December 10, 1997 |
What is likely to be the most important American architectural commission of the next several years went to Yoshio Taniguchi, 60, an architect little known outside his native Japan. The Museum of Modern Art in New York on Monday unveiled Taniguchi's preliminary design for an expansion, which may ultimately more than double the museum's 180,000 square feet of exhibition space. Taniguchi was chosen after a controversial 18-month process. The museum first did a worldwide search, then invited 10 architects to submit conceptual design ideas.
February 7, 1993 |
I suppose it could be argued that we brought it all on ourselves by waiting until the penultimate week of the Matisse retrospective to plan a trip to New York. But then we would have missed finding out how the museum hot-ticket world works. The show has closed now, but the lessons we learned will be useful in dealing with the next New York blockbuster. When you call the Museum of Modern Art (MoMA) from Philadelphia, you get one of those elaborate multiple-choice recordings that eventually tells you what you need to do to get tickets for the exhibit.
August 8, 1996 |
Here in the rolling country of the northern Poconos, Marlon Brando is trapped in a metal canister, in a room as stark and gray as a prison cell. So, too, is his Godfather costar Al Pacino, locked in a vault maintained at a bone-chilling 36 degrees. And just a stone's throw away, down a gravel road that curves around a broad, sloping meadow, Lillian Gish and Charlie Chaplin sit, neatly stacked, in a building where the air conditioning thrums at a constant 45 Fahrenheit. Of course, these fabled movie thespians and other legends from the 100-year history of the medium aren't really here.
November 21, 2004 |
Over the last four years, the Museum of Modern Art, the preeminent repository of modern art in the world, spent a staggering amount of money - $425 million in construction and renovation costs alone - to create a new home for its collections in midtown Manhattan. The new MoMA is 60 percent larger than the facility it replaces, although the area devoted to exhibitions grew by only 47 percent. The total bill for the project, including property acquisition, establishing an interim museum in Queens, and building an endowment, is an even more mind-boggling $858 million.
October 26, 2011
THE GIZMO: Two "show pieces" for your high-res TV screen and home theater sound system earn our roaring approval. BRING IT ALL HOME: If you were a Bill Gates, you might buy the great Corbis Collection of art and photo images (as Mr. Microsoft actually did), in part to display the works on your big-screen sets. If you were a Warren Buffett, you could commission great musicians to perform for parties in your living room. But for the rest of us, fine-art images and a state-of-the-art concert performance that grandly show off a high-resolution TV screen and surround-sound system are now just a Blu-ray disc away, thanks to Screen Dreams' collection "MoMA: 50 Masterworks From the Collection" and the coolest 3-D video concert ever captured, Peter Gabriel's "New Blood Live in London," just out from Eagle Rock.
July 14, 2008 |
Wearing a flawlessly pressed white dress shirt, navy slacks and hard hat, Philadelphia architect James Timberlake hoisted himself onto an aluminum beam of his firm's latest construction project, a four-story, see-through, energy-efficient plastic house. The pioneering creation, improbably wedged among the skyscrapers of 53d Street, is about to change everything for his firm, KieranTimberlake Associates. Dubbed Cellophane House, the structure is one of five full-size houses commissioned by the Museum of Modern Art for its summer show, "Home Delivery" - a major survey of the state of house-building - and erected on an asphalt lot two doors west of the museum.
September 17, 1987 |
In New York and Washington, the new art season is already under way. Major photography shows, for Henri Cartier-Bresson and Edward Weston, opened last week in New York, while at the National Gallery of Art in Washington, a major exhibition for the French impressionist Berthe Morisot and a smaller one for the American painter William Merritt Chase have been up for more than a week. The Cartier-Bresson show, at the Museum of Modern Art, examines the Frenchman's work during the early 1930s, when he first used a 35mm Leica camera.
April 9, 1992 |
The Germans wore gray, Ingrid Bergman wore blue. . . Oops, that's the colorized version of Casablanca, the classic tinted by Ted Turner in 1988. Restored to sparkling black-and-white, the 1942 film romance celebrated its 50th birthday Tuesday night at the Museum of Modern Art (MoMA). There, Atlanta's Ted Turner and Morocco's King Hassan II (a royal emissary, anyway) hosted a gala screening of the movie that will be rereleased in selected cities tomorrow. A Philadelphia run is planned, though an opening date has not yet been scheduled.
October 13, 1991 |
This decade had no sooner begun than art historians, who are no less enamored of instant replay than the rest of us, set briskly to work trying to figure out what the last decade was all about. So eager were they to make sense of the turbulent '80s that they didn't even wait for the '90s to begin before setting to their task. How do we know? Because just one month into 1990, the Hirshhorn Museum and Sculpture Garden in Washington gave us this decade's first review of its predecessor, an exhibition called "Culture and Commentary.
September 24, 2011 |
Harry Eastlack, whose tissue turned to bone, lives again. So, too, do Chang and Eng Bunker, the Siamese twins who fathered 21 children between them. And Chenallier, a 19th-century French basket-maker whose tumor was so large it resembled a giant pillow - all have been returned to life, in a manner of speaking, in "Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum). " This cinematic celebration of the "cruel beauty" of the vast collection of objects housed at the Mütter had its world premiere Thursday evening, as several hundred guests were treated to Stephen and Timothy Quay's unique take on the museum's trove of medical oddities and marvelous, albeit morbid, artifacts.