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YOSHIO TANIGUCHI, MUSEUM OF MODERN ART, NEW YORK 2003 (ph 2010-2016)
MEZZANINE
THROUGH HALL
INTERNAL BRIDGES
MEZZANINE TO MARION ATRIUM
MARIRON ATRIUM
BRIDGETHROUGH MARRION ATRIUM
MARRIUM ATRIUM BRIDGE
BETWEEN FLOOR AND WINDOW
GAP BETWEEN WALL AND GLAZED WALL
GOUND FLOOR PLAN
GARDEN SOUTH PORTICUS
GARDEN WEST SIDE
GARDEN EAST FRONT
CORNER 54 TH
53TH STREET BOOK STORE
53TH STREET
HALL TO GARDEN
MAIN STAIR TO MEZZANINE FIRST FIGHT (ARTHUR YOUNG, BELL-47D1 HELICOPTER, 1945)
ESCALETORS
""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
RICHARD SERRA, “SCULPTURE FORTY YEARS”, 2006
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)
PH. JHONSON, TEN AUTOMOBILES,1953
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)
POOL BRIDGE
POOL SCUPLTURES AND CHAIRS
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 cittŕ. O forse dove la cittŕ 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 č che l'isola sconosciuta forse non sarŕ nelle carte geografiche, ma č qui in cittŕ. Magari con simpatia verso gli altri visitatori, magari con simpatia verso gli stessi artisti ritratti dalle loro opere"." N. Ventura, 2022
J. TANIGUCHI,TYPE PLAN
THROUGH GALLERIES
THROUGH GALLERIERS WITH FOREGROUND
THOUGH GALLERIE CORNER
CORNER (P.MONDIAN, BRODAWAY BOOGIE WOOGIE, 127X127)
DESIGN SIDE
WALLS WITH SHOW CASES
WINDOW CORNER (MARC CHAGALL, I AN VILLAGE,1911 OIL ON CANVAS 192X151)
CORNER AND WINDOWS (ELLSWORTH KELLY, CHATAM SERIES)
PICASSO WALL DISPLAY, 2014
PICASSO AND CUBISM (P. PICASSO, LES DEMOISELLES D'AVIGNON, 1907 (OIL ON CANVAS,243,9X233,7
PICASSO AND CUBISM (P. PICASSO, LES DEMOISELLES D'AVIGNON, 1907 (OIL ON CANVAS,243,9X233,7
PICASSO GALLERY CORNER AND FOR GROUND
PICASSO FRONT WALL, 2014
CLAUDE MONET, WATERLILIES, 1914
MONET GALLERY
FUTURISM GALLERY (UMBERTO BOCCIONI,1934 BRONZE 112,2X88,5X40)
BRANCUSI PEDESTAL
ARTHUR YOUNG, BELL-47D1 HELICOPTER, 1945
GIACOMETTI PIEDESTAL (ALBERTO GIACOMETTI, LE CHIEN, 1951, BRONZE  46 X 98 X 15)
BARNETT NEWMAN, VIR EROICUS SUBLIMIS OIL ON CAVAS 242,2X541,7)
POP GALLERY
MALEVICH WALL, 2018
SUPREMATIST WALL DISPLAY 2014
SUPREMATISM WALL, 2014
SUPREMATISM WALL, 2016
54TH STREET NORTH SIDE
CITY MIRROR 54TH STREET
STAIRS AND GALLERY STREET VIEW
STREET MUSEUM
REVERSE SHOT (GUADALUPE MARAVILLA, DISEASE TOWER#16, 2021
TICKET AREA
RELAX AREA WAITING TICKETS
BOOKSTORE TO 53TH STREET
VISIBLE TO PASSERBY
SOUTH STAIRS
SOL LEWITT, WALL DRAWING#1144 BROKEN BANDS OF COLOR IN FOUR DIRECTION (SYNTETIC POLYMERPAINT, 244X1100)
FREE HALL TO GARDEN
SCULPTURE GARDEN
DILLER SCOFIDIO&RENFRO, MOMA RENOVATION AND EXPANSION, 2019 (ph.2022)
"This project increases our gallery spaces by 30%, trasforms many our pubblic space into more wellcoming and inviting areas, and better connct the Museum to the urban fabric of midtown Manhattan by creating galleries that open onto the street and providing for a major circulation core that is visible to passerby." G.D. Lowry, 2019
SCOFIDIO&REFRO TYPE PLAN
CIRCLE AND SQUARE T. GARCIA AND P. MONDRIAN
BRANCUSI GALLERY
SURREALISM GALLERY (RENE MAGRITTE, THE MENACED ASSASIN, 1927 (OIL ON CANVAS 150,4X198,2)
