273 35 45MB
English Pages 400 [418] Year 1999
AHistory of
Exhibition
the Museum of Modern
Installations
Art
at
A. History of Exhibition Installations at
the Museum of
Modern Art
Mary Anne Staniszewski
The MIT Press
Cambridge , Massachusett Londo
E n, ngland
!i
F~rst
MIT Press paperback ed1t1on, 2001
0 1998 Massachusetts Institute of Technology All nghts reserved. No part of th1s book may be reproduced 1n any form by any electronic or mechan1cal means (mcluding photocopymg, record1ng. or mformauon storage and retneval) w1thout permiSSIOn m wnt1ng from the publisher Th1s book was set 1n Franklin GothiC by Graph1c CompOSition. Inc and was prmted and bound 1n the Umted States of Amenca. Library of Congress Catalog1ng-1n-Publicat10n Data Stamszewsk1, Mary Anne The power of d1splay · a h1story of exh1b1t1on mstallauons at the Museum of Modern Art 1 Mary Anne Stamszewski.
p
em .
Includes b1bhograph1cal references and 1ndex. ISBN 0-262·19402·3 (he alk. paper). 0-262·69272-4 (pb) 1 Museum exh1b1ts-New York (State)-New York- History. 2 Museum of Modern Art (New York. N.Y.) I. Museum of Modern Art (New York. N.Y.) II. T1t1e . N620.M9S83
1998
709' .04 '007 4 7471-dc21
98 7880 CIP
List of Illustrations -+ VIii Acknowledgments -+ xiv Introduction Installation Des1gn : The · unconscious" of Art Exh1b1t1ons -+ XIX
1
Fram1ng Installation Design: The International Avant-Gardes -+ 1
2 Aesthet1c1zed Installations for Modernism. Ethnographic Art. and ObJects of Everyday L1fe -+ 59 3 Installations for Good Des1gn and Good Taste -+ 141 4
Installations for Polit1cal Persuasion -+ 207
5 Installation Des1gn and Installation Art -+ 261 6 Conclusion· The Museum and the Power of Memory -+ 289
Notes -+ 310 Bibliography -+ 344 Reproduction Credits -+ 360 Index-+ 362
List of Illustrations
1.12 Rodchenko. Worker's Club. on ExposrtiOn lnternatronale des Arts Decoratrfs et /ndustrtels Modernes (19251 15
1.13 Lossotzky. Abstract Cabmet (1927. 1928) 17 1.14
·Gallery 44" of Hanover Landesmuseum. after Dorner's reorganozatoon
(ca late 1920s) 18
1.15
'Gallery 43" of Landesmuseum. before Dorner"s reorganozatoon (ca early
1920s) 18
1. 16 "Dome Gallery· of Landesmuseum. first exhobotoon after Dorner's reorganoza toon (1930) 19
1. 1 Varnedoe woth Neuner. paontong and sculpture gallenes. MoMA (1997) xx 1.17 "Dome Gallery." Reformatron Exhrbrtron. Landesmuseum (1917) 19 1.2 lnstallatoon photograph of MoMA's first exhobotoon. Cezanne. Gaugum, Seurat.
van Gogh (1929)
XXIV
1.1 8 Renaossance Gallery of Landesmuseum. after Dorner's reorganozatoon (after 1925) 20
1.3 Photographong exhobotoons wothout voewers xxv
1. 19 Moholy·Nagy. drawong. The Room of Our Trme (ca. 1930) 21 1.4 A pubhcoty photograph of an exhobotoon xxvo
1.20 Koesler. detaol of wall honges. Surrealrst Gallery (1942) 22 1.5 The museum as commercoal space xxvo
1. 21 Ftrst lnternattonal Dada Fatr(1920) 23 1.6 Choldren's exhobotoon xxv11
1. 22 Duchamp, Ftrst Papers of Surrealrsm (1942) 24 1.1 Homage to Marcon• (1932) 2 1.23 Gropous. cafe bar and gymnasoum. Exposrtron de Ia Socrete des Artrstes 1.2 Koesler. lnternatronal E~htbttrons of New Theater Techmque (1924) 5
Decorateurs ( 1930) 26
1. 3 Koesler, "L Type· dosplay 6
1.24 Bayer. Dragram of Freid of Vrsron (1930) 28
1.4 Koesler. "T Type· dosplay 6
1.25 Bayer. furnoture and archotecture gallery. Exposrtron de Ia Socrete des Artrstes Decorateurs (1930) 29
1.5 The Armor} Show(1913) 7 1. 26 Bayer and Gropous. utensols do splay. Exposrtron de Ia Socrete des Artrstes 1.6 Koesler, Erghteen Functrons of the One Chatr(1942) 9
Decorateurs (1930) 30
1. 7 Vosotors lookong at artworks on Koesler's Pamtmg "Lrbrary" and Study Area (1942) 10
1. 27 Gropous. gymnasoum and pool. Exposrtton de Ia Socrete des Artrstes Deco rateurs (1930) 31
1.8 Koesler, Surrealrst Ga//ery(1942) 11
1. 28 Rapon and Rapon, swommong pool. Exposrtton de Ia Socrete des Artrstes Decorateurs (19301 31
