David Geffen has given a massive, $100 million gift to the Museum of Modern Art, which will aid substantially in the museum’s expansion plans.  “When I worked in the mailroom at the William Morris agency I used to brown bag it at the sculpture garden of the Museum of Modern Art,” Geffen says. “It’s where I developed my interest in post-World War II art.” (more…)

Christopher Williams, Cutaway model Nikon EM. Shutter:/Electronically governed Seiko metal blade shutter vertical travel with speeds from 1/1000 to 1 second with a manual speed of 1/90th./Meter: Center-weighted Silicon Photo Diode, ASA 25-1600/EV2-18 (with ASA film and 1.8 lens)/Aperture Priority automatic exposure/Lens Mount: Nikon F mount, AI coupling (and later) only/Flash: Synchronization at 1/90 via hot shoe/Flash automation with Nikon SB-E or SB-10 flash units/Focusing: K type focusing screen, not user interchangeable, with 3mm diagonal split image rangefinder/Batteries: Two PX-76 or equivalent/Dimensions: 5.3 × 3.38 × 2.13 in. (135 × 86 × 54 mm), 16.2 oz (460g)/Photography by the Douglas M. Parker Studio, Glendale, California/September 9, 2007– September 13, 2007. via The Museum of Modern Art, 2014.

Now at the Museum of Modern Art through November 2nd, 2014, Christopher Williams: The Production Line of Happiness serves as a comprehensive overview of the 35-year-long career of the influential artist.  Part of the first wave of West Coast Conceptual artists, Christopher Williams graduated from the California Institute of the Arts and went on to become a preeminent conceptual artist and art professor at the Kunstakademie Düsseldorf.  His artistic legacy has fervently pursued notions of commercialism, production, capitalism, and process, and the execution of this retrospective very clearly outlines those themes.

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Andy Warhol, Illeana Sonnabend (1973), via Museum of Modern Art

The career of pivotal art figure of the twentieth century Illeana Sonnabend (1914-2007) is celebrated in Illeana Sonnabend: Ambassador for the New, an exhibition currently on view at the Museum of Modern Art in New York. While Sonnabend’s work might be controversial in its scope and vision, her legendary eye was instrumental in pinpointing some of the twentieth century’s most sought after artists, including Robert Rauschenberg and Andy Warhol. The exhibition traces Sonnabend’s career over half a century through selected works that she presented in her eponymous galleries in Paris and New York.

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Floor Cone (1962), in front of Dwan Gallery, Los Angeles, (1963) Image courtesy of Oldenburg van Bruggen Studio.

Claes Oldenburg (b. 1929, Stockholm) is widely regarded as one of the founding pioneers of Pop Art, a superstar in the history of art, and a visionary who opened new doors on the world of conceptual practice, sculpture and performance.  Embracing this foundational role, the artist’s current retrospective at the Museum of Modern Art maps the early beginnings of Oldenburg’s career, alongside the formative years of Pop Art.  (more…)

Japanese clothing company Uniqlo has announced that it will sponsor MoMA’s popular free Friday night series.  What’s more, the first 1000 attendees at the company’s first sponsored evening on May 3rd will receive a free tote bag.  The sponsorship follows comments by Tadashi Yanai, the chairman of parent company Fast Retailing, that the Museum of Modern Art is his “favorite museum in the world.  (more…)

Claes Oldenburg’s iconic Floor Burger (1962) is currently undergoing a restoration project at the Art Gallery of Ontario, in preparation for its upcoming exhibition at the Museum of Modern Art in New York.  Purchased by the AGO in 1967, the work, which is stuffed with empty ice cream cartoons, has shifted in appearance over the years, and now requires restoration work to help regain its original form and coloration.  “I was more concerned with the effect of the piece as I was making it rather than its future conservation,” says Oldenburg, “I started with the foam, but found it was weighing the sculpture down,” he says, “so we used the empty boxes to make it lighter.” (more…)

The Museum of Modern Art has announced a major survey of the contemporary practice of sound art, the first of its kind for the museum.  Running from August 10th to November 3rd, Soundings: A Contemporary Score will examine intersections of space, sound, and theory.  “Sound has come into the limelight. It’s getting recognized as a frontier. There are more tools that are easier and less expensive to use these days,” says associate curator Barbara London. “And because of these tools there is more artistic freedom.” (more…)

Collector David L. Bryant has spoken out against accusations that he is reneging on an agreement to donate Jasper Johns’s Tantric Detail triptych to the Museum of Modern Art.  The dispute was made public after billionaire Henry Kravis, who purchased the works jointly with Bryant, filed a lawsuit alleging that Bryant was attempting to back out of an agreement to donate the works after a set period of time.  “I have always planned to give my half of the paintings to MoMA.” Bryant said.  “I have never said nor do I have any intention of reneging on my agreement with the artist to do so.”  (more…)

