New York Cultural Giants Bring Major Art Installations To JFK's New Terminal

Four of New York’s most iconic museums are joining forces to transform JFK’s Terminal 6 into a global arts hub, with installations by MoMA, the Met, Lincoln Center, and the American Museum of Natural History.

Copyright Courtesy of JFK Millennium Partners and The Port Authority of New York and New Jersey

When John F. Kennedy International Airport unveils its new $4.2 billion Terminal 6, visitors won’t just be greeted by sleek gates and high-tech screens – they’ll walk straight into a mini New York arts district.

As reported by Artnet, four of the city’s most renowned cultural institutions – the Museum of Modern Art, the Metropolitan Museum of Art, the American Museum of Natural History, and Lincoln Center for the Performing Arts – are teaming up to showcase major installations inside the terminal.

The artworks, all on loan from each institution’s permanent collection, will be displayed in the international arrivals corridor. It’s part of a wider effort to make Terminal 6 not just a place to pass through – but a cultural experience in its own right.

Rendering of the arrivals area in Terminal 6 at JFK. Courtesy of JFK Millennium Partners and The Port Authority of New York and New Jersey.

“Thanks to the collaboration with four of New York’s premier cultural institutions, Terminal 6 will offer arriving visitors from around the world a unique New York experience before they leave the terminal,” said Port Authority executive director Rick Cotton.

In addition to these pieces, the terminal will feature 19 permanent, site-specific installations curated by Public Art Fund, plus a rotating display of local work selected by Jamaica Center for Arts and Learning.

Lincoln Center is contributing a 140-foot mural celebrating its work across music, dance, theatre and opera. MoMA has partnered with artist Yoko Ono on a piece inspired by her 2019 work PEACE is POWER. The American Museum of Natural History will create a display drawing from its scientific collections, while the Met’s installation nods to its diverse collection, showcasing 5,000 years of global art.The effort is led by architect Stanis Smith and will also feature 19 site-specific permanent installations curated by Public Art Fund and rotating local artworks curated by Jamaica Center for Arts and Learning.

The Metropolitan Museum of Art in New York City Hugo Schneider / CC licence

“We’re honoured to collaborate with such prestigious institutions – icons in the global arts community and deeply rooted in the spirit of New York City,” said Steve Thody, CEO of JFK Millennium Partners (JMP), which is leading the project with the Port Authority. “Each installation will reflect and celebrate the vibrant cultural heartbeat of New York as we welcome the world to JFK and beyond.”

The effort is led by architect Stanis Smith and will also feature 19 site-specific permanent installations curated by Public Art Fund and rotating local artworks curated by Jamaica Center for Arts and Learning.

The 1.2 million-square-foot terminal will feature 10 gates and is expected to create around 4,000 jobs. Airlines including JetBlue, Lufthansa, Swiss, ANA, Avianca, and Cathay Pacific will operate from the terminal. Cotton noted that the terminal will boast “state-of-the-art architecture, cutting-edge technology and iconic, [and] locally inspired dining and shopping."

The first six gates are set to open later this year, with full completion expected by 2028.

While JFK’s new terminal celebrates New York’s artistic spirit, the wider US cultural landscape faces increasing political scrutiny.

A letter sent by the White House last week ordered several US museums to align their content with Donald Trump’s interpretation of American history.

The move follows Trump’s signing of an executive order in March titled “Restoring Truth and Sanity to American History,” which accused the Smithsonian of coming under the influence of a “divisive, race-centered ideology” and called upon it to “remove improper ideology” from the institution's museums.

In February, Trump removed the Kennedy Center’s Board of Trustees and replaced them with his supporters. He even named himself chairman and vowed to end events featuring performers in drag, indicating he would take on a larger role in dictating the institution's programming schedule.

https://www.euronews.com/profiles/3106

MoMA Reopens With More Space, Fresh Juxtapositions

This undated image released by the The Museum of Modern Art shows the installation "Artist’s Choice: Amy Sillman—The Shape of Shape," part of the renovation and expansion effort at MoMA in New York. As the Museum of Modern Art in Manhattan prepares to reopen following a $450 million, 47,000 square foot expansion, visitors can prepare for much more than much-needed elbow room there - and new juxtapositions of works meant to encourage broader perspectives and new narratives. (Heidi Bohnenkamp/MoMA via AP)

Contributed by KATHERINE ROTH

NEW YORK (AP) — The Museum of Modern Art’s new $450 million, 47,000-square-foot expansion offers visitors more than much-needed elbow room. It emphasizes new juxtapositions of works to encourage broader perspectives and new narratives.

