(There are numerous gestural similarities to the painting of the Abstract Expressionists and the Neo-Expressionists.) If MoMA is the Ferrari of Modernist museums, "Forever Now" is driving it like a Prius: something made to have minimum impact on the environment while making people feel okay about something troubling.How did this happen? Published by The Museum of Modern Art, New York. What does all this abstract atemporality and gestural painting add up to? (Josh Smith does, too, although this may have to do with all of his work being jammed together on one wall and generating this massive graphic impact.) And I think that saying art is different from other forms of productive labor persists the treatment of artists as different, other, uninterested in being able to support themselves and their families. This outpouring of “WTF was MoMA thinking”, makes it a must-see show!! Their work represents traditional painting, in the sense that each artist engages with painting’s traditions, testing and ultimately reshaping historical strategies like appropriation and bricolage and reframing more metaphysical, high-stakes questions surrounding notions of originality, subjectivity, and spiritual transcendence.The exhibition includes works by Richard Aldrich, Joe Bradley, Kerstin Brätsch, Matt Connors, Michaela Eichwald, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, Rashid Johnson, Julie Mehretu, Dianna Molzan, Oscar Murillo, Laura Owens, Amy Sillman, Josh Smith, Mary Weatherford, and Michael Williams.Organized by Laura Hoptman, Curator, with Margaret Ewing, Curatorial Assistant, Department of Painting and Sculpture.Major support for the exhibition is provided by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.Additional funding is provided by the Jacques and Natasha Gelman Foundation, The Contemporary Arts Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art, David Shuman, Craig and Lynn Jacobson, Ronald Marks, and the MoMA Annual Exhibition Fund.In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at If you would like to reproduce text from a MoMA publication or moma.org, please email By visiting our website or transacting with us, you agree to this.
A show of seventeen painters selected to represent contemporary art’s white-hot present, “Forever Now” is the sort of exhibition MOMA cut its teeth on. ©2017 Village Voice, LLC. I'm not nostalgic for the dreaded age of curator-bullies, and now that galleries and biennials do most of the codifying, I love that museums have the luxury of time to sift through things rather than react to every twist of aesthetic fate (although too many museums are trying to be like galleries — more on that later). I suppose that happens at, say, the Review Panel, but not so often in print.) Perhaps it's been ever thus, but it's more thus than ever. This is not a show to define a generation, since the artists are not of a generation as that term has typically been used.
The ubiquitous Josh Smith does what he does at every art-fair outing: paint daftly bright canvases of palm trees or, failing that, his own squiggly signature. Collection Noel Kirnon and Michael PaleyCharline Von Heyl, Carlotta, 2013, oil, synthetic polymer paint and charcoal on canvas 82 x 76.” Promised gift of Michael OvitzLaura Owens, Untitled, 2013, synthetic polymer paint and oil stick on canvasAmy Sillman, Still Life 2, 2014, oil on canvas, 75″ × 66″, Courtesy the artist and Sikkema Jenkins & Co., New YorkMichael Williams, Wall Dog. The Forever Now: Contemporary Painting in an Atemporal World, organized by Laura Hoptman and Margaret Ewing, at the Museum of Modern Art, 11 West 53rd Street, December 14, 2014 to April 5, 2015. It is a style that is easy to be bad at, and one I don't often pay much attention to, but in Sillman's accomplished hands looks strong and also original of color. Unlike the “Americans” shows, “Forever Now” turns its back on art history and the idea of the cutting-edge (or cutting-edges). Kerstin Brätsch installation in The Forever Now: Contemporary Painting in an Atemporal World at MoMANicole Eisenman, Guy Capitalist, 2011, oil and cut-and-pasted printed paper on canvas 76 × 60″. But the show doesn't venture far enough into this charged, pathos-filled, maybe magisterial arsenal of internal and historical anxiety, insatiable introspection, and outward amplitude. There was a panel this week titled "Zombie Formalism," the term for precisely this kind of look-alike abstraction. Why do jazz musician get to “play” and painters have to “labor”?Well, I would say that the word “play,” to me, has connotations of frivolity, amusement, and entertainment.
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