Posts Tagged: MoMA

Did The CIA Propagate Rock 'n' Roll?

Pretty much every government uses culture as propaganda, so it should not be surprising that the United States did so throughout the Cold War. As a superpower involved in a multi-pronged proxy war for the hearts and minds of each and every inhabitant of Earth, how could it not? And the CIA was behind most of it.

While Hoover and his FBI men were busy red-baiting, tapping phones, and compiling dossiers on just about any American with even the most minuscule of leftist leanings, the CIA was simultaneously funding and promoting art by many of the same people the FBI was watching. Meanwhile, Joe McCarthy was attacking anything [...]


Kraftwerk at MoMA

Here's more about those Kraftwerk shows at MoMA that you are probably not going to. Oh, you managed to get tickets? I HATE YOU.


The MoMA Admission Increase is Horrible

At MoMA, the amount of revenue from admissions (almost $25 million a year, and these are all 2010 fiscal year numbers) is quite nearly equal to the amount approved by the board for yearly spending from their investments. (The museum overall has investments valued at $642 million. You know: 2/3rds of a billion dollars.)

As well, that number is also almost exactly equal to the amount of money the museum spends on curatorial services alone—not even including exhibition costs.

Museums in this way are like newspapers (and maybe colleges as well): the subscribers to a newspaper pay for some of what they "see"—the words and pictures—but don't even [...]


Marina Abramovic's "The Artist is Present" in Another Context

From the introduction to The Penguin Dictionary of Saints, Third Edition: "The English word 'saint' is derived from the Latin epithet sanctus, which represents the Greek hagios and the Hebrew qâdosh … When applied to people and things [these words] meant hallowed, consecrated, set apart … they did not of themselves necessarily connote that high moral quality which is now inseparable from such words."


Modern Art Collective 'Led Zeppelin' Opens At MoMA

"Earlier that day, a press preview was held at the Museum of Modern Art, followed by a tense and at times bizarre press conference with the band. Throughout the screening, the assembled web, print and radio journalists shouted as if it were a real concert. They clapped and hooted after every song…. After the screening, the assembled press was herded into the press conference. Every news outlet in New York seemed to be there. As the band walked on stage, someone said, 'Holy shit, it's Led Zeppelin!'" Everyone is excited about the new Zeppelin concert movie that screened at MoMA.


Kraftwerk Does MoMA

What are you doing at the beginning of April? Because this seems promising.

The Museum of Modern Art presents its first time-based artist retrospective with Kraftwerk–Retrospective 1 2 3 4 5 6 7 8, performed live on eight consecutive evenings from April 10 through 17, by Kraftwerk, the avant-garde electronic music pioneers. Each evening will consist of a live performance, in the Museum’s Donald B. and Catherine C. Marron Atrium, of works from one of the group’s eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition’s format, to showcase both Kraftwerk’s historical contributions and contemporary influences [...]


You Can Put Your Top Back On Now: Rediscovering the Women of Fluxus at MoMA

To talk about gender and its impact on art in 2010 is to lower yourself onto a playing field strewn with lots of dead and injured (or just plain exhausted) culture warriors. Franzenfreude! The pastiche of Gaga! And don't forget Paglia on Gaga! It's a total combat zone-which is fair enough, given how long, and how unthinkingly-slash-purposefully the whole culture scene has been dominated by the straight white male outlook.

And yet, at the close of many an IM chat or comment thread, you will frequently see some throwing up of hands. As if to say: yes, we've processed this new event, its gender consequences [...]


Marina Abramović, "The Artist Is Present"

It was an absolutely gorgeous weekend here in town, offering the kind of "first days of spring" feeling that tempts one to forget that life is essentially meaningless and we are all ultimately alone. So I headed up to MoMA, because nothing helps me remember the existential horror of humanity better than the sculpture of Alberto Giacometti. While I was wandering through the museum I could not help but notice the Marina Abramović performance piece "The Artist Is Present." There are other Abramović pieces being performed upstairs, which include nudity. Nudity! But let's talk about the one where she sits at a table and stares. I was surprised by [...]


"1980 to Now" at MoMA

After you go visit the really terrific Alighiero Boetti show at MoMA, which I love, and after you see his ("his") tapestries and thingies on the second floor, don't forget to sneak through the surprisingly expansive second-floor galleries, which are showing a kind of semi-show, a kind of rotating collection-display they're calling "1980 to Now." Apparently at some point they'll like, reinstall it and update it or whatever. This is sort of better than being like "here are some recent things that people gave us!" But it's also kind of a curatorial nightmare, because you're making a declaration about, well, 1980 to now.


88 Minutes of Goats Bleating

"His film has no distinctly audible dialogue so doesn't need subtitles, and he doesn't move his camera during the first half-hour. There is no music, just the sound of bells, of the wind in the trees, of the bleating of goats." —Would you like to see a movie tonight? Le Quattro Volte is playing at MoMA at seven. Fair warning: you could perhaps achieve the same qualities of stillness and reverence by staring at your bedroom wall. It's only 88 minutes long—but my God, thirty minutes of unmoving camera! (Also, the title is not to be confused with the delicious four-cheese pizza. I'm hungry.)


An Academy Award Can Still Get You Places In This Town

"Last week, the artist agreed to begin her performance early, specifically to accommodate Björk, Matthew Barney, and their young daughter. But no more, says a source within MoMA's communications office (who also prefers not to be named). 'It has been a balancing act to accommodate the wishes of the artist with MoMA's responsibility to the public,' this source said. 'In these final days of the performance, no one will be seated with Abramovic before public hours.' Except, it turns out, Marisa Tomei, who was allowed early access to the artist on Sunday morning."