MoMA Brand Book by milikovacevic

MoMA

The Museum of Modern Art

MOMA IS ONE OF THE WORLD’S MOST ADMIRED CULTURAL INSTITUTIONS. - Martin Winterkorn

MoMA in partnership with The National Gallery of Victoria (NGV): 130 Years of Modern and Contemporary Art , 2018 From left to right: Centro Stile , The Great JJ Floor Lamp 1967 Interno tredici Associati, Carlo Bimbi, Gianni Ferrara, Nilo Gioacchini, Tuttuno 1971 Vico Magistretti, Selen Stacking Chairs 1968 Roberto Matta, Malitte Louge Furniture 1968 Cesare Cassati, Pillada Lamps 1968

Table of Contents

tents_table of contents_t MoMA THROUGH TIME PERMANENT COLLECTION

THE BUILDING GUEST EXHIBITIONS MoMA DESIGN STORE

REFERENCES

A Brief Introduction to MoMA

The Chronology of MoMA’s Major Historical Events

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A Fresh Outlook: MoMA’s New Collection Display

The Metamorphosis of the MoMA Building

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The Best Of: MoMA Guest Exhibitions

45 46

Introduction to the MoMA Design Store

48 49

Textual References

of contents_table of con

THIS IS US

Interview with MoMA’s curator, Paola Antonelli

ITEMS: Is Fashion Modern?

Design Store New Product Filters

Visual References

This is Us

Mo We M A e n F i f s t 5 4 t r an th t an h S t r c e dS e ix t et b h A et w ve nu e en e

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This is Us

L Andy Warhol, Campbell’s Soup Cans, 1962 Acrylic with metallic enamel paint on canvas, 32 panels (50.8 x 40.6 cm)

ocated in Midtown Manhattan, New York City, The Museum of Modern Art (MoMA) is a global leader in developing and collecting modern art, and is frequently mentioned as one of the most significant museums of modern art in the world. The Museum’s collection showcases both modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist’s books, film, and electronic media.

The MoMA Library includes approximately 300,000 books and exhibition catalogs, more than 1,000 periodical titles, and more than 40,000 files on artists and groups as primary source material related to the history of modern and contemporary art. The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children. The Museum of Modern Art showcases its commitment to contemporary art by establishing, preserving, and documenting a permanent collection that reflects the vitality, complexity and unfolding patterns of modern art. This is possible through exhibitions and educational programs, sustained library and conservation recognized as international centres of research; and by supporting scholarship and publications.

MoMA Design Store Flagship 11 W 53rd St, New York, United States Lumsden Design, 2019

MoMA PS1 installation Lumen by Jenny Sabin, 2017

Elizabeth Murray, Do The Dance, 2005 Oil on Canvas on wood, 287 x 342.9 x 3.8 cm

MoMA Through Time

“Three Women Have a Vision” Top: Abby Aldrich Rockefeller Bottom left: Lillie P. Bliss Bottom right: Mary Quinn Sullivan

MoMA Through Time 12

1931 1936 MOMA’S FIRST BUILDING

1939 1939

PHOTOGRAPHIC EXHIBITION OF THE 20TH CENTURY: THE FAMILY OF MAN

1955

JACOB MILLER’S: MIGRATION SERIES

MOMA’S FIRST SOLO SHOW: HENRI MATISSE

GOOD DESIGN: TRANSFORMING THE MUSEUM INTO A SHOWROOM FOR CONTEMPORARY FURNITURE AND HOUSEHOLD ART

MOMA’S PROPOSAL FOR A FIRST SKYSCRAPER MUSEUM

1944 1950

1930

INDIAN ART OF THE UNITED STATES In 1941, MoMA hosted the ground-breaking exhibition, “Indian Art of the United States” (curated by Frederic Huntington Douglas and Rene d’Harnoncourt), that changed the way Native American arts were viewed by the public and exhibited in art museums. The exhibition featured approximately a thousand objects from Native American cultures from around the country, such as pottery, textiles, silver implements, and wood, stone, and ivory carvings.

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THREE WOMEN HAVE A VISION Over lunch in 1928, three women launched the radical idea of founding a museum in New York just to exhibit modern art. Abby Rockefeller, Lillie P. Bliss, and Mary Quinn Sullivan envisioned an institution devoted to exhibiting and collecting art of the day. In 1929, the Museum of Modern Art opened in rented quarters on the twelfth floor of an office rise 730 Fifth Avenue.

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MoMA Through Time

1940 FIRST TIME EVER: TWENTY CENTURIES OF MEXICAN ART

LOVE ENTERS THE MUSEUM A large polychrome aluminum sculpture in which the letters Land O are stacked above V and E as a square, Rober Inidana’s LOVE is perhaps the most widely recognized image to emerge out of Pop art - an international movement that used style, signs, and products of popular culture to critique social values.

MoMA Through Time

1969 1969

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1958 1958

MOMA ON FIRE Repairmen updating MoMA’s air-conditioning on the second floor stopped for a smoke break around noon on April 15, 1958. A drop cloth caught fire, igniting several open paint cans nearby. Most of the 2,000 pieces on display emerged from the fire relatively unscathed - in part due to the efforts of MoMA staff, who passed artworks hand over hand down the stairwell as people evacuated the building.

