Published by The Museum of Modern Art, New York. Edited by Ann Temkin.
This volume provides a fresh look at The Museum of Modern Art's collection of painting and sculpture as it stands in 2015. The Museum's present holdings are the result of almost 90 years of collaborative effort between its curators and trustees, and the nearly 300 objects represented in this book affirm the convictions of the Museum's founders in 1929, who believed that modern art rivals in its greatness the art of any previous era. The catalogue opens with an essay by Ann Temkin, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, which addresses the historical construction of the Museum's collection and explores the shifting issues that have guided its acquisitions. The thoughtful selection of the works included in this catalogue highlights the range of artworks and ideas that constitute the evolving foundation of the Museum's collection. The cumulative result of decades of collection-building is chronicled in the richly illustrated pages, including the legendary favorites of the collection, such as Vincent van Gogh's "Starry Night" (1889), Pablo Picasso's "Girl Before a Mirror" (1932) and Andy Warhol's "Gold Marilyn Monroe" (1962). The selection also celebrates lesser-known masterworks that underscore the vast breadth of the collection, such as Diego Rivera's "Agrarian Leader Zapata" (1931), Horace Pippin's "Abe Lincoln, The Great Emancipator" (1942) and Niki de Saint Phalle's "Shooting Painting American Embassy" (1961). The story continues through to the present, including landmark works such as Gerhard Richter's "October 18, 1977" (1988), Kara Walker's "Gone: A Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart" (1994) and Cai Guo-Qiang's "Borrowing Your Enemy's Arrows" (1998). With 126 years spanning the distance between the works on the first and last pages of the book, Painting and Sculpture offers the opportunity to immerse oneself in the multitude of artistic approaches encompassed under the banner of modern art.
Ann Temkin is the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Christophe Cherix.
In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie's auction catalogue. Inspired not only by the image, but by the physical qualities of the photograph itself, Johns took this motif through a succession of cross-medium permutations. He also incorporated into his art the text of a rubber stamp he had had made several years earlier to allow him to efficiently decline the myriad requests and invitations that come his way: "Regrets/Jasper Johns." But the stamp's text also calls to mind the more familiar connotations of regret, such as loss, disappointment and remorse, evoking an enigmatic sense of melancholy. Published in conjunction with an exhibition of this series of paintings, drawings and prints created over the last year and a half through an intricate combination of techniques, this publication presents each of the new works in full color. An essay by Ann Temkin, Chief Curator of Painting and Sculpture, and Christophe Cherix, Chief Curator of Drawings and Prints, The Museum of Modern Art, examines the importance of process and experimentation, the cycle of dead ends and fresh starts, and the incessant interplay of materials, meaning, and representation so characteristic of Johns' career over the last 60 years.
Ann Temkin is an American art curator, and currently the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York.
Christophe Cherix was appointed The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art in 2013. His appointment followed a reorganization that merged the Department of Prints and Illustrated Books, of which Mr. Cherix had been Chief Curator since 2010, with the Department of Drawings. He joined the Museum’s curatorial staff in July 2007, after serving as curator of the Cabinet des Estampes at the Musée d'art et d'histoire in Geneva. His specialty is modern and contemporary art, with a particular focus on the art of the 1960s and 1970s.
Published by The Museum of Modern Art, New York. Introduction by Ann Temkin. Essay by Hilton Als. Chronology by Claudia Carson, Paulina Pabocha with Robert Gober. Afterword by Christian Scheidemann.
