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Textile Arts of the 1940s to 70s in Usa

Written By Saturday, 7 May 2022 Add Comment Edit
  • MoMA, Floor four

Arranged in a loosely chronological order, each of the galleries on this floor explores an individual topic. A gallery may be devoted to an artist, a specific medium or subject area, a particular place in a moment in time or a shared creative idea. These presentations are conceived past teams of curators from all fields and at all levels of seniority collaborating closely to share expertise and viewpoints. An ongoing program of frequent reinstallation volition feature a wide range of artworks in new combinations—a reminder that countless ideas and histories can be explored through the Museum's rich drove.

The drove gallery presentation on floors 2, iv, and 5 is organized by Beverly Adams, Esther Adler, Sean Anderson, Quentin Bajac, Charlotte Barat, Barry Bergdoll, Giampaolo Bianconi, Anna Blaha, Charmaine Branch, River Bullock, Jane Cavalier, Sophie Cavoulacos, Christophe Cherix, Clément Chéroux, Stuart Comer, Emily Cushman, Arièle Dionne-Krosnick, Michelle Elligott, Starr Figura, Samantha Friedman, Paul Galloway, Lucy Gallun, Andrew Gardner, Lily Goldberg, Jennifer Harris, Jon Hendricks, Jodi Hauptman, Danielle Johnson, Anna Kats, Inés Katzenstein, Juliet Kinchin, Evangelos Kotsioris, Michelle Kuo, Thomas Lax, Tasha Lutek, Cara Manes, Roxana Marcoci, Sarah Meister, Lydia Mullin, Smooth Nzewi, Heidi Hirschl Orley, Dana Ostrander, Erica Papernik-Shimizu, Paulina Pobocha, Christian Rattemeyer, Yasmil Raymond, Hillary Reder, Rajendra Roy, Magnus Schaefer, Brittany Shaw, Martino Stierli, Sarah Suzuki, Lanka Tattersall, Phil Taylor, Ann Temkin, Jennifer Tobias, Ana Torok, Madeline Murphy Turner, and Anne Umland.

  • Melvin Edwards. Sekuru Knows from the Lynch Fragment series. 1988. Steel, 14 7/8 × 11 × 7 1/4" (37.9 x 28 x 18.3 cm). Purchase. © Melvin Edwards/Artists Rights Society (ARS), New York

    400

    New Monuments

    Ongoing

    Outset in the 1960s, artists emphasize process and materials.

  • Norman Lewis, Phantasy II, 1946. Oil on canvas, 28 1/8 x 35 7/8" (71.4 x 91.2 cm). Gift of The Friends of Education of The Museum of Modern Art. Photo: John Wronn

    401

    Out of State of war

    New on view

    Through Autumn 2022

    Artists around the world plow to the surreal and the fantastic amid the devastation of World State of war 2.

  • Jacob Lawrence. Blind Singer. c. 1940. Screenprint with tempera additions, composition and sheet: 17 1/2 x 11 1/2" (44.5 x 29.2 cm). Riva Castleman Endowment Fund and The Friends of Education of The Museum of Modern Art

    402

    In and Around Harlem

    New on view

    Through Fall 2022

    Artists find inspiration in Harlem.

  • Jackson Pollock. One: Number 31, 1950. 1950. Oil and enamel paint on canvas, 8' 10" × 17' 5 5/8" (269.5 × 530.8 cm). Sidney and Harriet Janis Collection Fund (by exchange). Conservation was made possible by the Bank of America Art Conservation Project. © 2019 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

    403

    Activity Painting I

    Through Autumn 2022

    Willem de Kooning, Lee Krasner, and Jackson Pollock brand their mark.

  • Mark Rothko. No. 5/No. 22. 1950 (dated on reverse 1949). Oil on canvas, 9' 9" × 8' 11 1/8" (297 × 272 cm). Gift of the artist. © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

    404

    Planes of Color

    Through Fall 2022

    Artists search for new ideals in the wake of war.

  • Lee Krasner. Gaea. 1966. Oil on canvas, 69" × 10' 5 1/2" (175.3 × 318.8 cm). Kay Sage Tanguy Fund. © 2019 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

    405

    Activeness Painting 2

    Through Autumn 2022

    Abstract Expressionists push their work in new directions.

