Media Archive: Contemporary Art

Carnegie Museum of Art Announces the participation of Koyo Kouoh in the Carnegie Int’l, 57th ed., 2018

CONTACTS:

Justin Conner
Justin@hellothirdeye.com
917.609.8499

Emily Willson
Carnegie Museum of Art
willsone@cmoa.org
412.622.3328

Overseen by curator Ingrid Schaffner, the Carnegie International is happening now! This month, Koyo Kouoh will present a Special Topics seminar at the University of Pittsburgh to develop “Dig Where You Stand,” an exhibition-within-an-exhibition for the International.


Koyo

Pittsburgh, PA…Carnegie Museum of Art (CMOA) and the University of Pittsburgh (Pitt) welcome Koyo Kouoh to Pittsburgh. Kouoh is the founding director of RAW Material Company, a center for art, knowledge and society, based in Dakar, Senegal. Starting with a public lecture on January 25th, Kouoh will spend two weeks as a visiting scholar at Pitt while conducting research for her contribution to the 2018 Carnegie International. “Dig Where You Stand” will present a range of objects selected by Kouoh from across the museum’s collections to reflect on the institution, its history, and coloniality— a contemporary interrogation of which has long guided Kouoh’s work.

“I think of this participation as a conversation between two curators—Ingrid and I—within an institution that has a long-standing history of an exhibition series that is a site of global artistic exchanges. I see this current moment with its political backdrop as an opportunity to have urgent conversations about living in a state of coloniality,” says Kouoh.

To introduce Kouoh’s work to the Pittsburgh community, Institution Building as Curatorial Practice, a free public lecture took place on January 25 at 6:00pm at the Frick Fine Arts Auditorium at the University of Pittsburgh. More information can be found here.

Koyo Kouoh is the founding artistic director of RAW Material Company, a center for art, knowledge and society in Dakar, Senegal. She was the curator of  1:54 FORUM, the educational program at the Contemporary African Art Fair in London and New York. She served on the curatorial teams for documenta 12 (2007) and documenta 13 (2012). She most recently launched RAW Académie, an experimental program for artistic thought and curatorial inquiry in Dakar. Besides sustaining theoretical, exhibition, and residency programs at RAW Material Company, she is active internationally as a curator and advisor. She lives and works in Dakar and Basel.

Curated by Ingrid Schaffner, the Carnegie Int’l, 57th ed., 2018 hosted five research trips and research companions in a year of travel leading up to the exhibition. Read more about the research travel here. It was while traveling in West Africa for the Dakar Biennial with Carin Kuoni, Director, The Vera List Center for Art and Politics, The New School, New York, that Schaffner was introduced to Raw Material Company. Of her subsequent invitation to Kouoh to participate in the International, Schaffner says:

“Of the brilliant artists, curators, and teachers who are showing us new ways of seeing history’s narratives and being citizens in the world today, Koyo Kouoh is a leader. What she is doing at Raw Material Company in Dakar models the vital role that cultural institutions everywhere can and must play in shaping civil societies and imagining just futures.”
As a visiting scholar at Pitt, Kouoh will be a graduate seminar guest lecturer. The seminar, taught by Assistant Professor Jennifer Josten, will grant students special insight into Kouoh’s curatorial process for the International. They will learn about the rise of new methodologies of cultural self-representation; consider how museum collections are built; and learn how contemporary presentations and interpretations can add layers or reveal new perspectives.

About the 57th Carnegie International
The International will open on October 13, 2018 and run through March 25, 2019. However, the International is already under way, with expanding research and creative documentation along with a highly crafted curatorial process, public programs, commissioned essays, and immersive site visits.

As the International evolves, stay tuned for news of more artist projects, Tam O’Shanter Drawing Sessions, Travelogues, and other public programs on cmoa.org and cmoa.org/carnegieintl.

Established in 1896 as the Annual Exhibition, the Carnegie International initially focused almost solely on painting. By 1955, the show had adopted a triennial schedule and, in 1958, it became known as the Pittsburgh International Exhibition of Contemporary Paintings and Sculpture, a title it retained until 1970. After an interruption in the 1970s, the exhibition resumed in 1977 and 1979 as the International series, single-artist shows intended as a parallel to the Nobel Prize for the arts. In 1982, it reappeared as the Carnegie International, and has been mounted every three to five years since. After the Venice Biennale, the Carnegie International is the oldest international survey exhibition in the world.