1.9 Koesler, Abstract Galleq (1942) 12 1.29 Bayer. Gropous. and Moholy·Nagy. Burldmg Workers· Unrons Exhrbrtron 1. 10 Kotsler. Kmetrc Gallerf (1942) 13
(1935) 32
1. 11 l table. Useful Ob;ects of Amencan Design under $10.(.0 MoMA (1939-1940) 163
2.64 O' Harnoncourt, entrance to Surrealism gallery. 1\fooern Artm Your Life (1949) 135
2.65 D Harnoncourt. GeometrJC Styl1zat•on sect1on. Modern Art m Your Life 1949 137
3.16 V•s•tors handling and lookmg at ObJects 10 Useful Objects of Amencan 0. s ~n lder $10.00, MoMA (1940) 164 3 .17 M•es and Johnson at 1\ftes "an der Rohe RetrospecttH!, MoMA 1947 1948) 166
2.66 o· Harnoncourt, entrance to Geometnc Styf•zat•on sect•on. Modern Art m Your Life! 1949) 137
3.18 No>es. room settings. Orgamc Destgn m Home Furntshmgs. MoMA (1941) 168
2.67 Rub1n, entrance to Daoa. Surrealtsm. and Thetr Herttage. MoMA (1968) 138
3. 19 Noyes. d1splay of cha~rs. Organtc Des1gn m Home Furmshmgs ( 1941) t G9
2.68 Rub1n w1th d'Harnoncourt. Salvador Dali gallery, Dada. Surrealism. and Theu HerttJge (19681 139
3.20 Orgamc Des1gn d•splay. Kaufmann's Departmen t Store. Pittsburgh (1941) 170
3 .1 Bayer .md Grop•us. entrance Bauhaus 1919-1938. MoMA
3.21 Kaufler's •mage of a hand. the •con of the Orgamc Des1gn shOw, m
(1938 1939) 142
Bloom•ngdale ·s ad ( 19411 172
3 .2 Boyer. plan, Bauhaus 1919-1938(1938-1939) 145
3 .22 Bayers omage of a hand at the 10troducuon to Bauhaus 1919 HIJH (1938 1939) 173
3 .3 Boyer. e•hobot lllustratmg -The Bauhaus Synthes•s.- Bauhaus 1919-1938
J 18
9391 1·16
3.4 Bayer. corrugated paper room d•v•der, Bauhaus 1919-1938
3. 23 lnteroor do splays •n Macy's. New York (1883) 175
(1938 1939) 147
3 .24 S S Solver and Co • •nter.or d•Splay 10 Woolf Brothers department 5torc, K. n as C1ty. Mo. (19491 175
3.5 B. •yer. labels and exh1b1ts tolled at angles from the wall, Bauhaus 1919-
3 .25 0• gram of 1930 Deutscher Werkbund exh•b•t•on at E•posttiOn ue In Soc•etc
11 8
cJt s
93R 19391 147
~rtt.
tes Decorateurs (1930) 177
3.6 Bayer, c rcu:3toon paths on floor, Bauhaus 1919-1938 (1938-1939) 148
3 .26 Ooagram ot a trad•toonal exh1b1t1on. show.ng ng1d symmetry 177
3 . 7 B,oytH. curved tabletop suspended by str.ng. Bauhaus 1919-1938
3 .27 Matter, Gooo Destgn wondow diSplay. Carson PorJe Scott.
1q38 1939) 1·18
3.8 Bhs such a~ th :;. mage of E eanor n Iron! or a re ..Jf Des1gn of ExhJbJIJons and Museums·
age to Guglielmo Marcom, one of the many d1splay and
Jnstall
r.on. Landesmuseurn. 1911
1.18
Rena•ssance Gallery after Dorner's reorgamzat•on of Landesmuseum. after 1925.
much as poss1ble,
each specific culture. 33 The Renaissance
ence: "If on previous occasions ... [the visitor] was lulled by the
gallenes were wh1te or gray to emphas1ze the cub1c character of
painting mto a certain passivity. now our des1gn should make the
the rooms and the penod's interest in geometric space and per-
man active. This should be the purpose of my room." 3 " L1ssitz
spective (fig. 1.18). In the Baroque galleries, the walls were cov
ky's strategy for achieving this was to design gray walls lined with
ered with red velvet and the paintings were in gold frames. The
metal slats (in Dresden they had been wood) that were white on
Rococo color schemes were pink, gold, and oyster-white. Dor-
one side and black on the other (see fig. 1.13). Th1s type of wall
ner's atmosphere rooms displayed a progressively evolving, his-
surface shimmered and changed color within a spectrum of wh1te
torically differentiated representation of art and culture. One of
to gray to black as the visitor moved through the room. Lissitzky
ftnal stages of th1s linear h1story of different epochs was provided
des1gned sliding frames containing four works, which could be
by Liss1tzky's Abstraktes Kabmett (Abstract Cabmet), wh1ch was
v1ewed two at a time. In one corner against two walls was a rect
constructed
angular sculpture pedestal that was painted black and red. Ad
1n
1n
1927 and 1928.