  • Ellsworth Kelly. Colors for a Large Wall. 1951. Oil on canvas, sixty-four panels. 7' 10 1/2" x 7' 10 1/2" (240 x 240 cm). Gift of the artist. © 2018 Ellsworth Kelly

    406A

    In and Out of Paris

    Afterward World War II, artists gather in Paris to reinvent abstract fine art.

  • Henri Matisse. The Swimming Pool, Maquette for ceramic (realized 1999 and 2005). 1952. Gouache on paper, cut and pasted, on painted paper, overall 73" × 53' 11" (185.4 × 1643.3 cm). Installed as nine panels in two parts on burlap-covered walls 11' 4" (345.4 cm) high. Frieze installed at a height of 5' 5" (165 cm). Mrs. Bernard F. Gimbel Fund. © 2019 Succession H. Matisse/Artists Rights Society (ARS), New York

    406B

    Henri Matisse'due south The Swimming Pool

    The artist's late masterpiece is an immersive, room-scale mural of swimmers, fabricated from cut-out paper.

  • Bridget Riley. Untitled (Fragment 1) from Fragments. 1956, screenprint on plexiglass, composition: 18 3/8 x 25" (46.7 x 63.5 cm); sheet: 26 1/2 x 33" (67.3 x 83.8 cm). Edward John Noble Foundation Fund. © 2021 Bridget Riley. Digital Image © 2020 MoMA, N.Y.

    407

    On Plexiglass

    Ongoing

    From plexiglass to industrial printing, new technologies spark creative innovation in the postwar era.

  • Claes Oldenburg. Store Poster. 1961. Lithograph, printed in black with watercolor additions, composition: 19 1/8 x 24 3/8" (48.6 x 62 cm); sheet: 20 x 25 15/16" (50 x 66 cm). The Associates Fund. © 2021 Claes Oldenburg.

    408

    Everyday Encounters

    Ongoing

    In Japan and the U.s., artists give new life to ordinary materials and movements.

  • Gordon Parks. Untitled, Chicago, Illinois. 1957. Pigmented inkjet print, 18 × 12 1/8" (45.7 × 30.8 cm). The Gordon Parks Foundation. © 2020 Gordon Parks Foundation

    409

    Gordon Parks and "The Atmosphere of Crime"

    Through Jump 2022

    Parks challenges the history of picturing crime and justice in America.

  • Nam June Paik. 3 F Truck. 1977. Toy truck with paint additions, 12 3/8 x 24 x 8 7/16" (31.5 x 61 x 21.5 cm). The Gilbert and Lila Silverman Fluxus Collection Gift. © 2020 Nam June Paik. Photo: Robert Gerhardt

    410

    Nam June Paik, Instant Zen

    Ongoing

    Toys, televisions, and time.

  • Jack Smith. Song for Rent. 1969. Digital transfer of 16mm film (color, sound), 4 min. Copyright Jack Smith Archive Courtesy of Gladstone Gallery, New York and Brussels

    411

    Jack Smith: Short Films

    Through Autumn 2022

    Few artists accept had a greater influence on experimental flick, queer cinema, and performance art.

  • Marisol (Marisol Escobar). The Family. 1962. Paint and graphite on wood, sneakers, tinted plaster, door knob and plate, three sections, Overall 6' 10 5/8" x 65 1/2" x 15 1/2" (209.8 x 166.3 x 39.3 cm). Advisory Committee Fund. © 2020 Marisol

    412

    Domestic Disruption

    Ongoing

    Pop comes abode.

  • Lee Ufan. From Line. 1974. Oil on canvas, 71 1/2 x 89 3/8" (181.6 x 227 cm). Committee on Painting and Sculpture Funds. Photo: Jonathan Muzikar

    413

    Touching the Void

    For international artists, elementary gestures speak volumes.

  • Emory Douglas. The Black Panthers: All Power to the People. 1969. Printed in six colors on newsprint, 14 15/16 × 22 11/16" (38 × 57.7 cm). Alfred H. Barr, Jr. Papers, II.A.61. The Museum of Modern Art Archives, New York

    415

    Divided States of America

    Ongoing

    Artists confront systems of ability and call for revolutionary alter.

