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FY2014 Annual Listing

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FY2014 Annual Listing 2013 2014 Annual Listing 2013 1 2014 Letter from the Director The past year was a busy and exciting one for The Museum of Modern Art, with a wide range of acquisitions, exhibitions, programs, publications, and digital initiatives bringing MoMA’s renowned collection and research to audiences worldwide. MoMA welcomed over three million visitors to the galleries, and we extended our hours to seven days a week. As our audiences become more global, mobile, and wired, we have been increasing virtual access to our collection and programs to create a MoMA community that is truly international, with 27 million people visiting MoMA. org and MoMAstore.org, and millions more connecting with MoMA via our apps and social media channels. This was a strong year for the collection, with the acquisition of approximately 1,100 works of art in all mediums. Large-scale sculptures by Isa Genzken (Rose II) and Thomas Schütte (United Enemies I) now grace our Sculpture Garden, with key works by Paul Gauguin, Steve McQueen, Mark Manders, Robert Rauschenberg, Gerhard Richter, Richard Serra, Kiki Smith, and Sarah Sze, as well as our first app and six pioneering video games, also entering the collection. We were very fortunate to receive some 200,000 images from the Harry Shunk and Shunk-Kender Photography Collection, donated by the Roy Lichtenstein Foundation to a five-museum consortium that includes MoMA. Over the past 12 months MoMA presented more than 40 exhibitions, including five of the Top Ten Most Popular Exhibitions in New York for 2013 (The Art Newspaper)— more than any other institution. Among these were retrospectives celebrating the work of Lygia Clark, Sigmar Polke, Isa Genzken, Robert Heinecken, Le Corbusier, Dante Ferretti, Bill Brandt, and Christopher Williams; and explorations of pivotal moments in the careers of Edvard Munch, John Cage, Walker Evans, Jasper Johns, Ellsworth Kelly, Isaac Julien, Paul Gauguin, Dorothea Rockburne, Frank Lloyd Wright, and René Magritte. The New Photography series and MoMA’s Performance Program brought a diverse array of contemporary perspectives to the galleries—sometimes in unexpected places. Among the highlights at MoMA PS1 were EXPO 1: New York, a cross-departmental collaboration with MoMA that was also presented in an adapted version in Brazil; and a Mike Kelley retrospective that drew record attendance. Key research initiatives included the establishment of The Museum Research Consortium—a new partnership with the graduate art history programs of five major universities—and the Contemporary and Modern Art Perspectives program (C-MAP), in which MoMA curators conducted research trips to Brazil, Eastern Europe, and Asia over the past year. Research is a key part of MoMA’s conservation efforts, and this year saw the return of Jackson Pollock’s iconic One: Number 31, 1950 to the galleries after important study and treatment, and the discovery of a hidden painting under Rene Magritte’s The Portrait. This year we will launch Object:Photo, an interactive website that brings together four years of curatorial and conservation research on over 300 photographs in MoMA’s Thomas Walther Collection. 2 MoMA’s staff is one of its greatest assets, and this year MoMA appointed several key new members including Stuart Comer (previously Curator of Film, Tate Modern) as Chief Curator in the Department of Media and Performance Art; Martino Stierli as The Philip Johnson Chief Curator of Architecture and Design (beginning March 2015); veteran New York Times film journalist Dave Kehr as Adjunct Curator in the Department of Film; Darby English (Starr Director of the Research and Academic Program at the Sterling and Francine Clark Art Institute) as Consulting Curator in the Department of Painting and Sculpture, whose expertise will build upon the Museum’s holdings of works by black artists; and Fiona Romeo, our inaugural Director of Digital Content and Strategy. Addressing natural confluences across the collection, the Department of Drawings and Prints was created by merging these two areas, and is now headed by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints. Digital initiatives have expanded in every way across the Museum, including the launch of our new award-winning iPhone app and Audio+ mobile guide; Design and Violence, an online curatorial project offering some of the most engaging, provocative, and vital conversations on this important topic; the Museum’s first digital-only publication, Picasso: The Making of Cubism 1912–1914; and award- winning online courses like Catalysts: Artists Creating with Sound, Video, and Time. As MoMA’s social-media presence continues to grow through our Facebook (approx 1.7 million fans), Twitter (nearly two million followers), and Instagram (approx. 