Support
Major support for the Carnegie International, 57th Edition, 2018 has been provided by the Carnegie International Endowment, The Fine Foundation, and the Keystone Friends of the 2018 Carnegie International. Additional major support is provided by the Friends of the 2018 Carnegie International, the Jill and Peter Kraus Endowment for Contemporary Art, and the Louisa S. Rosenthal Family Fund.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

 Carnegie Museum of Art
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, call 412.622.3131 or visit cmoa.org.

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Carnegie Int’l, 57th ed., 2018 Announces its Commitment to Fair Pay for Participating Artists

Contact

Emily Willson
Carnegie Museum of Art
willsone@cmoa.org
412.622.3328

Jen Joy
Sutton
jen@suttonpr.com
212.202.3402

The International is the first biennial-style exhibition to be certified by W.A.G.E., an artist activist organization

Pittsburgh, PA. – Carnegie Museum of Art is pleased to announce that the Carnegie Int’l, 57th ed., 2018, has been certified by W.A.G.E. (Working Artists and the Greater Economy) as meeting its standards for paying artist fees. The International is the first biennial-style exhibition to become W.A.G.E. Certified. Accordingly, every participating artist or collective will be paid a standard minimum fee—set by W.A.G.E.-for providing content to the exhibition.

As curator Ingrid Schaffner says, “Perhaps the most entrenched barrier to greater equity is the idea that art is a privilege. W.A.G.E.’s activism brings recognition to the work artists do—on top of actually making art!-when they provide content for museums and exhibitions.”

W.A.G.E. is a New York-based activist organization which works to draw attention to economic inequalities that exist in the arts, and to resolve them. W.A.G.E. Certification is a national program that publicly recognizes those nonprofit arts organizations demonstrating a history of, and commitment to, voluntarily paying artist fees that meet minimum payment standards. W.A.G.E. launched its certification program in October of 2014 and has since certified fifty organizations across the U.S.

The Carnegie International’s certification marks an important exception to W.A.G.E.’s own rules.  In a statement from W.A.G.E.: “One of W.A.G.E. Certification’s cardinal rules is that we don’t certify single exhibitions…However, because museums have demonstrated the greatest resistance…we have chosen to bend this rule and approach the reform of large art institutions brick by brick.” W.A.G.E. sees this certification as an important step forward for the cultural field at large: “While this may sound relatively inconsequential, it isn’t. The Carnegie Int’l, 57th ed., 2018’s decision to guarantee evenly distributed remuneration is a rebuke of speculation as a form of payment in the nonprofit sector. It is also an affirmation of art’s value as a common good – one to which both the labor of artists and institutions contribute, and which both must collectively work to maintain.”

To read W.A.G.E.’s full statement on the certification of the Carnegie International, follow this link.

About the 57th Carnegie International
The International will open on October 12, 2018 and run through March 25, 2019. However, the International is already under way, with expanding research and creative documentation along with a highly-crafted schedule of programs, commissioned essays, and participating artists coming to Pittsburgh for immersive visits.

In this spirit of approaching the International as an evolving process, the curators and participating artists have had ongoing discussions about the purpose of such large-format exhibitions. The International is working with the artists to create an exhibition that puts forward a more sustainable model to boost the ability for artistic production and buoy the creative ecosystem among museum, artist, and public.

As the International evolves, stay tuned for news of more artist projects, Tam O’Shanter Drawing Sessions, Travelogues, and talks on cmoa.org and the Internationalwebsite.

Find CMOA on Facebook at facebook.com/carnegiemuseumofart, on Twitter at @cmoa, or on Instagram at @thecmoa.

About the Carnegie International
Established in 1896 as the Annual Exhibition, the Carnegie International was initially held every fall (with few exceptions) and focused almost solely on painting. By 1955, the show had adopted a triennial schedule and, in 1958, it became known as the Pittsburgh International Exhibition of Contemporary Paintings and Sculpture, a title it retained until 1970. After an interruption in the 1970s, the exhibition resumed in 1977 and 1979 as the International Series, single-artist shows intended as a parallel to the Nobel Prize for the arts. In 1982, it reappeared under its original triennial survey format as the Carnegie International, and has been mounted every three to five years since. After the Venice Biennale, the Carnegie International is the oldest international survey exhibition in the world.

Support
Major support for the Carnegie International, 57th Edition, 2018 has been provided by the Carnegie International Endowment, The Fine Foundation, and the Keystone Friends of the 2018 Carnegie International. Additional major support is provided by the Friends of the 2018 Carnegie International, the Jill and Peter Kraus Endowment for Contemporary Art, and the Louisa S. Rosenthal Family Fund.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania. 