YAYOI KUSAMA’S: GRAND ORGY IN THE GARDEN In her attempt to draw attention to the atrocities of the Vietnam War, Kusama organized The Grand Orgy to Awaken the Dead, where she painted dots on participants’ naked bodies in an unauthorized performance in MoMA’s fountain of the sculpture.

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19 1971 1972 19 A PORTRAIT OF DUCHAMP

PLEASE TOUCH THE ART: FIRST EVER MUSEUM TOUCH TOURS FOR THE VISUALLY IMPAIRED

THE FIRST EXHIBITION AT P.S.1: ROOMS For P.S1’s inaugural 1976 exhibition, Rooms, founding director Alanna Heiss aspired to assemble “the most powerful installation art under one roof” at a time when no museums and very few galleries were showing such work. Heiss let 78 artists loose in the former school building, with the artists inhabiting every available space of the crumbling structure: they installed works not only in empty classrooms, but in stairwells, closets, and bathrooms, as well as the attic, courtyard, and boiler room.

16 DAVID HAMMON’S SLAM DUNK RETROSPECTIVE

1990

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PORTAL TO THE SKY: JAMES TURELL’S SKYSPACE In a classroom tucked away on the third floor of MoMA’s PS1 in Queens, visitors can look through a rectangular void cut in the roof to an unobstructed view of the sky, in James Turell’s Meeting. Carefully calibrated artificial lighting within the room contrasts with the colour of the sky and enhances its luminosity. The second, in the series that Turell began in the 1970s called “Skyspaces”, Meeting was created by using a heavy-duty jackhammer excise a hole through four feet of thick concrete.

P.S.1 “URBAN BEACH” P.S.1’s reopening followed a three-year renovation period funded by the city that saved the former schoolhouse from the brink of collapse, and updated all of its facilities. Along its other changes introduced by the the renovations, P.S. 1 Contemporary Art Center (as it had been renamed) developed year-roundprogramming. This is how Warm Up - a series of summer Saturday concerts with DJs and other sound acts - was born and has since grown to feature high-profile headlines like Solange and Cardi B.

GUERILLA GIRLS GO APE: EXPOSING SEXISM, RACISM, AND CORRUPTION IN THE ART WORLD

THE CONTROVERSIAL “PRIMITIVISM” EXHIBITION

AFRO-AMERICAN ABSTRACTION

1980 1984 1987 Introduction to Modern Art & Ideas by MoMA

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1980 MoMA Through Time

2001 MOURNING 9/11 WITH JANET CARDIFF’S THE FORTY PART MOTET

2000 GREATER NEW YORK

1995 1995 SURFING THE WEB In 1995 - the same year the eBay, Amazon, and Craigslist launched - MoMA joined the World Wide Web with a site of its own: the online page for mutant Materials, and exhibition of more than 200 objects from he past decade illustrating how”new technologies [were] being used to customize, extend, and modify the physical properties of materials.”

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2014

2013 2013

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MIKE KELLY TAKES OVER

INVENTING ABSTRACTION: TRACING THE COLLABORATORS AND INFLUENCES OF THE ABSTRACT WORLD

2010 MOMA ♥ EMOJI

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THE ARTISTS IS PRESENT: MARINA ABRAMOVIĆ Abramović staged a new work in MoMA’s Marron Atrium as part of a larger retrospective titled The Artist Is Present. The artists herself sat at a small table across from an empty chair. White tape demarcated a square feld around Abramović, and bright klieg lights illuminated the space. Anyone was welcome to sit across from her for as long as they wanted, so long as they didn’t behave in a disruptive manner and consented to being filmed and having their picture taken. By the show’s close, more than 1,500 people sat opposite the artist, lining up for hours to do so; some people even camped outside the Museum overnight.

2007

THE FEMINIST FUTURE

02 2002 20

THE MODERN PROCESSION Cars and pedestrians crossing the Queensborough Bridge on the morning of June 23, 2002, were greeted by a strange sight: a parade of people carrying artworks (and a woman, seated on a throne) on palanquins, while others scattered rose petals and blew bubbles, all set to the tunes of a live brass band. Part of a work by Francis Alÿs titled The Modern Procession, the march had begun at MoMA’s flagship building on West 53rd Street, making its way through midtown and over the bridge to a former staple factory in Long Island City. The ceremony signaled MoMA’s temporary relocation to Queens while its main building underwent construction for a major expansion.

MOMA’S P.S.1 ROCKAWAY FESTIVAL Two years after hurricane Sandy devastated Rockaway Beach in Queens, MoMA PS1 initiated the Rockaway! summer festival to support the local community as it continued to grapple with the storm’s aftermath.The centrepiece was produced in collaboration with Bloomberg Philanthropies , the national Parks Service, the ockaway Artists Alliance and the Jamaica Bay-Rockaway Parks Conservancy, as well as the members of the local community. The centrepiece included the site-specific installation “Resilience of a Dreamer”by musician Patti Smith, a longtime resident of Rockaway Beach.

REINVENTING MOMA Designed by architects Diller Scofidio + Renfro in collaboration with Gensler, the 2019 expansion featured additions including the David Geffen Wing; the Marie-Josée and Henry Kravis Studio for performance, process, and time-based art; the Paula and James Crown Platform, an innovative education space; and free street-level galleried to better connect the Museum to new York City. Exhibition space increased by 30%, allowing for more of the collection to be shown at one time.

