Eat yourself fitter: John Latham and Clement Greenberg’s Art and Culture

2000 ◽  
Vol 25 (2) ◽  
pp. 40-44
Author(s):  
Simon Ford
Keyword(s):  
New York ◽  
Modern Art ◽  
Conceptual Art ◽  
Suitable Condition ◽  
Museum Of Modern Art ◽  
Art And Culture ◽  
History Of

In 1966 John Latham and some friends began chewing Clement Greenberg’s book Art and culture: collected essays. The resulting art work, entitled Art and Culture (1966-1969), is now recognised as a seminal conceptual art work and is part of the collection of the Museum of Modern Art, New York. Latham, however, had borrowed the book from St. Martin’s School of Art library and when he was unable to return it in a suitable condition his teaching contract was not renewed. This essay looks at the history of the work, the ideas behind its creation, and the issues it raises for the culture of the book today.

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 You van be a museum or you can be modern, but you can't be both

1970 ◽  
pp. 31
Author(s):  
Chris Dercon
Keyword(s):  
New York ◽  
Modern Art ◽  
Conceptual Art ◽  
Public Institution ◽  
Museum Of Modern Art ◽  
Museum Environment

In 1974 David Rubin, the then director ofthe Museum of Modern Art in New York, admitted in an interview that «The Museum concept is not infinitely expandable». He ascribed this to the rupture between the traditional aesthetic categories of painting and sculpture and the earthworks and conceptual art that were all the rage in those days. According to Rubin, this latter group called for an entirely different museum environment and, he added, perhaps a different public too. In saying: «The Museum concept is not infinitely expandable», Rubin was, in my opinion, implicitly referring to the problem of the museum as a public institution. 

The Library of the Museum of Modern Art New York

1985 ◽  
Vol 10 (1) ◽  
pp. 29-36 ◽  
Author(s):  
Clive Phillpot
Keyword(s):  
New York ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Present Collection ◽  
History Of

In the Summer of 1984 the Library of the Museum of Modern Art, New York, re-opened in a purpose-designed space, following the expansion and renovation of the Museum by Cesar Pelli. This article traces the history of the Library from its origin at the foundation of the Museum in 1929, to date, and describes the scope of the present collection and some of its particular strengths.

Developing NYARC: the New York Art Resources Consortium

2011 ◽  
Vol 36 (3) ◽  
pp. 25-30
Author(s):  
Stephen Bury
Keyword(s):  
New York ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Metropolitan Museum ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
History Of ◽  
Brooklyn Museum

NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

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.

Post-War Blues (1945–1947)

2016 ◽  
Author(s):  
James King
Keyword(s):  
New York ◽  
New York City ◽  
Visual Arts ◽  
York City ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Post War ◽  
Similar Kind ◽  
At Home

This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.

“If I Had to Do It Over Again”

2018 ◽  
Author(s):  
Allan R. Ellenberger
Keyword(s):  
New York ◽  
Medical Center ◽  
Modern Art ◽  
Seventieth Birthday ◽  
Museum Of Modern Art ◽  
Sixtieth Anniversary

Although in ill health, Hopkins is convinced to attend a film retrospective of Paramount’s sixtieth anniversary at New York’s Museum of Modern Art and a showing of The Story of Temple Drake. Also that month, she gives her last interview to historian and writer John Kobal. A few weeks later, she collapses in her hotel suite and is admitted to the Harkness Medical Center. Later, she returns to the Alrae Hotel, spending time with her sister, Ruby, and friend Becky Morehouse. She dies alone at the hotel, shortly before her seventieth birthday. The reactions from her friends and family are documented, recounting her funeral in New York and memorials in Bainbridge and Hollywood.

Machine-Age Exposition (New York, 1927)

2018 ◽  
Author(s):  
Antoniette M. Guglielmo
Keyword(s):  
New York ◽  
Mass Production ◽  
Technological Progress ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Industrial Arts ◽  
Machine Age ◽  
Commercial Space ◽  
Machine Art

The Machine-AgeExposition took place from 16–28 May 1927 at 119 West 57th Street in Steinway Hall, a commercial space in Manhattan, New York. It exposed the American public to the machine-age aesthetic: a modernist style based upon a belief in technological progress. The style emphasized the qualities of mass production, streamlined design, functionality, dynamism, and force. Jane Heap (1883–1964) of the Little Review Gallery was the main organizer, bringing together engineers and artists to rally momentum for this strain of modernist art. The installation juxtaposed works of architecture, engineering, industrial arts, high-modernist painting, and sculpture in order to emphasize their "inter-relation and inter-influence," as advertised on the exposition flyer. The Machine-Age Exposition highlighted a commonality among these disciplines in their exaltation of the beauty of machinery and celebration of innovation and progress. The exposition celebrated the machine-age aesthetic, as did other exhibitions, most notably Machine Art (1929) at the Museum of Modern Art.

Reich, Lilly (1885–1947)

2018 ◽  
Author(s):  
Carla Cesare
Keyword(s):  
New York ◽  
20Th Century ◽  
Modern Art ◽  
Set Design ◽  
Museum Of Modern Art ◽  
Early 20Th Century ◽  
Leading Role ◽  
Mies Van Der Rohe

Lilly Reich was a German-born designer who created interiors, displays, and exhibitions in the early to mid-20th century. She was active in the Deutscher Werkbund and in the Bauhaus, and was the first female architect to be given a retrospective at the Museum of Modern Art in New York in 1996. Reich’s career as a female designer has been said by critic Beatriz Colomina to be an example of the collaborative nature of architecture in which women have often played an unspoken role. Reich was one of the few female designers to have played a leading role in the early 20th century, yet she has gained little academic renown. As is common for female designers of the time they are often known in relation to their work with more prominent male architects or designers; for Reich, Ludwig Mies van der Rohe was both a personal and professional partner. Reich, who came from a wealthy manufacturing family, studied in 1908 at the Wiener Werkstätte and then in 1910 at the Höhere Fachschule für Dekorationskunst in Berlin. Like many women of the period she focused on textiles, needlework, and fashion as well as set design and display.

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