CONF: MoMA’s Twentieth-century Italian Art (New York, 12 Feb 19)

CIMA – Center for Italian Modern Art, February 12, 2019

CIMA – the Center for Italian Modern Art (NYC) is organizing the conference:

“Methodologies of Exchange: MoMA’s Twentieth-century Italian Art (1949)”.

The conference uses the 1949 Museum of Modern Art exhibition “Twentieth-century Italian Art” as a case study to examine the various methodologies or approaches taken in recent years to explore the artistic exchange between the United States and Italy in the twentieth century. By examining the history of this exhibition and the traveling exhibitions that it spawned, we will explore the reception of Italian art and artists in the US, the growth of networks and collaborations between US dealers and artists, and the role that Italy played in the idea of art-making among American postwar artists. This particular subject allows for other questions as well: How did an important institution like MoMA shape the narrative of American modernism? How did Italy help Alfred Barr and MoMA rethink a Franco-centric vision of modern art after the war? How did the American art world deal with the problematic legacy of Fascist Modernism?

This Study Day will be held at CIMA in connection with the 107th meeting of the College Art Association and the 70th anniversary of the MoMA exhibition.

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TIAMSA New York Private Tour, November 1 at 6 p.m.

TIAMSA New York Event: Wednesday November 1 at 6 p.m.

Tour of the Renee & Chaim Gross Foundation
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Visit to the Grey Art Gallery exhibition, 
Partners in Design: Alfred H. Barr Jr. and Philip Johnson. 

Members are welcome to join us for the first TIAMSA New York sub-committee event this fall. We will meet at the Renee & Chaim Gross Foundation (526 LaGuardia Place) at 6 p.m. for a private guided tour. First established in 1974 with donations from friends and supporters of American artist Chaim Gross (1904-91), including Joseph H. Hirshhorn and Roy R. Neuberger, the Renee & Chaim Gross Foundation was incorporated as a 501(c)(3) not-for-profit organization in 1988. The Foundation is located in the couple’s historic Greenwich Village townhouse and the artist’s studio space.

Afterward, we have the option of visiting the nearby Grey Art Gallery at NYU (100 Washington Square East). The current show, Partners in Design: Alfred H. Barr Jr. and Philip Johnson, explores how Alfred Barr, MoMA’s first director, and Philip Johnson, the curator of architecture, introduced modern design to North America.

TIAMSA members, prospective members, and their guests are welcome. Please RSVP here.

Read this: “The Museum of Modern Art’s Artist Network Diagram and the Culture of Capitalism”

“Inventing Abstraction, Reinventing Our Selves: The Museum of Modern Art’s Artist Network Diagram and the Culture of Capitalism,”
by Nicole E. Reiner and Jonathan Patkowski

If the studio and the workshop are the places where artworks and new ways of thinking and seeing most often take shape, exhibitions are the sites where such creations meet the public and, in the course of their reception, make, and re-make, art history.

Inventing Abstraction at the Museum of Modern Art (December 23, 2012-April 15, 2013), which critics praised as offering a fresh, inclusive and cross-disciplinary perspective on the origins of artistic abstraction, is one such exhibition summoning the full potential of this form of object-based historiography.1 Alongside modernist titans like Picasso and Mondrian, the exhibition spotlighted comparatively unfamiliar figures and many women artists. Curator Leah Dickerman further stressed the transmedial reach of abstraction beyond the traditional domains of painting and sculpture by foregrounding abstract photography, music, dance and poetry, paralleling MoMA’s own disciplinary re-orientation beyond painting and sculpture over the preceding decade……..

Rutgers Art Review (11pp, a .pdf version is available)

L: Dorothea Schöne on “German Art has Come to Its Own Again.” Prices for German art in the United States 1945-1960: actors, institutions and strategies, 11 July, 6.15pm, Berlin

German version below

Dr. Dorothea Schöne, Berlin, on „German Art has Come to Its Own Again.“ Prices for German art in the United States 1945-1960: actors, institutions and strategies.

In the autumn of 1957 the exhibition “German Art of the XXth Century” opened at the Museum of Modern Art in New York. It was the first comprehensive presentation of Modern German Art in Anglo-Saxon countries after the end of World War II. Generously funded by the Foreign Office of the Federal Republic of Germany this show aimed to be an act of reparation and rehabilitation of so-called “degenerate” art and to present Germany as a renewed cultural nation after 1945.

Continue reading “L: Dorothea Schöne on “German Art has Come to Its Own Again.” Prices for German art in the United States 1945-1960: actors, institutions and strategies, 11 July, 6.15pm, Berlin”