MoMA Through Time

MoMA in partnership with The National Gallery of Victoria (NGV): 130 Years of Modern and Contemporary Art , 2018 From left to right: Robert Indiana, Love 1967 John Chamberlain, Tomahawk Nolan 1965 (sculpture) Andy Warhol, Untitled from Marilyn Monroe 1967 Lee Lozano, Untitled Series, Tool 1963-1964

EVENTUALLY, MOST PEOPLE FELT MOMA HAD FILLED A VERY IMPORTANT GAP. - David Rockefeller

Permanent Collection

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Permanent Collection

MoMA’s new approach to permanent collection display “We have to rethink the categories, narratives, and even chronologies we use to talk about and evaluate artworks so that European Modernism is no longer the standard against which all other modernisms are judged,” says Ming Tiampo, a professor of art history at Carleton University. MoMA has recognized these concerns, and is actively putting its support behind other stories, while also paying close attention to how it tells them. “We’re living in several simultaneous cultural moments,” says Adrian Ellis, a consultant for museums and nonprofits, adding that art institutions are being pulled in a number of different directions. As MoMA director Glenn Lowry admitted, the museum had “settled into a pattern of showing work in a certain way.” The old MoMA’s permanent galleries argued not only that Modern art was a baton race from one artist to another—an organizing principle that often institutionalized exclusion—but also that media should be strictly separated.

Masterpieces dulled by overfamiliarity spring to second lives by being repositioned.

But with its rehang, in which paintings share space with films, prints, and design objects, MoMA has insulated itself against any expectations that a single, overarching narrative is preferable—or even achievable. Instead, the museum will rotate a third of its collections every six months, with the goal of completely rotating its current display by 2021. The point is to acknowledge that variations—global and otherwise—are central to the story of Modernism. One of the museum’s newly installed galleries, titled “Paris in the ‘20s,” typifies MoMA’s new approach. Alongside Pablo Picasso’s famed Three Musicians (1921) and a chess set by Man Ray, there is a work by the Brazilian painter Tarsila do Amaral. “She was a woman who was in the thick of it in Paris in the 1920s,” says Ann Temkin, MoMA’s chief curator of painting and sculpture, noting that, until recently, do Amaral was absent from the museum’s radar. “She studied with Léger, she was friends with Brancusi.” “Rainforest V (variation 1),” from 19732015, coceived by David Tudor and realized by Composers Inside Electronics Inc.

“In terms of the mixing and matching going on, this is a tiny microcosm,“ Temkin says. “All of the galleries in the museum now want to capture that sense of interconnection and vitality among artists from different countries who are in the same place at the same moment.”

Embracing this kind of an integrationist approach is precisely what audiences now expect. E. Carmen Ramos, the deputy chief curator of the Smithsonian American Art Museum, says it’s essential that curators think about how the works they oversee can be framed to broach broader narratives.For example, “how do we look at the history of Cubism and its ties to African art through the lens of colonialism?” she asks. MoMA was already making strides in this direction. Ten years ago, it established the Contemporary and Modern Art Perspectives (C-MAP) program to sponsor research into art histories outside of North America and Western Europe. It also recently accepted a major gift of 150 works of Latin American art from the Cisneros foundation, filling large gaps in the museum’s collection. Ramos expects the gift to be shown “in a way that acknowledges its specificity, at the same time linking it with international currents, which is part of the history of Latin American art.” But while the curator is heartened by MoMA’s solo exhibitions featuring underrepresented artists, which go some way in establishing local narratives, she still sees “a lot of room to grow,” especially when it comes to art from the Caribbean and its diasporas. “Museums are like huge ocean liners,” says the artist Fred Wilson. “They turn slowly. So perhaps this is happening when it needs to happen.”

Gallery view of “Lew Demoiselles d’Avignon,” by Pablo Picasso, from 1907 (left), and “Quarantania, I,” by Louise Bourgeois, from 1947-53(center)

MOMA CURATOR ON DESIGN AS POLITICS AND THE NEW MATERIAL REVOLUTION

Permanent Collection

Italian-born Paola Antonelli has been the Senior Curator of Museum of Modern Art’s Department of Architecture and Design since 1995. During this tenure the author, editor, and trained architect has advocated for an expanded sense of technology’s role in design and explored the relationship between design and human violence.

Paola Antonelli photographed for PinUp Magazine Issue #2 (2020)

Tiffany Lambert: Let’s start by talking about the role of museums in the current moment. With widespread dismantling of structures, social systems, and public arts funding, what changes to the institutional framework do you envision or hope to see MoMA tackle? Paola Antonelli: I see the work ahead of us, believe it or not, as exciting. Museums can be agents of change and this is a transformative moment for the world, so this is an enormously important time for us. Of course, we need to begin with changing ourselves, evolving beyond our past limitations. I’m proud of many museums, MoMA in particular for how we have begun the process. We recognized our shortcomings in different areas. Even though I do not remember talks about decolonizing the arts at that time, there were a few first attempts in that direction — the acknowledgment that our point of view was not absolute, that there are indeed many “canons.” We realized that we needed to study in much more depth the African continent, Eastern Europe, Southeast Asia, and Latin America.

