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"Museum of Modern Art (New York, N.Y.)"
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Being modern : building the collection of The Museum of Modern Art
\"Published to accompany an exhibition at the Fondation Louis Vuitton in Paris -the first major presentation in France of works from The Museum of Modern Art- 'Being Modern: Building the Collection of the Museum of Modern Art' presents more than one hundred paintings, sculptures, architecture drawings, design objects, photographs, films, video games, and more, telling the story of how these items came to be part of one of the world's greatest collections of modern and contemporary art. A short essay by a MoMA curator introduces each entry, providing fascinating insights into the artworks themselves as well as the circumstances of their acquisition by the Museum. Organized chronologically according to the year each item entered MoMA's collection, the book offers a rare glimpse of the Museum's inner workings\"-- Publishers' description, page [4] of dust jacket.
Book
Lady in the dark
Iris Barry (1895–1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's \"foreignness\" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century.
eBook
Der Kunstkrieg
,,Dies ist die Geschichte von den genialen CIA-Boys, die die einzigen wirklichen Kunstwissenschaftler des 20. und 21. Jahrhundert waren\". Dieser wunderbare Satz findet sich in Heiner Mühlmanns provozierendem Essay, der uns ,das wahre Gesicht' der modernen Kunst enthüllt. Die Kurzform der Geschichte um die CIA-Boys geht ungefähr so: Als Antwort auf das ,,Haus der deutschen Kunst\", dem gigantischen Monument einer nationalsozialistischen Propaganda, führte der amerikanische Staat mit Hilfe des Moma einen raffinierten Gegenschlag. Taktisches Ziel: die Sabotage der nationalsozialistischen Mobilisierungskunst mittels Konstruktion einer Moderne. So schleusten die CIA-Kunstwissenschaftler das Massenprodukt ,,Abstrakter Expressionismus\" in die Kunst ein. Wie gut diese Geheimwaffe - auch über ihr ursprüngliches Ziel hinaus funktionierte - zeigt Mühlmann an der Nachkriegsausstellung Documenta. Hier führten offenbar Kreationistische Museumskuratoren, Künstler und Museumsbesucher gerne fort, was die CIA sich einst ausdachten.
eBook
Oasis in the city : the Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art
In 1953, architect Philip Johnson and landscape architect James Fanning designed a Modernist sculpture garden for the Museum of Modern Art in Midtown Manhattan, dedicated to patron Abby Aldrich Rockefeller. The rectangular, open-air courtyard was set on two levels and paved in long, rectilinear slabs of Vermont marble. The western, upper platform comprised a dining terrace shaded by a line of eight hornbeams. The lower terrace, sunken two-feet below grade, was incised by two water channels spanned by marble platforms and planted with cryptomeria and birch trees, which helped break up the space and control visibility of the sculpture placed throughout the garden. An 18-foot high, gray brick wall with climbing ivy formed the garden's north edge, screening it from West 54th Street. Under Johnson's aegis the garden was enlarged to the east in 1964, at which time landscape architects Zion & Breen unified the planting scheme by replacing the cryptomerias with weeping beeches and planting additional weeping birch trees to echo an existing cluster of trees in the west end. Following museum expansion between 2000 and 2004, the half-acre garden was recreated by Zion Breen & Richardson Associates. Johnson's overall plan was restored, but with lighter-colored, Georgia marble paving and a 14-foot high aluminum screen in place of the brick north wall. Now approached from the west, the garden is elevated on the three sides abutting museum buildings, while the centralized sunken space includes the water features, clusters of single-species trees, moveable chairs, and large pieces of modern art. -- Cultural Landscape Foundation website (viewed on October 26, 2018)
Book
Silences
How is it possible to write of the myriad kinds of silence with which we are surrounded? I am thinking especially of those dense or jagged silences so impervious to words, which increasingly appear in a world become too much, and too little, to bear.
Journal Article
Abstract expressionism at the Museum of Modern Art : selections from the collection
Reproduces a selection of more than one hundred paintings, prints, drawings, and sculptures from the Museum's extensive collection of abstract expressionist works.
BOOK
Sunday morning. Safe
This segment of Sunday Morning is about the New York's Museum of Modern Art current exhibit of pieces of art --- multi-functional accessories whose designs are clearly linked to human safety.
Streaming Video