MoMA Talks: Conversations

May 9, 2007 6:30 p.m. Like the Venezuelan Armando Reverón, whose paintings and life-sized dolls were recently on view at the Museum, many contemporary artists invent games, toys, and characters. In this program, Venezuelan-born Arturo Herrera, who uses cartoon and fairy tale images, discusses with Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art at MoMA, and Glenn D. Lowry how his work engages traditions in his country of origin and offers new understandings of contemporary art. Photo courtesy of Paula Court

May 9, 2007 6:30 p.m. Like the Venezuelan Armando Reverón, whose paintings and life-sized dolls were recently on view at the Museum, many contemporary artists invent games, toys, and characters. In this program, Venezuelan-born Arturo Herrera, who uses cartoon and fairy tale images, discusses with Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art at MoMA, and Glenn D. Lowry how his work engages traditions in his country of origin and offers new understandings of contemporary art. Photo courtesy of Paula Court

March 12, 2007 6:00 p.m. For the exhibition Projects 84, Josiah McElheny creates a sculptural installation of crystalline glass, metal, and colored light that draws upon the visionary schemes of Paul Scheerbart, the Berlin poet and novelist, and Bruno Taut, the uncrowned leader of the circle of revolutionary architects that emerged in Berlin after World War I. McElheny’s model-scale landscape depicting two structures—an “Alpine Cathedral” and a “City-Crown”—is a critique of the utopian ideals embodied in twentieth-century modernism. This program, with McElheny and artist Chris Burden, focuses on the use of architecture in the sculptural model, through presentations and a discussion moderated by Joshua Siegel, organizer of the exhibition. Note: This recording only includes Joshua Siegel and Josiah McElheny's talks.

March 12, 2007 6:00 p.m. For the exhibition Projects 84, Josiah McElheny creates a sculptural installation of crystalline glass, metal, and colored light that draws upon the visionary schemes of Paul Scheerbart, the Berlin poet and novelist, and Bruno Taut, the uncrowned leader of the circle of revolutionary architects that emerged in Berlin after World War I. McElheny’s model-scale landscape depicting two structures—an “Alpine Cathedral” and a “City-Crown”—is a critique of the utopian ideals embodied in twentieth-century modernism. This program, with McElheny and artist Chris Burden, focuses on the use of architecture in the sculptural model, through presentations and a discussion moderated by Joshua Siegel, organizer of the exhibition. Note: This recording only includes Joshua Siegel and Josiah McElheny's talks.

March 9, 2007 6:30 p.m. Jeff Koons uses unexpected models and everyday objects to create works of art. From his Hoover vacuum cleaners to his stainless steel Rabbit (1986), he challenges viewers’ perception and standards of “good taste,” addressing established hierarchies and aesthetic value systems. Koons, whose 1985 work Three Ball 50/50 Tank (Two Dr. J. Silver Series, Wilson Supershot) is included in Out of Time: A Contemporary View, has exhibited internationally and has received many awards and honors.

March 9, 2007 6:30 p.m. Jeff Koons uses unexpected models and everyday objects to create works of art. From his Hoover vacuum cleaners to his stainless steel Rabbit (1986), he challenges viewers’ perception and standards of “good taste,” addressing established hierarchies and aesthetic value systems. Koons, whose 1985 work Three Ball 50/50 Tank (Two Dr. J. Silver Series, Wilson Supershot) is included in Out of Time: A Contemporary View, has exhibited internationally and has received many awards and honors.

March 5, 2007 6:00 p.m. In a panel discussion moderated by Roxana Marcoci, curator of the exhibition, artists Polly Apfelbaum, Inka Essenhigh, and Gary Simmons address the creative misalliance between abstraction and comic forms of representation in their work. The panel probes issues pertaining to humor in relation to a critical interpretation of war and global conflicts as well as gender and ethnic stereotyping. Held in conjunction with the exhibition Comic Abstraction: Image-Breaking, Image-Making. Photo courtesy of Paula Court

