On View

‘New Photography 2013′ at the Museum of Modern Art

Eileen Quinlan, 'Sophia,' 2012. (Courtesy the artist and Miguel Abreu Gallery)

From the cameraless images of mid-19th century photographic innovator William Henry Fox Talbot on forward, images of the labor involved in lace making have been an integral part of the history of photography. Lisa Oppenheim’s visually engaging image of women’s work, which picks up on Talbot’s and is on view in the Museum of Modern Art’s annual survey of new photography, is anything but dull. Read More

The Internet

MoMA’s Sound Art Show, ‘Soundings,’ Has a Handy Website

A screenshot. (Courtesy MoMA)

“Soundings: A Contemporary Score,” the Museum of Modern Art’s first major sound-art exhibition, which was organized by Barbara London with Leora Morinis, opened this past weekend. Its accompanying website has also gone live, and it is great, filled with recordings of works by the 16 artists in the show, including many not on view at MoMA, like Florian Hecker’s great 2012 piece Chimerization, which premiered at last year’s Documenta 13in Kassel, Germany. Read More


Now Hear This: For 42 Years, Barbara London Has Been Making Noise at MoMA

'Mass Black Implosion (Shaar, Iannis Xenakis),'
2012. (Courtesy the artist and Anna Schwartz Gallery)

Back in June, longtime Museum of Modern Art curator Barbara London, who has unruly blond hair and a penchant for chunky necklaces, sat down for a meeting with the museum’s security team. The topic at hand was how to safely install 16 speakers and two subwoofers so that the museum would be able to properly play underwater insect noises and ultrasonic echolocation calls of bats recorded by Norwegian artist Jana Winderen. Such sounds are, technically speaking, beyond the range of human hearing, but Ms. Winderen has slowed them down to about a tenth of their speed so that they become audible as fierce, sharp chirps. With the speakers arrayed around the floor and ceiling of the dark gallery, the effect on the listener is of being inside an otherworldly cave. Read More

On View

‘Le Corbusier: An Atlas of Modern Landscapes’ at the Museum of Modern Art

Model for the Assembly, Chandigarh (1964) by Le Corbusier. (Courtesy MoMA)

If you are stuck in this hot town and long for a green escape, MoMA’s current show of sketches, models, plans and paintings by the architect Le Corbusier provides a quick fix. Guest curator Jean-Louis Cohen (along with MoMA’s chief architecture and design curator, Barry Bergdoll) offers a sweeping visual tour through Switzerland, the Mediterranean, Russia, Algeria, India, Brazil and beyond, focusing on the relationship between specific local landscapes and the Modernist’s International Style. Read More

On View

‘Expo 1: New York’ at the Museum of Modern Art, MoMA PS1 and the VW Dome 2

Olafur Eliasson’s 'Your waste of time.' (Courtesy MoMA PS1)

This wide-ranging exhibition has no statement of purpose, only a theme: “Dark Optimism.” Nominally curated by Klaus Biesenbach and Hans Ulrich Obrist, its real verve comes from the talented and hardworking younger people they have invited to curate some of its 12 “modules.”

The artist Josh Kline does a terrific job assembling half a floor of the museum into a smart section entitled “ProBio,” which muses on the possible future relationship between machines and humans. A dozen iRobot Roombas scramble to clean the museum floors. There’s Dina Chang’s silicone diamonds set with human hair and Ian Cheng’s Entropy Wrangler (2013), a sculpture in which dildos and iPhones glow weakly in a shallow tank of sandy water like marine creatures washed ashore. Mr. Kline’s section poses thoughtful questions about the role of technology as a bodily prosthetic. Its aesthetic is the young, downtown, technology-oriented one associated with the gallery 47 Canal. Mr. Kline is represented by the gallery and has included other artists from its stable. Read More


MoMA’s Gilbert and Lila Silverman Fluxus Collection Archives Are Now Available to Researchers

A 1963 Fluxus manifesto. (© Estate of George Maciunas/Wikicommons)

The Museum of Modern Art’s Inside/Out blog carries news from archivist Julia Pelta Feldman that the archives of the Gilbert and Lila Silverman Fluxus Collection—the world’s largest private Fluxus trove, which was donated to the museum in 2008—are now available to researchers, after years of cataloguing efforts by MoMA staff. (Thanks to art historian Matthew Israel for tipping us off to the news.) Read More

On View

Ellsworth Kelly at Matthew Marks, MoMA and Mnuchin

'Gold with Orange Reliefs
2013.' (© Ellsworth Kelly, courtesy the artist and Matthew Marks Gallery)

The best way to experience the array of exhibitions celebrating Ellsworth Kelly’s 90th birthday is to start downtown and work your way uptown, which is to say: begin with his most recent pieces and work backwards in time, allowing the present to foreshadow the past, playing the day like Jeopardy!, matching questions to the answers you already have. The newest pieces are at all three venues of Matthew Marks Gallery in Chelsea. The largest space, on West 22nd Street, has relief-like paintings and aluminum, wall-bound sculptures with slick, reflective surfaces. More exciting is a single piece displayed at the tiny, sky-lit Marks venue next door. Gold with Orange Reliefs (2013) could be a metaphor for Mr. Kelly’s career: it at once displays his continued propensity for experimentation (it’s the first time he’s worked with metallic paint) and his perpetual revisiting of previous experiments (with its two orange shapes like inverted commas, the arms of swimmers doing the crawl, on a gold ground, it is the large-scale version of the small 1962 collage displayed across from it). Read More