New Museum 新當代藝術博物館

The New Museum of Contemporary Art, founded in 1977 by Marcia Tucker, is a museum in New York City at 235 Bowery, on Manhattan’s Lower East Side. It is among the few contemporary art museums worldwide exclusively devoted to presenting contemporary art from around the world.

新的當代藝術博物館由Marcia Tucker於1977年創立,是位於曼哈頓下東區Bowery 235號的紐約市博物館。 它是世界上為數不多的專門展示來自世界各地的當代藝術的當代藝術博物館之一。

Location:235 Bowery
Manhattan, New York City, New York 10002
United States
Coordinates:40.722239°N 73.993219°W
Type:Contemporary art
Director:Lisa Phillips
Curator:Gary Carrion-Murayari
Richard Flood
Massimiliano Gioni
Margot Norton

地點:235 Bowery
坐標:40.722239°N 73.993219°W
導演:Lisa Phillips
策展人:Gary Carrion-Murayari
Massimiliano Gioni

The museum originally opened in a space in the Graduate Center of the then-named New School for Social Research at 65 Fifth Avenue.The New Museum remained there until 1983, when it rented and moved to the first two and a half floors of the Astor Building at 583 Broadway in the SoHo neighborhood.

In 1999, Marcia Tucker was succeeded as director by Lisa Phillips, previously the curator of contemporary art at the Whitney Museum of American Art. In 2001 the museum rented 7,000 square feet of space on the first floor of the Chelsea Art Museum on West 22nd Street for a year.

Over the past five years, the New Museum has exhibited artists from Argentina, Brazil, Bulgaria, Cameroon, China, Chile, Colombia, Cuba, Germany, Poland, Spain, South Africa, Turkey, and the United Kingdom among many other countries. In 2003, the New Museum formed an affiliation with Rhizome, a leading online platform for global new media art.

In 2005, the museum was among 406 New York City arts and social service institutions to receive part of a $20 million grant from the Carnegie Corporation, which was made possible through a donation by New York City mayor Michael Bloomberg.


1999年,瑪西亞·塔克(Marcia Tucker)接替麗莎·菲利普斯(Lisa Phillips)擔任導演,她曾擔任惠特尼美國藝術博物館當代藝術館館長。 2001年,博物館在西22街的切爾西藝術博物館一樓租了7,000平方英尺的空間,為期一年。

在過去的五年中,新博物館展出了來自阿根廷,巴西,保加利亞,喀麥隆,中國,智利,哥倫比亞,古巴,德國,波蘭,西班牙,南非,土耳其和英國等眾多國家的藝術家。 2003年,新博物館與Rhizome建立了聯繫,Rhizome是全球新媒體藝術的領先在線平台。


Core value
The New Museum was established by an independent curator Marcia Tucker in 1977. It is dedicated to introducing new art and new ideas, by artists who have not yet received significant exposure or recognition. Ever since it was founded, the museum has taken on the mission to challenge the stiff institutionalization of an art museum. It continues to bring new ideas into the art world and to connect with the public.

新博物館由獨立策展人Marcia Tucker於1977年創立。它致力於介紹尚未獲得重大曝光或認可的藝術家的新藝術和新想法。 自成立以來,博物館一直致力於挑戰藝術博物館僵化的製度化。 它繼續為藝術界帶來新的想法,並與公眾聯繫。

New location (2007 to present)
On December 1, 2007, the New Museum opened the doors to its new $50 million location at 235 Bowery, between Stanton and Rivington Streets. The seven-story 58,700-square-foot facility, designed by the Tokyo-based firm Sejima + Nishizawa/SANAA and the New York-based firm Gensler, has greatly expanded the Museum’s exhibitions and space.

SANAA’s design is chosen because it is in accord with the museum’s mission—the flexibility of the building, its changeable atmosphere corresponds to the ever-changing nature of contemporary art. Its bold decision to put a stack of white boxes in the Bowery neighborhood and its success to achieve a harmonious symbiotic relationship between the two manifest the coexistence of different dynamic energy of contemporary culture.

In April 2008, the museum’s new building was named one of the architectural New Seven Wonders of the World by Conde Nast Traveler. The New Museum has been and will continue to be a crucial landmark of the Bowery district. “Bowery embraces idiosyncrasy in an unprejudiced manner and we were determined to make the museum building feel like that”, as one of the directors of the museum puts it. The neighborhood appears to be a fearless confrontation with the convention image of downtown Manhattan—an adventurous spirit that the New Museum always sees itself searching for.

The Bowery location has gallery and events space, plus a Resource Center with books and computers for access to their main web site and digital archive. The New Museum Digital Archive is an online resource that provides accessibility to primary sources from exhibitions, publications, and programs. The archive holds 7,500 written and visual materials for artists and researchers to access. The New Museum Digital Archive’s database is searchable through 4,000 artists, curators, and organizations connected to New Museum exhibitions, performances, and publications.

