Christian Rattemeyer has served as the Harvey S. Shipley Miller Associate Curator in the Department of Drawings at The Museum of Modern Art. At MoMA, he has organized the exhibitions Lines, Grids, Stains, Words (2007), which traveled to Museu Serralves, Porto, and Museum Wiesbaden; Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection (2009); Projects 95: Runa Islam (2011); and Alighiero Boetti: Game Plan (2012), with the Museo Reina Sofia and the Tate Modern. From 2003 to 2007, Rattemeyer was curator at Artists Space in New York City. He has published widely on contemporary art and has contributed regularly to art magazines including Parkett, Texte zur Kunst, and Artforum. His most recent book is Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969 (2010). Rattemeyer has taught at several art schools and universities, including the MFA program of the Center for Curatorial Studies at Bard College, as well as at the School of Visual Arts, Parsons The New School for Design, and the Rhode Island School of Design.
As museums move to put more geographically inclusive displays on view, a tension in emphasis–between cross-geographic correspondences and local particularities–is necessarily at stake. We convened a conversation between art historian, Alexander Alberro; curator, Doryun Chong; and museum director, Edit Sasvári, each with their own regional focus, to discuss the possibility of “the global museum,” what…
In 1959, the year he founded Gorgona with his friends and colleagues, Josip Vaništa staged a solo exhibition in Zagreb of his drawings from the 1950s. A black-and-white photograph commemorates the occasion; it shows three framed works on the wall, studied by three female visitors. The drawing on the left suggests the moody, delicate, somewhat…
Since completing her studies in printmaking in Budapest in the late 1950s, Dora Maurer has emerged as one of Eastern Europe’s most rigorously experimental artists of the past fifty years. Her work has alternated fluidly between process-based printmaking experiments and mark-making procedures that favor indeterminable outcomes, on the one hand, and, on the other, formal…