LISSitzky's stated purpose in creatmg the Abstract Cabmet was to do away with the viewer's traditional exh1b1t1on experi
JOintng th1s rectangular structure, and next to the wall beneath a wmdow, were table showcases containing four-s1ded drums that
1. 19
v1ewer. which, as 1n K1esler's work. impl1ed a nonstat1c, t1me
Laszlo Moholy Nagy, drawmg The Room of Our T•me. ca 1930
bound approach to the creatiOn of mean1ng. Also like K1esler's exh1b1t1on des1gns. LISSitzky s Abstract Cabmet became known among the 1nternat1onal avant-gardes as a h1stonc. crcat1ve contnbut1on. 16 Perhaps more Important to the h1story of the Museum of Modern Art. both Alfred Barr and Ph1lip Johnson (the Museum' s first curator of architecture) VISited LISSitzky's mstallat1on . Barr reflected 1n the 1950s that "the Gallery of Abstract Art 1n Han no ver was probably the most famous smgle room of twenttetll century art m the world." Johnson. who wrote that "the Abstr,!ct Cabmet at the Hanover Museum was one of the most viv1d memo
ries and most excitmg parts of the We1mar Republic." actu hous1ng the mstallat1on L1ss tzky's Abstract
development of mdustnal des1gn from the Werkbund to the Bau
Cabmet. 1n a sense. requtred the presence and recept1on of a
haus and of modern architecture from Lou1s Sullivan to Ludw1g
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M1es van der Rohe. A push button-operated projector was set up
mot1on a sequence of reproductions from Marcel Duchamp's
to show slides of the newest theater designs and techniques.
Box-in-a-Valise (see fig. 1.10). The Surrealist Gallery was a stage
such as Walter Gropius·s design for Erwin Piscator's Total The
set for a sensorially augmented aesthetic experience that af-
ater and Oskar Schlemmer's Triadic Ballet. On one wall was a
fected the viewer's sight. hearing, and touch. Each work had 1ts
double glass screen on which two films were to have been shown.
own spotlight. which went off every two or three seconds; the
one of a documentary nature and the other abstract. The film and
light1ng was engineered so that half of the pamtmgs were ht half
slide proJection equ1pment and activating buttons d1d not func·
of the time. Every two minutes a recordmg of the roar of a tra1n
t1on properly, so the room opened in an unfinished state. The
was sounded. Paintings, mounted on wall hmges, enabled the
Room of Our Ttme was diStinguished by the complete absence,
vis1tor to tilt them to his or her desired viewmg angle (f1g. 1.20;
with the exception of Moholy's Light Machine, of any ong1nal
see also fig. 1.8). In the Abstract Gallery most of the pa1ntmgs
works of art. Everything was a reproduction, a model, or
and sculpture were suspended in midair by thin triangular "col-
documentation.
umns" of cloth tape (see fig. 1.9), which allowed the painting to be tilted or the sculpture to be raised or lowered by the viewer.
Surrealist and Dada Experiments
The Room of Our Ttme was representative of the 1nternat1onal
avant-gardes· fasc1nat1on from the 1920s through the 1940s with v1ewer-act1vated gadgetry for installations, wh1ch was no doubt linked to advances m technology and the growth of the mass med1a. Although Kiesler had experimented w1th these 1deas m earlier temporary exhibitions, 41 The Room of Our Ttme can be seen as a precursor to K1esler's permanent installations created in 1942 at Art of This Century in New York, where all four gallenes were activated manually or by mechanical devices. There. in every gallery the viewer was offered an interactive and engaged experience with art. When a viewer entered the Kinetic Gallery a beam of light was broken, which triggered a revolving wheel that displayed a senes of seven works by Paul Klee. A viewer-activated push· button system enabled the spectator to examine a pa1ntmg on the wheel for a longer mterval. A visitor also could have looked through a peephole wh1le turnmg another large wheel that set m •
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Ktesler's mstallattons for Art of This Century should be un derstood tn relatton to the acttvities more generally of Dadatsts
1. 20
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Koester. detaol o f wall honges that enabled gallery vosotors to tolt paontongs to desored voewong angle, SurrealiSt Gallery. Art of Thos Century, 194 2
and Surrealists. who often treated the entire temporary exhtbt t10n as ferttle ground for thetr creattvity. Unconventional, chaottc mstallattons were a hallmark of many Dada exhibitions. like that
1 .21 Flfstlnternattonal Dada Falf, Burchard Gallery. Berton 1920 St,mdmg, left to fight Raoul Hausmann, Otto Burchard, Johannes Baader, W•eland
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Italy dunng the 1930s. One such example was the Sa/a delle
G1ancarlo Pal anti created the Salone d Onore (Salon of Honor). a
Medag11e d'Oro (Gold Medals Room) designed by Edoardo Per-
starkly class1cal homage to the Fasc1st state that looked hke a
SICO and Marcello N1zzoli for the 1934 Mostra dei/'Aeronautica
"p1ttura metafis1ca · stage set w1th Luc1o Fontana's classiCISt
(Italian AeronautiCS Exh1b1t1on) tn M1lan (fig. 1.49). '"A commemo
n1ke and horse sculpture mscnbed with the words of Mussolln1
ration of the wart1me achievements of Italian aviators who had
as the centerp1ece
rece1ved the prest1g1ous Gold Medal. the installation· s armature
Although the level of expenmentation and 1nternat1onal 1m
was a gndllke scaffoldmg that had become a versatile standard 1n
portance of mstallat1on design tn Europe dimtn1shed after World
exh1b1t1on structures. Extend1ng from floor to cet11ng were slender
War II, an mterest tn exh1b1t1on technique could st1ll be found,
wh1te latt1ces onto wh1ch artifacts, photographs, and text panels
pnmanly m des1gn and industrial exh1b1tions and mternat1onal ex
were mounted and seemed to float tn space, an appropriate for
pos1t1ons such as the 194 7 Exposition lnternatlonale de /'Urba
mulat1on for an exh1b1t celebrat1ng the accomplishments of the
msme et de /'Habitation (International Exposition of C1ty Plannmg
Italian a1r force. Persico and N1zzoll's formulation achieved the
and Housmg) 1n Pans and the 1951 M1lan Tnennale . 1c.
