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Will the Renovated MoMA Let Folk Art Back In? - The New York Times
"Architectural historians argued against destruction, but protest was not universal. The Williams-Tsien building had problems. Conceived on the scale of a compact townhouse, it was only 40 feet wide. Its narrowness created a cramped interior, with corridor-like galleries inhospitable to art viewing. In addition, some people found its façade — composed of more than 60 plates of a copper-bronze alloy textured to look handworked — uninviting, even forbidding. It was hard to tell at a glance what was housed behind them, what the building was about.

At the same time, nobody denied that the design was distinctive, an interruption in a sea of midtown blandness to which MoMA’s facade contributes. Indeed, the Folk Art Museum looked about as un-MoMA as could be imagined: a small, dark, recessive sculpture set against the mega-museum’s stretch of glass and steel. Anyway, it went. A shame. If a work of architecture, loved or hated, has the weight and personality of an aesthetic object, which the Williams-Tsien building did, it should be considered “museum-worthy” and preserved.

There was another factor that made its loss regrettable. The work it housed — by folk artists, self-taught artists, and so-called outsider artists — was not only deeply charismatic, but filled out the story of Modernism in a way that MoMA itself, in recent years, has largely neglected to do.

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This wasn’t always true at MoMA, whose early leaders regarded folk or self-taught artists as foundational figures in Modern art. In 1938, when the museum was operating out of temporary quarters on West 49th Street, it organized a large exhibition called “Masters of Popular Painting,” described as a survey of “Modern Primitives of Europe and America.” Among its 22 artists were Henri Rousseau and Séraphine Louis, known simply as Séraphine, from France, and the Americans John Kane and Horace Pippin. Pictures by all four soon entered the permanent collection, as would work by the Pennsylvania landscapist Joseph Pickett and the Polish-born New Yorker Morris Hirshfield."



"The presence of the Folk Art Museum on 53rd Street picked up the slack. I even tended to think of the smaller museum as a kind of antechamber to the larger one — an entry point, the place you go to first for historical grounding. The museum still offers this, in its 2 Lincoln Square location on the Upper West Side and its “Self-Taught Genius Gallery” in Long Island City, Queens. But in midtown, MoMA is now again on its own with the tradition of self-taught art. And what, if anything, will it do with it?

The full answer remains, of course, to be seen in October and beyond. All we can do at this point is hope for the best, and give some advice. When, in 2014, the fate of the 53rd Street building was announced, MoMA’s director, Glenn D. Lowry, framed the decision in terms of the larger museum’s need for more space, which, he said, would permit the presentation of “transformative” acquisitions “by such artists as Marcel Broodthaers, Lygia Clark, Steve McQueen, Robert Rauschenberg, Gerhard Richter, Mira Schendel, Richard Serra, Sophie Taeuber-Arp and Cy Twombly, among many others.”

I would suggest that we, and MoMA, don’t need any more Rauschenbergs, or Richters, or Serras, or Twomblys. What we do need is “many others.” And some of those Others were, for 13 years, to be found in the Folk Art Museum next door. Maybe MoMA can now be persuaded to acknowledge its spirit, and their genius, in its expanded home."
folkart  architects  design  moma  2019  art  democracy  elitism  hollandcotter  folkartmuseum  culture  museums  nyc 
5 weeks ago by robertogreco
Last Call: MoMA’s Closing, and Changing - The New York Times
The absence of art by women in the first six galleries is breathtaking.
whiteness  modernism  art  museums  moma  women 
5 weeks ago by jbrennan
Rob Giampietro on the Design Notes podcast
In this episode, Liam speaks with Rob Giampietro, Design Director at the Museum of Modern Art. Giampietro shares his journey from studio designer to design manager, explores the unseen details of a museum experience, and describes the responsibility designers have to create impact.
RobGiampietro  MoMA  design  Google  leadership  management 
9 weeks ago by briansholis
How to build a video program – Eva Kozanecka – Medium
This post is an attempt to share my approach to strategy, production and creative direction from the program’s early days as an individual effort. It is the first post in a series on how to build a video program from the ground up.
MoMA  video  Strategy 
april 2019 by stacker
MoMA Design Store | Modern and Contemporary Home Décor, Art and Accessories
Classic modern and cutting edge design products for adults and kids, including items produced exclusively for the Museum of Modern Art (New York) and items represented in its collection.
design  home&garden  home-decor  jewelry  moma  shopping  store 
april 2019 by atran
(429) https://twitter.com/i/web/status/1105771960133472256
Einzig richtiger Gesichtsausdruck, wenn das von der ügenpresse Fraktion gestürmt wird und zu dir geschaltet…
moma  from twitter_favs
march 2019 by Gehirnkaese
Rockefeller Guest House
Designed by Philip C. Johnson in 1948 and built in 1949-50, the former Rockefeller Guest House is one of the earliest buildings in New York City to reflect the influence of the modern movement in architecture and the celebrated German-American architect Mies van der Rohe. The house, which was described by the noted architectural critic Ada Louise Huxtable as "sophisticated ... handsome, unconventional," is remarkably intact. Johnson's subtle and elegant design incorporates features borrowed from two earlier projects by Mies: his unbuilt "court houses" of the 1930s, and the elevations he designed for various buildings at the Illinois Institute of Technology (hereafter, ITT). Built without the use of traditional ornament, the striking two-story street facade is articulated with precisely arranged structural elements, including a symmetrical first story consisting of a handsome wood door and flanking polished reddish brown ironspot brick walls laid in Flemish bond, surmounted by a grid of six fixed translucent windows faced with four steel H-sections. The house was commissioned by Blanchette Rockefeller, the wife of John D. Rockefeller 3rct and a major patron of the Museum of Modern Art (hereafter, MoMA), to display her collection of modern painting and sculpture and to entertain guests. The Rockefellers donated the house to the museum in 1955, and in the years that followed it had a succession of owners, many of whom were associated with the international art community, including Johnson who Ii ved in the house from 1971-79. A significant early work by one of the country's leading architects and his only private residential building in New York City, in May 1989 the Rockefeller Guest House became the first work of architecture in the city to be sold by a leading art auction house.
NYC  MOMA  architecture  philipJohnson  architects 
february 2019 by fogfish

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