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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“It confronts you, and you feel almost obliged to respond because it’s so potent,” the artist Peter Doig has said of Trinidad, where he has maintained a studio since 2012. This work, “Lapeyrouse Wall,” portrays a lone figure striding against the wall of the largest cemetery in Port of Spain, Trinidad. It was acquired in honor of legendary curator Kynaston McShine, who championed contemporary art at MoMA for many decades. McShine, born in Trinidad, recalled walking to school along the wall in the picture. Visit mo.ma/2Dr560I (link in bio) to learn more. #MoMACollection
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Image: Peter Doig. “Lapeyrouse Wall.” 2004. Fractional and promised gift of Anna Marie and Robert F. Shapiro in honor of Kynaston McShine. ©️ 2018 Peter Doig


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After some great submissions (thank you all!), the 112th item to join the #ItemsMoMA list of garment and accessory typologies that have had a profound impact in the last 100 years is...the #sock! Tiny-but-mighty, we can date socks as far back as a very old split-toe pair held in the @vamuseum's collection that were made in Egypt sometime between A.D. 250 and A.D. 420.
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More recently, hand-knit socks were sent to troops in WWI trenches, and have over the decades been sites of experimentation for innovations in new machine-knitting techniques. Contemporary technologies promise to control bacteria and odor, as well as provide support. The humble sock—plain or highly personalized—is a ubiquitous gift at holidays and birthdays, and some of us have a lucky pair...until one gets lost in the wash. Welcome to the #ItemsMoMA pantheon, socks!
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Photo by @drnels


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Louise Bourgeois’s “À l'Infini” series consists of womb-like, all-embracing large scale works. Her publisher Benjamin Shiff, notes that this “and other large projects that Louise made during that period are supposed to take the viewer over and be completely immersive. You see phallic shapes, you see eggs, you see veins, you see string theory, you see wombs holding little babies, sacks filled with liquid.”
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We are in the final week of #LouiseBourgeois! Exhibition closes January 28.
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Images: Louise Bourgeois. Nos. 1, 5, and 10 of 14 from the installation set “À l'Infini”. 2008. Soft ground etchings, with hand additions. Purchased with funds provided by Agnes Gund, Marie-Josée and Henry R. Kravis, Marlene Hess and James D. Zirin, Maja Oeri and Hans Bodenmann, and Katherine Farley and Jerry Speyer, and Richard S. Zeisler Bequest (by exchange). ©️ 2018 The Easton Foundation/Licensed by VAGA, NY.


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“The way we dress tells us so much about our identities and selves, as well as larger histories or stories of place and community.”— @paolantonelli, senior curator of architecture and design, on #ItemsMoMA

Explore @instagram’s weekend hashtag project, #WHPmystyle, to see what fashion items were selected to represent personal style around the globe.

Featured: @karina_rughoeft, @yoshiboworks, and @meghanaredddyy


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Chris Ofili’s “Embah” (2017)—a newly acquired #MoMACollection work—is now on view in the Heyman Lobby. Ofili created the painting as a tribute to his friend and beloved Trinidadian artist Emheyo Bahabba (known as Embah, or grandpa)—a self-taught poet, painter, sculptor, and musician who served as an important role model to younger artists in Trinidad before his death in 2015. This painting was given to the Museum in honor of pioneering curator Kynaston McShine, who passed away last week. McShine, who hailed from Trinidad, served for many years as a visionary champion of contemporary art at MoMA. Learn more about Kynaston’s remarkable legacy at mo.ma/kynastonmcshine
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Image: Chris Ofili. "Embah." 2017. Oil and charcoal on canvas. Gift of Mimi Haas, and Lisa and Steven Tananbaum, in honor of Kynaston McShine. ©️ 2018 Chris Ofili


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We love these mashups of abstract artists’s painting styles created by students in our free online course, “In the Studio: Postwar Abstract Painting.” There’s still time to join in and show us what you can do—whether you’re a beginner or a lifelong artist. Enrollment is now open on @coursera at mo.ma/inthestudio.

[1] Philippa Granwal @granwal (Sydney, Australia). “Yayoi & Agnes: Nets & Grids.” Acrylic on deep-edge canvas.
[2] Mark B. Tursi @markbriantursi (Jersey City, New Jersey, USA). “The Inadvertent Sublime.” Acrylic paint on canvas.
[3] Barbara Swart (Hermanus, South Africa). “Agnes Martin and Yayoi Kusama encounter a gravitational wave.” Charcoal, acrylic and pencil on canvas.
[4] Inzynierowa (Warsaw, Poland). “Agnes Boogie Woogie.” Acrylic on canvas.


