MoMA | Original Copy: Photography of Sculpture, 1839 to Today

Original Copy: Photography of Sculpture, 1839 to Today
August 1–November 1, 2010

Walking through MoMA’s Original Copy: Photography of Sculpture exhibit, I sensed a little deja vu. There was a shared narrative with the Julius Shulman documentary I saw the weekend prior: the intersections between photography and sculpture, exploring how the one medium has become implicated in the understanding of the other. Looking at the ways in which photography informs and challenges our understanding of sculpture.

Some pieces that stood out for me were:
Marcel Duchamp’s Box in a valise 1935–41 (From or by Marcel Duchamp or Rrose Sélavy).
Leather valise containing miniature replicas, photographs, color reproductions of works by Duchamp, and one “original” drawing.

Brancusi’s groupes mobiles
Brancusi asked “Why write?” ~ “Why not just show the photographs?” The sculptor photographed combinations of his work in his studio as groupes mobiles (mobile groups).

Lee Friedlander’s Mount Rushmore. South Dakota. 1969

Larry Fink’s The Metropolitan Museum of Art, New York, Costume Ball. December 1995.

Ann Hamilton’s phora 8. 2005
Inkjet print, 33 3/4 x 46 1/4″

Note: All images are from

Related Event:
The Original Copy: A Panel Discussion on Photography and Sculpture
Tuesday, September 14, 2010, 6:00 p.m.
More details
This panel discussion is moderated by Roxana Marcoci, curator of the exhibition, The Original Copy: Photography of Sculpture, 1839 to Today. Panelists include George Baker, Associate Professor of Modern and Contemporary Art and Vice Chair, UCLA Department of Art History; Mark Godfrey, Curator, Tate Modern; Sarah Hamill, Assistant Professor of Modern and Contemporary Art, Oberlin College; and Rachel Harrison, artist.