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.

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MoMA The Museum of Modern Art

“The more you look, the more you see.” Take a closer look at Remedios Varo’s painting “The Juggler” (1956)—a new acquisition to #MoMACollection—with curators Anne Umland and Cara Manes. Varo is one of the most important women artists associated with the Surrealist movement, though she rejected the label. Learn more about her magical, mystical worlds, the power of observation—one of the exercises that Varo practiced was staring at a single object for eight hours to see what new details she could notice!—and why this work is sure to shake up the conversation in the galleries: mo.ma/thejuggler

[Credit: Remedios Varo. “The Juggler (The Magician).” 1956. Oil and inlaid mother of pearl on board. Purchase. © 2019 Remedios Varo/Artists Rights Society (ARS), New York.]


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MoMA The Museum of Modern Art

How do you preserve a work of live art that—more than written instructions—relies on a way of thinking, learning and activating to be performed correctly? Curator Ana Janevski drops in the #JudsonDance galleries to share the story behind the creation and acquisition of Simone Forti’s “Dance Constructions.”
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#ArtSpeaks is a collection of stories told in the galleries by Museum staff. Watch Ana’s full gallery talk on our Facebook page at mo.ma/fb.


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MoMA The Museum of Modern Art

“We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy.” –Dr. Martin Luther King, Jr.'s "I Have a Dream" speech
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In this photo, photographer Leonard Freed captures demonstrators singing at the historic March on Washington after King’s speech. #MLKDay #MoMACollection

[📷 : Leonard Freed. “Washington, D.C.: Demonstrators sing "We Shall Overcome" after Dr. Martin Luther King, Jr.'s "I Have a Dream" speech” (detail). August 28, 1963. Gelatin silver print. Acquired through the generosity of Roger Strong in honor of Robert B. Menschel. © 2017 Leonard Freed/Magnum Photos]


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MoMA The Museum of Modern Art

“Our bodies have been broken apart bit by bit and need a lot of healing; our whole society is very fragmented... Everything is split, and is presented as dichotomies–male/female, body/mind—and those splits need mending. "
#KikiSmith, born on this day in 1954
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Known primarily as a sculptor, German-born American artist KiKi Smith has also devoted herself to printmaking, which she considers an equally vital part of her work. Her work examines the body as a political tool, and at its most powerful, reminds us that it is the vulnerable body, not the mind, that is "our primary vehicle for experiencing our lives." Explore her work in #MoMACollection: mo.ma/kikismith

[Credit: Kiki Smith. “Lure.” 1995. Bronze with string, forged bronze hook, and pewter sinker. Gift of Joel and Anne Ehrenkranz in honor of Katherine Farley and Jerry Speyer. © 2017 Kiki Smith]


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MoMA The Museum of Modern Art

Rarities of African American cinema are on view at #MoMAFilm this holiday weekend. Take in a collection of brilliantly restored film treasures including a rare 1966 TV newsfilm of Martin Luther King Jr., and “the earliest depiction of black intimacy on film”: “Something Good—Negro Kiss” (1898) on Monday. The weekend kicks off with screening of Horace Jenkins’ love story “Cane River” (1982) on Friday, and the experimental films of Edward Owens on Sunday. Tickets and showtimes at mo.ma/film
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Presented as part of our film preservation festival #ToSaveAndProject

[🎥: “Something Good—Negro Kiss.” 1898. Selig Polyscope Co.; “Private Imaginings and Narrative Facts.” 1968-70. USA. Directed by Edward Owens. Courtesy The Film-Makers’ Cooperative; “Cane River.” 1982. USA. Written and directed by Horace Jenkins.]


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MoMA The Museum of Modern Art

“When language begins to break down a little bit, it becomes exciting and communicates in nearly the simplest way that it can function: you are forced to be aware of the sounds and the poetic parts of words.” –#BruceNauman
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Through works like “Make Me Think Me (1993) on view at MoMA, Nauman experiments with language as a basic form of communication. Join his exploration in “Bruce Nauman: Disappearing Acts.”

[Credits: Bruce Nauman. “Make Me Think Me.” 1993. Graphite charcoal, masking tape on paper; “Vision” (detail). 1973. Lithograph; All works © 2018 Bruce Nauman/Artists Rights Society (ARS), New York.]


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MoMA The Museum of Modern Art

Constantin Brancusi’s studio through the artist’s eyes—a closer look reveals his sculptures “The Kiss” in the background and “Mlle Pogany” in the foreground. Brancusi made fewer than 200 drawings, some of which depicted his studio, a subject that also appeared frequently in his photographs. In both his photographs and drawings, Brancusi shows his works stacked and layered in space. He often moved works from base to base, or placed them directly on the floor of his studio, so that they lived in the world alongside ordinary objects, and among people. Now on view in #BrancusiMoMA: mo.ma/brancusi

[🎨: Constantin Brancusi. “View of the Artist's Studio.” 1918. Gouache and pencil on board. The Joan and Lester Avnet Collection. © Succession Brancusi - All rights reserved (ARS) 2018]


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MoMA The Museum of Modern Art

Sir Sidney Poitier takes center stage for #MoMAFilm's Modern Matinees series. Revisit the actor, director, author, diplomat, and humanitarian’s unparalleled filmography. Now playing through February 28. Tickets: mo.ma/matinees
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What’s your favorite Poitier performance?

[🎥: “In the Heat of the Night.” 1967. USA. Directed by Norman Jewison. Courtesy United Artists/Photofest]


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MoMA The Museum of Modern Art

The new availability of affordable CCTV equipment and its use as a surveillance tool in the late 1960s drove Nauman’s quest to interrogate what art can be in a new direction.
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“Audio-Video Underground Chamber” (1972-74) invites viewers to contemplate the grave, broadcasting a live feed from inside a coffin-shaped concrete box, buried in the ground with a working security camera and a microphone inside. Now on view in "#BruceNauman: Disappearing Acts."

[Credit: Bruce Nauman. “Audio-Video Underground Chamber.” 1972–1974. Concrete chamber, video camera, microphone, rubber gasket, steel plate, bolts, cord, black-and-white video monitor. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York.]


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MoMA The Museum of Modern Art

For the final weeks of #JudsonDance, @movementresearch (MR)—one of the world’s leading laboratories for the investigation of dance and other movement-based forms—transforms our Marron Atrium into a space for the creative process and education. Register online to join MR for free classes, workshops, and conversations: mo.ma/movementresearch
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[Photos by: Ian Douglas and Quentin Burley]


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MoMA The Museum of Modern Art

Our “Charles White: A Retrospective” closes today! If you missed the exhibition, make sure to watch the latest episode of “How To See,” with #CharlesWhite exhibition curator Esther Adler, artist Toyin Ojih Odutola (@toyinojihodutola), and MoMA staff. Watch the full episode at mo.ma/hts_charleswhite (link in bio)


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MoMA The Museum of Modern Art

#CharlesWhite’s legacy is evident not only in the work he created, but in the generosity he demonstrated as a teacher. Learn more about the lasting effects of White’s teachings, and hear from past students including #KerryJamesMarshall, #DavidHammons, #RichardWyattJr., #JuditheHernández, and #KentTwitchell: mo.ma/2CijBEL
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[Charles White. “Drawing class.” c. 1950. Black-and-white photograph. Private collection. © The Charles White Archives]


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