Last year in the exhibition Scenes for a New Heritage: Contemporary Art from the
Collection, we had the opportunity to show a selection of works from The Black Star
(2007), a portfolio of twelve digital prints by Seher Shah (Pakistani, born 1975).
Though acquired in 2008, the work was exhibited for the first time in this exhibition,
in a gallery devoted to the suggestion of using the past as a means of interrogating
the present.
In this interview, recorded a few months before Davidovich’s passing, curator Ana Janevski talks with the Argentine-American artist about his career, his early days in New York City and Cleveland, and his work Tape Wall Project (1970/1988), recently acquired by MoMA. This is the first of two parts. Read the second part here. ANA JANEVSKI:…
Consulting the MoMA Archives, this essay highlights and expands upon connections between the Slovene conceptual artists OHO Group and one of the Museum’s most well-known exhibitions.
In 1975, near the end of the Cultural Revolution in China, artist Xu Bing relocated to the countryside for two years. The 1987-8 woodcuts in MoMA’s collection reflect this pastoral atmosphere while anticipating the artist’s later turn to Conceptual art. The set of woodcuts by Xu Bing (Chinese, born 1955) in MoMA’s collection depicts rural…
Prints, interviews artist and publisher Igor Shelkovsky in his Moscow studio during the C-MAP Central and Eastern European group trip in June 2015.
In Fall 2014, the Library at The Museum of Modern Art was very lucky to have acquired this pamphlet of Kantor’s Happening from 1967. It is now catalogued and available for public researchers, who may request to see and (gently) handle this vibrant illustration of early Polish performance art.
For the artist Yang Jiechang (b. 1956, Foshan), there is a certain similarity betweencontemporary artists and China’s Red Guards of the 1970s: namely, their performance of arbitrary tasks. In this conversation, Yang talks about his “art education” during the Cultural Revolution, when he served as a Red Guard in a small village, and describes how…
Since around 1977 when Gilbert and Lila Silverman began to develop their Fluxus Collection, Jon Hendricks has played a central role in fostering the formation of that renowned collection that bears their names.
Did 1993 mark a watershed for “contemporary Chinese art” in the then increasingly globalized art world? In this essay Peggy Wang discusses exhibitions of contemporary Chinese art held overseas in the year 1993, notably China Avant-Garde in Berlin, China’s New Art, Post-1989 in Hong Kong, and the Venice Biennale. Analyzing various readings of works by artists such as Wang…
Aktualní umêní (Contemporary Art), a rare, hand-assembled magazine by the Czech artists’ group of the same name, began production in late 1964. Here, the first two issues are reproduced in their entirety for the first time, along with a unique prototype for the second issue, which offers an exceptional opportunity to compare plans and the final realization.
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…
With a healthy dose of humor, the Brazilian artist Antonio Dias explores the challenges and absurdities of his artistic career and comments poetically on his life’s work. Now in his late 60s, Dias generously shares stories of his early years in Rio, Paris, and Milan; his surprise at the dearth of women in Milan’s art…