2007年12月1日,新博物館打開了通往Stanton和Rivington Streets之間位於235 Bowery的新的5000萬美元的大門。由總部位於東京的Sejima + Nishizawa / SANAA和總部位於紐約的Gensler公司設計的七層58,700平方英尺的工廠極大地擴展了博物館的展覽和空間。

選擇SANAA的設計是因為它符合博物館的使命 – 建築的靈活性,其多變的氛圍與當代藝術不斷變化的本質相對應。它大膽決定在Bowery社區放置一堆白盒,並成功實現兩者之間的和諧共生關係,體現了當代文化不同動態能量的共存。

2008年4月,博物館的新建築被康德納斯特旅行者評為世界七大奇蹟之一。新博物館已經並將繼續成為Bowery地區的重要地標。 “Bowery以一種無偏見的方式擁抱特質,我們決心讓博物館建築感覺如此”,正如博物館的一位導演所說的那樣。這個社區似乎與曼哈頓市中心的會議形象無畏對抗 – 這是新博物館一直在尋找的冒險精神。


New York actually owes the fact that there is a new museum at all to the narrow-mindedness of its museum directors, who fired the curator Marcia Tucker from the Whitney Museum a good thirty years ago because they were not pleased with her take on art and especially not with her Richard Tuttle exhibition. Marcia Tucker did not allow herself to be intimidated, and opened her own museum exactly one day after her unceremonious dismissal from Tribeca. It became a successful channel for discoveries in the succeeding years, showing Richard Prince’s work, for example, as early as 1980. In 1999, Lisa Phillips Tucker, who also came from Whitney, took over as director and pushed the fifty million dollar new building project forward.

紐約實際上有一個事實,那就是博物館館長的狹隘思想有一個新的博物館,三十年前他們從惠特尼博物館解雇了策展人瑪西婭塔克,因為他們不喜歡她對藝術和藝術的看法。 尤其不是她的Richard Tuttle展覽。 瑪西婭塔克不允許自己被嚇倒,並且在她從特里貝卡被毫不客氣地解僱後的一天開了她自己的博物館。 它成為了接下來幾年發現的成功渠道,早在1980年就展示了理查德·普林斯的作品。1999年,同樣來自惠特尼的麗莎·菲利普斯·塔克接任導演並推出了價值五千萬美元的新建築。 項目進展。

The contract went to the Japanese architects Kazuyo Sejima and Ryue Nishizawa, who together run the SANAA architecture practice in Tokyo. SANAA made a name for itself with sensational concept buildings that were then actually built, to many people’s astonishment. SANAA intends to take the ideas of inside and outside, public and private apart and reconstruct them in a new, softer arrangement. The Moriyama House established them as the experimental building philosophers of their generation. Sejima, who was born in 1956 and studied under Toyo Ito previously, and Nishizawa, who is ten years younger, have been running their joint office in Tokyo together since 1995. SANAA, who made their name internationally two years ago when they built the 21st Century Museum of Contemporary Art in Kanazawa, are also building the Zollverein School of Management and Design in Essen, Germany. This building is a seven-story exposed concrete cube — though there is no sense of separate floors. The square windows of different sizes look as though the architects had stamped them out of the fresh concrete with biscuit moulds. The windows become more concentrated nearer the bottom corner, where the façade looks like an unravelled concrete net that is breaking up and revealing a glazed body; the building becomes more solid towards the top, and windows appear only rarely. The public areas of the school are placed where the closed façade opens up and turns into a collection of window frames, and the more intimate ones are found where concrete is dominant — but that is also all the façade is giving away. The modern belief that the façade should reveal what is going on behind it because otherwise it is a dishonorable façade that should be rejected on moral grounds is thrown overboard: it is impossible to gain a sense of how many floors are concealed behind the envelope, which at night looks like a transgalactic diagram full of four-cornered stars.

合同交給了日本建築師Kazuyo Sejima和Ryue Nishizawa,他們共同負責東京的SANAA建築事務。 SANAA以其聳人聽聞的概念建築而聞名,這些建築實際上已經建成,讓很多人驚訝不已。 SANAA打算將內部和外部,公共和私人的想法分開,並以一種新的,更柔和的方式重建它們。 Moriyama House將他們確立為他們這一代的實驗建築哲學家。 Sejima出生於1956年,之前曾在Toyo Ito學習,而Nishizawa,他年輕十歲,自1995年以來一直在東京聯合辦事處.SANAA兩年前在國際上建立了21世紀的名字金澤世紀現代藝術博物館也在德國埃森建立了Zollverein管理與設計學院。這座建築是一座七層高的露天混凝土立方體 – 雖然沒有單獨的地板感。不同大小的方形窗戶看起來好像建築師用新鮮的混凝土用餅乾模具沖壓出來。窗戶越來越集中在靠近底角的地方,那裡的外立面看起來像一個破碎的混凝土網,正在破碎並露出一個玻璃體;建築物朝頂部變得更加堅固,窗戶很少出現。學校的公共區域被放置在封閉的外立面打開的地方,並變成一個窗框的集合,並且在混凝土占主導地位的地方找到了更親密的 – 但這也是所有外立面的贈品。現代人認為外牆應該揭示它背後發生的事情,因為否則它是一個不道德的外觀,應該在道德的基礎上被拒絕被扔到船外:不可能知道在信封後隱藏了多少層樓,在晚上看起來像一個滿是四角星的跨河圖。

