Posts Tagged ‘MoMA’

LETTER FROM THE EDITOR

Some myths are absorbed through tradition, and others are ascertained by feeling through how to describe the structures and subjects of our times. The tactic of mythology, as a form to describe broader experience, acts as a primer for many of the pieces included in Issue 07 of THE SEEN, whose newly commissioned texts explore[…]

Stitching Temporalities

ADRIAN PIPER: A SYNTHESIS OF INTUITIONS 1965–2016 // MUSEUM OF MODERN ART By Caroline Picard Adrian Piper: A Synthesis of Intuitions 1965– 2016 collects nearly 300 individual works of the artist’s work, beginning with late-adolescent paintings, to more recent reflections on the Black Lives Matter movement. What emerges from this assembly is an ongoing interrogation[…]

MARIA LASSNIG: NEW YORK FILMS 1970–1980 // MoMA PS1

By Mary L. Coyne While spring in New York has had its share of major exhibitions by female artists—Carolee Schneemann, Adrian Piper, the group exhibition Radical Women (organized by the Hammer and touring to the Brooklyn Museum), and an outdoor rooftop installation at the Metropolitan Museum of Art by Huma Bhabha—one of the most remarkably[…]

A REVOLUTIONARY IMPULSE // THE RISE OF THE RUSSIAN AVANT-GARDE

click here to download PDF By Anastasia Karpova Tinari By 1917, the Modern Industrial Age had radically transformed society. WWI and concurrent social revolutions questioned whether the advent of electricity, trains, cars, would result in the destruction or betterment of humanity. Artists throughout Europe responded with radical movements—Fauvism, Cubism, Futurism, Orphism, and Dada—that increasingly threatened Academic[…]

THE INSCRUTABLE LAUGH OF THE OTHER // TALA MADANI’S ELUSIVE ALCHEMY

By Vanessa Gravenor Laughter, the antithesis of misery, can be an axe to combat ailments in uncertain times. One can note the emergence of a certain absurdity when censorship reigns and trauma weighs like heavy fog; yet, what to say of our current moment where nationalism thickens and financialization looms as the final reckoning? In[…]

MARCEL BROODTHAERS: A RETROSPECTIVE // MOMA

By Anastasia Karpova Tinari download printable pdf At the 1958 Brussels World’s Fair, a mock Congolese village complete with performing Africans was installed, intending to provide Belgians a glimpse of their colony, a backward ethnographic presentation described today as a “Human Zoo.” This phenomenon came from a long tradition of installations at World’s Fairs, inaugurated[…]

WALID RAAD // MoMA

by Tara Plath This text is (here and there) a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. This small print follows the text of Lebanese artist Walid Raad’s[…]

PROFILE OF THE CURATOR // PAOLA ANTONELLI

by Dominique Moulon Paola Antonelli studied architecture and wrote about design before becoming curator of the Architecture and Design department at the Museum of Modern Art (MoMA) in New York in 1994. She has taught at UCLA and Harvard, and is the author of Masterpieces: Everyday Marvels of Design, and co-editor of the exhibition catalogue[…]

ISA GENZKEN: RETROSPECTIVE // MoMA

by Nadiah Fellah  Seen side-by-side, one would hardly guess that the colorfully accessorized mannequin sculptures and the architectural models made with mathematical precision were created by the same artist. Yet, both are prominent parts of Isa Genzken: Retrospective currently on view at the Museum of Modern Art in New York. Representing distinct periods in the[…]

THE RENAISSANCE SOCIETY // SUICIDE NARCISSUS

by Ruslana Lichtzier The current exhibition at The Renaissance Society at the University of Chicago, Suicide Narcissus, deals with the overwhelming threats of climate change. Curated by Hamza Walker, and featuring works by eight European and South American artists; its theme is not one of recent exception. The environmental trend began to gain its exhibitionist popularity[…]