Paola Antonelli (2015)

Hello! I’m a long-time observer of AMAs, but I’ve been so looking forward to yours that I made an account and prepared my comments in advance. I’m a university student of Curatorial Studies in Toronto, and I’ve been interested in the art world forever, but torn because it’s seemed a difficult field in which to effect real change. You were named one of the most powerful people in the art world by Art Review, so my question is,

Do you ever feel like you’re not big enough for the world’s problems? How do/would you deal with that?

When I began curating, I held a series of small shows that focused on light, colour, technique, etc., and they were cute but insignificant, and in retrospect they almost feel like a waste of time. And I’m seeing a lot of shows now for Ai Wei Wei, Basquiat, Damien Hirst, that achieve significance but sometimes float over the heads of anyone not invested in the art world.

I’m working on a class project developing a fake exhibition, but it’s almost painful to try and pick a subject. When given the choice, why would we want to do anything other than bring awareness to acts against humanity, or racial inequality, or natural disasters? But how can that exhibition reach a large audience if the audience would rather look at still lifes or nice landscapes? How does your work in curating design fit into a world obsessed with gun violence, internet freedom, North Korea, Israel/Palestine? Do you see it as a sort of trickle-up effect?

You’re an amazing curator, an inspiration to people aspiring to significance, and I’m sorry for burdening you with so many rhetorical questions! My only real question is the first one, and I hope you have the time to reply to it.

Thanks so much,

Madison

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Reddit seems like an interesting forum for serious design talk, but let’s give this a shot…

Often times people view museum curation as a retroactive interpretations. In what ways would you say that the MoMA is fostering interest in future technology, design and architectural concepts through its curatorial process?

Also, I once had Barry Bergdoll as a professor about 4 years ago, if you happen to run into him, please tell him hello!

Hi Paola - thank you for doing an AMA!
You made waves when you brought video games to the MoMA. Do you have a favorite video game (regardless of if it is in the collection or not) - and why?

Has there ever been an object that you considered too absurd to acquire? What was it?

Paola,
I saw you speak at VCU several years ago as and was so excited to see that you're doing an AMA! I would love to know what your job entails on a day-to-day basis. In addition, what advice would you give to art history students or recent graduates interested in pursuing a career in curating?

Ms. Antonelli,

I was wondering how you enjoy working with Klaus Biesenbach?
In what direction do you think art will go in the coming years?

Can't wait to see the new exhibitions!

"Because curating design is tightly connected to culture and technology, my curatorial stance has had to evolve with technology." Do you see learning code and web page construction reflected in design profession?

In the film Objectified, you mention that the future of design for designers are to be seen as resources for policy makers or anyone who wants to translate the complex to reality. You saw them almost like the philosophers of old.

in 2015, are we getting closer or farther to that ideal in your opinion? And how can we make those inroads?

First, I want to say that I love MoMA and I love the architecture and design department. But part of me can’t help but wonder if there is a better way to curate objects of design. In the gallery, the objects always seem to be floating in space, devoid of the context that makes them relevant. Do you see this as a discrepancy? If so, how do you imagine this can be addressed? Would you ever consider an alternate approach to curating, such as furnishing the gallery as if it were a home?

What's the last item you acquired for MoMA and why? And what was the last item you acquired for yourself?

Hello! I'm a big fan. I'm currently interested in design solutions that address aspects of mental illness in addition to medication and therapy. I know that you have done great curatorial work on a lot of timely and pressing issues. Has design for mental illness been on your radar, and if so, does anything excite you?

If you weren't a curator at the MoMA what would your ideal job be?

Hello! I have been following your work and thoughts on design, particularly digital objects, closely since the Applied Design exhibition launched. In my post-museum studies MA research, I have investigated heavily into the aesthetics of digital interaction particularly in relation to new materialism theory.

My first question for you is what examples of digital interactive design have you found to be the most compelling? Specific or general?

My second is if you have any advice for someone looking to get their first professional break into the museum world with this kind of interest or the digital humanities in general?

Thank you! - Justin

What movements or trends in design are you most interested in following in 2015? What would you like to see more of?

Thank you!

Also, would you name three people that we can follow on Twitter that you currently find fascinating?

You have brought many things to the MoMA from the tech world -- from video games, to keyboard symbols, coding interfaces and the like. It would seem - at least on the surface - that many of these were created by non-"designers". On the other hand it seems like design education does not stress technology. How can the gap be bridged between the two?

Hi Paola!
MOMA recently added video games to their collection. Is there anything else that you think should be viewed as art that is not considered as art today?

What was it like when the MoMA hosted Jay Z's performance art piece?

What book of architecture or design do you consider a must-read?

Are you pro-skeumorphism or anti-skeumorphism?

Why are you not just titled a Curator of Design, rather than Architecture and Design. It doesn't seem like Architecture, or the physical world, is of much interest to you.
Also, how do you feel about the New Museum Triennial, which acts as a counterpoint to much of the (as Jerry Saltz may say) cynical marketing going on at MoMA. Your embrace of video games seems in line with Bjork, as is the expansion of the MoMA to include more performance spaces i.e. more crowd pleasing digital/celebrity/branding tie-ins.

When will MoMA acquire a brand identity? Might I suggest the 2012 Olympic Games by Wolff Olins over Coca-Cola?

You have three tokens.

From the entire collection you curate if you were able to save any three items from the effects of ageing/wear and tear which items would you grant this immortality to.

Taking the current social and political upheaval into context do you think artists and designers of this generation are currently representing the state of affairs that we are seeing globally? Do you foresee any trends to more socially/politically design practices.

What is your personal definition of what "art" is?

Have you ever regretted allowing something to become part of the Moma collection?

(Thank you for the AMA, love the work and really inspired by one of your ted talks that I stumbled upon a few weeks back)

How hard is it for unknown artists to get their work displayed at moma?

Ciao Paola, what do you think of Dunne & Raby recent departure from the RCA Design Interactions course? I saw your tweet and considering the attention you offered to DI @ moma in the past I would be curious if you could tell us about what are your feelings…

I am finishing a PhD in art history and am looking beyond the academic profession. I already have some curatorial experience and have done various work in the gallery/museum world. As a curator at MoMA, I wonder what you look for when hiring young aspiring curators/employees; are PhDs relevant anymore?