We started the C-MAP (Contemporary and Modern Art Perspectives) initiative in 2009, and the Modern Women’s Fund in 2010. We brought in scholars, organized trips for MoMA curators, attended symposia and went on studio visits all over the world, and really researched in-depth all of these different aspects of Modern that were not represented enough by MoMA, yet. The first part of this ongoing research is what you saw at the reopening of the museum in the fall of 2019. I was very proud and, almost universally, the rehanging of the collection was praised for its attempt to change the perspective from Eurocentric, white patriarchy, Bauhausian — in other words, all yesteryear — to more contemporary, inclusive, diverse, critical, and questioning. We still have a lot to do when it comes to changing the DNA of the institution but I am proud of what we’ve done so far.

For a long time you’ve been a part of the conversation on how museums can relate to the digital space. I’m thinking of examples like Design and Violence, when you found this alternative curatorial format for it online. I believe you also did the first website at MoMA.

Aki Inomata, Think Evolution #1: Kiko-ichi (Ammonite) (2016-17) part of Broken Nature (2020).

Yeah, I did. I even coded it myself (laughs). The online has always been a parallel dimension, but the way it has been supporting museums has changed. The first MoMA website was connected to my first exhibition there, Mutant Materials in Contemporary Design (1995). Because a book has to be closed several months in advance, I wanted to make sure there would be a record of the final checklist, accessible to all. That was the intent.

At that time, it was archival documentation. It’s still there, and just last year somebody told me, “I’m so glad the checklist is still available.” After that, a few other curators tested the grounds. Barbara London was the first to have a blog, using it as a diary of her trips to China and Japan to look at video art. So, it went from archive to documentation and blog. Then, there was the period of the Flash-based — unfortunately — websites. The one that I still consider the most beautiful is Design and the Elastic Mind (2008). At that time, these websites were projects of their own. I used to think that every exhibition happened in three spaces and three different versions–– the gallery, the catalog, and the website.

Permanent Collection

I wanted to touch on your recent Neri Oxman exhibition Material Ecology and investigating revolutionary materials, something that’s been a focus of yours since at least Mutant Materials.

Neri and I met in 2007, when I was researching Design and the Elastic Mind, and we realized we were kindred spirits because we believed that advanced technology — 3D-printing, computational design, etc. — should never be an end, but rather, the means to get to a higher goal, which was that of understanding and embracing nature, even working with nature. I saw in her the same desire to get to a new type of organic design that is not about imitating the forms of nature, but really “doing it” as well as nature does it.

Kelly Jazavac, Plastiglomerates(2013) part of Broken Nature (2020).

Neri was already doing that in 2007 by trying to distill algorithms out of certain natural behaviors — barks of trees or scorpions’ paws, for instance — and then translating them for different purposes. With the first Silk Pavilion in 2013, she went one step further. Instead of trying to capture the behaviors of nature, she decided to co-opt them and work with nature. She “contracted” thousands of silkworms as builders. Usually in the silk industry, they are boiled in the cocoon so as to be able to extract the silk. It’s brutal. Instead, in the case of the Silk Pavilion, they die on their own, after finishing their work and their life.

What are the most compelling ways of making with new materials today?

Julia Lohmann, Oki Naganode (2013). Installation view in Broken Nature (2020).

I would say that the superstars of biodesign right now are still algae, silkworms, bees, and mushrooms. And some bacteria, E. coli especially. It’s hard to even begin to describe this field, it is in a moment just after the initial frenzy. It’s not very old. Now we’re in the moment in which some startups are closing — the natural selection of the species is happening already — and some are consolidating. It’s incredibly fascinating. Neri is starting her own company, with a viable business, which is very good because experiments can be fabulous, but unless you’re able to translate them to reality, they remain only ideas.I don’t think you would disagree that design plays an important role in revolutions.

I think that’s something you’re currently exploring with Design Emergency, the IG Live project you conceived with Alice Rawsthorn. Could you talk about some of the examples and strategies you’ve uncovered so far? With Design Emergency, Alice and I pursue our mission of showing the incredibly multifaceted nature of design to the world. Alice started a series of posts about design in a pandemic on her famed Instagram feed at the beginning of the Covid-19 crisis, and we decided to complement it with a separate feed that would celebrate the human beings that are sometimes missing in the dissemination of design, by explaining their thinking and their process.

We would like people to stop thinking that design is only cute chairs or expensive objects. We want people to live a more interesting, more empowered life. If all citizens start understanding design at a deep level, they can really push back. They can demand better. Especially now where (at least in the U.S.) we don’t really have any protection at the government level, knowledge is power. It’s not only about culture, intellect, and style — it is politics. We are conscious that this is an amazing opportunity to show the power of design to the world. And we also want to make sure that people start training themselves to recognize good design when they see it.

This project Design Emergency reminded me of your show SAFE: Design Takes on Risk (2005–06), and how it evolved from an exhibition about emergency. Is there anything you took from that for this project?

Of course! The current situation reminds me also of another project called Workspheres in 2001, which also contemplated the idea of working from home, remote work. Same as today. The only difference is that, at the time, there was no video. But, there were the same frustrations — sometimes technology doesn’t work — and also the same worries — do you have to change your clothes as if you’re at work? Do you take a commute around the block? When it comes to SAFE, I was working on it in 2000, when it was called Emergency. It was about emergency rooms, ICUs, ambulances, fire trucks. It was an exhibition that would’ve opened in 2001 or maybe at the beginning of 2002, but then unfortunately 9/11 had transpired. After a few months, I started thinking about it again. Only instead of thinking of it being about design as reactive, it changed to focusing on proactive and preventative design. SAFE, nonetheless, had a lot of the objects that we can think about today in the Covid era. It had respirators, it had shelters. It was an exhibition that really satisfied me because it put me in touch with worlds that I didn’t know, from the United Nations High Commissioner for Refugees to manufacturers of medical equipment. The whole idea behind the show was for it to be non-denominational, covering safety in the Sahel Desert and the Upper East Side of Manhattan. It had Band-Aids for blisters and devices to extract water from the sand of the desert. It was about the kind of design that keeps people alive, safe, dignified, comforted and even comfortable.