Carnegie Museum of Art
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

Ian Cheng’s Artificially-Intelligent Art at CMOA

Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

Opening September 22, 2017
Forum Gallery, Carnegie Museum of Art

Ian Cheng, Emissary Sunsets The Self, 2017, live simulation and story, infinite duration, sound, Courtesy of the artist, Pillar Corrias London, and Standard (Oslo)

Ian Cheng, Emissary Sunsets The Self, 2017, live simulation and story, infinite duration, sound, Courtesy of the artist, Pilar Corrias London, and Standard (Oslo)

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces a solo exhibition by Ian Cheng (b. 1984). Cheng presents Emissary Sunsets The Self, an open-ended digital simulation displayed on a massive, 13 foot-wide LED screen in CMOA’s Forum Gallery. The artist is best known for his digital simulation works that draw on his background in cognitive science and employ rudimentary forms of artificial intelligence (AI). Coding these unpredictable animated worlds from the ground up, he uses the language of video games to probe complex themes such as evolution, human behavior, and the history of consciousness.

Emissary Sunsets The Self is the third work in the artist’s Emissaries trilogy (2015–2017). Each simulation in the series—set on the same volcanic site separated by thousands of years—explores a pivotal moment in Cheng’s interpretation of cognitive evolution, past and future. His protagonists, or Emissaries, are equipped with a unique AI composed of multiple competing inner models, allowing them to shape—and be shaped by—their strange environments as they work to accomplish narrative tasks.

“In each episode,” Cheng writes, “the Emissary—caught between unraveling old realities and emerging weird ones—attempts to achieve a series of deterministic narrative goals, an analogy to the narrative nature of consciousness. But crucially these goals can be set off course, procrastinated, disrupted by the underlying simulation and its non-narrative agents who vex the Emissary with other kinds of minds.”

Ian Cheng, Emissary Sunsets The Self, 2017, live simulation and story, infinite duration, sound, Courtesy of the artist, Pillar Corrias London, and Standard (Oslo)

Ian Cheng, Emissary Sunsets The Self, 2017, live simulation and story, infinite duration, sound, Courtesy of the artist, Pillar Corrias London, and Standard (Oslo)

Emissary Sunsets The Self takes place many millennia in the future on a volcanic atoll now under the control of MotherAI. We observe the confrontation between radical mutations in the sentient atoll and the local inhabitants who were long ago engineered to immunize the landscape from monstrous deviations.

Read about the Emissaries series, including narratives,  technical overview, and behavior diagrams, at the artist’s website.

Support
This exhibition is made possible through the generous support of AVS, Ltd.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art
Carnegie Museum of Art enriches people’s lives through art. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

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20/20: The Studio Museum in Harlem and Carnegie Museum of Art

Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, a major contemporary group exhibition opening July 22, 2017, in the museum’s Heinz Galleries. Featuring a diverse array of makers and media, 20/20 showcases artworks from two museums that address notions of identity and social inequality in art and life across the 20th century and into the 21st.

High-resolution images are available.

In a unique institutional collaboration, curators Eric Crosby and Amanda Hunt present a group exhibition with works by 40 artists, 20 each from the collections of CMOA and the Studio Museum. Responding to a tumultuous and deeply divided moment in our nation’s history, the curators have mined these collections to offer a metaphoric picture of America today. Spanning nearly 100 years—from 1920s photographs by James VanDerZee to recent works by Kerry James Marshall, Ellen Gallagher, and Collier Schorr—20/20 provides a critical opportunity to prompt conversations about the necessity of art during times of social and political transformation.

Noah Davis, "Black Wall Street," 2008, Oil and acrylic on canvas, The Studio Museum in Harlem, gift of David Hoberman, 2014.17.2, Photo: Adam Reich

Noah Davis, “Black Wall Street,” 2008, Oil and acrylic on canvas, The Studio Museum in Harlem, gift of David Hoberman, 2014.17.2, Photo: Adam Reich

Institutional Collaboration

While at first glance the two institutions might seem very different—one a general art museum in Western Pennsylvania and the other a culturally specific museum in New York City—a closer look reveals shared histories and values. Both museums are committed to presenting contemporary art within a broader historical context, and are situated in communities where black culture flourished during and after the Great Migration and continues to thrive today. These similarities, as well as their many differences, provided fertile ground for making this exhibition.

