Word: moma
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Dates: during 1990-1999
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...most eagerly awaited show of the U.S. art season opens this week at the Museum of Modern Art in New York City: the retrospective of Jackson Pollock's work, organized by MOMA's senior curator of painting and sculpture, Kirk Varnedoe, in tandem with co-curator Pepe Carmel. The two have done a brilliant job, producing, along the way, one of the very few museum catalogs that can be read for pleasure as well as instruction. Amazingly enough, the American audience hasn't had a chance to see Pollock's work whole in more than 30 years. The last comprehensive...
...acquiring, such as the painter John Graham. Even the sight of Hopi painters running colored sand through their hands to create a pattern on the ground below, so often proposed as the starting point of Pollock's drip painting, came to him not on a Southwestern mountaintop but inside MOMA, which had brought some Hopis to perform in Manhattan...
...Viennese Jewish families from whom the Nazis stole them in the 1930s. Right at the end of the show--in fact only hours before the works were to be crated for return to Vienna--Manhattan district attorney Robert Morgenthau took the unusual and high-handed step of hitting MOMA with a subpoena that froze the disputed Schieles in New York City until a criminal investigation had determined whose property they...
Bondi and Reif had asked MOMA to keep the works in New York until the legal title to the pictures was clarified. "The museum," said Reif, "must make a moral determination on this." Exactly wrong: the museum's responsibility for moral issues stops with the works in its own collection. MOMA had a loan contract with the Leopold Foundation to return the works to Vienna as soon as the show closed. Such contracts are, of course, vital to the arrangement of institutional art loans. The free circulation of works of art among museums depends on them...
...Holocaust Art Restitution Project, a group set up last fall in Washington to document Jewish cultural losses under Nazism, got into the act and started urging MOMA and its chairman, Ronald Lauder, not to return the paintings. (As it happens, Lauder was ambassador to Austria from 1986 to 1987 and is a notable Schiele collector.) In response the Leopold Foundation proposed that an international tribunal be set up to examine the Schieles' true ownership, and it pledged to comply with the tribunal's findings. Constance Lowenthal, director of the World Jewish Congress's Commission for Art Recovery (whose chairman...