A lot of the work you’ve done feels prescient and has gained renewed meaning today because you’ve managed to stay responsive to society’s shifts. Thank you, but in a way, it was a nobrainer. It’s what people need and what design does, it’s timeless. We need safety. It’s the Maslow hierarchy of needs. And we need to work. When I have the opportunity to do exhibitions that are about life, they always seem timely.

Kazuo Kawasaki, Carna Folding Wheelshair (1989) part of Mutant Materials in Contemporary Design (1995).

MoMA

The Building

Abby Aldrich Rockefeller Sculpture Garden Outdoor courtyard, MoMA 2018

MoMA

MoMA PS1

MoMA is one of the most celebrated art institutions in the world. As the museum established itself as an arbiter of modern art, its collection – as well as its visitor count – continued to grow. To match this pace of development, the museum consistently evolves its campus, turning the architecture itself into a metamorphic organism.

The Building

The MoMA was first established in 1929 by three wealthy women: Lillie P. Bliss, Mary Quinn Sullivan, and Abby Aldrich Rockefeller. The ‘darling ladies’ behind its founding rented rooms on the 12th floor of the Heckscher Building, located on the corner of 5th Avenue and 57th Street, and used them as a gallery. Despite its humble start, the women had had ambitions to create ‘the greatest museum of modern art in the world.’

MoMA’s Sculpture Garden, 1953

The museum relocated throughout the following decade until its director, Alfred H. Barr, Jr., advanced the soon-to-be institution into a front-runner of modern art. He planned numerous survey exhibitions of European modern art to introduce the latest movements to a U.S. audience, while simultaneously developing departments for architecture, film, drawing, prints, and photography – disciplines that were not considered fine art in the traditional sense. The attempt was radical and successful, as the museum became an unprecedented entity that covered art in all its forms. In 1939, MoMA settled into its permanent home on 11 West 53rd Street in a building designed by Philip Goodwin and Edward Durell Stone. The building embodied the modernism of the museum. Although the interior was repeatedly modified over the next few decades, the exterior maintained the original look and the style became the museum’s emblem.

MoMA’s Façade, 1960

During the 1950s and 1960s, Philip Johnson, who served as Director of the Department of Architecture at MoMA, conducted numerous architectural expansions and additions, including MoMA’s signature outdoor space and the Abby Aldrich Rockefeller Sculpture Garden in honor of the founder to the museum. In 1984, the museum made its first sweeping renovation, hiring Cesar Pelli, who doubled the available area within. The overhaul also included a new residential space called Museum Tower, which would cast a large shadow over the Sculpture Garden. Some critics lamented this change as a senseless move in contrast to the admirable trajectory of the museum, which aspired to be a pioneer with unparalleled sensibility toward art.

Just over a decade later, Pelli’s building hit its limitation of scalability. In the late 1990s, MoMA purchased two properties in the same block to secure more exhibition space and appointed Yoshio Taniguchi for the next renovation. During construction, the museum operated out of a former factory in Long Island City, from June 2002 to September 2004, naming it MoMA QNS. Even though it was a temporary home, MoMA hired Michael Maltzan and Cooper, Robertson & Partners to redesign the interim space to maintain the museum’s brand identity. In November 2004, Taniguchi’s new MoMA reopened with 630,000 square-feet of space – twice the size of Pelli’s building. Using minimalist style, Taniguchi radically renovated and streamlined the premises, while keeping key architectural footprints such as Goodwin and Stone’s façade and the Sculpture Garden. The highly anticipated new building was favorably embraced after the opening. However, it gradually became clear that Taniguchi’s building was not going to be an ultimate solution for the museum’s multiplying operations and foot traffic, which prompted another expansion project led by Diller Scofidio + Renfro.

The Museum of Modern Art, 1939

In 2011, MoMA acquired the neighboring American Folk Art Museum building, which was designed by Williams-Tsien in 2004. Its distinguished organic façade, which was in sharp contrast to the sleek MoMA building, reflected the works displayed inside. The building was admired as a case of how architecture could be representative of its content. Therefore when MoMA announced plans to raze the Folk Art Museum, there was a strong backlash, particularly from the architectural community.

MoMA designed by Yoshio Taniguchi Entrance at West 53rd Street, 2011

Regardless of the both the industry and community debates over MoMA future of expasion, the fact that there remains a perpetual need for more space, speaks to the growth of the institution and its overall contributions to art and design. From a museum in possession of only nine works of art when it first opened in 1929, to housing over 150,000 pieces today, MoMA opens its doors to more than three million visitors per year. This growth necessitates and will continue to require many changes to the museum’s design. New renovations include an extra 40,000 square-feet of additional space for the museum and access to the Sculpture Garden. The additional space allows more visitors through MoMA’s doors, while contributing to the building’s constant and continuing metamorphosis.