elegance and the sense of dematerialized support structure that
Wh1le exh1b1tion des1gn first became an Important feature
was tnchoate m K1esler's LandT system and that was explored
of aesthetic pract1ce w1thm the European avant·gardes of the
tn LISSitZky's F1lm und Foto installation see fig. 1.41) Grop1us
1920s. from 1ts mception tn 1929 the Museum of Modern Art
was reportedly · spellbound " when he visited the Gold Medals
presented dramat1c and creative installations and contmued to
Room, wh1ch looked very s1m1lar to the mstallat1on he created
do so long after th1s act1v1ty had waned m Europe. L1ke the expert·
w1th Schm1dt for the Nonferrous Metals exhibit at German
mentat1on of the mternatlonal avant-gardes. exh1b1t1on des1gns
People; German Work that same year (see fig. 1.38).
for purely aesthetiC tnstallations, for the display of modern de
Another Important arena for exhibition techn1que tn Italy
s1gn and architectural prototypes. and for political propaganda
dunng the 1930s were the Tnennales. 1" One of the most 1mpor
were an mtegral part of the recept1on and promot1on of modern
tant of these exh1b1t1ons. the 1936 Triennale tn Milan, Included
art and culture at the Museum of Modern Art unt1l 1970 But
a spectrum of des1gn solut1ons. The show was organ1zed ac-
unlike the geographically scattered and 1nSt1tut1onally diverse
cording to themes dealing w1th design, architecture. and tech
exh1b1tion des1gns of the mternat1onal avant gardes, the mstal
nology. and the mstallat1ons were dom1nated by the presence of
lat1on expenmentat1on at MoMA was concentrated w1th1n one tn
the RatiOnalist gnd and modular structures. Franco Alb1nt and
st1tut1on and was. very particularly, an Amencan (1 .e .. U.S.
G1ovannt Roman created a gndded mstallat1on for the Mostra
spec1fic)l 02 realizat1on of modern culture. Analyzmg the Museum
del/'Ant1ca Oref1ceria 1tal1ana (Exh1b1t1on of the Ant1que Italian
of Modern Art's exh1b1ttons from 1929 to the 1990s prov1des a
Goldsmith 's Shop) that was remm1scent of Pers1co and N1zzoli's
parad1gmat1c case study of the institUtiOnalization of modern and
Gold Medals Room . Max Bill'S Sez1one Svizzera ,Sw1ss Sect1on).
contemporary art m the Un1ted States.
:>
I j
apter 2
Aes
lnstallatl·ons for Modernism,
Ethnographic and Objects Everyday
Art,
Of
life
II
•....
Creating Installations for Aesthetic Autonomy: Alfred Barr's Exhibition
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The Museum of Modern Art's founding d1rector. Alfred Barr, d1d not select t he paintings for the Museum's Inaugural exh1b1t1on,
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Cezanne. Gaugum , Seurat. van Gogh- but he d1d mstall them
...3
A. Conger Goodyear. t he Museum's founding pres1dent. chose
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the works for the show. which was held from November 7 to De cember 7 . 1929 (f1g. 2.1).' Its installation may now look utterly unexceptional. this manner of presentmg pamtmgs has become
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so conven t ional that 1ts s1gn1ficance may be completely 1nV1S1ble. But 11 marked the beg1nning of several decades of mnovative exh1 b1t10n design at the Museum of Modern Art. Cezanne . Gaugum, Seurat, van Gogh also contnbuted to the mtroduct1on of a part1cu
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tar type of installation that has come to dommate museum prac t1ces. whereby the language of d1sptay articulates a modern1st. seemmgly autonomous aestheticism . For th1s f1rst exh1b1t1on. Barr- who perhaps more than any other md1v1dual has Influenced the reception of modern art 1n the Hanging pictures Is very difficult, I find , and takes a lot of prac· tlce •••• I feel that I am just entering the second stage of hang ing when I can experiment with asymmetry. Heretofore I followed
Un1ted States- thought 1t important to expenment w1th the m stallation. The young d1rector did not completely elimmate trad1 t1onal, symmetncal convent1ons of mstalling PICtures accordmg
perfectly conventional methods, alternating light and dark, vertical and horizontal.
Al fred H Barr, Jr., to EdwardS. King, letter (10 October 1934) 2 .1
There Is no such thing as a neutral Installation. A work of art is so
Muse~.om of Modem Ar t's maugural exhobltJor orstallcd by Allred H B.trr, Jr
Cezanne Gaugum, Seural , von Gogh, Museum of Modern Art , Nev. York
much like a person - the same work of art reacts diHerently at
7 November to 7 December 1929 Alfred Barr mstallat1ons such as th s one
diHerent phases of history. Installation is a very complicated
enhanced a sense of tlle v.ork of art, the e•h•b1Uon, and the v1ewer s autonomy
exciting subJect.