Founded in 1968, The Studio Museum in Harlem has provided a unique platform for over one hundred emerging artists through its Artist-in-Residence program, demonstrating the institution’s commitment to working with, and collecting from, contemporary artists of African descent. Since its founding in 1895, Carnegie Museum of Art has sought to survey and collect the very best of contemporary art on an increasingly global scale with its many Carnegie Internationals. It has also presented the Forum series since 1990, a dynamic program of exhibitions by some of today’s most innovative contemporary artists.

Additionally, the Studio Museum and CMOA share a commitment to building, stewarding, and exhibiting collections that portray rich and diverse artistic heritages. The Studio Museum’s collection features nearly 2,000 works dating from the 19th century to the present, focusing on art-historical contributions by artists of African descent and work influenced and inspired by black culture. The museum is also the custodian of an extensive archive of photography by James VanDerZee, the renowned chronicler of the Harlem community from 1906 to 1983. CMOA’s collection of more than 30,000 objects features a broad spectrum of visual arts primarily from the 19th century to the present, including painting, sculpture, prints and drawings, film and video, photography, architectural casts and models, and decorative arts. The museum also houses the archive of nearly 80,000 negatives by Pittsburgh photographer Charles “Teenie” Harris.

Exhibition Themes

20/20 draws together works from these important collections in dialogue. The exhibition unfolds through a thematic exploration of the foundations of our national condition, ultimately championing the critical role of art in political and individual expression. The first section of the exhibition, titled “A More Perfect Union,” presents a group of works that consider the formation of our democracy and shifting notions of national identity. A 1944 painting by the self-taught Pennsylvania-born artist Horace Pippin depicts an imagined scene of a young Abraham Lincoln reaching for his first book by candlelight. Presented alongside works by Lyle Ashton Harris, Jasper Johns, Glenn Ligon, Louise Nevelson, and Gordon Parks, Pippin’s image resonates in the present, signaling how essential the quest for knowledge remains to the Constitution’s democratic promise of unity.

Collier Schorr, "The First Lady (Diplomat’s Room, Rihanna, 20 Minutes)," 2016, dye transfer sublimation print, mounted on aluminum, Carnegie Museum of Art, The William T. Hillman Fund for Photography, ©Collier Schoor, courtesy 303 Gallery, New York

Collier Schorr, “The First Lady (Diplomat’s Room, Rihanna, 20 Minutes),” 2016, dye transfer sublimation print, mounted on aluminum, Carnegie Museum of Art, The William T. Hillman Fund for Photography, ©Collier Schorr, courtesy 303 Gallery, New York

The following two sections of the exhibition—“Working Thought” and “American Landscape”—expand on this by mapping contemporary American experience as a product of historical inheritances. “Working Thought” considers the basis of the national economy and the labor needed to sustain it, with works by Melvin Edwards, David Hammons, Kara Walker, Nari Ward, and others. Walker’s silhouetted narrative scenes interrogate the conditions of enslavement and forced production in the Antebellum South, while Edwards’s Lynch Fragments accumulate cast-off industrial scraps into welded sculptures that reflect on histories of racial violence in America.

In turn, “American Landscape” considers the effects of our national economy on lived experience through artworks that document or express the built environment, past and present. The photographs of LaToya Ruby Frazier and Zoe Strauss record the effects of industry and dispossession on marginalized communities, while more abstract works by Mark Bradford, Abigail DeVille, and Kori Newkirk make use of everyday and found materials to reclaim and reinvent our perspective on natural and urban landscapes.

At the center of 20/20, a section titled “Documenting Black Life” is dedicated to the work of Charles “Teenie” Harris and James VanDerZee. These two prolific photographers working in the post–World War I era captured daily life of the black middle class. VanDerZee and Harris depict Harlem and Pittsburgh, respectively, both destinations of the Great Migration, as bustling, vibrant communities. Presented together, these artists testify to the power of the photographic image as it has recorded the American experience.

The final two sections of 20/20—“Shrine for the Spirit” and “Forms of Resistance”—map a spectrum of artistic response to more current conditions. Works by Edgar Arceneaux, Barbara Chase-Riboud, Ben Jones, Quentin Morris, and Thaddeus Mosley offer quiet, sublime moments of spirituality and introspection, while more directly political gestures by Lorraine O’Grady, Howardena Pindell, and Lorna Simpson explore the power of language, identity, and performance as instruments of institutional critique. This final gallery also showcases CMOA’s newly acquired work from 2016, Untitled (Gallery), by Kerry James Marshall, whose practice challenges art history by reinserting the black figure emphatically into the canon of Western painting.

