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X-WR-CALDESC:Events for The Drawing Foundation
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DTSTART;VALUE=DATE:20260412
DTEND;VALUE=DATE:20260823
DTSTAMP:20260623T023352Z
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UID:10000179-1775952000-1787443199@thedrawingfoundation.org
SUMMARY:Marcel Duchamp
DESCRIPTION:“Why is this art?” is a question often asked by viewers of contemporary art. It is virtually impossible to answer it without referring to the work of Marcel Duchamp (1887–1968). Over a six-decade career\, Duchamp challenged the very definition of the artwork\, ushering in a new era of creative license—the reverberations of which are still felt today. While resistant to “-isms\,” Duchamp had a hand in modern art movements ranging from Cubism to Surrealism to Pop. His pursuits were marked by continuous reinvention and deliberate inconsistency: “I have forced myself to contradict myself in order to avoid conforming to my own taste.” \nWith its fragmentation of the human form\, Duchamp’s painting Nude Descending a Staircase (No. 2) (1912) produced shockwaves when it debuted at the legendary Armory Show in New York in 1913. His invention of the readymade as a form of sculpture forever altered the parameters of art and authorship\, epitomized by his scandalous work Fountain (1917)\, a mass-produced urinal turned on its side and signed with the pseudonym “R. Mutt.” And his monumental painting-on-glass The Bride Stripped Bare by Her Bachelors\, Even (The Large Glass) (1915–23) liberated painting as a medium from both the canvas and the wall. For the next 50 years\, Duchamp continued to innovate in unexpected ways. For his “portable museum\,” The Box in a Valise (1935–41)\, the artist painstakingly reproduced his life’s work to date in miniature. \nFeaturing some 300 artworks\, this exhibition marks the first retrospective of the artist’s work in the United States since 1973. Scholarship mining the artist’s famously enigmatic work has flourished in the intervening half-century—as have myths and misconceptions. This exhibition offers a sweeping account of Duchamp’s multifaceted career across all mediums from 1900 to 1968\, offering today’s audience the first opportunity to view the full breadth of his creative output. \nMarcel Duchamp is organized by The Museum of Modern Art\, New York and the Philadelphia Art Museum\, with the generous collaboration of the Centre Pompidou. \nThe Exhibition is organized by Ann Temkin\, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture\, MoMA; Michelle Kuo\, Chief Curator at Large and Publisher\, MoMA; and Matthew Affron\, The Muriel and Philip Berman Curator of Modern Art\, Philadelphia Art Museum; with Alexandra “Lo” Drexelius\, Curatorial Assistant\, Department of Painting and Sculpture\, MoMA; Helena Klevorn\, Curatorial Assistant\, Department of the Chief Curator at Large\, MoMA; Danielle Cooke\, Exhibition Assistant\, Philadelphia Art Museum; and Julia Vázquez\, Andrew W. Mellon Postdoctoral Fellow\, Philadelphia Art Museum. \n      \nMarcel Duchamp\, Rotoreliefs (Optical Disks)\, 1935\, published 1953. One from a series of six offset lithographs published by Enrico Donati. Dimensions 7 7/8″ (20 cm).  Edition of 1\,000. Gift of Mr. and Mrs. Howard Sumers Conant. Object number 293.1994.3.  Copyright © 2026 Artists Rights Society (ARS)\, New York / ADAGP\, Paris / Estate of Marcel Duchamp \n 
URL:https://thedrawingfoundation.org/event/marcel-duchamp/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
CATEGORIES:Current,Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250511
DTEND;VALUE=DATE:20250928
DTSTAMP:20250923T134913Z
CREATED:20250402T203709Z
LAST-MODIFIED:20250923T134913Z
UID:10000094-1746921600-1759017599@thedrawingfoundation.org
SUMMARY:Hilma af Klint: What Stands Behind the Flowers