The Building

BEING A NEW YORKER AND SOMEONE THAT GOES TO MOMA AS A PATRON, I WANT IT TO LOOK GOOD. - Elizabeth Diller

MoMA in partnership with The National Gallery of Victoria (NGV): 130 Years of Modern and Contemporary Art , 2018 From left to right: Claes Oldenburg, Giant Soft Fan 1966-67 Jasper Johns, Map 1961 Roy Lichtenstein, Drowning Girl 1963

Exhibition Guest Exhibitions

MoMA

Guest Exhibition MoMA 34

ns A Piece of Work NPR podcast in collaboration with MoMA & WNYCSTUDIOS

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Guest Exhibitions

PICASSO’S PROTEST In 1939, as World War II was just beginning, MoMA staged the US debut of Pablo Picasso’s painting Guernica. The work, monumental in scale and rendered in a newspaperinspired palette of black, white, and grays, was elicited by a topic pulled from the headlines: the 1937 bombing of the Basque town of Guernica by the Nazi air force at the behest of General Francisco Franco’s nationalist forces during the Spanish Civil War. Commissioned by the Spanish Republican government for the 1937 Paris International Exposition, Guernica depicts a barrage of fragmented forms—a bull, a horse, a dismembered soldier, and women and children—arranged at sharp angles and expressing anguish and terror. A focal point of the retrospective Picasso: Forty Years of His Art, it was among more than 300 works by “the most famous living artist,” as a press release characterized Picasso at the time, and its exhibition helped raise funds for refugees displaced by the Spanish Civil War. The retrospective drew more than 100,000 visitors, including famous physicist Albert Einstein. Guernica couldn’t be shown in Spain; Franco always denied his involvement in the bombing of a civilian population. It wouldn’t return to Spain until 1981, following the death of dictator Francisco Franco several years earlier. Gallery view of “Guernica,” by Pablo Picasso, from 1937 Oil on canvas, 3.49 m x 7.77 m

NATIVE AMERICAN ART

Navajo artists sand painting on March 26, 1941, as part of the exhibition Indian Art of the United States

A handful of times during exhibition hours, Navajo artists executed sand paintings directly on gallery floors in live work sessions that visitors could observe. One such visitor, artist Jackson Pollock, was so enthralled by what he saw that he later cited this encounter as one of the major influences on his gestural style of painting, in which his canvases were laid directly on the floor. In this manner, Native American artists working in traditions hundreds of years old ended up having a profound impact on a generation of American artists forging radical new paths in artistic expression.

In early 1941, a 30-foot Haida totem pole carved from red cedar and depicting images of a raven, killer whale, devil fish, sea lion, and shark arrived at the Museum, where it stood guard outside for three months. The Alaskan sentry was installed on the occasion of the exhibition Indian Art of the United States, which featured approximately a thousand objects from Native American cultures from around the country, such as pottery, textiles, silver implements, and wood, stone, and ivory carvings.

THE FAMILY OF MAN “Here we hope to reveal by visual images Man’s dreams and aspirations, his strength, his despair under evil. If photography can bring these things to life, this exhibition will be created in a spirit of passionate and devoted faith to Man. Nothing short of that will do.” Hundreds of amateur and professional photographers alike submitted more than two million snapshots in response to this prompt, which was written by Dorothea Lange (herself a documentary photographer) in 1953 for the exhibition The Family of Man. Lange was aiding her friend Edward Steichen, the director of MoMA’s photography department, organize the show, coming up with a list of potential themes (love, birth, death, peace, conflict, fear, hope, etc.), recruiting photographers, and eventually exhibiting several of her own photos among some five hundred others when the show opened in 1955. While The Family of Man emphasized the theme of universality above all else, the images themselves in fact portrayed wildly diverse people, places, and activities: an Inuit mother embracing her child in an igloo in northern Canada; a young boy playing marbles in Java; farmers tending to rice paddies in Indonesia; a couple wrestling in the water at Coney Island; the grim mug of an American soldier in Korea. The first galleries displayed pictures of daily life of cultures from around the world, while later galleries illustrated the horrors of war, climaxing with an enlarged photograph of the 1952 hydrogen bomb explosion on the Enewetak atoll. World War II may have ended, but the looming specter of the Cold War would haunt the US for decades to come. The Family of Man went on to travel outside of New York to some of the faraway places it pictured, circulating among thirty-seven countries in Europe, Latin America, Asia, and Oceania over nine years.

Front cover of “The Family of Man” , 1956 photography book, based on the eponymous photo-exhibition by Edward Steichen

Guest Exhibitions

LOVE FOREVER: YAYOI KUSAMA 1958–1968 The exhibition Love Forever: Yayoi Kusama, 1958-1968 highlights the decade that Yayoi Kusama lived and worked in New York City. During ten prolific years Kusama produced an astonishing number of paintings, sculptures, collage, photo-collage, installations, performances, and even a film. Prescient of Pop, Minimalism, and Post-Minimalism, her work does not fit comfortably under any of these rubrics. It is unique, and if history has the ability to absorb and tame work that might once have been considered shocking, thirty years after its production, Kusama’s art remains every bit as bizarre and as difficult as it was when she first made it. Her work was praised by the influential critics of the day, like Donald Judd and Dore Ashton, collected by Judd and other peers like Frank Stella, and included in important international exhibitions. In 1973, ill and short of funds, Kusama returned for good to Japan leaving the bulk of her work behind. In the 30-year interim much of her work from her period in New York has been lost or destroyed and Kusama’s contribution to American Art of the 1960s has fallen into obscurity. The 70-plus works in the exhibition, many of them on view for the first time since their creation in the 1950s and 1960s, include paintings, drawings, collages, and sculptures; a 30-minute experimental film by the artist; three precedent-setting environmental installations; and slide documentation of her provocative performance pieces.