-Rene d Harnoncourt, 1n "Profiles· Imperturbable Noble" (1960)
Th•s type of mstallat•on method has ~orne so standard that ots laneuagc of form goes unnot ted and seerrs ·mv:slble" to most v1ev.ers But, as IS the case w th o e.tl b Uons th sIS a represent at on on rts own r~ght
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to size and shape. There were. for example. arrangements such
1932 st1ll m Paris pictures were being hung symmetrically and by
as the large van Gogh Irises placed in between two very small
size. not by content. not by date ... and they were "sk1ed •
self portra1ts and framed by two landscapes nearly ident1cal in
Whereas m the Museum. right there m that first show in the Fall
s1ze. For the most part. however. Barr departed from trad1t1onal
of 1929, there were no p1ctures above other pictures. all the
d1splay methods of treatmg paintings as room decor and present
walls were neutral. and the pictures were hung mtellectually,
ing them ·skied.· 1n salon-style installations.
chronologically. ... Previously, the walls would be e1ther panel-
In keepmg w1th the new installation methods for pamting
mg or else they would be brocade-red brocade, blue brocade.
and sculpture that were being developed within the 1nternat1onal
green brocade which would suck the color out of the pictures.
avantgardes during the 1920s and 1930s. Barr covered MoMA's
Instead, the idea was to let the pictures stand on the If own feet. •
walls with natural-color monk's cloth and eliminated skying. In· stalling paintings at approximately eye level on neutral wall sur-
Beaumont Newhall, who was hired as MoMA's librarian in
faces in spacious arrangements became a common practice
1935 and later served as the director of the photography depart·
during the 1930s. Previously, even in avant-garde exhib1t1ons,
ment from 1940 to 194 7, helped Barr install the 1935 Vincent
paintings were almost always hung very close to one another 1n
van Gogh exhibition (fig. 2.4). In a recollection published 1n 1979.
trad1t1onal Interiors and were skied. Two of the best-known mod-
he also emphasized Barr's exhib1t1on technique.
ern art Installations of the first quarter of the twentieth century the 1913 Armory Showm New York and the Kaz1m1r Malev1ch gal
The van Gogh exhibition. like so many of Alfred's shows. was
lery at the 0.10: The Last Futurist Exhibition of Pamtmgs in Petro-
more than a superb loan collect1on. The p1ctures were not hung'
grad 1n 1915 and 1916-were arranged in th1s manner (figs. 2.2
symmetrically by size. with the largest m the m1ddle of the wall.
and 2.3). W1th the establishment of the spacious. modern diS-
the next largest at the ends and the smallest m between, as in
play method as the standard in the 1930s and 1940s. 1t has
most museums of the time. No, the p1ctures were hung m logical
become relatively rare for a collection of modern art to be 1n
sequence dependmg on style and penod. well spaced so they d1d
stalled accordmg to a skied plan; one such except1on is found at
not impmge upon one another, and w1th explanatory labels. AI·
the Albert C. Barnes Foundation in Merion. Pennsylvania. 3
fred believed that an exhibition should eluc1date as well as give
Barr's wife, art historian Margaret Scolari Barr, was em-
aesthetic pleasure. The labels for this show, bes1des giving title,
phatic 1n a 197 4 mterview about the importance of his mnovative
date, and name of lender, contamed excerpts from van Gogh ·s
exhib1t1on technique for MoMA's first show.
letters to his brother Thea, often describing the very picture on display. Alfred asked me to help tack them up. The Good Samari
It occurred to me that I have not made it clear ... what was so
tan label included a small mounted photograph of the Delacro1x
novel about this kmd of exhibition. What was novel, apart from
paintmg upon which van Gogh had based h1s paintmg.
the cho1ce of pamtmgs ... was how they were installed ... they were installed on plain walls; if the walls were not totally wh1te
Although there were no labels in the first show. d1dact1c la-
then they were the palest gray. absolutely neutral. And in the
bels had become a hallmark of Barr's exh1b1t1on techn1que by the
most novel way they were installed not symmetrically. ... {l]n
time of the van Gogh exhibition and were another 1nd1cator of
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2.2 re Last Futvnst E:•htb•t•on of Pamtmgs. Petrograd, 1915-1916.
2.3 The •..trmor~ ShO.,. • Ttrc /nternauonal E:• htbttiOn of Modem Art. s ,.cy.n.nth
Regoment Armor\, New York 17 Februaq to 15 March 1913
Barr's curatonal departure from decorative exhibition installa-
1993 outlined the genesis and formulation of hts and Barr's new
ttons. Margaret Barr stressed the importance of the type of label-
mstallation method:
mg her husband introduced: "The labels that my husband used to wnte were not only labels for each picture. but they were general
Alfred Barr and I were very impressed w1th the way exhibitions
tntellectual labels to make people understand what they were
were done in Weimar Germany-at the Folkwang Museum in Es-
seetng ... they explatned the general nature ... of that room or
sen especially(fig. 2.5). That's where they had be1ge s1mple walls
of the whole exhtbitton .... Such a thing had never been done
and the modern was known there. It wasn't known m thiS country
before." 6 These Alfred Barr exhibitions did not consist of art-
at all. For instance, here all our museums had wainscoting. Of
works m decorattve, or even vaguely stylistic, arrangements; they
course, that's death to a painting. It skys the pamtmg. That was
were compositions in which wall labels explicit ly linked the works
the big battle in hanging paintings . ... The Metropolitan got used
of art historically and conceptually, making visible the unity and
to skying pictures because of those idiotic dados. But if you let
coherence of the show. Barr's labels enhanced the sense of the
the wall go down it's much better. You naturally look slightly down-
exhtbttton as an entity unto itself.