  • Nancy Spero. Notes in Time. 1979. Cut-and-pasted painted paper, gouache, and pencil on joined sheets of paper. Gift of Harriet and Rick Meyer. © 2022 Nancy Spero

    416

    Nancy Spero's Notes in Fourth dimension

    Ongoing

    A feminist view of history, at a monumental scale.

  • Brigitte Hellgoth. Oasis no. 7, Documenta 5, Kassel, Germany. 1972. Gelatin silver print, 7 1/16 × 9 7/16" (18 × 23.9 cm). Committee on Architecture and Design Funds

    417

    Transparency in Architecture and Beyond

    Ongoing

    The aesthetic potentials and symbolic pitfalls of modernism'southward turn to glass

  • Marta Minujín. MINUCODE. 1968. 16mm film transferred to six-channel video (color, silent), duration and dimensions variable. Acquired in part through the generosity of the Latin American and Caribbean Fund, Anonymous Donor, The Modern Women's Fund, Glenn Fuhrman, and Grazyna Kulczyk. © 2021 Marta Minujín

    418

    Marta Minujín's MINUCODE

    Ongoing

    Shedding light on social codes, an artist turns her audience into the artwork.

  • Barbara Brändli. Untitled from the series Sistema nervioso (Nervous System). 1974–75. Gelatin silver print, 8 × 10 1/8" (20.3 × 25.7 cm). Committee on Photography Fund. © 2021 Barbara Brandli

    419

    Living for the City

    Through Spring 2022

    Turning their cameras to the metropolis streets, artists capture Berkeley, Caracas, Mumbai, and Paris.

  • Kamala Ibrahim Ishag. Untitled. 1980/1990. Oil on canvas, 70 7/8 × 69 11/16" (180 × 177 cm). Gift of Marie-Josée and Henry R. Kravis in honor of Jean Pigozzi. © Kamala Ibrahim Ishag

    420

    Body on the Line

    Ongoing

    The experiences of women around the earth are amplified through personal and political art.

  • Alice Neel. Benny and Mary Ellen Andrews. 1972. Oil on canvas, 60 x 50" (152.2 x 127 cm). Gift of Agnes Gund, Blanchette Hooker Rockefeller Fund, Arnold A. Saltzman Fund, and Larry Aldrich Foundation Fund (by exchange)

    421

    Alice Neel'due south Benny and Mary Ellen Andrews

    New on view

    Through Jump 2022

    Alice Neel captures the inner life of two friends and boyfriend artists.

Leadership contributions to the Annual Exhibition Fund, in back up of the Museum's collection and collection exhibitions, are generously provided by Sue and Edgar Wachenheim Iii, Jerry I. Speyer and Katherine K. Farley, the Sandra and Tony Tamer Exhibition Fund, The Contemporary Arts Council, Eva and Glenn Dubin, the Kate W. Cassidy Foundation, Alice and Tom Tisch, Mimi Haas, the Noel and Harriette Levine Endowment, The David Rockefeller Quango, the William Randolph Hearst Endowment Fund, the Marella and Giovanni Agnelli Fund for Exhibitions, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The International Council of The Museum of Modern Art, Marie-Josée and Henry R. Kravis, and Jo Carole and Ronald S. Lauder.

Major contributions to the Annual Exhibition Fund are provided by The Junior Associates of The Museum of Modernistic Fine art, Emily Rauh Pulitzer, Brett and Daniel Sundheim, the Terra Foundation for American Art, Karen and Gary Winnick, and Anna Marie and Robert F. Shapiro.

Licensing

If you would similar to reproduce an prototype of a piece of work of fine art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

MoMA licenses archival audio and select out of copyright film clips from our motion-picture show collection. At this fourth dimension, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival sound or out of copyright film clips should exist addressed to Scala Archives at [e-mail protected]. Motion picture film stills cannot exist licensed past MoMA/Scala. For access to motion picture show movie stills for research purposes, please contact the Film Written report Middle at [electronic mail protected]. For more information about moving-picture show loans and our Circulating Moving-picture show and Video Library, delight visit https://world wide web.moma.org/enquiry-and-learning/circulating-motion picture.

If you lot would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA'due south archival materials, please fill out this permission form and ship to [electronic mail protected].

Feedback

This record is a work in progress. If you accept additional information or spotted an fault, please transport feedback to [email protected].

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Source: https://www.moma.org/calendar/floors/4

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