Robert Gober rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career, he made deceptively simple sculptures of everyday objects--beginning with sinks and moving on to domestic furniture such as playpens, beds and doors. In the 1990s, his practice evolved from single works to theatrical room-sized environments. In all of his work, Gober's formal intelligence is never separate from a penetrating reading of the socio-political context of his time. His objects and installations are among the most psychologically charged artworks of the late twentieth century, reflecting the artist's sustained concerns with issues of social justice, freedom and tolerance. Published in conjunction with the first large-scale survey of the artist's career to take place in the United States, this publication presents his works in all media, including individual sculptures and immersive sculptural environments, as well as a distinctive selection of drawings, prints and photographs. Prepared in close collaboration with the artist, it traces the development of a remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober's work today. An essay by Hilton Als is complemented by an in-depth chronology featuring a rich selection of images from the artist's archives, including never-before-published photographs of works in progress.
Robert Gober was born in 1954 in Wallingford, Connecticut. He has had numerous one-person exhibitions, most notably at the Dia Center for the Arts, New York; The Museum of Contemporary Art, Los Angeles; and Schaulager, Basel. In 2001, he represented the United States at the 49th Venice Biennale. Gober's curatorial projects have been shown at The Institute of Contemporary Art, Boston; The Menil Collection, Houston; Hammer Museum, Los Angeles; and the Whitney Museum of American Art, New York. He lives and works in New York.
Ann Temkin is an American art curator, and currently the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York.
Hilton Als is an American writer and theater critic who writes for The New Yorker.
Claudia Carson is archivist and registrar to Robert Gober.
Paulina Pabocha is Assistant Curator in the Department of Painting and Sculpture at The Museum of Modern Art.
Christian Scheidemann is the Senior Conservator and President of Contemporary Conservation Ltd.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner, Ann Temkin.
Featuring artwork from The Museum of Modern Art’s extraordinary collection, each volume in the MoMA Artist Series guides readers through one artist’s most memorable achievements, explaining their significance and placing them in context among the ground-breaking innovations of their time. The first set presents the pivotal work of six artists who shaped the trajectory of modern art: Constantin Brancusi, Paul Cézanne, Joan Miró, Claude Monet, Pablo Picasso and Vincent van Gogh.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Leslie Camhi, Claire Lehmann.
During a career spanning half a century, Ileana Sonnabend (1914–2007) helped shape the course of postwar art in Europe and America. Both a gallerist and a noted collector, Sonnabend championed some of the most significant art movements of her time. Artists as varied as Vito Acconci, John Baldessari, Mel Bochner, Jeff Koons, Mario Merz, Robert Morris, Robert Rauschenberg and Andy Warhol worked with Sonnabend, whose support for difficult avant-garde work was legendary. Among the many important works that Sonnabend owned is Rauschenberg’s Combine painting "Canyon" (1959), which the Sonnabend family generously donated to The Museum of Modern Art in 2012. In celebration of this extraordinary gift, Ileana Sonnabend: Ambassador for the New accompanies an exhibition exploring her legendary eye through approximately 30 works presented in her eponymous galleries in Paris and New York from the early 1960s through the late 1980s. A biographical essay by Leslie Camhi, artists’ recollections and individual entries on the selected works provide further reflection on Sonnabend’s taste and lasting influence.
Published by Walther König, Köln. Edited and with text by Robert Fleck. Interview with Katharina Fritsch, Tom Otterness, Ann Temkin.
A madonna, skeleton feet, a green Saint Michael slaying the dragon--these and other figures make up Katharina Fritsch’s curious cast of characters on view in 2013 at MoMA’s Sculpture Garden, documented here.
Published by The Museum of Modern Art, New York. Text by Ann Temkin.
In celebration of Ellsworth Kelly’s ninetieth birthday in May 2013, The Museum of Modern Art will present the first exhibition in 40 years of all fourteen paintings that comprise the Chatham series of works the artist produced after leaving New York City for Spencetown, in upstate New York, in 1970. The series has not been exhibited in its entirety since it was presented at the Albright-Knox Art Gallery, Buffalo, in 1972. The Chatham Series, published in conjunction with the exhibition, is a richly illustrated exploration of this key moment in Kelly’s career. The 14 large-scale paintings he produced there all rely on a single formal concept—each is made of two joined canvases of pure monochrome color—yet the works vary in color and proportion from one to the next. An essay by Ann Temkin traces the artist’s explorations of shape, color and spatiality from the early 1950 to today.
