Ann Temkin assumed the role of Chief Curator of Painting and Sculpture in 2008, after joining The Museum of Modern Art in 2003 as Curator. During her tenure, Ms. Temkin has focused especially on the acquisitions program of the Department of Painting and Sculpture, and on reimagining the Museum’s collection galleries. The acquisitions program has followed a three-pronged approach: to strengthen the holdings of landmark works by modern artists whom the Museum collects in depth; to widen its breadth with works by historical artists new to the department’s collection, especially women, artists of African descent, and artists working outside of Europe and North America; and to collect actively from the new generation of artists working today.
Ms. Temkin is currently preparing an exhibition of the work of Donald Judd. Exhibitions she has organized or co-organized at MoMA include Picasso Sculpture (2015), Robert Gober: The Heart Is Not a Metaphor (2014), Jasper Johns: Regrets (2014); Ileana Sonnabend: Ambassador for the New (2013); Ellsworth Kelly: Chatham Series (2013); Claes Oldenburg: The Street and The Store and Mouse Museum/Ray Gun Wing (2013); Abstract Expressionist New York (2010); Gabriel Orozco (2009); and Color Chart: Reinventing Color, 1950 to Today (2008).
From 1990 to 2003, Ms. Temkin was the Muriel and Philip Berman Curator of Modern and Contemporary Art at the Philadelphia Museum of Art. Her exhibitions there included Barnett Newman (2002), Alice Neel (2001), Constantin Brancusi (1995), and Thinking Is Form: The Drawings of Joseph Beuys (1994), as well as a series of contemporary projects titled Museum Studies. Ms. Temkin is an ex-officio Trustee at the Institute of Fine Arts, New York University and a member of the California Institute of the Arts Board of Overseers. She was born in Connecticut, and received her BA from Harvard University and her PhD in the history of art from Yale University.
Photo: Peter Ross
Claes Oldenburg: Writing on the Side 1956-1969
Published by The Museum of Modern Art, New York.
Edited by Achim Hochdörfer, Maartje Oldenburg, Barbara Schröder, Ann Temkin
Considered a central figure of Pop, installation art, and Happenings, Claes Oldenburg redefined existing notions of art in the 1960s with his landmark environments The Street and The Store, his soft sculptures and his proposals for monuments. Since his arrival in New York in 1956, Oldenburgs prolific production has always been accompanied by a daily practice of writing that reveals the conceptual complexity and diversity of his inventive oeuvre.
Comprising the artists key writings from the late 1950s and 1960s, this volume makes available a wealth of previously unpublished material, including sections of the diary Oldenburg kept during these formative years, his notes (written on an old typewriter in his studio while standing), facsimiles of sketches that show his abiding interest in the relationship between image and language, plus statements, essays, scripts for Happenings and poems. In diverse styles, vivid descriptions of his environment alternate with intimate confessions, humorous anecdotes, psychological observations and self-analysis, characterizations of the art world and its protagonists, and recurring inquests into his own motivations.
This compilation, the first to be dedicated entirely to Oldenburgs writings, shows an artist who is not only resolute, informed, and programmatic--deeply concerned with the art and society of his time--but also witty and playful in his confrontation with his own contradictions and ambiguities. The book provides a unique window into the formation and evolution of one of the most influential and ground- breaking contemporary artists, and a lively personal account of the 1960s.
Born in Stockholm, Sweden, in 1929, Claes Oldenburg grew up in Chicago and graduated from Yale University in 1950. After studying at the Art Institute of Chicago, he settled permanently in New York City in 1956. Oldenburg established himself in the early 1960s with a series of installations and performances, among them The Street (1960), The Store (1961) and The Ray Gun Theater (1962). At the end of the decade, Oldenburg began to fabricate works on a large scale, beginning with Lipstick (Ascending) on Caterpillar Tracks (1969), which was followed by other works such as Geometric Mouse (1969) and Giant Ice Bag (1970). His first architecturally scaled sculpture, the 45-foot-high Clothespin, was installed in downtown Philadelphia in 1976. Soon thereafter, he began working with Coosje van Bruggen, whom he married in 1977. Together they went on to realize 44 site-specific sculptures for cities in the United States, Europe, Japan and Korea.
The Museum of Modern Art, New York
Paperback, 7.5 x 11 in. / 438 pgs / 110 bw.
Pub Date 7/31/2013
Catalog: SPRING 2013 p. 16
List Price: $39.95 CDN $50.00
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