Search results for ""museum of modern art""

Dutch artist Aernout Mik’s moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling, unsettling, peculiar and plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewer’s physical relationship to his work a critical component of the overall experience. By interrogating the most basic ideas of narrative and reality and rejecting classical cinematic ideals, Mik creates works that are rich in allusion but subversive of codes. Published to accompany the artist’s first US retrospective, this volume is a vivid exploration of Mik’s work and process. Laurence Kardish, MoMA’s Senior Curator in the Department of Film, discusses the unique, creative aspects of Mik’s installations that extend the traditional boundaries of media, while Michael Taussig, professor of anthropology at Columbia University, investigates how the artist’s work changes the way we see reality while reinforcing the norms of visual culture. Abundantly illustrated with stills and the artist’s own drawings of works in the exhibition, Aernout Mik features detailed descriptions of the installations, an exhibition history and a bibliography, making it the most comprehensive volume about Mik and his work available in English.

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This catalogue accompanies an exhibition of paintings, sculptures, drawings and prints from Edward R. Broida’s recent gift to the Museum of 175 works from his collection. Dating from the 1960s until the present, the works represent a total of thirty-eight European and American artists, whose work is beautifully reproduced here. John Elderfield contributes an introduction, and the book also features an interview with Edward Broida, conducted by Ann Temkin.

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This now classic portrait of Douglas Fairbanks - the swashbuckling original King of Hollywood - was first published in 1940. Long out of print and hard to find, Alistair Cooke's posthumous biography was the first serious consideration of the career of the great silent screen star and husband of America's sweetheart, Mary Pickford. Reissued here in a facsimile edition, Douglas Fairbanks: The Making of a Screen Character treats, step by step, the course of Fairbanks' career, and sheds light on the mysterious ingredients of screen popularity and on the history of motion pictures generally. Alistair Cooke, the distinguished journalist and broadcaster, was assistant to Charlie Chaplin when he met Iris Barry, MoMA's first film curator, in 1938. Barry invited Cooke to participate in the Museum's groundbreaking film course at Columbia University and commissioned him to write Douglas Fairbanks: The Making of a Screen Character.

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Published in conjunction with a major monographic retrospective of the work of Brazilian painter, sculptor and performance artist Lygia Clark, this publication presents a linear and progressive survey of the artist’s groundbreaking practice. Having trained with modern masters from the late 1940s to mid-1950s, Clark was at the forefront of Constructivist and Neo-Concretist movements in Brazil and fostered the active participation of the spectator through her works. Examining Clark’s output from her early abstract compositions to the ‘biological architectures’ and ‘relational objects’ she created late in her career, this is the most comprehensive volume on the artist available in English. Three sections based on key phases throughout her career – Abstraction, Neo-Concretism and The Abandonment of Art – examine these critical moments in Clark’s production, anchor significant concepts or constellations of works that mark a definitive step in her work, and shed light on groundbreaking sets of circumstances in her life as an artist. Each section is accompanied by a selection of works by other artists that provide context for understanding the circumstances that shaped her artistic investigations, as well works by a younger generation of Brazilian artists that reflect Clark’s own landmark influence. Featuring a significant selection of previously unpublished archival texts of Clark’s personal writings, it is a vital source of primary documentation for twentieth-century art history scholarship.

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William Eggleston's Guide was the first one-man show of colour photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of colour photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with colour photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average person's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of colour as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually superrefined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's home town of Memphis - an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up in flames, framed by a shiny silver tricycle; the curves of a gleaming black car fender, and someone's torso; a tiny, grey-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new colour separations from the original 35mm slides, producing a facsimile edition in which the colour will be freshly responsive to the photographer's intentions.

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Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the 20th century. These modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in colour and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former curator of painting and sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the modern canon and for those who wish to understand the contributions of individual artists to the history of modern art.

