Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers
Keyword(s):  
New York ◽  
Modern Art ◽  
Modern Architecture ◽  
Museum Of Modern Art ◽  
Multiple Sequence ◽  
Sequence Of Events ◽  
The World ◽  
The Usa ◽  
New Yorkers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

scholarly journals The role of Michael Pupin in solving of Serbian national question

2004 ◽  
Vol 84 (2) ◽  
pp. 71-82
Author(s):  
Mirko Grcic ◽  
Rajko Gnjato
Keyword(s):  
New York ◽  
World War I ◽  
Maximum Level ◽  
World War ◽  
National Interests ◽  
American Citizen ◽  
The World ◽  
The Usa ◽  
The University

Michael I. Pupin was a professor at the University of Columbia, member and the president of Academy of Science in New York; one of the esteemed members of USA National Academy of Science; member and president of many experts and scientific institutions and societies in the USA; member of State Council for Scientific Research by president of the USA during the World War I. Of the great importance for political geography and geopolitics was his activity in Paris during the Peace Conference after the World War I in 1919 also as his great contribution to establishment of state borders of Kingdom of Serbs, Croats and Slovenians (later Yugoslavia), which helped those nations to establish their national borders at maximum level. Pupin claimed that he was Yugoslav patriot and American citizen. Role of M. Pupin in battle for national interests and Yugoslav borders after the World War I is shown in this article.

scholarly journals ELI BROAD AND HIS WORK: THE BROAD MUSEUM IN LOS ANGELES

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 2-12
Author(s):  
Anna Jasińska ◽  
Artur Jasiński
Keyword(s):  
New York ◽  
Los Angeles ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
The World ◽  
Downtown Los Angeles ◽  
Own Name

In the paper the profile and activity of Eli Broad is presented; an American entrepreneur, collector, philanthropist, Broad is one of the wealthiest individuals in the world who has allocated most of his assets to charity. His collecting passion climaxed in The Broad Museum of modern art designed by the New York architects Diller Scofidio + Renfro, and opened in September 2015 in Downtown Los Angeles. Not only has Eli Broad funded the museum bearing his own name and numerous other buildings designed by the most outstanding modern architects, but many other museum institutions are indebted to this charity.

The New York Digital Salon: A Memoir

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Bruce Wands
Keyword(s):  
New York ◽  
New York City ◽  
Modern Art ◽  
Digital Art ◽  
Museum Of Modern Art ◽  
International Forum ◽  
The World ◽  
History Of ◽  
Arts Festival ◽  
Twentieth Anniversary

Abstract This article traces the twenty-year history of the New York Digital Salon. Started in 1993 to provide an annual venue for digital art images in New York City, it quickly expanded into an international forum for exhibitions, panel discussions, lectures, screenings and a website. In addition to these events, we created a collection of videotaped panel discussions with well-known digital artists and curators from our 2002 Digital Art & Culture Symposium held at the Museum of Modern Art Theatre. From 1995-2002, the artwork was included, along with essays on digital art, in eight issues of Leonardo. A tenth exhibition was held during 2002 at the World Financial Center, along with over twenty events, panel discussions and lectures that were part of the Downtown Arts Festival. In 2013, we celebrated our twentieth anniversary with the “American Algorists: Linear Sublime,” exhibition and catalog featuring Jean Pierre Hebert, Manfred Mohr, Michael Noll, Roman Verostko and Mark Wilson.

scholarly journals Matisse, "The Moroccans": seeing For Yourself

2021 ◽  
Vol 7 (2) ◽  
Author(s):  
Barbara Ellmann
Keyword(s):  
New York ◽  
Public Engagement ◽  
Modern Art ◽  
Group Discussion ◽  
Museum Of Modern Art ◽  
Museum Visitors ◽  
Art Object ◽  
Asking Questions ◽  
Abstract Work

A New York painter and freelance teaching artist describes an experience visiting Matisse’s painting “The Moroccans” at the Museum of Modern Art with a group of young people and their families. She describes her aesthetic education methods which include encouraging museum visitors to engage deeply with works of art by noticing, asking questions, and participating in group discussion. When the visitors’ conclusions about “The Moroccans” turn out to be at odds with the museum’s wall text, they question what they should believe—their own eyes or the museum’s official interpretation of this abstract work. Connecting this experience to John Dewey’s writing about the purpose of art and the power of the perceiver to activate an art object, the author reflects on the role of museums and the sometimes conflicting priorities of public engagement and scholarly authority.