Published by The Museum of Modern Art, New York. Edited by Achim Hochdörfer, Maartje Oldenburg, Barbara Schröder, Ann Temkin
Considered a central figure of Pop, installation art, and Happenings, Claes Oldenburg redefined existing notions of art in the 1960s with his landmark environments “The Street” and “The Store,” his soft sculptures and his proposals for monuments. Since his arrival in New York in 1956, Oldenburg’s prolific production has always been accompanied by a daily practice of writing that reveals the conceptual complexity and diversity of his inventive oeuvre.
Comprising the artist’s key writings from the late 1950s and 1960s, this volume makes available a wealth of previously unpublished material, including sections of the diary Oldenburg kept during these formative years, his notes (written on an old typewriter in his studio while standing), facsimiles of sketches that show his abiding interest in the relationship between image and language, plus statements, essays, scripts for Happenings and poems. In diverse styles, vivid descriptions of his environment alternate with intimate confessions, humorous anecdotes, psychological observations and self-analysis, characterizations of the art world and its protagonists, and recurring inquests into his own motivations.
This compilation, the first to be dedicated entirely to Oldenburg’s writings, shows an artist who is not only resolute, informed, and programmatic--deeply concerned with the art and society of his time--but also witty and playful in his confrontation with his own contradictions and ambiguities. The book provides a unique window into the formation and evolution of one of the most influential and ground- breaking contemporary artists, and a lively personal account of the 1960s.
Born in Stockholm, Sweden, in 1929, Claes Oldenburg grew up in Chicago and graduated from Yale University in 1950. After studying at the Art Institute of Chicago, he settled permanently in New York City in 1956. Oldenburg established himself in the early 1960s with a series of installations and performances, among them “The Street” (1960), “The Store” (1961) and “The Ray Gun Theater” (1962). At the end of the decade, Oldenburg began to fabricate works on a large scale, beginning with “Lipstick (Ascending) on Caterpillar Tracks” (1969), which was followed by other works such as “Geometric Mouse” (1969) and “Giant Ice Bag” (1970). His first architecturally scaled sculpture, the 45-foot-high “Clothespin,” was installed in downtown Philadelphia in 1976. Soon thereafter, he began working with Coosje van Bruggen, whom he married in 1977. Together they went on to realize 44 site-specific sculptures for cities in the United States, Europe, Japan and Korea.
Published by The Museum of Modern Art, New York. Text by Ann Temkin.
A singular figure in the avant garde of the early twentieth century, Henri Rousseau (1844-1910) was a self-taught painter who turned to art after retiring as a customs inspector at the age of 49. Although he never left Paris, Rousseau painted a number of jungle scenes, drawing on images of the exotic as presented to the urban dweller through popular literature, colonial expositions and the Paris zoo. "The Dream" (1910) is the artist's last major work. Exhibited at the 1910 Salon des Independants a few months before Rousseau's death in September of that year, it exemplifies that surreal juxtaposition of the exotic and the domestic, realized with an uncanny exactitude, for which Rousseau is so beloved today. The poet and art critic Guillaume Apollinaire praised the work, countering his detractors: "The picture radiates beauty, that is indisputable. I believe nobody will laugh this year." In this volume, Ann Temkin, the Museum's Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, guides readers in deciphering this mysterious painting, illuminating its significance and placing it within the development of modern art and in Rousseau's own life.
Published by The Museum of Modern Art, New York. Text by Ann Temkin.
