As an intern in the MoMA Archives, my favorite part of the day is paging through the material that our researchers have requested. Though pulling document files doesn’t seem like the most exciting task in the world, it is for me, because it’s the exact moment when archives come alive. Sitting in the stacks in hundreds of archival boxes, these documents are inactive forces of potential energy waiting to be picked up.
Posts tagged ‘From the Archives’
As Archives Specialist in the MoMA Archives, I am always on the prowl for images depicting how our exhibitions were installed. Sadly, up until the 1960s only about 75% of MoMA’s exhibitions were documented with official installation photographs, usually due to budget constraints. So imagine my excitement on one dark, drab winter day earlier this year when, while working in the Photographic Archive, I came across a folder labeled, “Visitors in Galleries,” and discovered that these visitors were in galleries for an exhibition for which we had no visual record
On May 5 The Metropolitan Museum of Art held its annual star-studded Costume Institute Gala, complete with red carpet and paparazzi, timed to coincide with the opening of a new fashion exhibition about a legendary couturier: Charles James: Beyond Fashion. But possibly the first gallery exhibit of James’s work opened 33 years ago at MoMA PS1,
This past year the MoMA Archives processed and opened to the public the full record history of MoMA’s International Council and International Program, a collection so large that it required the work of three staff members to complete it in one year. One benefit of processing a large collection as a team was the opportunity to share our most interesting discoveries with one another.
What kind of stories do a museum’s archives tell when read in tandem with masterpieces in their permanent collections? After allowing me to explore innovative exhibition strategies for archival material last summer, this year, MoMA’s intern travel grant gave me the opportunity to visit a Dutch museum that is contending with that exact question.
Working with the fascinating collections in the MoMA Archives on a daily basis has led me to think about the ways in which archives share their unpublished material with the public.
Are you intrigued by artists’ multiples? Engaged by innovative typography? Do you want to learn more about the roots of Conceptual and performative art today, and how artists’ innovation influences curatorial practice?
If so, then I am pleased to inform you that after several years, and more than a few surprises, the Gilbert and Lila Silverman Fluxus Collection Archives are open for research. Scholars will use the archives to study the history of Fluxus and its related artists. But while you might never use the archives, my work as an archivist still has an impact on your experience of Fluxus art at the Museum. The decisions made by myself and the other members of the Fluxus team affect what goes into the galleries, and how those objects are presented to the public.
When Fluxus collectors Gilbert and Lila Silverman donated their vast collection to MoMA in 2008, we didn’t know what we were getting ourselves into. Before it expanded into performance, Fluxus was founded as an international publishing company by George Maciunas. Games, printed materials, and other multiples by various artists were united by Maciunas’s unique design sensibility and brilliant typography. This amazing collection—the world’s largest—had been carefully built for decades by Fluxus scholar Jon Hendricks, who aimed to present a complete history of Fluxus: not just artworks, but documentation and books as well. MoMA decided to split the Silverman Collection into three parts: works of art to the Department of Prints and Illustrated Books, for their facility at handling editions; documentation to the Museum Archives; and publications to the Library.
For the past two years, I’ve been the archivist responsible for processing the collection’s many wonderful manuscripts, notes, letters, and countless other documents into an organized research collection. That day has finally arrived—but getting here has been a long, strange journey.
Fluxus thwarts all attempts at categorization. How can one distinguish “artwork” from “document,” when Fluxus artists actively strove to break down the border between art and life? How can we exhibit a work of performance art, when all that remains of it is a few photographs and written accounts? These are the sorts of documentary objects that researchers expect to find in archives, but as curators seek to display ephemeral and other dematerialized artworks, they are increasingly included in art exhibitions.
Such quandaries are essential to understanding Fluxus. But they are particularly troublesome for an institution like MoMA, which is accustomed to maintaining separate departments for different types of objects. It’s no secret that MoMA didn’t collect many Fluxus works in the 1960s and 1970s, at the time of their creation, which means that the Silverman Collection fills a very significant gap. But in processing the archives, I came to understand our forebears’ reluctance: Fluxus is too fluid, too rebellious, too anti-institutional to enter an institution without a fight. It’s too many things at once.
That’s why myself and the other members of the Fluxus team quickly realized that we’d have to take a cue from Fluxus itself, and learn to be a little more fluid ourselves. We understood that sometimes artifacts need to be considered artworks, and other times works of art function like documents. It means that serious Fluxus researchers may need appointments with all three departments. But it also means that researching Fluxus will be as much of an adventure as processing it was.
To learn more about Fluxus, the Silverman Collection, or its processing, check out the finding aid online.
The Silverman Fluxus Archives can be consulted by appointment at the MoMA Archives reading room at MoMA QNS; open Mondays, 11:00 a.m. to 5:00 p.m. Appointments can be made through the Archives contact form.
One of the most fascinating aspects of working in the Museum Archives is uncovering how iconic artists engaged with MoMA beyond their artwork in the galleries. As one of the most celebrated Abstract Expressionist painters, Robert Motherwell has a rich exhibition history at the Museum that is traceable all the way back to 1944, when MoMA acquired its first work by Motherwell.
More than four years ago, at the end of 2008, MoMA and P.S. 1 Contemporary Art Center officially completed their 10-year affiliation process. At that time, The Museum of Modern Art Archives received custody of the organizational records, curatorial documents, exhibition paraphernalia, and other materials of historical importance saved by the institution over four decades of groundbreaking programming.
The Victor D’Amico Papers are now processed and open for researchers to use onsite, by appointment at the Museum Archives reading room in Long Island City, Queens. The collection’s finding aid (inventory) is searchable online from any web-enabled device, along with MoMA’s other archival collections.
If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions). For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site).
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