“The entire website is conceived of by the museum now as a living archive,” Ms. Elligott said, “and this is really just the beginning, ..."
The Museum of Modern Art, which has defined Modernism more powerfully than perhaps any other institution, can often seem monolithic in the mind’s eye, essentially unchanged since its doors opened in 1929: a procession of solemn white-box galleries, an ice palace of formalism, the Kremlin (as the artist Martha Rosler once called it) of 20th-century art.
But a more complicated story has always been told by the hundreds of thousands of documents and photographs in the museum’s archives, a vast accumulation of historical detail that has been accessible mainly to scholars. Beginning Thursday, after years of planning and digitizing, much of that archive will now be available on the museum’s website, moma.org, searchable so that visitors can time-travel to see what the museum looked like during its first big show (“Cézanne, Gauguin, Seurat, van Gogh,” in the fall of 1929); during seminal exhibitions (Kynaston McShine’s “Information” show in 1970, one of the earliest surveys of Conceptual art); and during its moments of high-minded glamour (Audrey Hepburn, in 1957, admiring a Picasso with Alfred H. Barr Jr., the museum’s domineering first director).
Michelle Elligott, chief of the museum’s archives, who undertook the project with Fiona Romeo, the director of digital content and strategy, said that translating documents from the physical to the virtual yielded some real-world historical discoveries. Yes, as the museum has long suspected but could never quite say definitively, Picasso is the artist who has been included in the most exhibitions (more than 320).
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