More than 60 years have passed since Robert Coates, writing in the New Yorker in 1946, first used the term "Abstract Expressionism" to describe the richly colored canvases of Hans Hofmann. The name stuck, and over the years it has come to designate the paintings and sculptures of artists as different from one another as Jackson Pollock and Barnett Newman, Willem de Kooning and Mark Rothko, Lee Krasner and David Smith. The achievements of this generation put New York on the map as the center of the international art world, and constitute some of the twentieth century's greatest masterpieces. From the mid-1940s, under the aegis of Alfred H. Barr, Jr., works by then little-known American artists--including Pollock, de Kooning, Smith, Arshile Gorky and Adolph Gottlieb--began to enter the Museum's collection. These ambitious acquisition initiatives continued throughout the second half of the last century and produced a collection of Abstract Expressionist art the breadth and depth of which is unrivalled by any museum in the world. Supplemented by an essay by Ann Temkin, Chief Curator of Painting and Sculpture at MoMA, this volume celebrates the richness of the Museum's holdings of the paintings, sculptures, drawings, prints and photographs from this epochal moment in the history of art and of this institution.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Anne Byrd, Benjamin H. D. Buchloh, Briony Fer, Paulina Pobocha.
Gabriel Orozco emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation, one of the last to come of age during the twentieth century. His work is unique in its formal power and intellectual rigor, resisting confinement to one medium and roaming freely and fluently among drawing, photography, sculpture, installation and painting. Orozco deliberately blurs the boundary between the art object and the everyday environment, situating his work in a place that merges art and reality, whether through exquisite drawings made on airplane boarding passes or sculptures composed of recovered trash. This publication examines two decades of the artist's production year by year, from 1989 through 2009. Each section is richly illustrated and includes a short text, based on interviews with the artist, that combines biographical information with a brief and focused discussion of selected works. Critical essays by Ann Temkin, Benjamin H.D. Buchloh and Briony Fer supplement these foundational and chronological explorations, providing new insights and strategies for grounding Orozco's work in the larger landscape of contemporary art production. Gabriel Orozco (born in Mexico, 1962) studied at the Escuela Nacional de Artes Plásticas in Mexico City, and at the Círculo de Bellas Artes in Madrid, Spain. He has exhibited at the Whitney Museum of American Art, The Museum of Modern Art, New York, the Guggenheim Museum, the Philadelphia Museum of Art and the Venice Biennale. Orozco lives and works in New York, Paris and Mexico City.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Nora Lawrence.
Claude Monet (1840-1926) devoted the last 25 years of his career to paintings of the Japanese-style pond and gardens of his house in Giverny, France. Two of these luminous panels--"Reflections of Clouds on the Water-Lily Pond," a mural-sized triptych, and "Water Lilies," a single canvas--are among the most well-known and beloved works in the collection of The Museum of Modern Art. The aim of these paintings, according to the artist, was to supply "the illusion of an endless whole, of water without horizon or bank." These late works were for many years less appreciated than Monet's classic Impressionist works, oftentimes seen as unstructured, even unfinished. But with the emergence of Abstract Expressionism in the 1950s, Monet became an extraordinarily relevant predecessor. In 1955, The Museum of Modern Art became the first American museum to acquire one of Monet's large-scale water lily compositions. In 1958, when a fire destroyed this and another water lily painting, the public's widespread expression of loss led to the acquisition of the works currently in the collection. This lively volume recounts the history of Monet's water lilies at the Museum underscores the resonance of these paintings with the art and artists of the last half-century.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Briony Fer. Melissa Ho, Nora Lawrence.
Color Chart addresses the impact of standardized, mass-produced color on the art of the past 60 years. Taking the commercial color chart as its central metaphor, this volume chronicles an important artistic shift that took place during the middle of the twentieth century: a frank acknowledgment of color as a matter-of-fact element rather than a vehicle of spiritual or emotional content. Collected here are more than 40 artists who explore in their works the double meaning of “ready-made color”--color bought off the shelf, rather than mixed on a palette, as well as color assigned by chance or arbitrary system rather than composed with traditional chromatic harmonies in mind.
