Crowded? Well, you don’t exactly not hit the museum scene in NYC, without a visit to the MoMa. The new structures gives me the creeps sometimes, it just seems too vertical and too overlarge. Tons of space but often with a question mark over your head.
Kara Walker’s, Gone: An Historical Romance. . .might have seemed more intimate in less than this stadium size space! The reverse for Walker is the very nice display in a glass case of Walker’s work at the Brooklyn Museum. For example the quietude (below) of this couple almost makes them merge into the Kline frame.
Of all the museums that weekend, MoMA had the biggest crowds! There were people everywhere in every room. I really wanted a picture of the red Barnett Newman, Vir Hiroicus Sublimus, alone, it is quite a striking piece, finally I just had to be artsy and live with it.
The kids loved this, but this shot does not do it justice. The artist projected a red theater curtain, but you had to stay a few feet away from wall to be in the white spotlight. Interesting installation idea.
You had to love the the fact they had doubles. One was, of course Abstract Expressionist, New York with another lousy shot here (below). What, did my eyes go on that day?
Except for the Phillips in DC, where am I going to find a roomful of Rothkos? A beautiful Hoffman, Cathedral (right) is also housed, as is the interesting Rothko No. 5/No. 22 (left).
It was a great time to resee this movement and how different the work actually was. You can see wonderful examples of this here.
Klines abound, lots of the pre-splatter Pollacks, but also the wonderful Baziotes’ Dwarf (montage, middle right) and Pousette-Dark’s Fugue #2 (above). Penny wanted me to photograph both as her favorites. A few wonderful Krasner’s including Gaea (below).
Joan Mitchell‘s Ladybug is also included in the show (below).
There is a touching tribute to Robert Goodnough when you get off the elevator, as he is not part from the show, but gives a wonderful sense of spirit. (below).
A few years ago, when people were selling typical crackerboxes for what seemed like the millions, MoMA ran a show about prefabricated housing (how gauche for the NYC condo set, right?), which looked like it took a page out of Dwell magazine. The most wonderful part of the show was the actual reconstruction of one of the units. It was wonderful to go inside and figure the bathroom, get an idea of the kitchen and diningroom spaces, then walk around on the outside. I think it was unfortunately one of those “no photo” deals.
This year, I was extremely happy to get to see Counter Space: Design and the Modern Kitchen exhibit and see the full display of a “modern” German kitchen, and a little 50s Americana, extension of the hausfrau.
Where’s Harry? Did someone catch some humor by example of this poster (above). A sort of reminiscing for the Attack of the Fifty Foot Housewife? Look at the beautiful example of this small, yet compacted modern 1930s kitchen (below). The woman actually has almost everything at seat level. Some women were discussing how much simpler rolling dough is at seating level. I thought of what a drag dishes are at the end of the night, and how you won’t get splattered up doing dishes. The scale of this kitchen is not unlike the one designed in the Frank Lloyd Wright’s Pope-Leighey House (no photo here, not allowed!). The only thing missing from the divine triangle, is the refrigerator. There was no refrigerator!We were lucky someone had the old footage, so you saw the occupant working in her own kitchen, aside from seeing the actual model.
Looking at shots from the Gaudi’s Casa Milà apartment (above) and the the Ringling house (below), there are differences in scale and color. I distinctly remember a refrigerator in the Ringling house. I think there is a ten year difference to the Ringling. The Swan house in Atlanta, also had an interesting ktichen, but smaller than Ringling (again NO photos). These are the first kitchens to come back inside the house in the United States.
Too much for one blog, so just think between that first shot and this last all that happened inside the museum. A lot that is not even here, and that’s what makes the MoMA such a tough act to follow.