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)”.
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.
Continue reading “CONF: MoMA’s Twentieth-century Italian Art (New York, 12 Feb 19)”
TIAMSA New York Event: Wednesday November 1 at 6 p.m.
Tour of the Renee & Chaim Gross Foundation
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.
“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)
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”