Taken together, the artworks in this unprecedented collaboration offer multiple pathways for reflection and interpretation, allowing visitors to meditate on the long, complex history of our country. “20/20 is not a history lesson,” the curators explain. “It is an opportunity for expanded conversation—between artists and artworks, curators and audiences, institutions and cities.

Featured Artists

20/20: The Studio Museum in Harlem and Carnegie Museum of Art features works by:

Terry Adkins
Edgar Arceneaux
Jean-Michel Basquiat and Andy Warhol
Romare Bearden
Mark Bradford
Beverly Buchanan
Barbara Chase-Riboud
Noah Davis
Abigail DeVille
Thornton Dial
Melvin Edwards
LaToya Ruby Frazier
Ellen Gallagher
David Hammons
Charles “Teenie” Harris
Lyle Ashton Harris
Jenny Holzer
Jasper Johns
Ben Jones
Titus Kaphar
Jon Kessler
Glenn Ligon
Kerry James Marshall
Rodney McMillian
Meleko Mokgosi
Quentin Morris
Thaddeus Mosley
Louise Nevelson
Kori Newkirk
Lorraine O’Grady
Gordon Parks
Howardena Pindell
Horace Pippin
Pope.L
Tim Rollins and K.O.S.
Collier Schorr
Lorna Simpson
Zoe Strauss
James VanDerZee
Kara Walker
Nari Ward

Support
This exhibition is organized by Carnegie Museum of Art in partnership with The Studio Museum in Harlem and curated by Eric Crosby, Richard Armstrong Curator of Modern and Contemporary Art at Carnegie Museum of Art, and Amanda Hunt, former Associate Curator, The Studio Museum in Harlem, now Director of Education and Public Programs, Museum of Contemporary Art, Los Angeles.

This exhibition was organized by Carnegie Museum of Art in partnership with the Studio Museum in Harlem.

Major funding for this exhibition is provided by The Henry L. Hillman Fund. Additional support is provided by The Heinz Endowments, The Fellows of Carnegie Museum of Art, and The Ruth Levine Memorial Fund.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

The Heinz Endowments is devoted to the mission of helping our region prosper as a vibrant center of creativity, learning, and social, economic, and environmental sustainability. Core to this work is the vision of a just community, where all are included and where everyone who calls southwestern Pennsylvania home has a real and meaningful opportunity to thrive.

About Carnegie Museum of Art
Carnegie Museum of Art enriches people’s lives through art. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

About The Studio Museum in Harlem
Founded in 1968 by a diverse group of artists, community activists and philanthropists, The Studio Museum in Harlem is internationally known for its catalytic role in promoting the work of outstanding artists of African descent. Now approaching its 50th anniversary, the Studio Museum is preparing to construct a new home at its current location on Manhattan’s West 125th Street, designed by internationally renowned architect David Adjaye with Cooper Robertson as the first building created expressly for the institution’s program. The new building will enable the Studio Museum to better serve a growing and diverse audience, provide additional educational opportunities for people of all ages, expand its program of world-renowned exhibitions, effectively display its singular collection, and strengthen its trailblazing Artist-in-Residence program. Learn more: call 212.864.4500 or visit studiomuseum.org.

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CMOA & Sarris announce art-inspired chocolate

March 31, 2017

Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces a new collaboration with Canonsburg, PA-based Sarris Candies. The museum and confectioner team up this spring with the release of a chocolate figure inspired by one of the world’s most iconic works in modern sculpture, Alberto Giacometti’s Walking Man I (1960) which holds a place of pride in CMOA’s collection.

Cast in bronze, Walking Man I depicts a tall, faceless man with strangely elongated limbs, striding onward with a purposeful momentum.

Walking Man embodies humility and humanity, but also the utter isolation of the individual,” said Catherine Evans, Chief Curator at CMOA. “The sculpture is a masterwork of force and movement. Plus, those long, lumpy limbs already look like chocolate-covered pretzels.”

Dubbed Chocometti, the new offering of dark chocolate with pretzel legs stays true to Sarris’s popular confections. “Chocolate pretzels are one of our strongest sellers, shipping all over the country” said Sarris CEO Bill Sarris. “We jumped at the idea to take it in a different direction.”Open box wtih Sarris and Carnegie Museum of Art logo showing chocolate figure in a plastic tray

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