ward. So if you sky a picture you're in trouble. Smce then every-
When asked about the neutral, non-skied installation
body's hung their paintings low. ... Barr thought beige, that
method maugurated at MoMA, Philip Johnson, who was curator
brownish stuff that he used, the monk's cloth, was the most neu-
of MoMA's archttectural department from 1932 to 1934. stated
tral thing he could get. After some time, the modern design
stmply: "That was Alfred Barr." Johnson, whose installation de-
people got hold of it and made it wh1te paint . ... They pamted
stgns for MoMA's 1932 Modern Architecture and 1934 Machme
the walls white . ... Before that it was always the cloth. And, of
Art shows are among the rare exhibition mstallattons that have
course. the cloth was much better. Because it doesn't leave
retamed a prominence in both the art and the archttecturallttera-
marks and the beige color was far better for pamtmg than white.
ture, qutckly added that ·Alfred Barr and I were very close. We
Never, never use white for paintmg. Then your frame IS much
dtdn't do anythmg separate." 7 Having met 1n the spring of 1929
bnghter than your picture . ... If the area around the painting is
when Johnson was a classics major at Harvard and Barr was
bnghter than the painting you're tak1ng away from the pamting.
teachmg at Wellesley, the two men were friends and colleagues
This is what Alfred felt. ... And so the Folkwang Museum espe-
whose relattonship was founded on their passion for modern art
cially impressed us and in Basel what impressed us was the spar-
and architecture. 8 By the summer of 1929 Barr had accepted the
sity of the hanging which Alfred tried to use ... of course we knew
dtrectorship of the Museum. In September of the fo llowing year,
those famous rooms of Alexander Dorner in Hanover. Essen, on
after he had finished his degree, Johnson moved to New York,
the other hand, was a more reactionary, normal museum and
where he and the Barrs rented apartments in the same building.
they still hung paintings low, against neutral backgrounds. with-
Both men had traveled, individually and together, throughout the
out trim, and in an architectural manner. 9
Contment during the late 1920s and early 1930s, and thetr creattve exhibttton methods were conceived withtn the context of the
Johnson also discussed the problems of tnstallmg an exhi-
museological innovattons taking place in Europe. Johnson tn
bttion in MoMA's first building, a townhouse on Ftfth Avenue,
...,.
7
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-· .. :l b And m h1s first exh1b1tion
mcluded chantmg. In preparing for the exhib1t1on. a memo was
at the Museum of Modern Art. d'Harnoncourt deliberately made
sent to the staff of the Museum explaining that sand pamting
VISible the fact that different installatiOn strategies could be de-
was a ntual and for those creating the paint1ngs represented a
ployed w1thin a single exhibition in order to produce varied mean-
2 .29
O'Harnoncourt woth Klumb. "lndoan Art tor Modern lovong• scctoon Wood p.mel case contaonong cape, dress. and
s~o
suot maae of materials
0
~
~
&.
•3
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Steichen's Involvement with the presentation of photogra-
were cons1stently •nstalled 1n predominantly white or sometimes
phy at the Museum actually began during World War II when he
neutral·colored galleries w1th images set 1n white mats, framed
produced the hugely popular. propagandistic photo-spectacle.
at a standard height. The 1976 Harry Callahan exh1b1t10n 1s a
Road to Victory
10
1942 (d1scussed more fully in chapter
4 ). 96
parad1gmat1c example of th•s type of Installation (fig. 2.39)
0
.,.. -·"-:r
~
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Q.
0
This type of exh1b1t1on was a walk-through photo-essay with en
There were no more exh1b1tions dealing w1th photography's
larged 1mages mstalled Without frames or mats, mounted flush
contnbut1on to the mass media. like the 1965 exh1b1t1on The
aga1nst the wall or on spec1ally constructed panels and display
Photo Essay, wh1ch was curated by Szarkowsk• and mstalled by
structures. Th1s approach to the med1um was exemplified by the
the Museum's graphics coordmator. Kathleen Haven (f1g. 2 40)
1949 show The Exact Instant. wh1ch mcluded three hundred
As was appropriate for the subject of the show. displays mcluded
news photographs. they were presented as bold wall-size murals
tear sheets from glossy magazines, prellmmary photo proofs.
