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This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:53:27 UTC
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Brancusi
MY
TH
Tal
$
by Scott Burton
In April, theMuseuminitiatesa series of
Artist'sChoice exhibitions.In thefirst of
these, the sculptor Scott Burton reconsiders the significance of Constantin
Brancusi's work in relation to contemporary art and especially Burton'sown
concernsas an artist. Elementsfromthe
Museum's holdings of sculpture by
Brancusi will be presented in an installation conceived and supervised by Burton. A few key works by
Brancusifromother museumswill also be included.
The exhibition,on view throughJune 28, is organizedby Scott
Burton, in collaborationwithKirkVarnedoe,
Director, Departmentof Painting and Sculpture. It is made possible by grants from
Agnes Gund and Daniel Shapiro, and The
ContemporaryArts Council of The Museum
of Modern Art. During the exhibition, a
selection of Burton'ssculptures will also be
shown, in the Abby Aldrich Rockefeller
SculptureGarden.
Aboveright
Constantin Brancusi.
Tableof Silence.
1937-38.
Bampotok limestone.
Tirgu-Jiu,Rumania.
Photo: G. Serban.
Right
Constantin Brancusi.
Vase.Late 1930s.
Wood. BrancusiStudio,
Mus6e National d'Art
Moderne, Centre Georges
Pompidou, Paris.
Below right
View of Brancusi's
studio taken by the
artist. 1933-34.
Courtesy Musee National
d'Art Moderne, Centre
Georges Pompidou, Paris.
R
C
H1OI
ST'S
lhe
Artist's Choice exhibitionswill help Museumvisitors to become moreawareof connectionsbetween contemporary creativity and the modern tradition. By
selecting andjuxtaposingworksfrom the Museum'scollection in temporaryexhibitions, artists will provide insight into their own creative intelligence, and also
encourageus to see key momentsin the historyof modern
art from a fresh viewpoint. The ongoing series will demonstratethat the Museum's collection functions not just
as a fixed didactic progression of thoroughly "understood" monuments,but also-and crucially-as a seedbed both for ongoing creativity, and for constant
reassessmentsof the past.
Among those who have responded to modern art's
spiritof individualinnovation, no constituencyhas been
as importantas artiststhemselves. Faced with new artas
radicalas thatof Picasso, Duchamp, Pollock, and many
others since, critics could say "I like that"; collectors
could say "I'll buy that"; dealers could say "I can sell
that"; and scholars could say "I understandthat." But
none of these responsescotld be as vital for the life of
modern art as that of the artists who said, and who still
say, "I can do somethingwith that."The Artist's Choice
series celebratesthe usefulnessof the moderntraditionin
this sense, as a set of possibilitiesstill being explored.
-Kirk Varnedoe,Director
Departmentof Painting and Sculpture
*1',7sk7
How can we look at Brancusi'spedestal-tablesto see theirdoubleness? Whatarethe elementsof transformation?First, andcharacteristically, simplification. Just as he treats a face, he rejects
centralfeaturesof a typicaltable, namelylegs andtop. Now tables
have one great formal problem:an antitheticalrelationbetween
the legs and the top or "table" proper(the tablet or tableau, the
boardlaid across the trestles in early Europeanexamples). Brancusi's pedestal-tablesnever have developed legs or conventionally proportionedtops. He seems to take the shape of a normal
This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:53:27 UTC
All use subject to JSTOR Terms and Conditions
MOMA ISPUBLISHED
QUARTERLY
BYTHEMUSEUMOF MODERNARTFORITSMEMBERS
EDITOR:CHRISTOPHER
LYON
DESIGNER:
GREGORYGILLBERGH
BELINDA
HILARIE
SHEETS
DESIGNASSISTANT:
PHILLPOT
EDITORIAL
ASSISTANT:
TYPOGRAPHERS
TYPESET
BYMAXWELL