Published to accompany a major exhibition at The Museum of Modern Art, New York, this volume begins with Marcel Duchamp’s Tu m’, the artist’s final painting, made in 1918, with its long array of color samples looming across the canvas. This early recognition of color’s commercial nature was fully explored more than three decades later by artists such as Robert Rauschenberg, Andy Warhol, Gerhard Richter and Alighiero Boetti, who in the 1950s to the 1970s, with a host of others, redefined the parameters of color from a matter of personal expression to one of arbitrary systems and random processes. The repercussions of this transformation continue to be felt into the twenty-first century, in work by artists including Sherrie Levine, Mike Kelley and Damien Hirst, as well as others who explore color in digital technology This volume traces the lineage of the questions provoked by color’s new status, and the variety of answers that have resulted.
Contemporary Art from the Edward R. Broida Collection
Published by The Museum of Modern Art, New York. Essay by John Elderfield. Interview by Ann Temkin.
This catalogue of outstanding paintings, sculptures, drawings and prints from Edward R. Broida's recent gift of 175 contemporary works from his collection to The Museum of Modern Art reflects a wide range of artistic approaches. Most pieces were created after 1960; several artists, such as Vija Celmins, Philip Guston, Ken Price and Christopher Wilmarth, are represented in depth. The Broida collection also includes works by Richard Artschwager, Jake Berthot, Martin Puryear, Susan Rothenberg, Joel Shapiro, Mark di Suvero and John Walker, among others, and significant works by Jennifer Bartlett, Bruce Nauman and Richard Serra that provided important additions to the Museum's holdings. This book includes an introduction to the collection by John Elderfield, the Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture, and an interview with Broida conducted by Ann Temkin, Curator of Painting and Sculpture. The plate section reproduces at least one work by each of the 38 artists included in the gift, and in many cases numerous works by one artist.
Published by The Museum of Modern Art, New York. Introduction by Glenn Lowry. Essay by Ann Temkin.
This visually exciting book, which presents a selection of signature works by European and American artists of the postwar generations, is drawn from the UBS Art Collection. One of the richest and most varied holdings of international contemporary art in the United States, the Collection was begun in 1970 by Donald B. Marron, UBS's American Chairman, a Vice Chairman and former President of the Museum, and a Trustee of the Museum since 1975. This unique publication accompanies an exhibition of 74 of these outstanding works of art, including 44 that were a gift to the Museum in 2002. The works reproduced here include paintings, sculptures, drawings, photographs and mixed-media pieces by a wide and varied array of significant artists, including Joseph Beuys, Chuck Close, Jasper Johns, Anselm Kiefer, Brice Marden, Robert Rauschenberg, Cindy Sherman, Kiki Smith, Cy Twombly, Andy Warhol and many others. In addition, Ann Temkin, Curator in the Department of Painting and Sculpture, interviewed 11 of these artists for the book, producing illuminating conversations about how they work, the origins of their ideas, and other topics. The artists interviewed include Vija Celmins, Damien Hirst, Susan Rothenberg, Ed Ruscha, Robert Ryman and Lorna Simpson. Also included is an interview with Donald B. Marron by Glenn D. Lowry, Director of The Museum of Modern Art.
Published by Philadelphia Museum of Art/RelÇche, Inc.. Edited by Susan Rosenberg. Conversation with Christian Marclay, Thomas Y. Levin, Ann Temkin and Thaddeus A. Squire.
Two of Philadelphia's most famous cracked icons, The Liberty Bell and Marcel Duchamp's “The Large Glass,” are perhaps rarely thought of as having anything at all to do with one another, save for the fact that they are both cracked and both situated in Philadelphia. Nevertheless, here they are, joined together in an innovative book by renowned installation artist and composer Christian Marclay. This curious volume, unusually (and thus appropriately) bound with an exposed binding, features several musical scores by Marclay, Duchamp, John Philip Sousa and others, as well as multiple pairings of images of the Bell and the Glass. Full of surprising and often humorous affinities between these wildly unrelated subjects, The Bell and the Glass is published on the occasion of the installation and performances by Marclay and the Relâche Ensemble at the Philadelphia Museum of Art in late spring 2003.
