Museums have been known to put us to sleep, but never before has one looked so much like our childhood bedroom. Now, thanks to Looking at Music: Side 2, an exhibit including art by Raymond Pettibon, live footage of Suicide and the doodlings of Patti Smith, MoMA is doing just that. Opening today, Looking at Music: Side 2 is the follow up to last year’s Looking at Music, an examination of the interaction between artists and musicians that covered the 1960s and ’70s, and takes on art and music in New York City in the ’70s and ’80s.
We caught up with Barbara London, an associate curator at the Museum and founder of the MoMa’s video exhibition talks, to dish about the new exhibition.
How does Looking at Music: Side 2 compare to last year’s Looking at Music?
Last year the show emerged out of more perceptual art and minimalism. There are different aesthetics, exclusively focusing on New York and thinking about what was happening to them during a rougher time…many people were bankrupt.
What made you decide to do the follow up?
The theme is so rich and good for research. We have a strong collection in MoMa, so we pulled together work that hasn’t been seen in most cases. Some of the stuff we took out of library hasn’t seen the light of day in some time. We have drawings that haven’t been on view before. Even though Jenny Holzer just had a big show at the Guggenheim, it’s cool to see some of the earlier prints.
Are you a big fan of the art and music from the ’70s and ’80s?
Since I’ve been involved, looking at it, and thinking—yes, I have grown to be. Many artists started out in music because they were in high school bands, so there’s a big connection there.
What are some of your favorite works in the exhibit?
What I find very interesting are the juxtapositions in the acoustics section. Also, it’s intriguing to look at Laurie Anderson and her roots and then Blondie and hers. It’s all about identity and creating identity.
Do you think the exhibit will be appreciated at a greater level because of the current recession?
Well, maybe now since it has a lot of relevance. Last year, people seemed to spend a lot of time with it, but it is a little denser this year. There are more magazines, more records to listen to and more videos. There is also a deeper focus on how music has influenced media and contemporary art and even the way some artist formed bands in the 70s. It deals with that sense of empowerment for freedom. People feel the same way today with using computers.
You founded the Museum’s video exhibition and collection programs. How do you feel about the way video, music and art all work together in the exhibit?
To me, nothing exists in isolation. We tend to categorize…we live, talk with people and collaborate. It’s all about making connections.
