Museum of Modern Art ( MoMA) displays Selections from The Judith Rothschild Foundation Contemporay Collection
New York, NY - The Judith Rothschild Foundation Contemporary Drawings Collection, acquired by the Museum in 2005, is an extraordinary collection of over 2,500 contemporary works on paper. Through a selection of more than three hundred works, this first comprehensive presentation of the gift surveys the various methods and materials within the styles of gestural and geometric abstraction, representation and figuration, and systems-based and conceptual drawings. On exhibition at the Museum of Modern Art ( MoMA) through 4 January, 2010.
 The exhibition brings together historical works by Lee Bontecou and  Joseph Beuys; Minimalist and Conceptual works by Donald Judd and Hanne Darboven;  detailed narrative drawings by Elizabeth Peyton and John Currin; collages by  Amelie von Wulffen, Mona Hatoum, Lucy McKenzie and Paulina Olowska; and  large-scale installations by Nate Lowman and Ján Mancuska, to name just a few.  In its exploration of diverse artistic tendencies at the turn of the  twenty-first century, this exhibition proudly celebrates the panoramic state of  drawing today.
The exhibition brings together historical works by Lee Bontecou and  Joseph Beuys; Minimalist and Conceptual works by Donald Judd and Hanne Darboven;  detailed narrative drawings by Elizabeth Peyton and John Currin; collages by  Amelie von Wulffen, Mona Hatoum, Lucy McKenzie and Paulina Olowska; and  large-scale installations by Nate Lowman and Ján Mancuska, to name just a few.  In its exploration of diverse artistic tendencies at the turn of the  twenty-first century, this exhibition proudly celebrates the panoramic state of  drawing today.
 Artists  today are expanding the traditional definition of drawing beyond merely “a work  on paper,” to include the use of unconventional media. Acclaimed artist Kelley  Walker, for example, has helped to evolve the definition of drawing with his  innovative work in the digital realm. His work nine disasters (Florida City;  Maui; Moran; San Fernando Valley; Anchorage; Kobe; Elba; Los Angeles; TWA Flight  800) (2002), a recent addition to the Museum’s collection, is comprised of  nine digital images of disasters taken from mass media. The images are arranged  in a grid and superimposed with a constellation of circles made by the artist.  Walker stipulates that the images can be reproduced and disseminated as often as  desired and on any variety of materials. In consultation with the artist, the  work was reproduced as wallpaper for the exhibition Compass in Hand—and  it’s also available as a free  download.
Artists  today are expanding the traditional definition of drawing beyond merely “a work  on paper,” to include the use of unconventional media. Acclaimed artist Kelley  Walker, for example, has helped to evolve the definition of drawing with his  innovative work in the digital realm. His work nine disasters (Florida City;  Maui; Moran; San Fernando Valley; Anchorage; Kobe; Elba; Los Angeles; TWA Flight  800) (2002), a recent addition to the Museum’s collection, is comprised of  nine digital images of disasters taken from mass media. The images are arranged  in a grid and superimposed with a constellation of circles made by the artist.  Walker stipulates that the images can be reproduced and disseminated as often as  desired and on any variety of materials. In consultation with the artist, the  work was reproduced as wallpaper for the exhibition Compass in Hand—and  it’s also available as a free  download.
Organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Cornelia H. Butler, The Robert Lehman Foundation Chief Curator of Drawings.
The Museum of Modern Art owns approximately 600 paintings created before 1946 and acquired after 1932, that were or could have been in Continental Europe during the Nazi era. Researchers at the Museum have closely examined, and are continuing to research, the ownership, or provenance, records for works that fall within this category. The majority of these works were acquired directly from the artists or have provenance records that are sufficiently complete to eliminate the likelihood of Nazi misappropriation. Provenance research on these works, however, remains an ongoing project, and a priority, at the Museum.
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