Published by The Museum of Modern Art, New York. Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman. Contributions by Samantha Friedman, Flavia Frigeri, Markus Gross, Stephan Lohrengel.
Published in conjunction with the most comprehensive exhibition ever devoted to Henri Matisse’s paper cut-outs, made from the early 1940s until the artist’s death in 1954, this publication presents approximately 150 works in a groundbreaking reassessment of Matisse’s colorful and innovative final chapter. The result of research conducted on two fronts--conservation and curatorial--the catalogue offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist’s methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished via mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium’s unfolding, and period photographs that show the works in process in Matisse’s studio.
One of modern art’s towering figures, Henri Matisse (1869–1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904–05, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."
Karl Buchberg is Senior Conservator at The Museum of Modern Art.
Nicholas Cullinan is Director of the National Portrait Gallery in London.
Jodi Hauptman is a Senior Curator at The Museum of Modern Art.
Samantha Friedman is an assistant curator of the Department of Drawings and Prints at The Museum of Modern Art.
Flavia Frigeri is an assistant curator at Tate Modern in London; she is the organizing curator for Tate’s Young Patrons.
Nicholas Serota is director of Tate Modern's art museums and galleries.
Published by The Museum of Modern Art, New York. Edited by Jodi Hauptman. Text by Jodi Hauptman, Samantha Friedman, Michael Rooks.
Published in conjunction with an exhibition of masterworks from The Museum of Modern Art at the High Museum, Atlanta, this catalogue features artwork produced during six key years between 1913 and 2013. Concentrating on groundbreaking moments when major modern movements and radical new strategies emerged, the book provides an overview of the innovations and achievements of the last century, including the new visual languages of Cubism and Futurism (1913), the convergence of Surrealism and New Vision photography between the wars (1929), the large-scale abstract painting of midcentury (1950), the merging of art and life in the early 1960s (1961) and the embrace of identity politics and appropriation by artists in the late 1980s (1988). A series of new commissions by three contemporary artists represents the art of the present moment. Each of the six richly illustrated sections features a close reading of one major work from the period, complemented by an exploration of that year’s aesthetic zeitgeist.
Published by The Museum of Modern Art, New York. Edited by Jodi Hauptman. Text by Jodi Hauptman, Michael Rooks, Samantha Friedman.
Published in conjunction with a presentation of masterworks from The Museum of Modern Art, New York, at the High Museum of Art, Atlanta, this volume highlights the work of 14 masters of twentieth-century art: Constantin Brancusi, Alexander Calder, Giorgio de Chirico, Marcel Duchamp, Jasper Johns, Fernand Léger, Henri Matisse, Joan Miró, Piet Mondrian, Pablo Picasso, Jackson Pollock, Romare Bearden, Louise Bourgeois and Andy Warhol. Organized into monographic sections that provide a lively introduction to each artist and his practice, Picasso to Warhol allows readers to explore the achievements of these great figures and to look closely at many of their most significant artworks including Matisse's “Dance (I),” Picasso's “Girl Before a Mirror,” Léger's “Three Women” and Johns' “Map.” An introduction by MoMA curator Jodi Hauptman explores the influences and interactions between these artists. The book also includes close readings of works by each of the 14 artists, and short biographical sketches.
Published by The Museum of Modern Art, New York. Text by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff, Richard Thomson.
Once described as "the most beautiful painter's drawings in existence," Georges Seurat's mysterious and luminous works on paper played a crucial role in his short, vibrant career. This comprehensive publication surveys the artist's entire oeuvre, from his academic training and the emergence of his unique methods to the studies made for his monumental canvases. Accompanying the first exhibition in almost 25 years to focus exclusively on Seurat's drawings, this volume presents approximately 130 works, primarily the artist's incomparable conté drawings along with a small selection of oil sketches and paintings. In an effort to bridge the seemingly opposite goals of description and evocation, Seurat masses dark and light tones to abstract figures, exploits medium and paper to amplify radiating light, and engages with the Parisian metropolis, revealing urban types, the industrial suburbs and nineteenth-century entertainment. Though Seurat is perhaps best known as the inventor of Pointillism, this volume demonstrates his tremendous achievement as a draftsman and his fundamental importance to the art of the twentieth century. It includes carefully selected details of the work, as well as reproductions from pages of Seurat's sketchbooks, which have never before been published. Texts by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff and Richard Thomson address specific aspects of Seurat's techniques, materials, and subject matter. They are rounded out by a chronology, a selected bibliography and a detailed checklist.
Published by The Museum of Modern Art, New York. Essays by Jodi Hauptman, Gary Garrels and Jordan Kantor.