mounted on the walls 1n d1verse groupmgs w1thout mats. 1n h1stor
light boxes for transparencies, unmatted photographs arranged
•cal displays
10
1n
v1trines (as was the case with daguerreotypes),
vaned magazme-like group1ngs on the walls, and captions out
and on the pages of actual newspapers and tablOidS tacked on
llnmg the p1cture-story process. There were no longer exh1b1t1ons
gallery walls
that emphas•zed the technolog•cal capac•t•es of the med1um. like
published
1n
1n
dense Installations. Composed of the images
photojournalist•c stones. begmn1ng w1th a fourteen
by-thirty-foot mural of an atom bomb
the 1943 show Actton Photography. And there were no •d•osyn
the Museum's foyer. they
crat1c diSplays to enhance thematiC subjects. like the 1970 exh1
contrasted w1th the first sect1on's •mages of "children in the
bition Protest Photography, wh1ch was the last to suggest the
schoolroom. on the playgrounds." and "juvenile delmquents.· In
d1vers1ty of photo exh1b1t1on and mstallat•on poss1bllit•es at the
many ways th1s exh1b1t1on was a precursor of the most famous
Museum. Protest Photography. selected by Szarkowskl and held
Ste1chen exh•b•t•on, the 1955 Famtly of Man. Wh1le The Exact In
during ant1-V1etnam War protests and the New York art•sts'
stant mcluded many of the themes of th1s later show, the two
stnke. was a selection of images document•ng the ·act•v•t•es of
d1ffered 1n tone: Famtly of Man was somewhat romantic, whereas
young people th•s month"
10
1n
the Umted States. Unframed bluck
Instant was much more hard·hinmg n showing the dark
and white pnnts were tacked on the wall in rows; the dates of
s•de of human nature and a much greater percentage of 1ts
the events depleted 10 the photographs were g•ven as capt1on1ng
The
E~acc
-..
•
Kathleen Haven, curator John Szarkov.sk • Tne Pnoco Essa;. M1.1seum ol
Modern Art, 16 March to 16 May 1965
...... 0
dev1ces . The last image in the show, isolated on one wall, was the famous photograph of the woman crymg over a body at Kent State. For the past twenty-five years, the Museum of Modern Art's
Rene d'Harnoncourt's Vistas and Affinities and the Museum of "Primitive" Art
photography department has presented exh1b1t1ons that feature the aesthetics of photography, which is, of course, a fundamental area for those creating exhibitions in an art museum to explore.
A survey of the history of installations at MoM A makes clear
But aesthetics is only one aspect of a complex med1um. And exhi-
the shift in the late 1960s and early 1970s to lim1t the ra
bitions such as the 1970 Photo-eye of the 20s and the 1978
of display techniques was in part related to the consol1datio
M1rrors and Windows have, without exception, remscribed pho
display conventions as the Museum's institutional pract
tography within modernist- and avowedly forma list- instal-
were established. This conclusion can be drawn from an ex
Q.
0
CT
.. -..,..., 0
..... -.. ~
:····: ••••
Q.
!:"
2 .46 o· ~arnoncourt,
Marquesas Islands sect,on. Arrs of rne Sourh Seas . 1946
In some sect1ons. there were suggest1ve display devices,
objects· context and function (fig. 2.46). D1dact1c matenal was
such as bamboo poles and pebbled pedestals. In the gallery
present. but 1t was visually unobtrus1ve and kept to a m1n1mum
dealmg w1th the Fly and Sep1k River reg1ons of New Gumea,
All Objects had 1dent1fymg labels and at each sect1on reg1onal
masks were mounted on bamboo poles. and artifacts and figures
maps were marked w1th areas of affin1ty. Because of these van
were placed on a very low and curved pedestal whose display
ous display strateg1es. the viewer traveled from one atmosphenc
surface was covered w1th sand and whose shape evoked that of
space to another. 107 D'Harnoncourt m fact likened the v1ew
a nver (f1g. 2 .45). In the MarQuesas Islands section, there were
er's expenence to that of a traveler movmg from one country
wall drawmgs of 1nd1v1duals w1th tattoos who were holdmg fans
to another, observ1ng contrasts between and s1m1lant1es of
and spears s1m11ar to those displayed nearby; th1s ju~tapos1t1on
cultures. 108
was mtended to mstruct v1ewers visually about these exh1b1ted
D'Harnoncourt conceived this exhibition techn1que in order
A singular and unified installation method was created an
both to highlight the aesthetic validity of the art of the South Seas
aesthetics reigned in d'Harnoncourt's 1954 Anc1ent Art of th
and to g1ve the viewer some sense of these objects' cultures. He
Andes. The exhibition was a more decontextuahzed presentat1o
wrote m the catalogue: "The growing realization in our art world
than that of Arts of the South Seas. 110 The most publicized-an
that a work of art can best be appreciated in the context of 1ts
paradigmatic-display was "the gold room," a large vitrine fille
own civ11izat1on, together with the increasing interest in art shown
with Inca, Chimu, and Mochica jewelry and ornaments. Perhap
by many scientists, holds a great promise." Although this new
more dramatically than any other element of the show, th1s parti
method was devised for an installation whose displays were sup-
ular exhibit highlighted the precious and beautiful qualities of th
posed to evoke every object's indigenous culture, d'Harnoncourt
show's artifacts.
noted that each area of affinity is "based on the character of the
More aestheticized and decontextualized presentations o
objects themselves and does not attempt to show the historic
ethnographic artifacts were practiced within institutions affiliatec
process of distribution of these trends." 109
with MoMA and d'Harnoncourt. The Museum of Primitive Art
Arts of the South Seas was an exhibition rife with ambi-
founded in 1957 with Nelson Rockefeller as president, d'Harnon
ence; the diverse lighting, wall colors, and innovative displays
court as vice president, and Goldwater as acting director, woul
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- - - . ed Mtes van der Rohe: Cnttcat Essays. New York: Museum of Modern Art,
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1989
339-424 Schumacher. Thomas L. Surface and Symbol: Gtuseppe Terragm and the ArchtrecRudofsky, Bernard 'Notes on Exhtbttton Oestgn. • lntenors and lndustrtal Destgn
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106, no 12 (July 1947), 60-77
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•
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Reproduction Credits
F1gures 2.6, 6.2
t:
Dan Budnik.
