MoMA: FROM HECKSCHER BUILDING (1929) to SCOFIDI&RENFRO (2019)

A. BARR JR: “MEMORIAL EXHIBITIONS, THE COLLECTION OF THE LATE MISS P.BLISS” HECKSCHER BUILDING, 1930

A. BARR JR: “ART IN OUR TIME TENTH ANNIVERSARY EXHIBITION” P.GOODWIN, E.STONE, MOMA BUILDING, 1939

Y.TANIGUCHI, NEW YORK: “C. MARRON ATRIUM”

GOODWIN&STIONE, MAIN ENTRANCE 53 TH STREET,1939

J.TANIGUCHI, MAIN ENTRANCE, 53TH STREET, 2005

SCOFIDIO&RENFRO, MAIN ENTRANCE 53TH STREET, 2019

J. TANIGUCHI,54 TH STREET VIEW FROM W, 2005

J. TANIGUCHI, 54TH STREET VIEW FROM E, 2005

J. TANIGUCHI,ENTRANCE 54TH STREET, 2005T

""In un appartamento di sei stanze al dodicesimo piano dello Hekscher Building, "The Ladies" inaugurano nel Novembre 1929, con la direzione di Alfred H. Barr Jr, "Cézanne, Gauguin, Seurat, van Gogh", la prima delle esposizioni previste nei successivi due anni dall'appena istituito Museum of Modern Art."" N. Ventura, 2021

"The three principal museum typologies of nineteenth century are the temple, the palace, and the exposition hall". G.D. Lowry 1998

A.H BARR JR, 1929-1949

""All'architettura di Goodwin&Stone in dichiarato international style segue l'espansione di Jonhson che guarda al Mies americano, poi Pelli si rivolge alla serra per distendere verso il giardino l'edificio di Goodwin&Stone e insieme collegarsi alla Museum Tower." Nel 1949, A.Barr jr, viene sostituito nella direzione da R.D' Hanouncourt." N. Ventura, 2022

R. D'HANOUNCOURT 1949-1967

"The primary purpose of the Museum is to help people to enjoy, understand and use visual arts of our time." A.Jr. Barr, 1929

"he (R. D'Halancourt "learned" the artworks by sketching them, and then he amassed them with the intention "to relate the individual pieces to their cultural and/or artistic neighbors…in other words, to assemble objects that had some affinities."

"The Museum of Modern Art is a laboratory: in its experiments the pubblic is invited to partecipate." A. Jr Barr, 1939

"The museum's midblock location distinguishes it from other major New York city museums, most of which are located on the wider avenues and farther to the north. As a "street museum", it is not identified as an object surrounded by space, but as a part of the streetscape". G.D. Lowry, 1998

1929-1939 The first ten years
1940-1953 The Road to Victory
1954-1963 Master of Modern Art
1965-1972 Word and Image
1973-1984 Trasfomations
1985.1994 Allegories of Modernism
1995-2004 Modern Contemporary

""Con l'intervento di Taniguchi, lo street museum è diventato the dual street museum tra la 53th e la 54th, quasi una avenue pedonale "passante", di libera circolazione. Scofido&Renfro hanno proposto nuovi spazi alla città,dal giardino a sale di accoglimento sia verso la 53th street presso la biglietteria e il bookstore, sia affacciate sul giardino"." N. Ventura, 2022

G. D. LOWRY 1995-2025

“GIACOMETTI PIEDESTAL” (ALBERTO GIACOMETTI, LE CHIEN, 1951, BRONZE 46 X 98 X 15)

MAIN STAIR TO MEZZANINE FIRST FIGHT (ARTHUR YOUNG, BELL-47D1 HELICOPTER, 1945)

""Al piano terra, lo street museum diviene the dual street museum tra la 53th e la 54th, quasi una avenue interna "passante" , sia pure di sezione ridotta, di libera circolazione come una strada urbana dove si affacciano locali per il teatro e per il cinema, oltre ai desk di informazione e biglietteria"" N. Ventura, 2022

