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Picasso's 1913 "Guitar," a wall relief of sorts that changed what sculpture could be, and which former MoMA boss William Rubin prised straight from the artist's hands, now seems just another artwork hanging on the wall, equal to all the others in the room. You have to read the wall text to discover its importance. (But on the whole, you're better off not reading MoMA's texts. Few as they are one or two per room, at most they're also some of the worst I've come across. Instead of giving information about the work at hand, they tend to tell visitors what to feel and how to think about it.)
Matisse's great 1909 "Dance (I)," rather than filling a main wall within the run of galleries, is now tucked away above a back stairwell that I'm not sure will get much use. Museums have traditionally used their staircase landings to lodge big, decorative allegories they didn't put much store in otherwise, so the "Dance" now seems to be billed as one of those. It feels as though MoMA's curators decided that the stairwell would be the right, rational place for the "Dance" Matisse may have conceived his picture to be hung high overhead but then didn't double check that it actually looked and felt right there. In this and several other cases in the expanded MoMA, thinking seems to have replaced looking as a guide to how works should be hung.
Barnett Newman's great, and great big, "Vir Heroicus Sublimis" is given most of one wall in a gallery. Which it deserves, in my opinion. But then other important, much more delicate works by Rothko and Ad Reinhardt are hung right nearby, where they are undone by the glow pouring off Newman's bright red work. Rothko and Reinhardt could, quite sensibly, come after this Newman in a slide show on the history of modern painting, or you could flip the page to find them in a textbook on this country's art. But they cannot actually survive beside it on the gallery wall.
Architect Yoshio Taniguchi imitation Trinity de Cartier ring price has said that he wanted his new building to be a neutral, unobtrusive vessel for the art. Maybe the problem is that the Modern's curators have taken him too much at his word. They've seen the free floating, black edged walls TRINITY DE cartier ring replica that Taniguchi has given them, and read them as a blank slate or the blank pages of a book that they can lay out any way they want. Or maybe they've imagined the white screen of a slide lecture, with pictures following each other at a measured pace. A museum, however spare, is really more like a concert hall, full of competing sounds that need to be corralled into a symphony: You need to make the brass explode, but make sure we hear the oboe solo, Cartier gold ring replica too.
Collecting and supporting modern art now has all the prestige that buying the Old Masters used to have. Liking Picasso or Rothko or even Donald Judd no longer signals that you're a Croesus with a rebel's heart, as it did when the Modern was founded in 1929; now, like wearing Hermes and Cartier, it signals that you understand the good things in life. That's why even rank and file billionaires coughed up to get the new Modern built. And maybe why they got a building that, for all its grace and elegance of detailing, could house any kind of deluxe art, or even high end corporate offices.
The new Museum of Modern Art makes clear that it contains an unrivaled spread of hallowed modern masterpieces. Over the coming years, as they rethink their newfound space, curators may want to make clear that these great works are ornery, too; that these "masterpieces" are precious replica Cartier Love ring yellow gold because of the discomfort they can cause, not despite it. That they are brilliant but also uncomfortable and mutually incompatible and jealous of the attention that they get. That they demand fierce partisanship, not merely tidy, equal opportunity admiration.perfect fake cartier pink gold jewelry nonrust steel You should have Let's go know concerning its detail
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Picasso's 1913 "Guitar," a wall relief of sorts that changed what sculpture could be, and which former MoMA boss William Rubin prised straight from the artist's hands, now seems just another artwork hanging on the wall, equal to all the others in the room. You have to read the wall text to discover its importance. (But on the whole, you're better off not reading MoMA's texts. Few as they are one or two per room, at most they're also some of the worst I've come across. Instead of giving information about the work at hand, they tend to tell visitors what to feel and how to think about it.)
Matisse's great 1909 "Dance (I)," rather than filling a main wall within the run of galleries, is now tucked away above a back stairwell that I'm not sure will get much use. Museums have traditionally used their staircase landings to lodge big, decorative allegories they didn't put much store in otherwise, so the "Dance" now seems to be billed as one of those. It feels as though MoMA's curators decided that the stairwell would be the right, rational place for the "Dance" Matisse may have conceived his picture to be hung high overhead but then didn't double check that it actually looked and felt right there. In this and several other cases in the expanded MoMA, thinking seems to have replaced looking as a guide to how works should be hung.
Barnett Newman's great, and great big, "Vir Heroicus Sublimis" is given most of one wall in a gallery. Which it deserves, in my opinion. But then other important, much more delicate works by Rothko and Ad Reinhardt are hung right nearby, where they are undone by the glow pouring off Newman's bright red work. Rothko and Reinhardt could, quite sensibly, come after this Newman in a slide show on the history of modern painting, or you could flip the page to find them in a textbook on this country's art. But they cannot actually survive beside it on the gallery wall.
Architect Yoshio Taniguchi imitation Trinity de Cartier ring price has said that he wanted his new building to be a neutral, unobtrusive vessel for the art. Maybe the problem is that the Modern's curators have taken him too much at his word. They've seen the free floating, black edged walls TRINITY DE cartier ring replica that Taniguchi has given them, and read them as a blank slate or the blank pages of a book that they can lay out any way they want. Or maybe they've imagined the white screen of a slide lecture, with pictures following each other at a measured pace. A museum, however spare, is really more like a concert hall, full of competing sounds that need to be corralled into a symphony: You need to make the brass explode, but make sure we hear the oboe solo, Cartier gold ring replica too.
Collecting and supporting modern art now has all the prestige that buying the Old Masters used to have. Liking Picasso or Rothko or even Donald Judd no longer signals that you're a Croesus with a rebel's heart, as it did when the Modern was founded in 1929; now, like wearing Hermes and Cartier, it signals that you understand the good things in life. That's why even rank and file billionaires coughed up to get the new Modern built. And maybe why they got a building that, for all its grace and elegance of detailing, could house any kind of deluxe art, or even high end corporate offices.
The new Museum of Modern Art makes clear that it contains an unrivaled spread of hallowed modern masterpieces. Over the coming years, as they rethink their newfound space, curators may want to make clear that these great works are ornery, too; that these "masterpieces" are precious replica Cartier Love ring yellow gold because of the discomfort they can cause, not despite it. That they are brilliant but also uncomfortable and mutually incompatible and jealous of the attention that they get. That they demand fierce partisanship, not merely tidy, equal opportunity admiration.
The Wall