400,000) accounts—as well as on our blog and other channels—we are finding new ways to share and engage with our diverse audiences. In the year ahead, we will continue to work with the architectural firm Diller Scofidio + Renfro on our current renovation and expansion project. With even 30% more space for MoMA’s collection and exhibitions, we’ll be able to expand our programming, present transformative acquisitions made in the last decade, and bring together works in all mediums in new and unexpected ways to share the ever-expanding story of modern and contemporary art. Through reconceived and increased public spaces and galleries for our continually changing exhibitions, performances, films, and educational programs, and more enlivening, participatory experiences, MoMA will bring art and people together more effectively than ever before. This remarkable year was made possible by our generous and committed Board of Trustees, our talented and dedicated staff, and the support of members, sponsors, visitors, and friends like you. We look forward to a busy holiday season, and hope that you will be able to visit our hugely successful current exhibitions exploring the work of Henri Matisse, Robert Gober, and Sturtevant. I thank you all for your continued loyalty and enthusiasm and look forward to another exciting year at the Museum. Glenn D. Lowry 3 Architecture and Design A total of 246 works were acquired by the Department of Architecture and Design. This includes 68 architectural drawings, 12 architectural models, 26 architectural photos, 12 design objects, and 124 graphic design works. ARCHITECTURAL DRAWINGS Mario Gandelsonas, Diana Agrest. Oro Azul Pavilion, Feria Anual de la Industria Argentina, Buenos Aires, ARO (Architecture Research Office) with dlandstudio. Argentina. 1969. Ink on paper. Gift of the architects A New Urban Ground, project. 2010. Pigmented inkjet print, 24 x 34" (61 × 86.4 cm). Committee on Mario Gandelsonas, Diana Agrest. Oro Azul Pavilion, Architecture and Design Funds Feria Anual de la Industria Argentina, Buenos Aires, Argentina. 1969. Ink on vellum, approx. 6 x 6". Gift of ARO (Architecture Research Office) with dlandstudio. the architects A New Urban Ground, project. 2010. Pigmented inkjet print, 24 × 28 ¼" (61 × 71.8 cm). Committee on Mario Gandelsonas, Diana Agrest. Oro Azul Pavilion, Architecture and Design Funds Feria Anual de la Industria Argentina, Buenos Aires, Argentina. 1969. Ink on vellum, approx. 10 x 6". Gift of ARO (Architecture Research Office) with dlandstudio. the architects A New Urban Ground, project. 2010. Pigmented inkjet print, 24 × 33" (61 × 83.8 cm). Committee on Mario Gandelsonas, Diana Agrest. Building as Classifier, Architecture and Design Funds project. 1919–76. Ink and colored pencil on vellum, 26 ½ × 26 ½" (67.3 × 67.3 cm). Gift of the architects ARO (Architecture Research Office) with dlandstudio. A New Urban Ground, project. 2010. Pigmented inkjet Mario Gandelsonas, Diana Agrest. Building as Classifier, print. 24 × 23 ½" (61 × 59.7 cm). Committee on project. 1919–76. Ink and colored pencil on paper, Architecture and Design Funds 26 ½ × 26 ½" (67.3 × 67.3 cm). Gift of the architects ARO (Architecture Research Office) with dlandstudio. Mario Gandelsonas, Diana Agrest. Building as Classifier, A New Urban Ground, project. 2010. Pigmented inkjet project. 1919–76. Ink, pencil, and colored pencil print, 24 × 19 ¾" (61 × 50.2 cm). Committee on on vellum, 36 × 26 ½" (91.4 × 67.3 cm). Gift of the Architecture and Design Funds architects Centrala Architects, Jakub Szcze˛sny. Keret House, Kengo Kuma & Associates. GC Prostho Museum Warsaw, Poland. 2012. Ink on paper, 11 11/16 × 16 ½" Research Center, Kasugai, Aichi, Japan. 2010. Pencil (29.7 × 41.9 cm). Gift of the architect on tracing paper, 16 ½ × 11 ¾" (41.9 × 29.8 cm). Gift of the architect Centrala Architects. Keret House, Warsaw, Poland. 2012. Ink on paper, 11 11/16 × 16 ½" (29.7 × 41.9 cm). Kengo Kuma & Associates. Asakusa Culture Tourist Gift of the architect Information Center. 2012. Pencil on tracing paper, 16 ½ × 11 ¾" (41.9 × 29.8 cm). Gift of the architect Mario Gandelsonas, Marta Minujin. Transformador de Cuerpos, Buenos Aires, Argentina. 1966. Pencil and MOS Architects. Museum of Outdoor Arts Element ink on paper, 28 ½ × 42" (72.4 × 106.7 cm). Gift of the House, Star Axis, New Mexico. 2008–13. Digital C-print, architects 18 × 18" (45.7 × 45.7 cm). Gift of the architects Mario Gandelsonas, Marta Minujin. Transformador de MOS Architects. Museum of Outdoor Arts Element Cuerpos, Buenos Aires, Argentina. 1966. Ink on paper, House, Star Axis, New Mexico. 2008–13. Digital C-print, 29 × 39" (73.7 × 99.1 cm). Gift of the architects 18 × 18" (45.7 × 45.7 cm). Gift of the architects Mario Gandelsonas, Marta Minujin. Transformador de MOS Architects. Museum of Outdoor Arts Element Cuerpos, Buenos Aires, Argentina. 1966. Pencil and House, Star Axis, New Mexico. 2008–13. Digital C-print, ink on paper, 18 ½ × 21" (47 × 53.3 cm). Gift of the 18 × 18" (45.7 × 45.7 cm). Gift of the architects architects MOS Architects. Hilary Sample. Michael Meredith. Mario Gandelsonas, Diana Agrest. Oro Azul Pavilion, Museum of Outdoor Arts Element House, Star Axis, Feria Anual de la Industria Argentina, Buenos Aires, New Mexico.
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