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.

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.

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.

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.

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.

Italy on Fifth Ave: From the Museum of Modern Art to the Olivetti Showroom

Modern Italy ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 103-122 ◽  
Author(s):  
Jim Carter
Keyword(s):  
New York ◽  
Comparative Analysis ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art World ◽  
Corporate Marketing ◽  
Cultural Legitimacy ◽  
The Moment

The 1952 MoMA exhibitionOlivetti: Design in Industryhas come to mark the moment when the established art world recognized the cultural legitimacy of mass-produced goods. This article contests such an interpretation by showing how the exhibition was organised and paid for by the Olivetti company. This enables a comparative analysis of the MoMA exhibition with a second New York space, the Olivetti showroom. Located on Fifth Ave, less than a half kilometre from the museum, the Olivetti showroom sold the company’s products to the same American public. The article concludes that the MoMA exhibition and the New York Olivetti showroom must be understood together as a clever case of corporate marketing.

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