프레임의 권위에서 탈 프레임의 유연함으로, 미국미술의 신화가 된 한 큐레이터의 서사에서 쉽게 새로 쓸 수 있는 시도적 이야기로, 남성작가의 '무의식적 창조 에너지 분출'에 대한 찬미에서 여성작가의 '억압에 대한 표현'을 쿨하게 드러내기로.
아래 기사를 보면, 뉴욕 MoMA가 근대 회화 조각 파트 수석 큐레이터 Ann Temkin의 깃발 아래, 한창 그 동전의 양면이 회전하는 상황을 즐기고 있는 것 같은데...
모마 각 방의 전시에 익숙해진 사람들에게 감상의 놀라움을 줄 생각도 하고...(“When there are one or two fresh things in a room, it puts viewers on alert,” ),이제까지 추상표현주의 또는 일반화하면 모든 '중심주의'에 따라 서술된 미술사의 제한적 영역을 확장시키려고도 하고....(“There’s a desire to expand our account of art history.")
At MoMA, ‘Permanent’ Learns to Be Flexible
http://www.nytimes.com/2009/10/25/arts/design/25loos.html?_r=1&ref=design
Franz Kline's “Painting Number 2,” one of the works now being exhibited without a frame.
"The 26 rooms of the Alfred H. Barr Jr. Painting and Sculpture Galleries, which have housed these highlights of the collection on the fourth and fifth floors of the Modern’s “new” building since it opened in 2004, might reasonably be regarded as sacrosanct: the heart of the museum and of modern art generally.
But under Ms. Temkin, the permanent collection display is quickly becoming less permanent. Galleries that once changed only when works were loaned out are now subject to frequent renewal. For the first time, media other than painting and sculpture appear frequently throughout the Barr galleries."
"Even small changes, like swapping out a single well-known artist for another, can make for major shifts in the museum’s familiar and stately narrative of modernism’s progress. The fourth floor, covering the early 1940s to the early 1970s, used to begin with Jackson Pollock’s “Stenographic Figure” (1942). Now Louise Bourgeois’s sculpture “Quarantania I” (1947-53) sets the tone for the entire era."
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