In commemoration of the groundbreaking 1913 Armory Arts Show and its impact on the world of contemporary art, the Museum of Modern Art in New York has produced a series of videos emphasizing their collection of works from that year.   The videos are available for viewing at the museum’s website, and feature museum curators discussing their favorite works in the museum collection, including works by Umberto Boccioni, Marcel Duchamp and Fernand Léger. (more…)

Henri Matisse’s Le Jardin, which has been missing for over 20 years and is currently valued at $1 million, has been recovered from a dealer in Essex. The oil painting was stolen from Stockholm’s Museum of Modern Art in 1987, and its journey from Stockholm to Essex remains somewhat of a mystery.  “Stolen artworks that are recognisable change hands often so there is no knowing where it has been in the intervening two decades.”  Says Christopher A. Marinello, executive director and general counsel at the Art Loss Register (more…)

Gearing up for a performance piece on the fourth floor.  All images for Art Observed by Anna Mikaela Ekstrand.

The festive albeit politically charged atmosphere at the 2012 76th annual Whitney Biennial‘s pre-show event was practically interdependent, with the political climate not only informing the sentiments of viewers, but arguably the art itself. While protesters outside encouraged entering guests to “Occupy the Whitney,” antagonizing Sotheby’s and Deutsche Bank for withholding benefits from workers and developing financial strategies to benefit the ‘one percent,’ art indoors at the biennial also challenged artistic convention against the same political scale, with over 50 artists showing work.

Chuck Close touring the second floor

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Indian Warrior (1931)

The work of Mexican muralist Diego Rivera (1886-1957) is showcased on MoMA‘s second floor through May 14^th. The exhibition’s opening on November 13^th coincided with Occupy Wall Street protests in Zuccotti Park, allowing the originally leftist murals to resonate with a contemporary, politicized audience. The murals, which have not been shown since their first presentation 80 years ago, are accompanied by drawings and related archival paraphernalia. A concurrent catalogue with essays by curator Leah Dickerman is also associated.

Diego Rivera, Frozen Assets (1931-1932). All Images Courtesy of MoMA Interactive.

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‪ French-Canadian eatery M. Wells will reopen at MoMA’s PS 1, after recently closing its acclaimed Long Island City location [AO Newslink]

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All photos by Caroline Claisse unless otherwise noted.

Representing the United States in the Venice Biennale 2011 is artist duo Allora & Calzadilla. Based in Puerto Rico, the real-life couple Jennifer Allora and Guillermo Calzadilla‘s work is deeply political, though they would have you think otherwise.

The exhibition, entitled “Gloria,” features six newly commissioned works. It is curated by Lisa Freiman, chair of the contemporary art department at the Indianapolis Museum of Art, the institution the U.S. State Department entrusted with the selection. The organizing committee is the Peggy Guggenheim Collection in Venice. Previous representatives of the U.S. are Bruce Nauman (2009) who won the Golden Lion for his country, Felix Gonzalez-Torres (2007), Ed Ruscha (2005), and Fred Wilson (2003).

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Francis Bacon, “Portrait of Henrietta Moraes” (1969). All pictures courtesy of Helly Nahmad Gallery.

New York’s Helly Nahmad Gallery is currently showing the first comparative assembly of works by the painters Chaim Soutine and Francis Bacon. Connections between Soutine, whom de Kooning famously called his “favorite artist,” and Bacon, the subject of two Tate Modern retrospectives in his lifetime and one in 2008, have never before been examined by an exhibition at a museum or gallery. SOUTINE/BACON closes on June 18.

Chaim Soutine, “Autoportrait” (1918).

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Installation view of Andy Warhol: Motion Pictures at The Museum of Modern Art, 2010.

Currently on view at the MoMA is a tightly curated sampling of Warhol’s Screen Tests, shot between 1964 and 1966, as well as his films: Kiss, Sleep, Empire, Eat, and Blow Job. The show was conceived of in 2003 by MoMA curator Mary Lea Bandy and was exhibited as Andy Warhol: Screen Tests. After moving to Berlin’s KW Institute for Contemporary Art in 2004, the show traveled internationally for five years as facilitated by PS1 Director Klaus Biesenbach.  All films have been transferred to video for the installation but there is still something archival—“filmic,” as Bisenbach says—about the footage.

Andy Warhol. Screen Test: Edie Sedgwick (1965). 16mm film (black and white, silent). 4 min. at 16fps. © 2010 The Andy Warhol Museum

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Henri Matisse The Moroccans, 1916. Image via MoMA.

Matisse: Radical Invention, 1913-1917, at the Museum of Modern Art, features almost 120 paintings, drawings, prints, and sculptures completed by Henri Matisse within the span of four years.  1913 marks a turning point in Matisse’s evolutionary career: in the twilight of WWI, the artist made a profound move toward conceptual distortion.  He worked in German-occupied France while his brother was in a prison camp and his mother was behind enemy lines–conditions he deemed the “methods of modern construction” that altered the course of his artistic and personal development.

