O.M.A., Rem Koolhaas, Charrette Submission for The Museum of Modern Art Expansion, New York, NY. 1997. A bracing critique of the new Diller, Scofidio + Renfro expansion by Jason Farago at Frieze.
STATEMENT ON MAY 11, 1970
I am going thru hard times: In the shadow of real recent converging, passing, pressing, milling, swarming, pulsing, changing in this country, formalized choreographic gestures seem trivial.
In recent performances I have allowed for elements to emerge that pertain to actual ways in which we engage with each other. But like any group we will lose our vitality if these “engagements” remain fun and games.
I am not interested in group therapy as performance, but I am still interested in performance.
I experience a strong sense of risk when I think about what lies ahead. I never did before. My conditioning — with its powerful imperatives of history, ambition, imagination, quality and control — lurks ever in my peripheral vision.
Maybe fuck it."
— Yvonne Rainer, as published in the MOMA catalogue Information, 1970
Habima Players as directed by Evgeny Vakhtangov in The Dybbuk, 1922.
In his recent book What Was Contemporary Art?, Richard Meyer discusses the young Alfred Barr taking his Wellesley art history seminar (in 1927, perhaps the first true course in ‘contemporary art’) to a performance of the Expressionist play, along with visits to the newly opened Necco Wafer factory, the Boston Motor-Mart and the five-and-dime.
9999 (Giorgio Birelli, Carlo Caldini, Fabrizio Fiumi, Paulo Galli), Bedroom of the Vegetable Garden House — project for 1972 MoMA catalogue and exhibition, 1972
Kelley Walker, nine disasters (Florida City; Maui; Moran; San Fernando Valley; Anchorage; Kobe; Elba; Los Angeles; TWA Flight 800), (2002)
Max Pechstein, Max Raphael, c. 1910 — a portrait of the Polish-German Marxist art historian at the age of 21, or thereabouts — from MOMA’s collection.