Former Associate Curator, Department of Painting and Sculpture, The Museum of Modern Art
Paulina Pobocha is the former Associate Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York, where she worked since 2008. At MoMA she has organized The Long Run (co-organized with Cara Manes), 2017; Rachel Harrison: Perth Amboy, 2016; Projects 103: Thea Djordjadze, 2016 (at MoMA PS1); Robert Gober: The Heart Is Not a Metaphor, 2013 (co-organized with Ann Temkin); Claes Oldenburg: The Street and The Store, 2013 (co-organized with Ann Temkin and MUMOK, Vienna). Additionally, she is actively engaged in museum acquisitions, collection displays, and the 2019 expansion project. Prior to joining the curatorial staff of The Museum of Modern Art, Pobocha was a Joan Tisch Teaching Fellow at the Whitney Museum of American Art, New York where she lectured on a broad range of subjects in contemporary and modern art. Her writing has appeared in a variety of publications and exhibition catalogues. Pobocha received her B.A. from the Johns Hopkins University in 2000 and her M. Phil. in 2005 from the Institute of Fine Arts, New York University.
A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.
Over a dozen members of the C-MAP Central and Eastern European group traveled for research to Moscow in March 2017. As Roxana Marcoci, Senior Curator of Photography, notes, Russia spans eleven time zones and includes two-hundred nationalities. From this vast and deeply complex nation, the participants report on their impressions below. Reflection by Ksenia Nouril, C-MAP Central…
Geta Brătescu, whose career began in the 1960s and continues until today, is a pivotal figure in the history of post-war Romanian art. Working under the repressive political regime of Nicolae Ceauşescu for a large part of her career, Brătescu, developed a body of work that reflects the conditions of its production. Largely (though not…