March 5, 2007 6:00 p.m. In a panel discussion moderated by Roxana Marcoci, curator of the exhibition, artists Polly Apfelbaum, Inka Essenhigh, and Gary Simmons address the creative misalliance between abstraction and comic forms of representation in their work. The panel probes issues pertaining to humor in relation to a critical interpretation of war and global conflicts as well as gender and ethnic stereotyping. Held in conjunction with the exhibition Comic Abstraction: Image-Breaking, Image-Making. Photo courtesy of Paula Court

March 2, 2007 6:30 p.m. Culling materials and subjects from the streets, Swoon creates paper cutouts and installations that re-envision the experience of urban life. Inspired by historical sources ranging from German Expressionist woodblock prints to Indonesian shadow puppets, this New York–based artist has covered the city streets with her work for over six years. She has exhibited most recently in P.S.1 Contemporary Art Center’s Greater New York 2005. In the summer of 2006, she participated in the “Miss Rockaway Armada” on the Mississippi River. Introductory music by the Miss Rockaway Armada band

March 2, 2007 6:30 p.m. Culling materials and subjects from the streets, Swoon creates paper cutouts and installations that re-envision the experience of urban life. Inspired by historical sources ranging from German Expressionist woodblock prints to Indonesian shadow puppets, this New York–based artist has covered the city streets with her work for over six years. She has exhibited most recently in P.S.1 Contemporary Art Center’s Greater New York 2005. In the summer of 2006, she participated in the “Miss Rockaway Armada” on the Mississippi River. Introductory music by the Miss Rockaway Armada band

February 26, 2007 6:00 p.m. Jeff Wall discusses his work in conjunction with the retrospective that traces his photography from the late 1970s to the present. Photo courtesy of Paula Court

February 28, 2007 3:30 p.m. In this series, artists whose work has been exhibited at MoMA lead Gallery Talks. Kota Ezawa describes his media works as "video archaeology." Often basing his art on archival news footage and movie clips, he provokes viewers to evaluate the accuracy of their own memories of events in comparison to his modified version. Ezawa studied at D¨sseldorf's Kunstakademie under Nam June Paik and at the San Francisco Art Institute. In this presentation Ezawa discusses paintings by Cézanne's The Bather and Château Noir, Marcel Duchamp's Bicycle Wheel, Kazimir Malevich's Suprematist Composition: White on White, Brancusi's Fish and Bird in Space, Giacometti's City Square and Dog, Martin Creed's Work No. 227, The Lights Going On And Off, and his own video, The Simpson Verdict. Photo courtesy of Meredith Rees

February 28, 2007 6:00 p.m. Scholars offer their perspectives on the artist's work, placing it in the greater context of art history, Latin American culture (Venezuela in particular), and European avant-garde movements. John Elderfield, The Marie-Josée and Henry Kravis of Painting and Sculpture, The Museum of Modern Art, and organizer of the exhibition, moderates the discussion. María Elena Huizi, Independent scholar, Caracas. Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, Department of Drawings, The Museum of Modern Art. Susan Stewart, Annan Professor of English, Princeton University; poet; and author of The Open Studio: Essays on Art and Aesthetics (2004). Held in conjunction with the exhibition Armando Reverón.

February 26, 2007 6:00 p.m. Jeff Wall discusses his work in conjunction with the retrospective that traces his photography from the late 1970s to the present. Photo courtesy of Paula Court

February 28, 2007 3:30 p.m. In this series, artists whose work has been exhibited at MoMA lead Gallery Talks. Kota Ezawa describes his media works as "video archaeology." Often basing his art on archival news footage and movie clips, he provokes viewers to evaluate the accuracy of their own memories of events in comparison to his modified version. Ezawa studied at D¨sseldorf's Kunstakademie under Nam June Paik and at the San Francisco Art Institute. In this presentation Ezawa discusses paintings by Cézanne's The Bather and Château Noir, Marcel Duchamp's Bicycle Wheel, Kazimir Malevich's Suprematist Composition: White on White, Brancusi's Fish and Bird in Space, Giacometti's City Square and Dog, Martin Creed's Work No. 227, The Lights Going On And Off, and his own video, The Simpson Verdict. Photo courtesy of Meredith Rees