Modern Art
Museum of Modern Art in New York exhibits work of left-wing German artist: Käthe Kollwitz
Käthe Kollwitz, Museum of Modern Art, New York, March 31-July 20, 2024
“If my works continue to make such an impression—even after decades—then I will have achieved a great deal.”
The prints of Käthe Kollwitz (1867-1945)—intaglio etchings, lithographs and woodblocks—have been widely displayed in a variety of contexts over the century since their creation. However, the Museum of Modern Art’s recent exhibition, Käthe Kollwitz, which ended July 20, was the first museum retrospective in New York exclusively dedicated to her entire body of work.
It included her three main suites of prints—A Weavers’ Revolt (created between 1893 and 1897), Peasants War (1902-1908), and War (1921-22); Woman with Dead Child (1903) together with several proofs; her monumental woodblock In Memoriam Karl Liebknecht (1919) of the murdered leader of the failed German Revolution; and many riveting self-portraits she made over the course of her life. The show also included preparatory drawings and revised proofs offering insight into her creative process, as well as sculptures, posters and more.
Read more: https://www.wsws.org/en/articles/2024/07/22/ctsc-j22.html
Exhibition-making could be seen as a mathematical equation, with the artists, curators, and institutions on one side of the equal sign, and the exhibition as the solution. But one variable is often ignored. ‘Exhibition design is not particularly ‘seen’ in the artworld,’ explains Berlin-based architect Johanna Meyer-Grohbrügge.
For almost ten years, Meyer-Grohbrügge has been designing exhibitions for institutions including the Bauhaus Museum in Dessau and the Museum of Modern Art in Warsaw, as well as events such as the Berlin Biennale 2020. She has also created spaces for galleries and foundations, including the Julia Stoschek Foundation in Berlin. She sees herself as an equal partner in a ‘conglomerate of curators, artists, and museums,’ but, she tells me, ‘I’m not mentioned in many articles about [the] exhibitions [I design].’ Detlef Weitz has had similar experiences. The exhibition designer, who, with Sonja Beeck, runs Chezweitz, an office for museal and urban scenography in Berlin, says: ‘We do feel very valued by the museums we work with, but most art writers barely know our profession exists.’
The intersection of technology and art has always sparked transformation and innovation. In recent years, the rise of artificial intelligence (AI) has revolutionized the way artists create and engage with their work. This article explores the profound impact of AI on modern art in the USA, highlighting key themes, challenges, and the fascinating relationship between creativity and technology.
Understanding AI ArtAI art refers to artwork that is generated by algorithms and machine learning systems. These technologies can analyze vast datasets, recognize patterns, and produce original pieces that can mimic human creativity. Within the realm of modern art in the USA, AI art is disrupting traditional notions of authorship, creativity, and the role of the artist.
Read more: https://menafn.com/1108603667/The-Impact-Of-AI-On-Modern-Art-In-The-USA
Modern Art
Culture, Kinship and Keratin: Behind the Scenes of Hair Pieces at Heide Museum of Modern Art
“I’ve been interested in curating a project on the phenomenon of hair for quite a number of years,” says Melissa Keys, senior curator at the Heide Museum of Modern Art. “Hair has always had a presence and played a role in art, and it’s obviously important to people for their identities and everyday lives.”
That artistic presence will be on display in the museum’s fascinating new exhibition, Hair Pieces, which runs until October 6. An evocative and multisensory experience, it brings together works by 38 artists, both contemporary and historic, to examine the possibilities of hair as a source of artistic inspiration and cultural commentary.
