Jay Levenson has served as the Director of the International Program since 1996, managing a variety of initiatives, including Contemporary and Modern Art Perspectives (C-MAP), the Museum’s global research project. Prior to that he was Deputy Director for Program Administration at the Solomon R. Guggenheim Museum, New York. He has served as guest curator for major exhibitions at the National Gallery of Art and the National Museum of Asian Art of the Smithsonian Institution. A graduate of Yale College and Yale Law School, and awarded a PhD in art history by the Institute of Fine Arts of New York University, he has held positions both as a curator and museum administrator, and as an attorney.
Throughout 2016, the C-MAP Latin America Group focused on the study and research of Colombian modern and contemporary artistic practices. The group held more than twenty meetings where scholars, artists, and curators were invited to present their work and talk about the historical, political, and social conditions that have shaped modern and contemporary art scene…
Members of MoMA’s C-MAP Central and Eastern European group reflect on their research trip to Warsaw and Łódź, Poland and Berlin, Germany, which took place in late May / early June, 2016. Over the course of a week, the 14 travelers met with over 70 individuals, including artists, curators, dealers, and art historians; conducted two…
In late January 2016, a team of seven from The Museum of Modern Art’s C-MAP Asia Group traveled to India and Bangladesh. The itinerary began in New Delhi, where the India Art Fair was underway, continuing on to Goa and Bangalore (with side-trips to Baroda and Bombay by individual group members), and concluding in Dhaka…
Just a few days into his trip to Moscow in the winter of 1927–28, Alfred Barr wrote in his diary, “Apparently there is no place where talent of an artistic or literary sort is so carefully nurtured as in Moscow. . . . We’d rather be here than any place on earth.”* He went on…
Since the 1950s, there has been an active production of experimental film, animation, and video art in Asia. Yet, much of this work has not been consistently conserved or shared with the public due to the lack of accessible archives or organized collections dedicated to its preservation and dissemination. The conference “The Archival Impulse: Collecting…
