Exhibiting Italian Democracy in 1949: Twentieth Century Italian Art at the Museum of Modern Art

Author(s):  
Antje K. Gamble
2017 ◽  
pp. 176-186
Author(s):  
María Laura Ise

Este artículo analiza la exposición Latin American Artists of the Twentieth Century (Museum of Modern Art - MOMA, Nueva York, 1992-1993) situada en el contexto histórico cultural más amplio del cual forma parte: los cambios en el sistema global del arte ocurridos en los años ochentas, el llamado boom del arte latinoamericano en los Estados Unidos y el aniversario del Quinto Centenario de la conquista y colonización de América. En medio de estos cruces, y teniendo en cuenta una diversidad de fuentes de análisis que incluye el propio archivo de la exposición, la pregunta está puesta en qué tipo de representaciones se desprenden de la misma y en qué lugar se sitúa América Latina, su arte y artistas. Palabras clave: Exposiciones,  arte  latinoamericano,  repre-sentaciones, Estados Unidos, MOMA ,Quinto Centenario, América Latina, Boom.


Art Education ◽  
1960 ◽  
Vol 13 (2) ◽  
pp. 17
Author(s):  
John B. Mitchell ◽  
Arthur Drexler ◽  
Greta Daniel

2012 ◽  
Vol 17 (2) ◽  
pp. 163-169
Author(s):  
Andrew V. Uroskie

Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage.


Author(s):  
E. Van Holsten ◽  
A. A. Koroleva ◽  
A. N. Nikiforova

The networking format becomes the most widespread form of international cooperation in the field of culture at the present stage. First, it attracts subjects of the international market of culture and art by reducing costs and the price of implementing projects. Both previously existing organizations and new partner projects have adopted this format and transformed themselves into networks, building their structure on the principle of horizontal communications. Along with representatives of state structures and international organizations, there are networks initiated by independentexperts interested in the development of international private partnership. In 2020, the 3rd panoramic exhibition of contemporary Italian art «Italiartkremlin» will be held in the State Museum of Modern Art of the Russian Academy of Sciences. Apart from the worksof Italian masters, the exhibition will present the works of Russian artists, winners of the annual contest «My Italy» and «Italy through the eyes of Russian artists». «Italiartkremlin» is one of the projects of the ITALIART cultural network that unites the efforts of representatives of the Italian art market, as well as amateurs and collectors of contemporary Italian art in order to promote it in Russia and Europe. The partner network RUART specializes in the promotion of Russian art in the world, and especially in Northern Europe, through the organization of thematic art events, including art exhibitions, contests and seminars. The idea of sharing a single exhibition space of works of art from different countries allows to compare and see the difference between national schools and modern art concepts.


Transfers ◽  
2015 ◽  
Vol 5 (3) ◽  
pp. 142-145
Author(s):  
Deborah Breen

Museum of Modern Art (MoMA) 11 West 53rd Street, New York, NY 10019 http://www.moma.org/interactives/exhibitions/2015/onewayticket/ Admission: USD 25/18/14 “I pick up my life, / And take it with me, / And I put it down in Chicago, Detroit, / Buff alo, Scranton, / Any place that is / North and East, / And not Dixie.” Th ese are the opening lines from “One-Way Ticket,” by African-American poet, Langston Hughes (1902–1967). Th e poem provides the emotional and historical core of the “Migration” paintings by Jacob Lawrence (1917–2000), a series that depicts the extraordinary internal migration of African Americans in the twentieth century. Not coincidentally, the poem also provides the title of the current exhibition of the sixty paintings in Lawrence’s series, on display at MoMA, New York, from 3 April to 7 September 2015.1 Shown together for the first time in over twenty years, the paintings are surrounded by works that provide context for the “great migration”: additional paintings by Lawrence, as well as paintings, drawings, photographs, texts, and musical recordings by other African-American artists, writers, and performers of the early to mid-twentieth century.


1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.


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