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Stockholm's venerable Moderna Museet celebrates its fiftieth anniversary in 2008. After half a century, this book looks not only back, but forward as well--to critically examine what the museum's future influence should be. When it opened in 1958, Moderna Museet was an instant major player in the development of international Modern art--legends abound about its history-making parties and the important conversations and transactions that have taken place inside its walls. This volume accounts many of these anecdotes and analyzes their import with a fresh perspective. More than a dozen esteemed writers, historians and curators--including Eva Eriksson, Maria Görts and Annika Gunnarsso--emphasize three main points of inquiry in 14 incisive essays, including the Moderna Museet's history and the development of its collections, ways in which the museum's key exhibitions have impacted the history of art and the museum's international profile and reputation.
At once radical, controversial and revered, Marina Abramovic is the progenitor of contemporary performance art At once radical, controversial and revered, Marina Abramovic is one of the most discussed artists today. Famous for her groundbreaking performance works, she continues to expand the boundaries of art. This publication, accompanying her first major retrospective in Europe, gives an extensive overview of her work from the earliest years until today: film, photography, paintings and objects, installations and archival material. Since the early 1970s Abramovic has explored the intersection between performing and visual art in her work and, though rarely overtly political, posed questions of power and hierarchy. In addressing fundamental issues of our existence and seeking the core of such notions as loss, memory, pain endurance and trust, she both provokes and moves.
Pontus Hultén was one of the major museum directors, nationally and internationally, in his time. He built up important art institutions, primarily Moderna Museet Stockholm, the Centre Georges Pompidou, Paris and Palazzo Grassi, Venice. Hultén put on a series of pioneering exhibitions, introducing art of importance that was not always already established at Moderna Museet in the 1960s. The artists were among others Robert Rauschenberg, Andy Warhol, Niki de Saint Phalle and Jean Tinguely. As artistic director at Centre Georges Pompidou he curated major exhibitions in the 1980s, among them a series of exhibitions on early modernism in Paris in relation to the modernism of Moscow, New York and Berlin at the time.
Once considered an outsider artist, after her show at the Guggenheim Museum was seen by more than half-a-mil-lion visitors, Hilma af Klint firmly established her place in art history. She has also been the subject of documenta-ry films and biographies. In 2013, Iris Müller-Westermann organized the first institutional exhibition of af Klint's work. Now she presents us with the latest information and research in an extensive survey show at the Moder-na Museet in Malmö. Of crucial importance is the issue of spirituality in af Klint's painting-how she managed to translate both the material and the immaterial world into a pictorial vision. The accompanying exhibition catalogue is the first to investigate, from a variety of perspectives, the question of how this trailblazing abstract artist linked her painting to a higher consciousness. Essays by leading historians of theosophy and a quantum physicist, among others, provide enlightening insight into a world in which both the visualization of atoms and spiritual séances alike became artistic material-a world that fascinates us even more than ever.
In this groundbreaking examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York.