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What would you create if you were given free rein with the MoMA logo? Come see “bootlegs” by four artists and designers this Saturday at “#PopRally x #ItemsMoMA: Bootlegged” and you may walk away with one of their limited edition creations. Stay for a set by the legendary DJ duo @stretchandbobbito, art-making, drinks, and dancing! Tickets at mo.ma/bootleg (link in bio)
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Jacket by Mackenzie Younger (@mackenzieyounger). Fabricated by Kunstmode. Graphic composed by Scott Brower.


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“Clothing is about what we can afford and what we aspire to; it is about what the weather is like in a certain place; clothing can be armor, disguise, representation of true selfhood. And fashion is the creative design discipline that enables this chameleonic and cultural exchange.”— @paolantonelli, senior curator of architecture and design, on #ItemsMoMA

Explore @instagram’s weekend hashtag project, #WHPmystyle, to see what fashion items were selected to represent personal style around the globe.
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Featured: @muhammad.hanif, @debolinapiyasarmah & @kristysaikia by @nishantbaruah, and @kennaa89 by @lolanoirart


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“To make ‘America’s Family Prison,’ Regina José Galindo moved her family into the same kind of mobile detention unit that private contractors use to house imprisoned migrants along the US-Mexico border. Galindo and her family spent 36 hours in the space. This record of their voluntary imprisonment draws attention to America’s growing private prison industry and its perverse accommodation of the nuclear family unit.”—Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art

Visit mo.ma/cisneros to explore more Latin American modern and contemporary works added to #MoMACollection thanks to the generosity of the Colección Patricia Phelps de Cisneros (@CPPCisneros). #MoMACisneros #CisnerosContemporary #ColeccionCisneros

Image: Regina José Galindo (Guatemalan, born 1974). “America's Family Prison.” 2008. Video (color, sound). Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Agnes Gund and the Art for Justice Fund.


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Behold a time capsule from the late 1970s. This week in #Club57nyc, the gallery screen spotlights Super8 footage of our beloved New York City. Take in John Ahearn’s record of an urban symphony unfolding on the city streets and the graffiti-covered subways, then follow Andre Degas’s record of musician Jeorgia Anderson as a punkette grimly making her way to MoMA's Sculpture Garden. The program concludes with Ricardo Nicolayevsky's lyrical portraits of friends and peers. Learn more at mo.ma/club57


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“This ‘Graphic Object,’ an inscribed sheet of Japanese paper sandwiched in transparent acrylic, comes from an intense moment of experimentation in the mid-1960s, when Schendel was exploring experimental writing, minimal abstract gestures, elliptical configurations, and repetition of letters and lines over translucent thin sheets of paper like this one. Hanging from the ceiling, the work forces us to navigate it, to move around and interact with it, rather than just letting us be passive viewers.”—Sarah Suzuki, Curator, Department of Drawings and Prints

Visit mo.ma/cisneros to explore more Latin American modern and contemporary works added to #MoMACollection thanks to the generosity of the Colección Patricia Phelps de Cisneros (@CPPCisneros). #MoMACisneros #ColeccionCisneros

Image: Mira Schendel (Brazilian, born Switzerland. 1919–1988). “Untitled from the series Graphic Objects (Objetos gráficos).” 1967. Graphite, transfer type, and oil on paper between transparent acrylic sheets with transfer type. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Luis Pérez-Oramas. ©️ 2018 Estate of Mira Schendel


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Explore newly preserved films all this month at #ToSaveandProject. This year’s lineup features a diverse selection of titles from around the globe—from classical Hollywood cinema (“Transatlantic,” 1931.) to classics of African cinema (“Soleil Ô (Oh, Sun!),” 1970.), and women artists (“Outrage,” 1950.)—in formats ranging from 16mm to Cinerama.
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Learn more at mo.ma/saveandproject
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Images:
[1] “Transatlantic.” 1931. USA. Directed by William K. Howard
[2] “Outrage.” 1950. USA. Directed by Ida Lupino. Courtesy of Paramount Pictures and Warner Bros
[3] “Soleil Ô (Oh, Sun!).” 1970. Mauritania/France. Written and directed by Med Hondo. Courtesy of The Film Foundation


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