DESCRIPTION:In the spring and summer of 1919 and 1920\, during a period of intense engagement with nature\, artist Hilma af Klint drew flowers almost every day. “I will try\,” she wrote\, “to grasp the flowers of the earth.” This exhibition focuses on a recently discovered portfolio of drawings—jewel-toned watercolors made by a keen-eyed naturalist\, attuned to the rhythms and bounty of the blooming season. \nBreaking with traditional botanical art\, af Klint juxtaposed her exquisitely rendered blossoms with precisely drawn diagrams: a blooming sunflower is echoed by nested circles; a marsh marigold is accompanied by mirrored spirals; a cluster of budding branches is set against checkerboards of dots and strokes. With this profusion of forms—an expansion of the abstract language for which she is best known—af Klint visualizes “what stands behind the flowers\,” demonstrating her belief that careful observation of her surroundings reveals ineffable aspects of the human condition. \nAf Klint imagined her portfolio as an atlas—or in botanical terms a flora—that details the plants of Sweden\, where she lived and worked. Hers\, however\, is a flora of the spirit\, a mapping of the natural world in spiritual terms that would stand alongside any scientific resource. Putting representation and abstraction\, close looking and envisioning\, art and botany into dialogue\, af Klint’s drawings recognize the interconnectedness of all living things. “I have shown\,” she wrote\, “that there is a connection between the plant world and the world of the soul.” \nOrganized by Jodi Hauptman\, The Richard Roth Senior Curator\, Department of Drawings and Prints\, with Kolleen Ku\, Curatorial Assistant\, and Chloe White\, Louise Bourgeois Fellow\, Department of Drawings and Prints. Realized with the participation of the Hilma af Klint Foundation\, Stockholm. \n  \n \n  \nLeadership support for the exhibition is provided by the Kate W. Cassidy Foundation and Kenneth C. Griffin. \nMajor funding is provided by the Dian Woodner Exhibition Endowment Fund\, Jack Shear through The International Council of The Museum of Modern Art\, and by the Eyal and Marilyn Ofer Family Foundation. \nGenerous support is provided by David Bushler and the Helen Frankenthaler Foundation.\nAdditional funding is provided by the Annual Exhibition Fund. Leadership contributions to the Annual Exhibition Fund\, in support of the Museum’s collection and collection exhibitions\, are generously provided by Jerry I. Speyer and Katherine G. Farley\, Sue and Edgar Wachenheim III\, the Sandra and Tony Tamer Exhibition Fund\, the Kate W. Cassidy Foundation\, Alice and Tom Tisch\, the Marella and Giovanni Agnelli Fund for Exhibitions\, The Contemporary Arts Council of The Museum of Modern Art\, Eva and Glenn Dubin\, Mimi Haas\, The David Rockefeller Council\, Anne and Joel Ehrenkranz\, Kenneth C. Griffin\, The International Council of The Museum of Modern Art\, Marie-Josée and Henry R. Kravis\, and Jo Carole and Ronald S. Lauder. Major funding is provided by The Sundheim Family Foundation. \nMajor support for the publication is provided by the Riva Castleman Fund for Publications in the Department of Drawings and Prints\, established by The Derald H. Ruttenberg Foundation\, and by the Kate W. Cassidy Foundation. \nImage: Hilma af Klint (1862-1944)\, Luzula campestris (Field Woodrush)\, Viola hirta (Hairy Violet)\, Viola odorata (Sweet Violet)\, Chrysosplenium alternifolium (Alternate-Leaf Golden Saxifrage)\, Equisetum arvense (Field Horsetail)\, Caltha palustris (Marsh Marigold)\, Ranunculus ficaria (Fig Buttercup)\, Carex sp. (Sedge)\, Sheet 4 from the portfolio Nature Studies. May 9–15\, 1919. Watercolor\, pencil\, and ink on paper. The Museum of Modern Art\, New York. Committee on Drawings and Prints Fund and gift of Jack Shear\, 2022 \n 
URL:https://thedrawingfoundation.org/event/hilma-af-klint-what-stands-behind-the-flowers/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
CATEGORIES:Exhibitions,Past
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