Yayoi Kusama. Infinity Mirror Room—Phalli’s Field. Installation view in Floor Show, Castellane Gallery, New York, 1965.

MARINA ABRAMOVIĆ: THE ARTIST IS PRESENT

In 2010 at MoMA, Abramović engaged in an extended performance called, The Artist Is Present. The work was inspired by her belief that stretching the length of a performance beyond expectations serves to alter our perception of time and foster a deeper engagement in the experience. Seated silently at a wooden table across from an empty chair, she waited as people took turns sitting in the chair and locking eyes with her. Over the course of nearly three months, for eight hours a day, she met the gaze of 1,000 strangers, many of whom were moved to tears.

Betye Saar , Black Girl’s Window, 1969 Wooden window frame with paint, cut-and-pasted printed and painted papers, daguerreotype, lenticular print, and plastic figurine 90.8 x 45.7 x 3.8 cm

“Nobody could imagine… that anybody would take time to sit and just engage in mutual gaze with me,” Abramović explained. In fact, the chair was always occupied, and there were continuous lines of people waiting to sit in it. “It was [a] complete surprise…this enormous need of humans to actually have contact.”

Since the early 1970s, Marina Abramović has been pushing past perceived limits of the body and mind, and exploring the complex relationship between artist and audience, through performances that challenge both herself and, in many instances, participants emotionally, intellectually, and physically. The concepts inspiring her works are key, as is the use of her own body to convey her ideas. She has been making art since childhood, and realized early on that it did not have to be produced in a studio, or even take a concrete form.

Marina Abramović sitting across a visitor at the exhibition Marina Abramović: The Artist Is Present, March 14, 2010

BETYE SAAR: THE LEGENDS OF BLACK GIRL’S WINDOW After nearly a decade of focused work in printmaking, artist Betye Saar created her autobiographical assemblage Black Girl’s Window in 1969. This exhibition, currently hosted at MoMA, explores the relation between her experimental print practice and the new artistic language debuted in that famous work, tracing themes of family, history, and mysticism, which have been at the core of Saar’s work from its earliest days. Celebrating the recent acquisition of 42 rare, early works on paper, this is the first dedicated examination of Saar’s work as printmaker.

Guest Exhibitions

Ensembles by Araba Stephens Akompi, known as Stylista, left, and Loza Maléombho, right. They were made for Vlisco, a Dutch fabric company now working with some of Africa’s emerging fashion designers.

“Items: Is Fashion Modern?” in 2017 was only the second exhibition in MoMA’s history devoted to clothing design. Its predecessor — “Are Clothes Modern?” — was organized in 1944, by Bernard Rudofsky, a provocative architect and social historian who posited that most clothing was “anachronistic, irrational and harmful.” Organized by Paola Antonelli, senior curator of the Modern’s architecture and design department, and Michelle Millar Fisher, a curatorial assistant, it involved years of research and travel and was as anthropological as it was aesthetic. It was big, occupying all of the sixth floor’s galleries for temporary exhibitions, which hasn’t happened since the de Kooning exhibition in 2011. Around 30 prototypes, including 20 newly commissioned by the museum, added sparks of ingenuity — and the MoMA Design Store was fuller than usual of sartorial temptations.

Red Clogs. 1960s pair from OlofDaughters archive, Sweden

Including “items” like bluejeans, flip flops, tattoos and a burkini, the exhibition largely evaded the air of expense, exclusivity and hauteur typical of these ventures. It was even a bit on the austere side, harkening back to MoMA’s displays in the 1930s and ’40s of the latest kitchenware and furniture — shows that argued for modern design as an affordable way to improve modern life. It was an exercise in consciousness-raising that plots the flow of stylistic conventions from subcultures and colonial countries into the Western mainstream and highlighted dress as selfexpression and political protest — most directly, with a projection of graphic T-shirts. At its core, the show was a Who’s Who of mostly postwar garments and accessories — 111 items named “paragons of design’’. They were listed across a large wall at the exhibition’s entrance, and were illustrated by the slide show opposite of “real” people wearing the chosen gear. In the galleries, examples of

Jumpsuit. c. 1974 Stephen Burrows example from The Metropolitan Museum of Art’s Costume Institute. Prototype commission by Richard Malone

Orcival’s French sailor shirt, 1960s-1970s, left, and Bret.on’s shirt, customized for a Surrealist, 2017.

the anointed objects were presented, accompanied by variations that attested to their influence, and by the prototypes, which generally respond to, the classics. The South African textile designer Laduma Ngxokolo, for example, gave new life to the venerable Aran fisherman sweater by adding rich colors to its cable-knitted patterns. The Bret.on project, by Unmade, a personalization start-up, had devised a computer program that enabled wearers to add their own Surrealistic swirls to the blue and white striped French sailor’s pullover. And Zhijun Wang, a Chinese designer, had bulked up the basic surgical mask, using designer sneakers as material, thus converting fetishized footwear into post-apocalyptic chic. A small section on luxury included a beat-up Hermes Birkin handbag, a Tiffany diamond and a Rolex watch, but this was undercut by less costly expressions of extravagance, including some show-stopping door-knocker earrings and elaborate even custom nail art. Generally, “Items” focused on garments and accessories that people around the world wear every day for any number of complex reasons — including climate, personal style, economics, religious faith or political stance. It presents the biker jacket, chinos, guayabera shirts and kaffiyeh head scarves, including a new prototype, by the Beirut-based architect Salim Al-Kadi, in bullet-deflecting Kevlar. Also on the list: all manner of sportswear and outerwear tracksuits, parkas, puffers and fleece.