"four guiding or, indeed, foundational principles: continuity, intimacy, privacy, and this notion of seamless whole.(…)

Continuity influence the notion of narrativity and involves the way in which art is shown;

intimacy is always culturally mediated;

privacy involved the relationship of the viewer to the work of arts;

the notion of seamless whole, which is giving way to complexity (and then, ndr) to globalization and virtualization."
M. Taylor,1998

"The Museum recognize it cannot expand by simple enlarging the model that has guided it during past decades. It is too complex an institution, and the history of modern art is now too long and too varied to be told within the intimate, domestic-scale galleries and buildings that currently characterize the Museum. This does not means abandoning the sense of intimate that makes the Museum such an enjoyable place to visit; but it does mean realizing that intimacy is both a function scale and perception, and that in future we will have to rely on the clarity and intelligence of the architecture to provide a variety of spaces, which is and of themselves retain a feeling of intimacy, even if the whole is no longer of modest scale". G.D. Lowry, 1998

"" ,

YOSHIO TANIGUCHI, MUSEUM OF MODERN ART, NEW YORK 2003 (ph 2010-2016)

FROM HECKSCHER BUILDING (1929) to SCOFIDIO&RENFRO (2019)

R. D'HANOUNCOURT 1949-1967

""Con l'intervento di Taniguchi, lo street museum è diventato the dual street museum tra la 53th e la 54th, quasi una avenue pedonale "passante", di libera circolazione. Scofidio&Renfro hanno proposto nuovi spazi alla città,dal giardino a sale di accoglimento sia verso la 53th street presso la biglietteria e il bookstore, sia affacciate sul giardino"." N. Ventura, 2022

POOL AND TREES (PABLO PICASSO, SHE-GOAT, 1950, BRONZE, 117.7 X 143.1 X 71.4)

PEOPLE STANDING IN THE GARDEN (KATHARINA FRITSCH. FIGURENGRUPPE, 2011,BRONZE, COPPER, AND STAINLESS STEEL, LACQUERED)

WHITE GLASS FOREGOUND (HENRY MOORE, FAMILY GROUP, 1949, BRONZE 1,50X1,18 X76)

WHITE SQUARE FOREGROUND (ALBERTO GIACOMETTI, GRANDE FEMME DEBOUT II, 1959, BRONZE 277 X 31,00 X 58,7)

BLACK GLASS FOREGOUND (CLAES OLDEBURG, GEOMETRIC MOUSE-SCALE A, 1975 PAINTED STEEL AND ALUMINIUM, 396,6X381X452,8)

WATER JETS AND R. SERRA (RICHARD SERRA, BERLIN BLOCK FOR CHARLIE CHAPLIN, 1972, COR-TEN STEEL 200X200X200)

WHITE AND GLAA FOREGROUND(ELLSWORTH KELLY, GREEN BLU 1968, PAINTED ALUMINIUM)

POOL AND E. KELLY WALL FOREGROUND (ELLSWORTH KELLY GREEN BLUE 1968, PAINTED ALUMINIUM)

MAN AND OBELISK (BARNETT NEWMAN, BROKEN OBELISK, 1963, COR TEN STEEL, 749.9 X 318.8 X 318.8)

YOSHIO TANIGUCHI, THE A.A. ROCKFELLER SCUPLTURE GARDEN, NEW YORK 2003 (ph 2010-2016)

"Our garden has grown and shark and changed, but has been a focal point of definition for the museum." G. D. Lowry, 1998

""Qui allo Sculture Garden, quando i tempi si dilatano, i frequentatori amano sentirsi abitanti. Di un angolo di città. O forse dove la città si incontra e incontra l'arte per riconoscersi. Scrive Saramago: "se non esci da te stesso, non puoi sapere chi sei". La scommessa del MoMA è che l'isola sconosciuta forse non sarà nelle carte geografiche, ma è qui in città. Magari con simpatia verso gli altri visitatori, magari con simpatia verso gli stessi artisti ritratti dalle loro opere"." N. Ventura, 2022