Word: elderfield
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Even the man who gets to fill most of that space, John Elderfield, is staying pretty calm. That can't be easy when you remember that the entire art world is watching to see just how Elderfield, who became MOMA's chief curator of painting and sculpture last year, will rearrange the museum's vast collection. It's a treasury of works so famous that his biggest problem isn't getting people to come look at them--MOMA is counting on about 1.8 million visitors a year--but getting people to see them, to penetrate the haze of reproduction that...
...Elderfield promises more emphasis on the new. And he now has a museum with galleries large enough to accommodate supersize work, like Richard Serra's massive steel sculptures, MOMA's new piece by Gordon Matta-Clark that consists of a large section cut from an entire house and the room-size installations that became more common in the '70s and after. The danger of so vast an expansion, of course, was that MOMA would itself become economy size, an alienating blimp hangar. "The most cherished dimension of the old museum was its sense of intimacy," says Glenn Lowry, MOMA...
...combined force to offer this day-long series of lectures on Kelly's drawings, colleges and paintings from 1948 to 1957 and their impact on his future career. Lecturers include Roberta Bernstein, SUNY Albany; Yve-Alain Bois, Harvard University; Benjamin Buchloh, Barnard College and Columbia University Art Museum; John Elderfield, Museum of Modern Art; James Meyer, Emory University; Joan Ockman, Columbia University; and Eric Rosenberg, Tufts University. Lecture Hall, Sackler Museum. 9:30 a.m. to 12:30 p.m. and 2 to 5p.m. 495-4544. FREE...
Except for an excellent show of his drawings curated by John Elderfield at the Museum of Modern Art in 1988, Diebenkorn, who died in 1993, never had a fair deal from New York museums. The city's cultural establishment viewed him as, well, a California artist--a bit of an outsider, a bit marginal, insufficiently difficult or radical, too easy on the eye, whatever. Diebenkorn, one of the most flintily self-critical artists who ever lived in America, took this in his stride, and his oeuvre (closed, alas, too early) handily answers his detractors. Nobody who cares about painting...
...Elderfield points out in a catalog essay, Matisse's luck with the critics has always been peculiar. At the outset, part of the tiny modern-art public in Paris thought his work incoherent, ugly. Others, like Gauguin's friend Maurice Denis, praised its absolutist devotion to "painting in itself, the pure act of painting." But there was never a shortage of critics who saw Matisse as a kind of magisterial lightweight. "It is a modiste's taste," wrote the poet Andre Salmon in 1912, "whose love of color equals the love of chiffon...