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Identical twins Stephen and Timothy Quay are internationally renowned moving image artists and designers who for over thirty years have been in the avant-garde of stop-motion puppet animation. Creating work in the tradition of Czech surrealists Jan Švankmajer and Jiri Trnka, Russian animator Yuri Norstein and Polish animator Walerian Borowczyk, they practice a design aesthetic influenced by Polish graphic artists such as Jan Lenica, Roman Cieslewicz, Franciszek Starowieyski and Henryk Tomaszewski. Since 1971, they have produced over forty-five moving images, including features, music videos, dance films, documentaries and signature personal works, and have designed sets and projections for opera, drama and concert performances. Published to accompany an exhibition at The Museum of Modern Art – the first presentation of the Quay Brothers work in all their fields of creative activity – this richly illustrated publication presents their betterknown films as well as previously unseen moving image works and a little-known body of works on paper, including graphic design, drawings, typography and notebooks for films.

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The Museum of Modern Art in NewYork, founded in 1929, has helped to bring the history of modern art to vivid life through its unparalleled collection of late-19th and 20th-century painting and sculpture. A veritable who's who of modern art is represented in the Museum's collection: Paul Cezanne,Vincent van Gogh, Claude Monet, Auguste Rodin, Henri Matisse, Pablo Picasso, Max Beckmann, Oskar Schlemmer, Constantin Brancusi, Salvador Dali, Marcel Duchamp, Jasper Johns, James Rosenquist, AndyWarhol, Cy Twombly, Mark Rothko, Piet Mondrian, Jackson Pollock, to name but a few. This volume offers a comprehensive overview of the Museum's painting and sculpture collection through more than 300 colour illustrations and texts drawn from the Museum's archives and publications. These lively, diverse, and often surprising interpretations of a work of art, sometimes from the artist themselves, both enrich and expand the literature on the history of modern art. Accompanying these texts is an introduction by John Elderfield, Chief Curator Emeritus at the Museum, which offers a personal account of the collection's history and its installations.

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Over the course of the past century, the kitchen, more than any other room in the modern dwelling, has been the focus of intensive aesthetic and technological innovation. Historically, European and American kitchens were often drab, poorly ventilated, and hidden from view in a basement or annexe. Towards the end of the 19th century, however, the kitchen became a central concern of modernism and a testing ground for new materials and technologies. Since then, the room has come to articulate and at times actively challenge society’s relationships to food, consumerism, the domestic role of women, and even international politics. Counter Space examines the 20th-century transformation of the kitchen through the collection of The Museum of Modern Art, featuring a wide variety of design objects, architectural plans, posters, archival photographs and artworks – ranging from the iconic Frankfurt Kitchen, massproduced for German public housing estates in the aftermath ofWorldWar I, to an electric kettle, heat-resistant glassware and colourful plastics.With an introductory essay by Juliet Kinchin, this volume is a lively introduction to the kitchen as a barometer of changing technology, aesthetics and ideology.

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This visually exciting book presents a selection of signature works by European and American artists of the postwar generations, drawn from the UBS Art Collection, one of the richest and most varied holdings of international contemporary art in the United States. This unique publication accompanies an exhibition of seventy-four of these outstanding works of art, including forty-four works that were a gift to The Museum of Modern Art in 2002. The works reproduced here include paintings, sculptures, drawings, photographs and mixed-media works by a wide and varied array of important artists, including Joseph Beuys, Chuck Close, Jasper Johns, Anselm Kiefer, Brice Marden, Robert Rauschenberg, Susan Rothenburg, Ed Ruscha, Cindy Sherman, Kiki Smith, Cy Twombly, Andy Warhol and others. In addition, Ann Temkin has interviewed eleven of these artists for the book, producing illuminating conversations about how they work, the origins of their ideas and other topics. The artists interviewed include Vija Celmins, Damien Hirst, Susan Rothenburg, Ed Ruscha, Robert Ryman, Lorna Simpson and others. Finally, the book also contains an interview with Donald B. Marron, a former President of MoMA and the person who as Chairman of UBS began the collection.

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Fernand Léger is one of two new volumes being published this autumn in the MoMA Artists series, which explores important artists represented in depth in the collection of The Museum of Modern Art, and guides readers through a dozen of each artist’s most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art and the artist’s own life.

