MoMA The Museum of Modern Art@themuseumofmodernart
The world's museum for modern and contemporary art. Discover artists and ideas that surprise, challenge, and inspire you.
Adrian Piper's “Self-Portrait as a Nice White Lady” (1995). Now on view in our #AdrianPiper exhibition.
[Artwork: Oil crayon on black-and-white photograph. The Studio Museum in Harlem, New York; Museum purchase made possible by a gift from Barbara Karp Shuster, New York. Adrian Piper Research Archive Foundation Berlin]
Member previews are on now! Step into Congolese artist Bodys Isek Kingelez’s incredible vision for the future in “Bodys Isek Kingelez: City Dreams.” Created in the wake of his country’s newfound independence, Kingelez’s sculptures of an imagined utopia explore urgent questions around urban growth, economic inequity, and the rehabilitative power of architecture. #KingelezCityDreams opens to the public this Saturday, May 26. Learn more at mo.ma/kingelez
Curator Sarah Meister speaks on the inspiring tenacity of photographer of Helen Levitt who never shied away from experimenting with new mediums and approaches to her craft. Levitt’s late-career color photography is now on view in #TheLongRunMoMA.
… #ArtSpeaks is a day of community and conversation led by Museum staff on the last Tuesday of every month. Full gallery talks are on our Facebook page at mo.ma/fb.
Curious about how the Museum acquires, preserves, and displays photographs? Join Sarah for a live Q&A tomorrow, May 23 at 3:00 pm ET on youtube.com/moma.
While repainting an apartment, artist John Baldessari was struck by a conceptual exercise: “I used to occupy my mind as I was painting the wall just by saying to myself, now I'm painting a wall, now I'm making a painting...The physical activity was the same, I was just calling it differently each time. So I began to think about, well, what separated one from the other? Why was one different?” His video work, “Six Colorful Inside Jobs” (1977) explores the concept further, compressing six re-paintings of a room into intervals of about five minutes.
Experience this work in #TheLongRunMoMA
[Artwork details: John Baldessari. “Six Colorful Inside Jobs.” 1977. 16mm film transferred to video (color, silent). 32:53 min. Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. 2018 John Baldessari]
One of the earthworks artists of the 1960s and 1970s, Robert Smithson manipulated the natural landscape in his work—sometimes drastically, with a bulldozer, and sometimes simply and temporarily, through mirrors, as in “Corner Mirror with Coral” (1969).
Experience this work in #GundStudioVisit, our exhibition celebrating gifts from the remarkable Agnes “Aggie” Gund, a longtime Trustee of the Museum. While viewing this artwork Aggie noted, “I always like the Smithsons that are mirrored. Obviously they're very captivating and they show another dimension...you see out differently when you have a mirror. A mirror makes it bigger, smaller, taller, higher.... I think Smithson's idea of putting heaps of things there and having them reflected, it was quite wonderful.”
[Artwork details: Robert Smithson. “Corner Mirror with Coral.” 1969. Mirrors and coral. Gift of Agnes Gund in honor of Ann Temkin]
Tarsila do Amaral’s “Calmaria II (Calmness II)” (1929) is a unique exercise among her work from the 1920’s. Dreamlike mirrored geometric forms reflect the influence of the enigmatic paintings of #GiorgiodeChirico, who left a strong impression on Tarsila during her time in Paris. Coincidental to the title of this work, de Chirico compared his style to “the flat surface of a perfectly calm ocean. #TarsilaMoMA
[Artwork details: Oil on canvas. Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo]
In celebration of #nationalphotographymonth, this month's LIVE Q&A will take you behind the scenes on a live tour of MoMA's collection storage, where many photographs are stored, followed by a Q&A with MoMA curator Sarah Meister (@themomameister).
Curious about how curators choose which photographs to acquire and display? Is there a photograph in MoMA's Collection you'd like to see up-close? Submit your questions or a work you’d like to see in the comments below, or live during the Q&A on Wednesday, May 23 at 3:00 p.m. EDT. Links and more info at mo.ma/QAwithSarah #photography
“...the basis for each image is the universality of our human experiences. I have chosen to share this message by using my personal cultural heritage and encounters with it as inspiration...” —Aida Muluneh (@aidamuluneh)
How do you use photography to investigate the self? We asked photographers now on view in “Being: #NewPhotography2018" to share the ideas and techniques that influence the exploration of personhood in their work. See their responses at mo.ma/newphoto2018
[Artwork details: Aida Muluneh. “Strength in Honor.” 2016. Pigmented inkjet print. Courtesy the artist and David Knut Projects, New York and Johannesburg. 2018 Aida Muluneh]
We’re counting the days until Grammy Award-winning artist St. Vincent (@st_vincent) graces our Agnes Gund Garden Lobby with a special performance for the Party in the Garden After-Party! Join us on Thursday, May 31 for an incredible evening featuring DJ sets by SIMIHAZE (@simihaze) and Sofi Tukker (@sofitukker), all in honor of philanthropist Agnes Gund with proceeds supporting our award-winning education programs and the care, study, and exhibition of our collection. Tickets at moma.org/partyinthegarden2018 (link in bio) #PartyintheGarden
“I met Agnes Gund probably about 10 years ago at one of my exhibitions in New York. She was very interested in the sort of magical, transformative aspect of the work...Aggie has really been a critical supporter for artists, for placing artists in museums, providing them with the credibility. For me she was someone that really believed in the work. That changes how you see your future.”—Hear more from artist Nick Cave on the story behind his “Soundsuit” (2011), now on view in #GundStudioVisit mo.ma/studiovisit
[Artwork details: Found objects, knit head and bodysuit, and mannequin. Gift of Agnes Gund in honor of Dr. Stuart W. Lewis. Nick Cave]
Vija Celmins's star-pocked skies explore the links between memory, perception, and images. The artist replicates detailed, expansive views captured in photographs with mezzotint—a labor intensive print technique. In this process, an image is made using a metal printing plate that has been partially roughened and smoothed to create soft, velvety gradations of tone. Her “Untitled (Large Night Sky)” (2016) is now on view in #TheLongRunMoMA
[Artwork details: Vija Celmins. “Untitled (Large Night Sky).” Mezzotint. The Museum of Modern Art. Gift of Jack Shear. Vija Celmins, Courtesy Matthew Marks Gallery]