Drawings and Prints, and David Horvitz, an artist—answered a few questions about their personal experiences with mail art, the unique elements of this art form, and the collection of mail art that Horvitz has sent to Gilbert at MoMA over the past two years.
Picasso's studio at 242 Boulevard Raspail, Paris, December 1912. Private collection. © 2011 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
The artists who first glimpsed Picasso’s cardboard Guitar around 1912 marveled—and sometimes scoffed—at its fragility and seeming impermanence, but almost 100 years later its continued survival, while miraculous, is not its only notable quality. What do artists, in 2011, standing in front of the cardboard Guitar and its sheet-metal counterpart have to say? With this question in mind, curator Anne Umland and I asked a diverse group to visit Picasso: Guitars 1912–1914 and share their impressions.
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