Word: moma
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Dates: during 1990-1999
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...Museum of Modern Art in 1975, when the Music Hall was in such a state of desuetude that at some performances less than 10% of the seats in the immense auditorium were filled. Hardy had a potent ally in his effort to yank the Davis painting back from MOMA. Jerry I. Speyer, the manager and co-owner of Rockefeller Center, is vice chairman of the museum's board...
...such candidate for new critical acclaim is commercial art, graffiti is the democratic underdog. It presents itself on a daily basis to almost anyone living in a city. Of course there are reasons why Museum of Modern Art (MoMA) curators don't run down to the grafitti streets with open arms. Graffiti is one of the most objectionable forms of art, as it can be difficult to distinguish between creativity and malicious vandalism...
...MOMA 2000 The Museum of Modern Art displays Modernism's styles and movements, including Picasso's Guitar. Opens...
...mocking all art styles, sending up the dreaded Canon. (The fact that no work of art by a famous artist these days can safely be considered really and truly outside the Canon seems not to have dawned on those inside the Museum of Modern Art.) His strategy, according to MOMA, is to subvert "the elitist mythologies of artistic creation and production." And so forth. Such claims are counters in a solemn Laputan game whose object is to ratify the countercultural status of a given artist and thereby justify his (or her) prompt entry into the cultural pantheon...
There are times when you feel that if you hear the words elitist or subvert just once more, you'll barf. So when MOMA's Margit Rowell, who in the past has curated some intelligent shows on Constructivist sculpture, Brancusi, Antonin Artaud's drawings and other topics, affirms that Polke's vernacular has "regenerate[d] the language and meaning of Western artistic experience," and suggests that he is the Hieronymus Bosch of our day, you sigh. Polke has never shown a smidgen of the aesthetic intensity, the absorption in religious and moral experience or the staggering completeness of Bosch...