At MOMA, Taniguchi has provided 20% more space for the Sculpture Garden. The former interior has been completely torn out, although Philip Johnson's 1960s additions are still recalled in their facades and in an iconic staircase reminiscent of the Bauhaus. Now, there is a visible revolution in the actual disposition of space, which opens up the earlier planar arrangement and enables art literally to flow, like a river, through the gallery. Chief Curator of painting and sculpture, John Elderfield, is quoted as having said that there has now been created, 'a sense of history flowing like a river through all the galleries'. The galleries themselves are separate but interconnected, as is required for these particular narratives of modern art.
Taniguchi won the MOMA commission in December 1997, after an international competition with three other finalists - Bernard Tschumi, Dean of Columbia University’s graduate school of architecture and Jacques Herzog and Pierre de Meuron, the two Swiss architects of Tate Modern, London. Taniguchi's basic idea was to place the contemporary at the core, thus reinforcing the MOMA narrative itself. This proved to be the winning move.
Refreshingly, Taniguchi is unwilling to admit to any modern influences other than the classic teahouse design and ceremonial approach - asymmetrical and rigorous with a grid pattern and a highly conscious emphasis on the materiality of the design. It would appear that the MOMA committee exercised great care and discretion in selecting Taniguchi for the new building.
Daniel Buren and his Invention Trajectory
Daniel Buren has had a stimulating and now distinguished continuity in Britain. The arrival of his exhibition, 'Invention II', at Modern Art Oxford recalls a long association, firstly with MOMA Oxford (1973) and in the pages of Studio International. His own texts here are notable for their clarity and perspicacity.
Down Among the Bowery Boys
It is now three months since the New Museum of Contemporary Art (NMCA) in Manhattan's Lower East Side slid open its doors on 1 December 2007. This event, of some considerable relevance for the vitality of modern art in New York City, arguably exceeds in terms of historical significance the not so recent renewal and reopening of the famed (maybe now infamous) Museum of Modern Art (MOMA).
P.S.1, MoMA, New York
Attention to detail and an open mind are requirements when visiting P.S.1. At once a contemporary art museum and a preserved school building, the space lives and works on many levels (within the creaking wooden floorboards you may discover a small screen playing a video of a woman screaming and burning from below). One of the upstairs bathrooms is covered in wallpaper depicting Marcel Duchamp's Fountain and each stairway has been designed by a different artist.
MoMA Sets An Eye On Europe
In any season, New York City is a magnet for anyone connected with the arts. On the roster for its fall 2006 season, the Museum of Modern (MoMA) in New York, and two of its distinguished curators, have assembled a show that stands out among the many exhibits on view in the city.