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The modernist avant-gardes, from Dada to constructivism, transformed their roles as artists into those of propagandists, advertisers, and curators, creating new visual languages for a dramatically changed world. Hannah Höch articulated this shift in the 1920s and '30s, emphasizing an engineering approach to artmaking. This reinvention of artistic roles coincided with significant industrial, technological, and societal changes, influenced by events like World War I, the Russian Revolution, and the rise of fascism. Highlighting key figures such as Aleksandr Rodchenko, Lyubov Popova, and John Heartfield, the work showcases how artists redefined their contributions to create dynamic art. These "engineers," "agitators," and "constructors" moved away from traditional painting and sculpture, developing innovative visual languages, notably photomontage, which involved remixing photographs and images from media. By engaging with broader audiences through various roles, they established new infrastructures for presenting and distributing their work. Accompanying a major exhibition, this exploration celebrates MoMA's recent acquisitions from the Merrill C. Berman Collection, featuring essays by scholars and artists that examine revolutionary art forms, the vital role of women in the avant-garde, and the interconnectedness of these artists across borders. The exhibition reflects the social engagement and experimental spirit of the earl
Jodi Hauptman examines the procedures and context behind Kelly's formative 1951 abstraction Ellsworth Kelly's landmark 1951 work Colors for a Large Wall is the culmination of an extraordinarily productive moment in the artist's early career, a time when he developed his singular form of abstraction. After serving in the US Army during World War II, he returned to France in 1948 and lived and worked there until 1954. Connecting with artists of an earlier generation, discovering Paris with his peers, and surveying monuments of the past, Kelly began an audacious creative journey in which, paradoxically, he sought to eliminate "invention" from the process of making art. In this volume of the MoMA One on One series, curator Jodi Hauptman looks closely at the evolution of Colors for a Large Wall, unpacking Kelly's toolbox of close observation of the world, chance procedures, collage and the monochrome, and examining his ambition to create art on a public, architectural scale.
Af Klint's exquisitely rendered botanical portfolio reveals a deep spiritual engagement with the flora of her native Sweden Across the spring and summer seasons of 1919 and 1920, Swedish artist Hilma af Klint engaged in a period of intense observation of nature, venturing into forests and fields and drawing the flowers she found there. The resulting 46 sheets comprise her Nature Studiesportfolio, recently acquired by the Museum of Modern Art, New York. In pencil and jewel-toned watercolor, af Klint juxtaposed exquisitely rendered blossoms with enigmatic diagrams: a blooming sunflower is echoed by nested circles; lily of the valley is joined by a colorful checkerboard; catsfoot is set against a pair of mirrored spirals. Together, these two modes--representational and abstract--demonstrate the artist's belief that close observation of nature reveals "what stands behind the flowers": ineffable aspects of the human character. Published in conjunction with the first public exhibition of this rare portfolio, Hilma af Klint: What Stands Behind the Flowerspresents the drawings alongside contextualizing artworks and translations of the artist's previously unpublished writings. An overview essay by curator Jodi Hauptman explores af Klint's portfolio and the circumstances of its creation; texts by Ewa Lajer-Burcharth, Laura Neufeld and Lena Struwe unpack the imagery, materiality and botanical knowledge behind these works. Hilma af Klint(1862-1944) trained at Stockholm's Royal Academy of Fine Arts and established herself as a professional artist. In the first decade of the 20th century, she developed a unique abstract vocabulary, some years earlier than her peers. Whether on canvas or on paper, her singular work is informed by her spiritual investigations and, as this project demonstrates, an interest in and attunement to the natural world.