JOAN MIRO',THE BIR OF THE BIRTH WORLD,1925 (OIL ON CANVAS)
ACCORDING TO THE LAWS OF  CHANGE
CIRCA 1913 GALLERY
MONET GALLERY
BAUHAUS AND BEYOND (PAUL KLEE, MASK OF FEAR, 1932, OIL ON CANVAS 100X57)
BAUHAUS AND BEYOND
BAUHAUS DESIGN
HENRY MATISSE, THE SWIMMING POOOL, 1952 (GOUACHE ON CUT AND PASTED PAPER ON BURLAP, 9 PANEL MURAL IN TWO PARTS, 230,1X847,8 AND 230,1X796,1)
CIRCLE AND SQUARE T. GARCIA AND P. MONDRIAN
PICASSO ROUSSEAU AND THE PARIS AVANGUARDIE
PICASSO ROUSSEAU AND THE PARIS AVANGUARDIE (HERNY ROUSSEAU,THE DREAMING, 1910 (OIL ON CAVAS 204,5X298,5)
ABSTRACT AND UTOPIA
MALEVICH WALL, 2022
KAZEMIR MALEVICH, WHITE ON WHITE, 1918, OIL ON CAVAS 79X79
"The value of this project is neither more space, nor better space but the new plan it creates to curatorial staff to rethink the experience of Museum." G.D. Lowry, 2019
bauhaus and beyound
picasso rousseau and the paris avanguardie
abstract and utopia
JAMIE BERGOS ON MAIA, THE IMPOSSIBLE III (BRONZE, 80X82,5X53,3)
LOUISE BOURGEOIS, SLEEPING FIFURE (PAINTED BALSA WOOD, 189,2X29,5X29,7
YVES KLEIN, BLU E MONO CHROME, 1961 (DRY PIGMENT OVER PLAY WOOD 198,1X140)
NAM JUM PAIK, ZEN FOR FILM,1965 (16MM FILM LEADER)
DAVID HAMONS, AFRIC AMERICA FLAG,1990 (CANVAS AND GROMMETS, 149,9X240)
ROTCHO AND NEWMANN
MARCO ROTHKO, N-10, 1950, (OIL ON CANVAS, 229,6X145,1),
JACKSON POLLOCK, ONE NUMBER 31(OIL ON CANVAS 269,5X530,8)
LEE KRASNER, GAEA, 1966 (OIL ON CAAVAS 175,3X318,8)
SAM GILLIAN 10 27 69, 1969 (ACRYLIC ON CANVAS,335,6X469,9X40,6)
JAMES ROSENQUIST, F-111 1964-65 ( 23 SECTIONS,OIL ON CANAS WITH ALUMINIUM, 304,8X2621,3)
ATSUKO TANACA, UNTITLE,1964 (ACRILIC ON CANVAS, 333,4X225,4)
KATSUO SHIRAGA,UNTITLED (OIL ON CAVAS 130,8X194)
DAVID LAMELLAS, CORNER PIECE, 1965-2018
BO
LEE UFAN, FRONT LINE,1974 (OIL ON CANVAS, 181,6X227)
out of war
in and of paris
1940-1970
planes of colors
action painting
dived states of america
"The challenge for the Museum is to periodically reinvent itself, to map new space, metaphorically as well as practically; to do this it must be its own several critic." G.D. Lowry, 2019
every day encounters
touching the void
SENGA NENGUDI,RSVP, 1977-2003 (PANTYHOUSE AND SAND, 10 PIECES)
HUGUETTE CALAND, VISAGES, 1979 (OIL ON CANVAS)
ISA GENZKEN, PAINTING, 1989 (CONCRETE AND STEEL, 363X160X77)
SANIJA IVEKOVIC, PERSONAL CUT,  1982 (STANDARD-DEFINITION VIDEO, 4')
MICHELE MAGGIORE, WHAT LOOKS TO DAY, 2000 (ACRYLIC AND PENCIL ON CANVAS, 303,1X341)
DAVID HAMMONS, UNTITLED, 2010 (ACRYLIC AND METALLIC ENAMEL PAINTED ON CANVAS WITH PLASTIC, 350,3X247,3X25,4)
WALKING 1970--TODAY
KIKI SMITH, UNTITLED, 1987.90 (SILVERED GLASS WATER BOTTLES, EACH 52,1X29,3 DIAMETER) (2)
JEFF KOONS, PINK PANTHER,1988
TERRY ADKINS, METHANE SEA, 2013 (WOOD, STEEL, AND TAPE 198,1X101,6X130,7)
RICHARD SERRA, EQUAL2015 (8 BLOKS, WATERPROOF STEEL)
DEANA LAWSON,ASSEMBLAGE 2021 (INSTALLATION OF DYE SUBLIMATION PRINTS WITH SPECIMENT PINS AND PAINT, 243,8X304,8)
art as a verb
body on the line
searhe enigine
1970-TODAY
afer the wall
assembly
the sum of all parts
to live and die in new york
unstable ground
critical fabulation