The artnet Magazine was the first online art publication. It was run by Walter Robinson from 1996 to 2012.
All articles published until June 2012 will remain available here to our visitors.
|Magazine Home | News | Features | Reviews | Books | People | Horoscope|
|A Glaring Absence
by Jerry Saltz
|There isn't a painting, sculpture, or drawing by a woman in the first and biggest installment of MoMA's "ModernStarts" survey. This fact is so depressing, brazen and pitiful, it bears restating. Of the 320 objects on view, only 13 works are by women -- and all are photographs! There are paintings, sculptures, drawings and prints by men of women -- the show runneth over with female flesh -- but not one of these women is by a woman.
No doubt, subsequent segments of this three-part, 17-month "radical rethinking" of modern art will include more art by women. But there isn't a painting, drawing or print -- and only one sculpture -- by a woman in the catalog that covers the subsequent segments of "ModernStarts," either. This could get ugly. "People" focuses exclusively on the human figure in art from 1880 to 1920, but nothing explains this stunning exclusion. What about Florine Stettheimer, Hannah Höch, Romaine Brooks, Gabriele Münter, Paula Modersohn-Becker, early Sonia Delaunay and Liubov Popova, or I hate her but, Mary Cassatt? I'm talking quality, not quotas; all these women could have been included without lessening the show. All the art on view is from the Modern's collection, so they are bound by ownership. Still, it's hard to believe this institution doesn't own a single work by a woman within the period. If they didn't, they should have gone out and got one.
In "ModernStarts" MoMA is playing with itself, which is great. The preordained hierarchy championed for decades has been cracked. At the preview, director Glen Lowry lauded this "fundamentally different way to present the collection." True, but the absence of women distorts the proceedings. A chill went down my spine when Lowry said, "This is what we will do in the future."
JERRY SALTZ is an art critic for The Village Voice, where this article first appeared.