If you have been to visit Counter Space here at the Museum, then you have already met this woman. We do not know her name—though we’d welcome any information out there!—but her image, blown up from floor to ceiling, provided a perfect photo-mural for our title wall.
Posts tagged ‘Modern Women’
Hello, Juliet and Aidan here. We’ll be posting here regularly to share behind-the-scenes stories and to expand on themes and objects explored in the Counter Space exhibition, as well as to feature some bits that did not make the final cut.
One of the foremost younger scholars working today on art and gender, Aruna D’Souza wrote “Float the Boat: Finding a Place for Feminism in the Museum,” one of three introductions to the book Modern Women: Women at The Museum of Modern Art (2010). In her essay, and in the above video interview, she talks about the evolution of feminist art history and criticism, and the role within it of the museum in general and of MoMA in particular.
In the video interview above, Gretchen Wagner, an assistant curator in the Department of Prints and Illustrated Books, talks about the essay she wrote for the publication Modern Women: Women Artists at The Museum of Modern Art, titled “Riot on the Page: Thirty Years of Zines by Women.”
In this video interview, Veronica Roberts, Curatorial Assistant in the Department of Painting and Sculpture, discusses her exhibition Lee Bontecou: All Freedom in Every Sense, one of the exhibitions celebrating the landmark publication of Modern Women: Women Artists at The Museum of Modern Art.
The name Ida Lupino became a part of my cultural consciousness when I was about ten years old. I grew up watching classic American television shows such as Gilligan’s Island, Bewitched and The Ghost and Mrs. Muir—all shows which featured Lupino as a guest director at one time or another in the mid to late 1960s.
Linda Nochlin’s groundbreaking essay “Why Have There Been No Great Women Artists?” was published in 1971, but more than fifteen years later, when I attended graduate school at the Graduate Center, CUNY, a second wave of important feminist contributions to the discipline appeared.
Slowly whirling in space at the center of Lee Bontecou: All Freedom In Every Space, now on view on the fourth floor of the Museum, is a suspended sculpture that the artist created over an eighteen-year period from 1980 to 1998. In this remarkable galaxy of forms, the catalyst for the current exhibition, many of Bontecou’s greatest interests converge—in particular, her longstanding fascinations with outer space, flight, and the natural world.
Sometimes, after I encounter a great work of art, I feel like I’ve been punched in the gut. And that’s a good thing—the work touches and evokes something deep inside that lingers for months, even years. I had this experience when I first saw Nan Goldin’s The Ballad of Sexual Dependency, a 45-minute slide show of some 700 color pictures set to a soundtrack.
I met with VALIE EXPORT about three months ago at MoMA when she came to New York to preview her friend Marina Abramović’s exhibition. It was a sunny morning in March, and we sat down outside the staff cafe sipping glasses of grapefruit juice and talking about her signature work, Action Pants: Genital Panic.
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