What will this new retrospective at MoMA, which opens September 28 in New York, reveal about the psyche of the Belgian artist who loves the radical juxtaposition?
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There is a growing uproar over the news, first reported in the New York Times yesterday, that the venerable Museum of Modern Art (MoMA) will be demolishing the 12-year-old former American Folk Art Museum designed by Tod Williams and Billie Tsien to integrate the site into its masterplan.
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We at Hyperallergic pride ourselves as the best possible source for all allergy-related matters in the art world, so you could imagine that we became very concerned when we heard Wolfgang Laib’s “Pollen from Hazelnut” installation will be coming to the atrium of the Museum of Modern Art.
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Last week, I witnessed an art event I thought would possibly never occur: the Museum of Modern Art made a serious step forward in recognizing the cultural importance of graffiti writing and hip hop at their fascinating panel discussion, “Writers and Writers: Narrative on the Page and in the Street.”
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Smartphone pics aren’t the only source of social media buzz circulating around Edvard Munch’s “The Scream, currently at MoMA. The chatter on Twitter is pretty funny, intriguing, and sometimes revealing, even if some of it is not directly related (but funny nonetheless).
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With one version of Munch’s renowned The Scream series on display at MoMA, New Yorkers and tourist are mimicking the bald figure’s extreme expression much the way tourists to Oslo have long been doing — though some aren’t very successful at it. Some people may think it’s tacky, I think it’s a scream.
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The invention of abstraction was not the inspiration of a solitary protagonist, but a relay of ideas that moved through a network of artists and intellectuals working in different countries and different media and MoMA’s new graph drawing shows it in all its beauty.
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Edvard Munch’s iconic “The Scream” (1895), among the most celebrated and recognized images in art history, will go on view at The Museum of Modern Art for a period of six months beginning October 24.
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The other day I saw two solo exhibitions: The Words by Jen Mazza at Stephan Stoyanov Gallery and Game Plan by Alighiero Boetti at MoMA. Both artists want to show you what they value in their lives, but they use their inspiration to different ends. Mazza paints unassuming still lifes of books. Boetti, on the other hand, used various lines of attack to realize his many projects, which ranged from sculpture to mail art to collaborative embroideries.
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No, the artist was not present at Film Forum for a screening of her documentary, The Artist Is Present, a couple of weeks ago. The artist is Marina Abramović, and though she wasn’t there — neither was the director of the film, Matthew Akers — I kept expecting her glamorous self to storm in as a last-minute surprise. But who was there was the reason I showed up for the screening: Mr. Klaus Biesenbach, chief curator at large of the Museum of Modern Art and director of MoMA PS1.
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