This past Veteran’s Day I had an extraordinary experience at MoMA. Aaron Hughes, an artist and Iraq War Veteran, invited two small groups of strangers into an intimate exchange: he made tea for us. He made tea for us in what might seem a very strange place within the museum, on a bridge next to MoMA’s Walid Raad exhibition, near Take an Object, and in proximity to Soldier, Spectre, Shaman: The Figure and the Second World War one floor above—all of which include work that reflects artists’ responses to war. Walid Raad, a friend of Aaron’s, was excited that this would take place near his installation.
Posts tagged ‘public programs’
In 2014, MoMA’s education, curatorial, graphic design, exhibition design, and marketing departments collaborated to develop an interactive learning space adjacent to the exhibition The Paris of Toulouse-Lautrec: Prints and Posters. This is the third interactive space we’ve developed in relation to an exhibition, following the success of Performing John Cage and the Polke Pop-Up Activity Space. This café-like space offers activities and resources to connect participants with Lautrec’s life and artistic process using both unfacilitated and facilitated approaches.
“What do we want from museums?” As the topic for the final meeting of this summer’s educator-facilitated, public discussion series, Agora, this question fittingly articulated the line of thinking that motivated the program’s unique format and approach. While Agora (named after the ancient Greek tradition of philosophical inquiry)
Plenty of people think of museums, libraries, and archives as stagnant and apolitical places; sites where histories are not created, but simply preserved. In her performance Archive as Impetus (Not on View)—presented several times per week during the month of June as part of MoMA’s Artists Experiment initiative—artist Xaviera Simmons asked viewers to reconsider the role of the museum.
What do women artists want?
This question is announced through a microphone, repeated—carrying out into MoMA’s Garden Lobby and on to the second-floor Marron Atrium as visitors stop, turn, and listen.
Part of the 12-month internship program is the opportunity to facilitate a Gallery Conversation, a one-hour guided tour of the galleries for the public. As a 12-month intern, I was given the opportunity to pick any topic or works I loved and research diligently—but what I have learned is that when I speak to the public, the research is less important than the conversation.
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