Jan 11 2009
MoMA
I usually don’t spend a lot of time in museums. Like many, I tend to only visit them when I feel guilty avoiding it, and while I often enjoy myself, museum visits remain few and far between, especially when I’m not “touristing,” i.e. in Paris or New York.
A friend came to visit while I was home this month, and she suggested that we visit the MoMA. Even though the forced marches through museums that I was subjected to in elementary school didn’t include this particular place, and I had never been, I wasn’t terribly excited to venture into the world of modern art–something I had never really understood.
I used to consider modern artists to be lacking in the talent that I recognized in the works of other artists who painted portraits or still lifes that were so perfect and detailed that they could have been photographs. I didn’t see why I should appreciate a plain red canvas with a stripe down the middle: how could this even be compared to Renoir and Manet?
As my friend and I meandered through the MoMa, however, I began to understand. I read the plaques next to each work. I understood the time frames behind Warhol’s repetition of prints and Picasso’s chaos and stark black, white and grey palette. Political works that seemed to represent little to no real-world items began to speak, and I started to understand.
A room full of pillows with the projection of an abstract film had an especially deep impact: the whole place and atmosphere of it started to make me feel. Feel what? Hard to say… I was comforted and homesick, amazed and confused. Happy. Bored. Calm.
I won’t say I understand all modern art after one trip to the MoMA. I still spent a lot of time in front of the massive floor to ceiling windows instead of the art, leaning far enough forward so that I couldn’t see my feet and imagining what it would be like to pitch forward and fall headfirst onto the snowy streets like the white flakes that whirled under the darkening sky.
But I liked the MoMA. I still don’t quite know why.
It’s nothing like the repetition of representional paintings lined up on the wall of most museums. It invites emotion, reactions. One Frenchman who assumed he wouldn’t be understood muttered, “C’est de la merde, ça.”
Maybe he was right. I really don’t know. But I liked it.
MoMa
11 West 53 Street,
between Fifth and Sixth avenues






