A large video projection opens with a view of a finely stained wooden surface. The hand of an unidentified woman appears on the right and a postcard portrait of Abby Aldrich Rockefeller—who, along with Lillie P. Bliss and Mary Quinn Sullivan, founded The Museum of Modern Art in 1929—is strategically placed in the center of the frame.
Posts tagged ‘drawings’
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.
One of the most relevant figures in 20th-century art, and a paradigm of the communion of art and politics, León Ferrari sadly passed away last July, at age 92. Paying homage to his achievements and extraordinary legacy, a selection of his work, drawn from MoMA’s collection, was recently on view outside the Museum’s second-floor Marron Atrium.
A Trip from Here to There, a recently opened collection exhibition in the Paul J. Sachs Drawings Galleries organized by Jodi Hauptman, Curator, Department of Drawings, and Luis Pérez-Oramas, the Estrellita Brodsky Curator of Latin American Art, explores how peripatetic artists represent the routes of their wanderings. Though the paths they trace are personal, many of these artists adopt printed maps as their starting points;
Among the groundbreaking artists included in the exhibition Inventing Abstraction, 1910–1925, currently on view in MoMA’s sixth-floor galleries, are František Kupka (Czech, 1871–1957) and Piet Mondrian (Dutch, 1872–1944). Like the other luminaries represented in the show, beginning in the second decade of the 20th century, Kupka and Mondrian jettisoned figuration and pioneered an art of pure form.
On selected dates, trained activation facilitators have been stationed in the Drawings Galleries to assist visitors in using the interactive components of Franz Erhard Walther’s First Work Set—a unique work that requires the physical interaction of the viewer to be complete.
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.
The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.
My colleagues in the Department of Drawings and I are often asked about our criteria for defining what a drawing is. The short answer is that a drawing is typically defined as any unique (non-print) work of art with a paper material support. Taking this question one step further, I often think: Why did the artist use paper and not, for instance, a canvas? In what ways do the materials used by an artist lend themselves to the work, and how do they play out in the composition itself?
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