Figures 2 11. 2.42. 2.43, 2 56. 2 57, 2.61, 2.62: The Museum of Modern Art. New York. F1gures 2 16. 4 .13. 4 .14. 4 16: Photograph courtesy The Museum of Modern Art. New York. F1gure 2.22: The Metropolitan Museum of Art, New York. F1gures 2.31. 2.32: Jul•us K~rschner. Courtesy Department Library Serv•ces. Amer· 1can Museum of Natural H1story. F1gures 2.44. 3.46. 3.48: Ezra Stoller Cl Esto. F1gures P.1. 2.10. 2 41, 2.48. 2.51, 3.48, 6.13: Mary Anne Stan1szewsk1. F1gures 2.47. 2.49, 2.50: The Metropolitan Museum of Art. New York. The ar· F1gures P.2. P 3. P 4, P 5. P 6. 2.1, 2.4. 2.9, 2 12. 2.13. 2.15. 2.17. 2.18. 2.19,
ch1ves of the Department of the Arts of Afnca. Oceania. and the Amencas.
2 20. 2.21. 2 23. 2 24,2 25. 2 26, 2.27. 2.28. 2.29, 2.30. 2.33. 2.34. 2.35, 2.36. 2.37, 2.38. 2.39, 2 40, 2 44, 2.45. 2.46, 2.52, 2.53. 2.64. 2.65. 2.66.
F1gures 2.52. 2.53, 5 12: The Museum of Modern Art Cl1997.
2.67, 2 68. 3 1. 3 7, 3 11. 3.12, 3.13. 3.14. 3.15. 3.16. 3.17, 3.18. 3.19. 3.31, 3.33. 3.34, 3 39.3 40,3 41, 3.42, 3.43. 3.44. 3.45. 3.47, 4.3. 4.4. 4.5.
F1gure 2.54 Courtesy Department L1brary Serv1ces. Amencan Museum of Natural
4 6. 4.8. 4 9. 4 11.4 12.4 17.4 21.4 23.4 25.4 26.4 27, 4.28. 5.4. 5.5.
HIStory.
56. 5.10. 5.11. 5.12. 6.3: The Museum of Modern Art ouot
Commercoal dosploy~. 84. 94 See also Commercoal
Decorateurs
Entartete Kunst. 25
showrooms , Department stores , Stores Commercial
shov.room~ .
~tores,
-"
291 See at so Department
Stores
De\'oey, John. 158, 270, 313 (n , 31). 317 (n. 3), 318 (n . 38) D'Harnoncourt, Rene , 61- 70. 84 ·99 (and fogs .
Ernst, Max. 24 134, 136 Esprot Nouveau Pavollon. 75 Essentoallsm. 8, 125. 129. 158, 236. 255, 293 Ethnographoc art and artifacts, xx11 , 16, 65 (fog 2 5),
Communosm, 151 , 336 (n. 1121
2 .21- 2.24, 2 .27- 2 29 ), 101, 110- 118
Conceptual Art, 269. 276. 280 282 285. 286
(and
Constantone, Moldred, 192- 194 (and figs. 3 .41,
2.51), 124 , 125, 128 (and fog . 2.57).
116-118. 124- 128 (and hgs. 2.54 ,
129- 137 (and fogs 2 58· 2 66). 139
2 .55). 291, 320 (n. 68). See also Amero
Constructovosm , 8, 14, 21, 74, 312 1n 18)
(and fig. 2 .68). 188. 202 (fog. 3 47),
can Museum of Natural History: Metro
Cooper, Dan, 134
210.224.238, 291.292,322tn 1031
polttan Museum of Art , Mex1can Arts.
3.42)
Cootswytewa , Voctor. 88, 90 (log. 2 .25)
~gs.
2.44 -2 .4 7). 120 (togs 2 50.
vosta technoque. 88 , 111. 112 (and fog. 2.43),
73. 81.82 (fig. 2 .18), 87. 98 - 101.
Museum of Modern Art , exh1b1t1ons. Arts
Copynght , 264, 268
113 (and fig 2 .44), 116. 124. 139,
of the South Seas. Indian Arr of the
Corcoran Gallery of Art (Washongton), Power m the
174. 176, 238(see also lnstallatoon
Untted States, and "Pnmt!lwsm • m Twcn
methods. vostaJ
11eth Century Art. Museum of Promttovc
Pac1hc, 226 (fog. 4 .10). See also Mu
seum of Modern Art. exhobotoons, Power
Doetroch. Marlene, 94
on the Pacific
Dtvorce. 254- 255, 337 (n. 1161
Art ·pnmotove art• and Museum of Promotove Art 323 (n.
1111
Corporate culture, 259 See also corporatoons
Documenra. 268. 342 (n. 161
Corporatoons, 224. 281. 285, 295. See at so Mu-
Doesburg, Theo van , 14. 16, 17. 134
Ethnographoc surrealism . 324 (n . 122)
seum of Modern Art. corporate dona
Dohrn, 8ernardone , 278
Evans, Walker, 196. 197 (fog 3 44), 198 (fog 3 .451
toons tor e•h•b•toons: Museum of MOdern
Oomonguez. Oscar, 136
A