Many of the key achievements in art of the last 125 years have been worked out on paper. From pictorial investigations that expanded the possibilities of vision to the invention of entirely new kinds of media, drawing has been the perfect laboratory for avant-garde experimentation. Drawing from the Modern traces such groundbreaking innovation through the unparalleled holdings of the drawings collection of The Museum of Modern Art. This three-volume set consists of Drawing from the Modern 1880-1945, with work by Kurt Schwitters, Georgia O'Keeffe and Paul Cezanne, among many others; Drawing from the Modern, 1945-1975, with work by Jasper Johns, Andy Warhol, Louise Bourgeois, Dan Flavin et al.; and Drawing from the Modern, 1975-2005 featuring Bruce Nauman, Gerhard Richter, Martin Kippenberger, Kara Walker and Luc Tuymans, to name just a few. Together these three deluxe volumes detail both the blossoming of different art positions on a broad, international scale, and the coming of age of drawing as an independent--and for many artists, primary--mode of expression.
Published by The Museum of Modern Art, New York. Essay by Jodi Hauptman.
Caught between description and dream, the felt and the imagined, French artist Odilon Redon, whose career bridged the nineteenth and twentieth centuries, transformed the natural world into nightmarish visions and bizarre fantasies. Closely allied with the Symbolist movement, Redon offered his own interpretations of literary, biblical and mythological subjects; created a universe of strange hybrid creatures; and presented landscape in a singular way: we see grinning disembodied teeth, smiling spiders, melancholic floating faces, winged chariots, unfamiliar plant life, and velvety black or colored swirls of atmosphere. With a recent gift from the Ian Woodner family, The Museum of Modern Art is now the site of the most significant body of the artist's work outside France, and this book will showcase the full range of Redon's varied oeuvre--charcoal “noirs,” luminous pastels, richly textured canvases, literary collaborations and experiments in printmaking--and will illuminate the hold his particular kind of Modernism has had on both twentieth-century and contemporary artists.
Published by The Museum of Modern Art, New York. Essay by Jodi Hauptman.
Many of the key achievements in art of the last 125 years have been worked out on paper. From pictorial investigations that expanded the possibilities of vision to the invention of entirely new kinds of media, drawing has been the perfect laboratory for avant-garde experimentation. Drawing from the Modern traces such groundbreaking innovation through the unparalleled holdings of the drawings collection of The Museum of Modern Art. Drawing has historically been understood as a mark or line on paper--the record of a bodily gesture, an inscription of the action of the hand, an expression of the mind. Since the 1880s, however, artists have sought to interrupt these seemingly unbreakable links between mark, hand and imagination. Defying long-held definitions of drawing and rejecting traditional materials, modern artists invented a host of practices, altering not only the field of drawing but artmaking in general. Examining masterworks from the Museum's collection of nearly 7,000 works on paper in three chronological volumes beginning in the 1880s and continuing through today, Drawing from the Modern reconsider artists' repudiation of traditional drafting methods, assault on the use of the single sheet of paper, and introduction of new materials. Going to the heart of avant-garde innovation, all three volumes showcase new formal strategies, including collage, abstraction, chance, and the integration of text and image, as well as new subject matter, including the urban experience, the body and identity. Volume I, presented here, spans the period from 1880 to 1940, and includes work by such artists as Jean Arp, Hans Bellmer, Paul Cèzanne, Arshile Gorky, Georgia O'Keeffe, Odilon Redon and Kurt Schwitters. Volume II, available in Spring 2005, will cover 1940 to 1975, and Volume III, available in Fall 2005, will bring us from 1975 to the present day.
Published by The Museum of Modern Art, New York. Edited by Carolyn Lanchner. Essays by Carolyn Lanchner, Jodi Hauptman and Matthew Affron. Introduction by Beth Handler. Foreword by Glenn D. Lowry.
Fernand Lªger is the only major modern artist to choose modernity itself as his subject. From his early series Contrastes de formes of 1913-14--the first fully abstract works to emerge from Cubism--through his paintings of construction workers from the late 1940s and early 1950s, his enduring subject was the pulse and dynamism of everyday life. Lªger saw the 20th century environment as a "state of contrasts," a condition that he translated into art through forceful juxtaposition of shape, color, and line. His attempt to reconcile the formal concerns of artmaking with issues of social responsibility continues to be relevant to the art world of today. Accompanying texts recount Lªger's experience of and interest in America and America's interest in him; explore refractions of Lªger's interests in the work of more recent artists; and discuss Lªger's ambition to make an art reflecting the "new visual state" of modern life. An illustrated chronology tells the story of the artist's life, focusing on his time in America, the plate section is complemented by a series of short essays tracing the formal and thematic developments in his art, and a selected bibliography and detailed exhibition history complete the book.This book was published to accompany the 1998 retrospective at The Museum of Modern Art, New York.