The MOMA: Gravity—and Expectations—Defied
If anything, I was skeptical. Modern art had always been a concept that I wasn’t all that enthusiastic to know more about. Still, I knew it wasn’t worth it to complain—so there I was.
The entrance restored my faith in our adventure. Within steps of the ropes was an exhibit that attracted the attention of dozens: two seamless pieces of what seemed to be film reel, moving back and forth suspended between two fans, adorned the rise before the stairs. The work literally seemed to defy gravity, and the lighting made it possible for the clear, taut ropes keeping the reel aloft to be made invisible. Feeling slightly less wary of what I was to be subjected to, I ventured onward—and began to see fascinating things all around. One of the first pieces to catch my attention was Richard Pousette-Dart’s “Fugue #2.” At a first glance, it made no sense to me; it just looked like incoherent swirls and shapes. However, upon looking at the title, I began to realize a pattern. Knowing nothing of art, I drew upon my knowledge of music: a fugue is a piece of music that is written using the same main theme repeated and layered over itself. With that in mind, the painting seemed to be using the same concept; the more I looked at it, the more I could see repetition of swirl patterns, of subtle layering. It seemed as though the artist picked such a title to shroud the piece in further mystery than it offered alone, yet still offering insight into the intent that would otherwise be overlooked. Not all of the art was quite so discernable, though. Works such as Hans Hofmann’s “Memorie in Aeternum” caused me endless consternation—despite the piece’s beautiful colors, defined shapes and soft background, I could not determine the true meaning behind the piece (and the title certainly didn’t help me).
It seems that, although much modern art is quite prestigious—and rightfully so—some slip through the cracks…and onto the walls. Despite the fact that the definition of art isn’t incredibly subjective, I just couldn’t bring myself to accept some of the things that were exhibited. One example was the construction paper area. Sure, some of the works were intricate and beautiful, but I must admit that I almost laughed a little when I saw “Untitled (Collage with Squares Arranged According to the Laws of Chance).” I just couldn’t shake the feeling that my mom had kept something that I had made in kindergarten that looked just like that…
Still, as I shook my head and walked away, I realized that I was never far from a piece of art that shocked me with its skill and conceptual insight. Like the loops of film that were floating on the newly visible cables in the midday’s natural light, even though I was sometimes able to see through the myth of the glory of the MOMA, my expectations (like gravity) were defied—and in one of the most beautiful ways possible.