The revamped MoMA, a third bigger than the old one, opens to the public on Oct. 21.

While iconic works by the likes of Monet, Van Gogh, Picasso and Pollock remain dependably on view, visitors are invited to see them in a new light, now displayed side by side with less familiar works by women and minorities, and artists from places like Africa, South America and Asia.

The goal is to rethink the familiar and make Modernism feel fresh and challenging again.

“Sometimes even small juxtapositions can have a big impact,” says Jodi Hauptmann, senior curator of drawings and prints at MoMA. “On the fifth floor, for example, Van Gogh’s ‘The Starry Night’ is now shown in the same gallery as a collection of ceramics made at the same time by George Ohr, of Biloxi, Mississippi. It’s interesting to see those things together.”

Picasso’s 1907 “Les Demoiselles d’Avignon” now shares gallery space with a 1967 painting by African-American artist Faith Ringgold featuring an interracial gunfight. Seeing the two works together provides fresh perspective on both, and seems to emphasize the violence of Picasso’s fractured bodies.

“Inspired by Alfred Barr’s original vision to be an experimental museum in New York, the real value of this expansion is not just more space, but space that allows us to rethink the experience of art in the museum,” says Glenn D. Lowry, director of MoMA.

To keep creating fresh juxtapositions, offer up more of the museum’s permanent collection, and place greater focus on multiculturalism, the revamped MoMA promises to rotate many of the works in its galleries every six months.

“It’s an opportunity to show visitors what the museum has been doing in terms of collecting these past years,” says Michelle Elligott, chief of archives, library and research collections.

In some of the galleries, sculpture, painting, design, architecture, photography and film are all featured together.

“We have now brought various departments into conversation, which allows visitors to explore what different artists were doing during the same time period,” says Martino Stierli, chief curator of architecture and design at the museum.

Other galleries continue to focus on a single medium. Explains Juliet Kinchin, curator in the department of architecture and design: “Each floor has a broad chronological frame, but within each frame there’s more flexibility, with occasional breakouts to create a dialogue.”

“We’re trying to have some areas that are fully integrated in terms of departments, and other areas where you can really focus solely on a particular medium,” she says.

To help alleviate crowds, MoMA now has more ways to reach the galleries, including through a new wing on the west side.

The expansion, developed by MoMA with architects Diller Scofidio and Benfro in collaboration with Gensler, also includes a larger ground floor — including two new galleries — that is free and open to the public.

There is aIso a new studio space for live and experimental programming, including music, sound, spoken word and expanded approaches to the moving image.

“The idea is that the museum will now be a more engaging destination for both repeat visitors, as well those visiting the museum for the first time,” says Elligott.

MoMA To Open NY Exhibit On Latin American Architecture

Associated Press

In this Feb. 6, 2012 , photo provided by the Museum of Modern Art in New York, the Bank of London and South America in Buenos Aires, Argentina is shown. The image is part of a Museum of Modern Art exhibit called “Latin America in Construction: Architecture 1955-1980” that will be shown from March 29 to July 19th, 2015 at the museum in New York. (AP Photo/Museum of Modern Art, Fabio Grementieri)

A new exhibit at the Museum of Modern Art in New York City will explore the architectural landscape of Latin America between 1955 and 1980.

The show features more than 500 works that have mostly never been exhibited, including architectural drawings and models, vintage photographs and films.

Some of the buildings examined include The Bank of London and South America in Buenos Aires, Argentina and The Plaza of the Three Powers in Brasilia, Brazil.

Museum representatives on Tuesday said the exhibit reveals the urban development in the region during a time of complex political shifts.

The exhibit, titled "Latin America in Construction: Architecture 1955-1980" will open March 29.

Admission To NY Matisse Show At The Museum of Modern Art Will Be By Timed Tickets, Available Online

 (AP) - A Matisse exhibition that drew big crowds in London is opening soon at New York City's Museum of Modern Art.

In anticipation of a large turnout, MoMa is issuing timed tickets for admission to "Henri Matisse: The Cut-Outs."

They're available online, www.moma.org/, and at the museum and are free with the price of a regular admission.

The exhibition runs Oct. 12 through Feb. 8. It was shown at the Tate Modern in London before coming to MoMA.

The cut-outs were created largely in the last decade of the French artist's life when he was recovering from cancer and unable to paint.

Henri Matisse used scissors and paper to create a series of big, bold and ambitious cutouts. Some are mural or room-size, including "The Swimming Pool," which MoMA acquired in 1975.

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