O MY MOMA
In New York last week for a conference. Stopped by the Museum of Modern Art with Rosie who played along as I fooled with my camera and made her my model. As we looked, posed, and shot, she said it reminded her of Degas’ images of Cassatt. Obviously, no one will confuse me with Degas anytime soon, but we had fun. Not sure why the photo with Newman’s Broken Obelisk is so blurry.
Taking a picture of art at MOMA used to be like trying to snap a shot of the Pope in his undewear. The new user friendlier MOMA lets you shoot away as long as the work isn’t on loan. It is a much more laid back place than the old MOMA, and as a result we spent half a day there.
I’m not normally a big fan of PDA’s, but this one seemed worth capturing. I like how the Calder works like mistletoe. And I love Yoshio Taniguchi’s building. It surrounds you with natural light and even city views without letting either upstage the art. More pictures of it later.
This Bill Viola video/sound installation felt like it was about life and time, birth/death (maybe). You walk into a dark, seemingly infinite room. The figures you see are upside down film projections of people falling into and floating in water. Their reflections are right side up in rectangular pools on the floor (can’t see them here). A soundtrack recorded under water put me into almost a meditative state until a body would suddenly splash into the water in one of the frames with the sound of a tidal wave. I always feel like I’m in a religious space when I view Viola’s work.
I know that last shot isn’t great. There’s no way a still photo can capture Viola’s work, but I’m still proud that my camera took one that was even this clear. I have no idea what setting I used because it was so dark.