Displaying items by tag: Museum of Modern Art

Pablo Picasso’s 1907 painting "Femme" will be on temporary display at the J. Paul Getty Museum through March 2015. The painting, which closely relates to Picasso’s famed "Les Demoiselles d'Avignon" (1907, Museum of Modern Art, New York), will hang in the Getty Museum’s West Pavilion alongside portraits by Edouard Manet and Paul Cézanne, 19th-century masters whom Picasso greatly admired.

“This work represents a pivotal moment in Picasso’s career, marking the first experiments with fractured space that culminated in his revolutionary painting "Les Desmoiselles D'Avignon" of the same year and the creation of cubism,” says Timothy Potts, director of the J. Paul Getty Museum.

Curators across the Americas are collaborating on an unprecedented scale with exhibitions being co-organized by museums from Buenos Aires to Toronto, not just in Southern California where museums in Los Angeles have been working with South American partners on the Getty-funded Pacific Standard Time 2 shows for 2017.

In New York, the Museum of Modern Art (MoMA) is due to open “Latin America in Construction: Architecture 1955-1980” in March (until 12 July). Sixty years ago the first MoMA survey of the Modern architecture of South America was organized by one US-born curator.

John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art in New York City, has been named the first Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum.

Elderfield will begin his work at Princeton by offering a series of public lectures in the spring and is expected to teach his first course in European modern art in the fall of 2015.

With the arrival of John Elderfield at Princeton, both the art museum and our Department of Art and Archaeology build on a shared tradition of art historical leadership and are poised to achieve yet greater impact for our students and for scholars around the world," said Princeton University President Christopher L. Eisgruber.

A pair of feet dangle from the top half of the frame — two unremarkable men’s shoes topped by trouser legs caught mid-flap in an insistent breeze. Far below lie the diagonals and verticals of a building and its back lot — rows of blacked-out windows, regimented lines of trees. And though the plain logic of the photograph, titled “Seconds Before Landing,” from Willi Ruge’s 1931 documentary series “I photograph myself during a parachute jump,” tells you that one thing is hurtling toward another, the work gives off a strange sense of suspended motion, an anxiety that won’t quite be dispelled by any impending landing.

Plenty of the 300-plus images in MoMA’s expansive new exhibition, “Modern Photographs from the Thomas Walther Collection, 1909-1949,” feel especially weighty with symbolic import — like Herbert Bayer’s “Humanly Impossible (Self-Portrait),” 1932.

From 1915 onward, six million black Southerners quit that region for points north in an epic tide of souls fleeing oppression and seeking opportunity. This spring, the Museum of Modern Art will honor the Great Migration’s centennial by reuniting Jacob Lawrence’s famous paintings of this mass movement, a suite of 60 panels to be shown at MoMA for the first time since 1994.

The exhibition is part of an ambitious project to bring fresh perspectives on the legacy of the migration through new works commissioned from poets, authors and filmmakers inspired by Lawrence, one of the most renowned artists of mid-20th-century Modernism.

Plans for a long-awaited Modern and contemporary art museum in the Belgian capital have stalled because the federal government of Belgium and the regional government of Brussels have very different visions for the project. Leading Belgian cultural figures have expressed concerns that Brussels’s equivalent of London’s Tate Modern or New York’s Museum of Modern Art (MoMA) will ever be created.

Earlier this year, the president of the Brussels region (Brussels-Capital), Rudi Vervoort, told Belgian media that the regional government of Brussels planned to convert a 16,000 sq. m Art Deco building north-west of the city center, formerly owned by the French car manufacturer Citroën, into a Modern and contemporary art center.

When it comes to exploring Picasso, it would seem there is little left for curators to discover, despite his prodigious output. Right now, there are two major gallery exhibitions, at Gagosian and at Pace, as well as a show of Cubist works including Picasso from the Leonard Lauder collection at the Metropolitan Museum of Art.

But what few people realize is that Picasso’s sculpture is still relatively uncharted territory. The last show devoted to it in this country took place in 1967 at the Museum of Modern Art. B

What sets so-called atemporal painting apart from painting that might be less kindly characterized as derivative or regurgitative? In her catalog essay for “The Forever Now,” a 17-artist exhibition which opens at the Museum of Modern Art on December 14, curator Laura Hoptman traces the definition of atemporality to sci-fi novelist William Gibson, for whom the term captures “a new and strange state of the world in which, courtesy of the Internet, all eras seem to exist at once.” While some might lump such a phenomena under the larger banner of postmodernism, Hoptman does not. “Unlike past periods of revivalism, such as the appropriationist eighties, this super-charged art historicism is neither critical nor ironic; it’s not even nostalgic. It is closest to a connoisseurship of boundless information, a picking and choosing of elements of the past to resolve a problem or a task at hand.”

Jill Medvedow, Ellen Matilda Poss Director of the Institute of Contemporary  Art/Boston (ICA), announced today the appointment of Eva Respini as Barbara Lee Chief Curator. Respini is currently Curator in the Department of Photography at The Museum of Modern Art, where she organized the critically acclaimed retrospectives Cindy Sherman and Robert Heinecken as well as exhibitions with artists Klara Liden, Anne Collier, Leslie Hewitt, and Akram Zaatari. She will assume her new position at the ICA in March 2015.

“Eva Respini brings a combination of scholarship and a 21st-century sensibility to image-making, technology, and the role of the museum of the future,” says Medvedow. “She offers a rich understanding of contemporary art and is a creative and intelligent leader in her field. We look forward to the contributions that she will bring to the museum.”

The first thing you see in “Sturtevant: Double Trouble,” the Museum of Modern Art’s taut and feisty retrospective of the American artist Elaine Sturtevant, is work by artists far better known than Ms. Sturtevant herself.

Right at the start is the familiar 1972 photographic portrait of the German Conceptualist Joseph Beuys, in his porkpie hat and flak jacket, striding toward the camera. A bit farther on you’ll find Jasper Johns’s 1955 “Target With Four Faces,” a combination of painting, collage and sculpture and a MoMA treasure. Near it is Eliot Elisofon’s classic 1952 time-lapse photograph of Marcel Duchamp descending a staircase.