Heinz Loew (German, 1903–1981)
Exhibition Stand with Mandatory Viewing Route (Ausstellungsstand mit zwangsläufiger Gehrichtung), 1929
Gouache, cut-and-pasted printed paper, ink, and pencil on paper
21 1/2 × 18′′ (54.6 × 45.7 cm)
The Museum of Modern Art, New York. The Merrill C. Berman Collection. Acquired through the generosity of Alice and Tom Tisch, Jo Carole and Ronald S. Lauder, Sue and Edgar Wachenheim III, David Booth, Marlene Hess and James D. Zirin, Marie-Josée and Henry R. Kravis, Jack Shear, the Patricia Bonfield Endowed Acquisition Fund for the Design Collection, Daniel and Jane Och, The Orentreich Family Foundation, Emily Rauh Pulitzer, The Modern Women’s Fund; and by exchange: Gift of Jean Dubuffet in honor of Mr. and Mrs. Ralph Colin, The Judith Rothschild Foundation Contemporary Drawings Collection, and the Richard S. Zeisler Bequest.
In turbulent times, what does it mean to be an artist? MoMA’s exhibition Engineer, Agitator, Constructor: The Artist Reinvented offers answers to that question. In the wake of World War I, the 1917 Russian Revolutions, the fall of the Austro-Hungarian Empire, the rise of fascism, and dramatic shifts in industry, technology, and labor, artists abandoned easel painting and the privacy of their studios to step out into the street, participate in collective activities, and directly engage mass audiences. Creating drawings, prints, posters, kiosks, magazines, and more, they experimented with dynamic typography, photomontage, and abstraction for maximum immediacy and reach. This presentation introduces the artists and issues addressed in the exhibition and discusses their many ambitions to create a new art for a new world.
Jodi Hauptman is Senior Curator in the Department of Drawings and Prints at The Museum of Modern Art. She is the organizer of the exhibition Engineer, Agitator, Constructor: The Artist Reinvented (2020), with Adrian Sudhalter, Consulting Curator, and Jane Cavalier, Curatorial Assistant, Department of Drawings and Prints. Her many exhibitions and publications include Lincoln Kirstein’s Modern (2019); Henri Matisse: The Cut-Outs (2014-15); Edgar Degas: A Strange New Beauty (2016); Georges Seurat: The Drawings (2007–08); and Beyond the Visible: The Art of Odilon Redon (2005–06). An advocate for collaborations between curators and conservators, Hauptman received in 2019 the College Art Association/American Institute for Conservation Award for Distinction in Scholarship and Conservation. She has taught at Princeton University, Yale University, and the University of Delaware.
Organized by Masha Chlenova.
This event is part of VIRTUAL BODIES, a weekly series of webinar discussions, presentations, and performances featuring artists and curators, hosted by faculty from The Arts Department at Eugene Lang College of Liberal Arts at The New School. All events are free and open to the public, but require advance registration.
Please contact Rafael Muñoz (munoz@newschool.edu) to discuss (dis)ability/accessibility accommodations needed to participate fully in this event. Please note that any recordings will be shared after the event, along with available presentation files and resource links.
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Presented by The Arts at Eugene Lang College of Liberal Arts.
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