In New York it is above all the façade that makes a striking impact: there are scarcely any windows to be seen, just a large, silver-gray shimmer and, according to the incidental light, the building looks gleaming white, a matt light gray or shining silver — all because of the coarse-mesh steel net that covers almost all the outer skin and also the windows, like a curtain. Inside this creates a slightly prison-like atmosphere in places, but on the other hand, thanks to the net façade (which is essential for insurance purposes, says SANAA architect Toshihiro Oki), the windows can be opened wide even at a height of twenty meters, letting the good New York ocean air into the office, rather than the usual identical air pumped in by air-conditioning units.

在紐約,最重要的是外立面產生了驚人的影響:幾乎沒有任何窗戶可以看到,只有一個大的銀灰色閃光,根據偶然的光線,建築看起來閃閃發亮的白色,暗淡的淺灰色 或閃亮的銀色 – 所有這些都是因為粗網眼鋼網幾乎覆蓋了所有外皮和窗戶,就像窗簾一樣。 在這裡,在這裡創造了一個略帶監獄的氛圍,但另一方面,由於淨外觀(對於保險而言必不可少,SANAA建築師Toshihiro Oki說),窗戶甚至可以在20的高度打開 米,讓好的紐約海洋空氣進入辦公室,而不是通常由空調機組吸入的相同空氣。

As well as this, the steel mesh net makes an interesting effect when seen from a distance: the completed building is reminiscent of a model in which no details such as windows have been taken into account.

The all-over gray of the façade reminds some people of the World Trade Center, though in theory the SANAA building is just the opposite of this. The Twin Towers were built around their elevators, and towered evenly into the air with a sense of desolate resolution, while the New Museum is piled up as if it were made of removal crates jumping madly to and fro — and it is the edges created by this jumping that makes the rooms above and below them so interesting: a roof terrace is created here, and there daylight falls on the art through a slit in the ceiling. What SANAA are giving their skyscraper is a really good dose of rock ‘n’ roll — and the swinging hips create narrow stairs, views through, wide spaces and niches of a kind that are not found elsewhere.


外立面的灰色讓人聯想起世界貿易中心的一些人,儘管理論上SANAA建築恰恰相反。雙子塔圍繞著他們的電梯而建造,並且以一種荒涼的分辨率均勻地拖曳到空中,而新博物館則被堆積起來,好像它是由拆除的箱子瘋狂地來回跳動 – 而且它是由邊緣創造的這種跳躍使得它們上方和下方的房間如此有趣:這裡創造了一個屋頂露台,日光通過天花板上的狹縫落在藝術品上。 SANAA給他們的摩天大樓提供的是一個非常好的搖滾樂 – 搖擺的臀部創造了狹窄的樓梯,透視,寬闊的空間和其他地方沒有的壁龕。

At the bottom, at street level, the building lifts its steel skirts and you look into a café through a glazed façade, into a public space for special exhibitions that is accessible free of charge. Its video art flickers out into the street at night, washing the sidewalks with reflected art. This is also intended as an invitation to local residents, just as everything about this building is intended to be inviting and to speak for itself: rather than the high drama of a temple to art, this building looks like a thoroughly well designed workshop for the present day. SANAA uses simple materials such as perspex, neon tubes and wire mesh, and manages to stage all this so that it looks elegant, light, transparent and somehow generally iPod-like. Essentially, the museum is a tower of white cubes that have been slit open and made permeable — and it is entirely apt to read this as a symbolic statement about its programming, as evidenced by the first exhibition. Massimiliano Gioni, who co-curated the 4th Berlin Biennale, among other things; Richard Flood, the former head curator of the Walker Art Center in Minneapolis; and Laura Hoptman were the curators. They have created an exhibition called “Unmonumental,” showing sculptures consisting mainly of crumbling small scrap, broken everyday objects, the detritus of civilization in every shape and form, thus looking deliberately heterogeneous, screwed together, as if in a collage: what you get to see is art that does not try to explain ‘the world,’ ‘war’ and ‘mankind’ as large aesthetic entities, that does not cling dramatically to a sweeping concept of work that is distanced from life, but instead presents accumulated clumps of and collisions between private mythologies, references and idiosyncrasies, impenetrable, sometimes delicately balanced, but sometimes conveying a sense of brashness. This is art that derives its explosive force by refusing excessively individualistic emotional drama.