Moon Boot. 1970s example from Tecnica’s archive. Prototype commission by Liz Ciokajlo with Maurizio Montalti

Sleeping Bag Coat, 1980s. Items by Moncler, Norma Kamali

MoMA Design Store

MoMA

Design Store 43

MoMA Design Store

Spring 2021

store.moma.org

MoMA

n 1932, The Museum of Modern Art established the world’s first curatorial department devoted to both architecture and design. MoMA has long recognized design’s important cultural role alongside traditional mediums like painting and sculpture. The redesigned MoMA Design and Book Store opened along with the renovated museum in 2004. The interior was designed by Richard Gluckman and includes two additional shops within the museum: one is dedicated to temporary exhibitions, the other to MoMA books. The MoMA Design and Book Store assortment, like the pieces in MoMA’s Architecture and Design Department, is item driven. The buying team identifies a particular design object that epitomizes an important movement, collection, or designer rather than creating a complete catalog of every item of a movement, collection, or artist. The team actively works to democratize good design at every price point; from the Butterup Knife to the WaterRower Rowing Machine and everything in between, the goal is to make design accessible to as wide an audience as possible. Lastly, every purchase customer make support MoMA’s educational programs. Every year, the MoMA Design and Book Store engages with over one million people through the Museum’s programs, in all five of New York City’s boroughs, and around the world.

MoMA Design Store Flagship 11 W 53rd St, New York, United States Lumsden Design, 2019

MoMA Design Store

Here are the 8 qualities that all products need to possess in order to become a part of MoMA Design Store’s assortment:

Eames® Molded Plywood LCM Chair by Charles and Ray Eames, 1946

IN OR RELATED TO MOMA EXHIBITIONS The Museum of Modern Art has revolutionized what a museum exhibition can be. MoMA has sought to document and respond to important developments in the field of design as they happen. As MoMA continues to innovate and lead at the forefront of art and design exhibitions, MoMA Design Store mirrors that spirit of exploration by discovering evernew and original products, many seen for the first time in MoMA Exhibitions.

IN OR RELATED TO MOMA’S COLLECTION The Museum of Modern Art established the world’s first curatorial department devoted to architecture and design. MoMA Design Store carries a selection of design objects from that collection. We only offer authorized versions in the colors and materials selected by the original designers. MoMA’s design collection is ever-changing, a reflection of the evolving field of design itself.

s a leader in its category, MoMA Design and Book Store’s product selection process is complex and unique. First, the team assesses a potential new product against their design filters, a set of 8 criteria that are used to ensure every item is a good fit with the Design Store’s vision of good design. Next, each proposed product is evaluated by MoMA’s curatorial department. Only those items that make it through these two steps can successfully become part of the assortment.

INNOVATIVE MATERIALS The Museum of Modern Art has always been attuned to the close relationship between design and materials—and seeks to represent ways designers employ new materials and technology to improve an object’s function. MoMA Design Store offers products that reflect new advancements in the materials designers are using at the moment they emerge.

5 EDUCATIONAL DESIGN FOR CHILDREN MoMA Design Store shares the Museum’s educational mission through a commitment to well-designed children’s products. We collaborate with the MoMA’s educational and curatorial departments to provide the best tools for encouraging learning through play and the development of creativity.

INNOVATIVE TECHNOLOGY At MoMA Design Store, we offer the most cutting-edge products that use tech to enhance everyday life. Every item that is selected is product-tested using real-life scenarios, and reviewed by MoMA design curators to ensure that it passes our ultimate litmus test: Is this design truly useful? If it didn’t exist, would the world miss it?

Butterup Knife by Sacha Pantschenko Craig Andrews and Norman Oliveria, 2014

WaterRower Rowing Machine Model #300 S4 in Walnut Wood by John Duke, 1987

INNOVATIVE FUNCTION Function plays a large role in defining good design. When designers look at an object, they don’t just consider its aesthetic appearance—they should also challenge it to be more versatile, to respond to the user’s need, or to achieve its purpose more elegantly. Good design has the capacity to solve problems that sometimes we didn’t even know we had. This is one of the ways design touches and enriches our everyday life.

TEXTILE INNOVATION MoMA’s selection of contemporary textiles represents designers from around the world. Although these textiles are rooted in craft traditions, the use of unconventional techniques and materials infuses them with a modern spirit, reflecting the Museum’s commitment to innovation and good design.

ICONS OF DESIGN The buying team for MoMA Design Store embraces the same spirit of modernism upon which the Museum’s architecture and design department— first of its kind anywhere in the world—was founded. Our selection starts with designers and manufacturers that were integral to the establishment of modern design, and whose iconic designs remain relevant today.

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References

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MoMA

The Museum of Modern Art

oMA