We recently launched a sub-site for the Rising Currents exhibition at MoMA:
MoMA and P.S.1 Contemporary Art Center joined forces to address one of the most urgent challenges facing the nation’s largest city: sea-level rise resulting from global climate change. Though the national debate on infrastructure is currently focused on “shovel-ready” projects that will stimulate the economy, we now have an important opportunity to foster new research and fresh thinking about the use of New York City’s harbor and coastline.
These smaller exhibitions don’t usually get their own sub-sites, but it was fairly easy to customize a category view within the existing MoMA blog. A slightly-altered version of the site is also available on kiosks in the exhibition space.
George Lois on the first cover he art directed for Esquire:
Hayes mentioned that we were going to have a spread of Floyd Patterson, the boxing champion of the world, and Sonny Liston, the challenger, and Patterson was an 8–1 favorite. I knew right away what I was going to do, because I knew that Liston was going to kill him. So I called the photographer, and I said, “We’re going to get a guy with the same body as Patterson, we’re going to lay him flat on the ring, and we’re going to show him killed, knocked out by Liston. Leave him for dead.” I wanted to show a metaphor for boxing — if you’re a loser, you’re left for dead, which is also a metaphor for life. So we get the shot and I sent it to Hayes.
“George, I never saw a cover like this in my life! You’re calling the fight — suppose you’re wrong? Everybody says you’re wrong.” I told him we had a 50/50 chance of it working, but if it does, it shows we have balls. It hit the newsstand a week before the fight, and it was roundly laughed at in the sports crowd. But a week later, of course Liston kills Patterson, just like I thought. And Esquire got tons of publicity and the best sales since the start of the magazine. And Harold said to me, “You gotta keep doing my covers.”
He went on to create 92 iconic covers during the 1960s that were exhibited at MoMA and added to the permanent collection. Unfortunately only five of the covers have their image rights cleared to display online. Not many people realize that even if a work is “owned” by the museum, having the right to display it online is another matter. This is an issue the Brooklyn Museum has addressed nicely on their blog. This is why photography is usually not allowed in museums, except within the older permanent collections.
Link via Jason Kottke
Going through our site statistics this morning Allegra discovered that our largest spike in traffic (ever, it seems) happened on February 1st. A significant portion of that day’s site visitors came from a Korean site called Naver. I haven’t explored the details much, but it seems that on that one day Naver sent us around 64,000 hits (uniques?) to the Tim Burton exhibition subsite.
Crap, it’s becoming a regular feature isn’t it?
For the last year and a half I’ve been freelancing at MoMA’s digital media department, helping develop the MoMA.org front-end. In many ways it has been an ideal client for me: dependable pay, flexible terms, interesting work and people I get along with. I think I’ve done my best web development work here. So I’m very proud to see our efforts being recognized by Kunstpedia. Judith Dobrzynski summarizes the results on ArtsJournal:
The Museum of Modern Art takes the blue ribbon, with the Metropolitan Museum of Art not far behind.
Kunstpedia analyzed more than 680 museum websites worldwide, and ranked them thusly: “The scores are determined by comparing ranking data such as those of Google Page Rank, Alexa Ranking and Compete Ranking. Furthermore the number on-line references in the form of incoming links and references in user generated content have been analysed. The end score was determined by the sum of each individual score, given on basis of the position within the different data source which were analysed.”