MoMA exhibits currently on view
This is the first retrospective of the Congolese sculptor who created fantastical, futuristic architectural models and cityscapes out of found materials like colored paper, tinfoil, commercial packaging, plastic, soda cans and bottle caps. (Think Canto Bight meets Outsider Art). Kingelez (1948–2015) laid out utopian visions that stood in stark contrast to the unruly urban realities of Kinshasa, the artist’s home town and capital of the Democratic Republic of the Congo—a mega-conurbanation with estimated population of more than 11 million, making it the third largest city in Africa. Along with objects, the exhibit features a virtual reality experience that “flies” viewers through one of his imaginary cities.
How does an artist’s oeuvre change with age? Does it dissipate to become a shadow of the work created in the bloom of youth, or does it demonstrate a new depth that only comes with maturity? MoMA leaves it up to viewers to decide for themselves with examples from their holding of later works by such major artists as Louise Bourgeois, Georgia O’Keeffe and Gerhard Richter, among others.
Due mainly to the forceful leadership of President Josef Broz Tito, Yugoslavia carved out a unique position for itself during the Cold War as a non-aligned nation that evaded the orbits of both the United States and the Soviet Union—no mean feat, given the state of postwar Europe. Understandably, Yugoslavian architecture of the period reflected the country’s precarious place between Capitalism and Communism by creating its own, sometimes eccentric, take on mid-century modernism with buildings that ranged from the rationalism of the International style to irrational, almost sci-fi, examples of Brutalism. Using photos, drawings, models and films, this overview delves into a little-known facet of 20th-century architecture.
MoMA reaches into its deep store of works by the Modernist master who altered the course of 20th-century sculptue by upending the relationship between sculptural object and base. Many of the artist's greatest hits—Bird in Space, Endless Column, Mlle Pogany—are included.
This show looks back at a NYC avant-garde institution: The dance company that formed around the performance space at Judson Memorial Church located on Washington Square. Formed in 1962, Judson became associated with some of the biggest names in New York's midcentury arts scene, including Robert Rauschenberg, Yvonne Rainer and Merce Cunningham. MoMA surveys Judson's unique role during that era with photos, films and a schedule of live performances.
Charles White (1918–1979) was a key chronicler of African-American life during a period spanning the 1930s to the 1970s—which, of course, was concurrent with the Civil Rights movement. White was known for a robust, realist style, which spoke to his strengths as a draughtsman, and to his early-career involvement with the WPA. This retrospective, which is arranged chronologically, debuted at the Chicago Art Institute before traveling to MoMA.
Both MoMA and its Queens satellite devote space to this unpacking of the work of Bruce Nauman in the biggest retrospective of his career. A Conceptual Art pioneer who led the development of practices such as performance, video and installation art during the 1960s and ’70s, Nauman emphasized process over product, pushing the boundaries of the artist’s role while aggressively interrogating the human condition with pieces that were noted for their piquant psychological insights.