Emoji at MoMA: Considering the 'original emoji' as art

First Monday ◽  
2018 ◽  
Author(s):  
SooJin Lee
Keyword(s):  
New York ◽  
Modern Art ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Virtual Characters ◽  
Historical Significance ◽  
Conservative View ◽  
Design Innovation ◽  
The Relationship

>In 2016, the Museum of Modern Art (MoMA) in New York announced that it had acquired for its permanent collection the original set of 176 emoji characters developed in 1999 by Japan’s telecommunication provider NTT DoCoMo. MoMA also organized an exhibition of the emoji in the museum’s lobby with the title “The Original Emoji, by Shigetaka Kurita,” thus highlighting its historical significance and the role of the designer. This paper explores new and critical yet under-discussed issues surrounding MoMA’s acquisition and exhibition of the first emoji set. What happens when emoji enters an art museum? What can the MoMA’s accession and exhibition of emoji tell us about emoji, about art, and about the relationship between them? I will examine the discourses on the MoMA’s emoji accession, which reveal two positions against the emoji as art: a conservative view that emoji is not art and thus should not be in the museum and a revisionist effort to frame the emoji as a design innovation rather than as art. But I draw attention to the MoMA’s exhibition of the emoji, which I analyze as a materialized display of the originally virtual characters. Using textual and aesthetic analyses together with theories of art, I argue the emoji at MoMA is art.

scholarly journals Space-Time Covid-19 Bayesian SIR modeling in South Carolina

2020 ◽  
Author(s):  
Andrew B Lawson ◽  
Joanne Kim
Keyword(s):  
New York ◽  
South Carolina ◽  
New York Times ◽  
Primary Peak ◽  
The World ◽  
The Usa ◽  
One Step ◽  
Time Periods ◽  
Death Data

AbstractThe Covid-19 pandemic has spread across the world since the beginning of 2020. Many regions have experienced its effects. The state of South Carolina in the USA has seen cases since early March 2020 and a primary peak in early April 2020. A lockdown was imposed on April 6th but lifting of restrictions started on April 24th. The daily case and death data as reported by NCHS (deaths) via the New York Times GitHUB repository have been analyzed and approaches to modeling of the data are presented. Prediction is also considered and the role of asymptomatic transmission is assessed as a latent unobserved effect. Two different time periods are examined and one step prediction is provided.

9/11 and Armageddon: the Christian Right and George W. Bush

2003 ◽  
Vol 2 (1) ◽  
pp. 33-50
Author(s):  
Göran Gunner
Keyword(s):  
New York ◽  
Christian Right ◽  
Political Life ◽  
Religious Leader ◽  
The European Union ◽  
The World ◽  
Mega Church ◽  
The Usa ◽  
Jerry Falwell ◽  
High Degree

Authors from the Christian Right in the USA situate the September 11 attack on New York and Washington within God's intentions to bring America into the divine schedule for the end of the world. This is true of Pat Robertson and Jerry Falwell, and other leading figures in the ‘Christian Coalition’. This article analyses how Christian fundamentalists assess the roles of the USA, the State of Israel, Islam, Iraq, the European Union and Russia within what they perceive to be the divine plan for the future of the world, especially against the background of ‘9/11’. It argues that the ideas of the Christian Right and of President George W. Bush coalesce to a high degree. Whereas before 9/11 many American mega-church preachers had aspirations to direct political life, after the events of that day the President assumes some of the roles of a mega-religious leader.

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