Photos By Gail
Kate Millett (1934 – 2017) was an American feminist writer, artist, and activist known for her contributions to the feminist movement in the 1960s and 1970s. While she was primarily recognized for her written works, such as her book Sexual Politics, her body of work contains a few whimsical sculptures.
Continue reading Modern Art Monday Presents: Piano and Stool By Kate Millett
Photo By Gail
In this work of pastel on paper, Goat’s Horns With Blue (1945), Georgia O’Keefe treats the spiral of a goat’s horn as both subject and lens, exploring its distinct materiality, and using it to frame the sky beyond. She found such horns and bones, which she collected in the new Mexican desert, to be “most wonderful against the blue — that blue that will always be there as it is now after all man’s destruction is finished” (a likely reference to World War II, which ended the year this work was made). Continue reading Modern Art Monday Presents: Georgia O’Keeffe, Goat’s Horns With Blue
Photos By Gail
Japanese artist Tomio Miki (1937 — 1978) was part of a generation of artists who addressed social and political shifts in Tokyo, following the end of World War II and the United State’s occupation of Japan. Continue reading Modern Art Monday Presents: Untitled (Ears) By Tomio Miki
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Cui Jie’s Salam Tower, Doha (2020) was acquired by MoMA in 2021 and in currently in its debut presentation at the museum. The Salam Tower is a waterfront skyscraper that was built as power of Qatar’s redevelopment efforts after the oil crisis of 1979. In Cui’s otherworldly depiction, the building is interwoven with symbols from socialist monuments in China and Europe. It soars above, but also seems to dissolve into the artificially saturated water beneath it. A leading member of the post 1980s generation of Chinese artist, Cui lives and works in Shanghai and focuses on painting, design, and the global histories of modernism, capitalism, and communism.
Photographed in the Museum of Modern Art in New York City.
Photo By Gail
Meret Oppenheim drew broadly on stories from the past, including Greco-Roman and medieval sources. She reimagined these narratives and the fates of their female protagonists in ways that reflected her views on the role of women in society. In Daphne and Apollo (1943), she reinterpreted the Greek myth of Apollo and Daphne, in which the wood nymph would rather hunt than become the god’s lover. Unable to escape him, she turns into a laurel tree. In Oppenheim’s version, the artist subjects Apollo, too, to a vegetal transformation, depicting him as a potato-like form, surrounded by flies.
Photographed in the Museum of Modern Art in New York City.