PUBLISHER Philadelphia Museum of Art/RelÇche, Inc.
BOOK FORMAT Paperback, 7 x 9 in. / 96 pgs / 70 color / 70 bw.
PUBLISHING STATUS Pub Date 3/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9780876331736TRADE List Price: $29.95 CAD $35.00
Published by Hatje Cantz. Edited by Jurgen Glaesemer. Essays by Carolyn Lanchner, Ann Temkin.
Fitting Paul Klee's extraordinary oeuvre into book form is certainly a complex endeavor--Klee's diverse body of work is always opening itself up to new interpretations, and has escaped classification under the aegis of any particular style, group, or movement. This monograph achieves this feat by offering Klee in all his uniqueness, never attempting to subject the artist and his work to one interpretation. Here we see Klee's organically developed and open-ended art, which sought inspiration everywhere and in turn inspired so many in all areas of the arts. Fairytale lyricism and grotesque satire, tender jesting and very real horror, profound mysticism and sober romanticism all coexist in Klee's images. These works radiate a variety and creative energy that is rarely seen in such profusion. Paul Klee: Life and Work presents a comprehensive selection of paintings and other images, documented in nearly 500 color and black-and-white images, alongside essays that explore the artist's life and offer surprising insights into his work.
Published by Hatje Cantz. Artwork by Joseph Cornell, Marcel Duchamp. Contributions by Walter Hopps. Text by Susan Davidson, Ann Temkin.
This book chronicles the friendship and working relationship between two of the twentieth century's most innovative and influential artists--Joseph Cornell and Marcel Duchamp. The focus of this book is the box compiled by Cornell and dedicated to his friend Duchamp: the Duchamp Dossier, c. 1934-53, a hitherto publicly unknown artwork discovered in the artist's estate following his death.
Published by Philadelphia Museum of Art. Contributions by Susanne Ghez. Text by Ann Temkin, Anne d'Harnoncourt.
Raymond Pettibon is famed for the breadth and depth of his reading: his art draws on it (excuse pun) at every turn. This anthology of Pettibon's favorite authors assembles an eclectic mix, from Charles Baudelaire to Borges, and Charles Manson to Mickey Spillane. Pettibon's choice of literary resources opens up interesting angles on his work, and his transformation of those resources is fascinating. "There is something in my storyteller's art that wants to put the reader and the writer on equal footing in the role of the creator," Pettibon says; the Pettibon Reader assists his fans in that endeavor.
PUBLISHER Philadelphia Museum of Art
BOOK FORMAT Paperback, 6 x 9 in. / 352 pgs / 1 color / 50 bw.
PUBLISHING STATUS Pub Date 9/2/1998 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 1998
PRODUCT DETAILS ISBN 9780876331200TRADE List Price: $24.95 CAD $27.50
Jasper Johns: Regrets
Robert Gober: The Heart Is Not a Metaphor
MoMA Artist Series Boxed Set, Volume One
Ileana Sonnabend: Ambassador for the New
Figure in the Garden: Katharina Fritsch at The Museum of Modern Art
Ellsworth Kelly: The Chatham Series
Claes Oldenburg: Writing on the Side 1956-1969
Henri Rousseau: The Dream
Abstract Expressionism at The Museum of Modern Art
Gabriel Orozco
Claude Monet: Water Lilies
Color Chart
Against the Grain
Contemporary Voices
Christian Marclay: The Bell And The Glass
Paul Klee: His Life And Work
Robert Gober: Sculpture And Drawing
Joseph Beuys: Drawings Based On The Codices Madrid By Da Vinci
Cornell/Duchamp...In Resonance
Raymond Pettibon: A Reader