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In the early 1960s, Claes Oldenburg redefined the concept of sculpture. Published in conjunction with a comprehensive exhibition of the artist’s early work, Claes Oldenburg: Selected Writings 1956–1969 gathers together in a single volume the artist’s key writings from the 1960s and several years from either side of the decade. Much of the publication comprises of previously unpublished material, including sections of an extensive diary the artist kept during the formative years of the 1960s, and selection from an autobiographical manuscript that Oldenburg wrote in 1971. The book also reprints seminal texts related to Oldenburg’s early exhibitions, a selection of scripts for the accompanying Happenings and related interviews. Claes Oldenburg: Selected Writings 1956–1969 provides insight into the artist’s working process through a transformative period of his long career.

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Published in conjunction with the first solo museum exhibition of the work of Sanja Iveković in the United States, this volume presents the most comprehensive survey on the artist available in English. A feminist, activist, video and performance pioneer, Iveković (born Zagreb, 1949) came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings, laying the ground for a new form of practice antipodal to official art. She produced works of crosscultural resonance that range from Conceptual photomontages to video, installation and performance. This catalogue presents an overview of the artist’s projects from the early 1970s to 2010 in all mediums, offering a fascinating view of the official politics of power, gender roles, and the paradoxes inherent in a society’s collective memory. Essays by Roxana Marcoci and Terry Eagleton offer a critical examination of the neo-avantgarde in former Yugoslavia, within which Iveković’s work first emerged, and place her work in the context of violence in art and real-life circumstances. This publication contributes to the reevaluation of significant women artists ad a broader understanding of the discursive relationship between art, performance, political studies, and social change in the post-1960s period.

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Robert Heinecken (1931-2006) was a pioneer in the postwar Los Angeles art scene who described himself as a para-photographer because his work stood ‘beside’ or ‘beyond’ traditional ideas of the medium. Published in conjunction with the first museum exhibition of the artist’s work since his death in 2006, this publication covers four decades of his remarkable and unique practice, from the early 1960s through the late 1990s, with special emphasis on his early experimentations with technique and materiality, which destabilized the very definition of photography. Culling images from newspapers, magazine advertisements, and television, Heinecken re-contextualized them through collage and assemblage, double-sided photograms, photolithography and re-photography. Although he was rarely behind the lens of a camera, his photo-based works question the nature of photography and radically redefine the perception of it as an artistic medium. As the most comprehensive survey of Heinecken’s oeuvre, this book sets his work in the context of twentieth century history of photographic experimentation and conceptual art. An illustrated essay by conservator Jennifer Jae Gutierrez about the artist’s experimental techniques, which ranged from photograms to photolithography to collage, contributes to the sparse scholarship on Heinecken’s working methods.

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Published in conjunction with the Museum’s presentation of 75 featurelength films from theWeimar era, many of them only recently restored, Weimar Cinema 1919-1933: Daydreams and Nightmares reconsiders the broad spectrum of influential German films made between the world wars. Both films made in Germany and those made in America by the émigré filmmakers who arrived in Hollywood before Hitler took power deeply affected American cinema. Weimar Cinema is the first comprehensive survey of this period to include popular cinema – musicals, comedies, the ‘daydreams’ of the working class – along with the ‘nightmarish’ classics such as Fritz Lang’s Dr.Mabuse der Spieler and M, F.W. Murnau’s Nosferatu: Eine Symphonie des Grauens and G.W. Pabst’s Pandora’s Box. Richly illustrated with film stills, the book examines how our understanding of these films has changed in the last half century and investigates important themes in films from this period, including the portrayal of women and the role of sound. Supplementing the essays is a detailed illustrated filmography of the 75 films featured in the programme; each film is accompanied by a brief description and excerpts from reviews.

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Workspheres is the catalogue of MoMA's Spring exhibition devoted to the way we work and the role of design in creating effective solutions for work tools and environments in the near future. The exhibition features nine concepts for work tools and environments designed to represent solutions to the specific needs of nine unique sets of work ambitions, problems, skills and requirements. Each has been assigned to individual teams of architects and designers and is based on extensive research in consultation with an international advisory group. This catalogue not only represents the exhibition, but also expands upon it. While the main body of the volume is devoted to the nine models, the history of workplace design and an analysis of offices, both national and global, will also be included in a series of six essays by internationally known designers. In addition to history and cultural differences, the publication also addresses such themes as individuality within a work organization, communication design, interface design, and the impact of digital technologies on different professions.

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