在底層,在街道層面,建築物提升其鋼製裙邊,您可以通過玻璃幕牆進入咖啡館,進入可免費使用的特殊展覽的公共空間。它的視頻藝術在晚上閃爍在街道上,用反射藝術清洗人行道。這也是對當地居民的邀請,就像這座建築的所有內容都是為了邀請和自己說話一樣:這座建築看起來像是一個設計完善的工作室,而不是藝術殿堂。今天。 SANAA使用簡單的材料,如有機玻璃,霓虹燈管和金屬絲網,並設法將所有這些材料放置,使其看起來優雅,輕盈,透明,並且通常像iPod一樣。從本質上講,博物館是一座白色立方體的塔,它已經被切開並且具有滲透性 – 並且完全容易將其視為關於其編程的象徵性陳述,正如第一次展覽所證明的那樣。 Massimiliano Gioni,共同策劃了第四屆柏林雙年展,以及其他事情; Richard Flood,明尼阿波利斯沃克藝術中心的前首席策展人;和Laura Hoptman是策展人。他們創作了一個名為“Unmonumental”的展覽,展示的雕塑主要包括破碎的小碎片,破碎的日常物品,各種形狀和形狀的文明碎片,因此看起來故意異形,擰成一團,彷彿在拼貼中:你得到了什麼看到的是藝術並沒有試圖將“世界”,“戰爭”和“人類”解釋為大的審美實體,而是不能完全依賴於與生活相距甚遠的大工作概念,而是呈現出積累的私人神話,參考和特質之間的碰撞,難以捉摸,有時微妙平衡,但有時會傳達一種傲慢感。這種藝術通過拒絕過度個人主義的情感戲劇而產生其爆發力。

An astonishingly large number of German artists are featured, including Anselm Reyle, Manfred Pernice and Isa Genzken, and also discoveries such as Tobias Buche, a Berlin-based artist who arranges Internet printouts, photographs, media images and private memorabilia to create striking mnemonic mobiles. But Gioni claims that the exhibition as it is to be seen now is only a beginning. As the months pass, it is intended to change its character and so at the same time turn into a programmatic exhibition about exhibiting as such. The walls, still white at present, would gradually fill up with a proliferation of art. A number of artists are due to provide sound installations, including Trisha Donnelly and Anthony Burdin. Ultimately something that started out as a formally quite conservative sculpture will itself turn into a collage of images, shapes and sounds — and then when one of the invited artists goes out into the street, recites texts about war and love there and conveys the recitation by mobile phone to a receiver in the museum, this transmission work too is part of the program: the New Museum intends to work from a premise that is quite different from those followed by the great European and American contemporary art museums, who deliberately present art in their sacred halls as something sacred, from realms far distant from the world. The New Museum is closer to theater: this is not to be a place where things are collected, but where they are presented and unleashed upon each other; art will be shown that brings images, objects and sounds into the museum from the outside, cleans them at high pressure, pushes them together, takes them apart and releases them again.

包括Anselm Reyle,Manfred Pernice和Isa Genzken在內的眾多德國藝術家,以及像柏林藝術家Tobias Buche這樣的發現,他們安排互聯網打印輸出,照片,媒體圖像和私人紀念品,以創造引人注目的助記符手機。但是Gioni聲稱,現在要看的展覽只是一個開始。隨著月份的過去,它的目的是改變它的性質,同時變成一個關於展覽的程序化展覽。目前仍然是白色的牆壁將逐漸充滿藝術的擴散。許多藝術家將提供聲音裝置,包括Trisha Donnelly和Anthony Burdin。最終,作為一個正式相當保守的雕塑開始的東西本身將變成圖像,形狀和聲音的拼貼畫 – 然後當其中一位受邀藝術家走出街道時,背誦有關戰爭和愛情的文本,並通過以下方式傳達背誦移動電話到博物館的接收器,這個傳輸工作也是該計劃的一部分:新博物館打算從一個與歐洲和美國當代藝術博物館所遵循的前提完全不同的前提下工作,這些博物館故意將藝術品呈現在他們神聖的大廳是神聖的東西,遠離世界的領域。新博物館離劇院更近:這不是一個收集東西的地方,而是它們相互展示和釋放的地方;藝術品將展示從外面將圖像,物體和聲音帶入博物館,在高壓下清潔它們,將它們推到一起,將它們分開並再次釋放它們。


FROM:4.2 New Museum for Contemporary Art in NYC by SANAA (Contemporary Architecture MOOC)

FROM:New Museum | Case Study

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