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Untitled by Richard Diebenkorn, 1950. All images via Artnet unless otherwise noted.

Currently on view at Greenberg Van Doren Gallery, New York, is an exhibition titled “Richard Diebenkorn: Paintings and Works on Paper 1949-1955″. Organized in cooperation with the Estate of Richard Diebenkorn, this exhibition features thirty-six works on paper  of this well-known American artist, whose early work is associated with Abstract Expressionism.

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The Bull, state VII (Le Taureau), Pablo Picasso, December 26th, 1945. Lithograph, Museum of Modern Art, via the MoMA.

“Picasso: Themes and Variations,” at the Museum of Modern Art on West 53rd Street, presents 123 prints from the museum’s collection, representing the major developments in Pablo Picasso’s work and providing insight into decades worth of artistic experimentation.  The exhibition explores the artist’s creative process, following his prints from the early 1900’s Blue and Rose periods through his Cubist discovery.  The collection spans almost 20 themes, including animals, saltimbanques, and mistresses.

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Robert Ryman at PaceWildenstein Gallery at 32 E 57 Street in New York.  Installation View.  All images via PaceWildenstein Gallery unless otherwise noted

Currently on view at PaceWildenstein Gallery is “Robert Ryman: Large-small, thick-thin, light reflecting, light absorbing” – the exhibition of thirty new paintings of the renowned minimalist American artists. Executed in Ryman’s signature monochromatic palette the paintings on display measure ten to thirty square inches and represent a wide gamut of experimentation in materials, including wood, MDF board, aluminum, and stretched cotton. The works appear strong and indestructible, although painted on the paper-thin material Tyvek. In addition to traditional graphite and ink, Ryman employs such painterly materials as acrylic varnish, enamel and epoxy. To hang the paintings to the walls, the artist will use regular staples, which are a traditional integral part of his aesthetics.

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Robert Ryman at Pace Wildenstein. Installation View

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A photo taken with a mobile phone, although picture-taking was prohibited during the exhibition via NY Times

When Tino Sehgal‘s work took over the Guggenheim Museum in New York on January 29th it was a quiet experience. There were no opening parties, no fuss and none of that Art World glitter to make one jump from exuberant excitement.  The walls of Frank Lloyd Wright’s majestic rotunda were stripped bare and seem to have newly acquired a long lost naïveté.  The lobby still brimmed with crowds of people clustered around the impenetrable center. The Kiss unfolded, rolled and scattered itself in a graceful poise of a feline. The subtly choreographed sequence of animated poses referenced erotic works from Rodin, to Courbet, to Jeff Koons. Occasionally, a couple or a small group of visitors would creep closer for a brief encounter or settle in contemplative thought on the floor of the proposed stage.

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New MOCA Director, Jeffrey Deitch. Via LATimes

More on  MOCA’s new director, Jeffrey Deitch, who brings his more business-oriented background to the Museum in LA: [Bloomberg] Deitch’s contract with the museum has certain safeguards against conflicts of interest that might arise from his foot in the business world– among the new rules, Deitch must notify the museum’s board of anything he adds to or sells from his collection. [LATimes]

Eli Broad and his Broad Art Foundation reveal that they are considering 3 different Westside locations on which to build and endow a museum for his art collection. The third site was recently revealed as being a ten-acre parcel on the campus of West LA College in Culver City.  [LA Times]

Works by Picasso and Henri Rousseau have been stolen from a private villa in the South of France, marking the country’s second major art robbery in that week– (work by impressionist painter Edgar Degas was stolen from the Cantini Museum in Marseilles only days before). [FT]

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Eberhard Schrammen, “Maskottchen (Mascot)” (c. 1924), in “Bauhaus 1919-1933” at MoMA. Bauhaus-Archiv Berlin Photo: Gunter Lepkowski © Estate Eberhard Schrammen

Complementing the Maholy-Nagy exhibition in Frankfurt showing at Shirn Kunsthalle through February 7, 2010, New York’s Museum of Modern Art is celebrating the early-20th century Bauhaus collective in a show which runs in the Joan and Preston Robert Tisch Gallery through January 25, 2010. This presentation of the highly influential German school comprises 400 works, many of which have never before been exhibited publicly in the United States. Drawn from both private and public collections, including 80 works from MoMA’s holdings, the show also features 150 pieces from the three German Bauhaus collections, Bauhaus-Archiv Berlin, Stiftung Bauhaus Dessau, and Klassik Stiftung Weimar. The exhibition comes to MoMA after an earlier version at Berlin’s Martin-Gropius Bau, which showed from July 22 to October 4, 2009.

Vasily Kandinsky, “Schwarze Form (Black form)” (1923), via MoMA. Private collection. Courtesy Neue Galerie New York. Photo: Jeffrey Sturges © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris

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