FROM THE COLLECTION: 1960-1969 (2016-2017)
FROM THE COLLECTION:
NEW YORK CITY
MAR 26 2016 - MAR 12 2017
The Museum of Modern Art has reinstalled its fourth-floor collection galleries with works exclusively from the 1960s. Interweaving works from all of MoMA’s curatorial departments and the Museum Archives, this presentation focuses on a decade in which interdisciplinary artistic experimentation flourished, traditional mediums were transformed, and sociopolitical upheaval occurred across the globe. The galleries proceed chronologically, with work installed by year. This organizing principle steps back from the classification of galleries by art historical themes or “isms” and instead aims to provide a variety of fresh discoveries and unexpected connections. The product of a collaborative effort among curators from all departments, the presentation will undergo periodic reinstallations, reflecting the depth and richness of the Museum’s collection and the view that there are countless ways to explore the history of modern art, architecture, design, and the moving image.
This exhibition contains over 350 works. The galleries featured works across a spectrum of mediums, including paintings, sculptures, drawings, prints, photographs, architecture, design objects, videos, films, and archival materials. The presentation underwent periodic reinstallations over the course of the year, reflecting the depth and richness of the Museum’s collection and the view that there are countless ways to explore the history of modern art.
"This presentation focuses on a decade in which interdisciplinary artistic experimentation flourished, traditional mediums were transformed, and sociopolitical upheaval occurred across the globe"
The installation included a range of works from the 1960s, including a Jaguar E-Type Roadster (1961), a selection from Bela Kolárová’s photographic body of work Radiogram of Circle (1962–63), Nam June Paik’s Zen for TV (1963), James Rosenquist’s F-111 (1964–65), Jo Baer’s Primary Light Group: Red, Green, Blue (1964-65), Robert Smithson’s drawing A Heap of Language (1966), Bonnie Maclean’s poster for the Yardbirds and the Doors (1967), Eva Hesse’s Repetition Nineteen (1968), a group of works related to Superstudio’s The Continuous Monument: New York Extrusion Project, New York, New York (1969), and Nalini Malani’s film Dream Houses (1969), among many others.
Each gallery was organised by year and the galleries proceed in chronological order. This approach provided a framework to show a wide-ranging selection of objects from the Museum’s collection, offering visitors a rare opportunity to see an automobile in proximity to an oil painting, an etching juxtaposed with an architectural model, or a film alongside a sculpture. The organizational principles vary throughout: some galleries explored the potential of unexpected connections across mediums and genres while others gathered works that were similar in material or function.