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.
Join #PopRally for an evening honoring the legacy of black female creativity, featuring Jamaica Kincaid, Saeed Jones, Greg Tate, work by Julie Dash, and more. Conceived by 2018 Pulitzer Prize-winning essayist Rachel Kaadzi Ghansah, the evening includes readings, performances, and screenings, plus a DJ set by Helado Negro and open bar. ️ Limited tickets available: mo.ma/womanswork (link in bio)
[Image: Hank Willis Thomas. “Kama Mama, Kama Binti (Like Mother, Like Daughter), 1971.” 2008. Chromogenic color print. Fund for the Twenty-First Century. 2017 Hank Willis Thomas]
Spring—one of four paintings by Cy Twombly evoking the rhythms of nature, on view in #TheLongRunMoMA
[: #CyTwombly. “The Four Seasons: Spring, Summer, Autumn, and Winter” (detail). 1993-94. Synthetic polymer paint, oil, house paint, pencil and crayon on four canvases. Gift of the artist. 2017 Cy Twombly Foundation]
Preparator Pamela Popeson shares the story behind one of her favorite design objects to care for—the Ferrari Formula 1 Racing Car on view in our Cullman Education building.
... #ArtSpeaks is a day of community and conversation in the galleries led by Museum staff. Full gallery talks are on our Facebook page!
"We are moving from the age of the machine to the age of the organism."—Neri Oxman (@nerioxman) is Senior Curator Paola Antonelli’s (@paolantonelli) choice for a #MoMACollection artist you should know.
An American–Israeli architect, designer, and professor at the MIT Media Lab, Oxman directs the Mediated Matter research group in applying research at the intersection of computational design, digital fabrication, materials science and synthetic biology to design across disciplines.
[Image: Neri Oxman. “Raycounting, from the Materialecology project.” 2007. Rhinoceros and Generative Components software; photo reactive liquid resin SL 7510 and nylon 12. Gift of The Contemporary Arts Council of The Museum of Modern Art. 2017 Neri Oxman]
“I discovered early on that the camera I use affects the picture; that particular cameras lend themselves to particular kinds of photography. The Mick-a-Matic was simply the most amazing and delightful snapshot camera. When you do portraits with a Mick-a-Matic, your subject is always smiling, because they're looking at a big, plastic head of Mickey Mouse.”
Let Stephen Shore be your guide through five decades of experimentation with photographic style, technique, and process with our audio playlist at mo.ma/shoreaudio (link in bio). #StephenShore, the most comprehensive exhibition of the influential photographer’s career, is on view through May 28.
[Image: Stephen Shore. “Mick-a-Matic Camera.” 1971. Plastic. Mfr.: Child Guidance Products. Courtesy the artist and 303 Gallery, New York]
“Self-representation through family photography is a powerful act of recognition. Our families were refugees from the American War in Vietnam. Using deeply personal photographs of our mothers during their first years in the US, our project claims a space for the history of Asian Americans in the United States, challenging their invisibility in visual culture.”—Hương Ngô (@_bad_spy) and Hồng- n Trương (@sadly_temporary)
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 on mo.ma/newphoto2018.
[Image: Hương Ngô and Hồng- n Trương. “The opposite of looking is not invisibility. The opposite of yellow is not gold (detail).” 2016. Pigmented inkjet prints, laser cut prints: two large inkjet prints prints. Courtesy the artists. Installation view, Being: New Photography 2018, The Museum of Modern Art, New York. 2018 Huong Ngo and Hong-An Truong.]
Tarsila do Amaral was part of a small community of artists and intellectuals from Brazil who were in constant relationship with avant-garde figures in Europe. This work, “Study (Academy No. 2)” (1923), with its distinctly separate, simplified shapes reflects the influence of her time spent in Paris under the tutelage of Cubist painters like Fernand Léger. Though she wasn’t a Cubist painter like her teachers, Tarsila filtered all the avant-garde lessons of Paris into her own signature style. Now on view in #TarsilaMoMA.
[Tarsila do Amaral. “Estudo (Academia no. 2) (Study [Academy no. 2]).” 1923. Oil on canvas. Private collection, Brasília.]
Get a first look at @MoMAPS1's new slate of exhibitions featuring artists Julia Phillips, Gauri Gill, Fernando Palma Rodríguez, Zhang Huan, and Li Binyuan, alongside performance work by more than 35 local artists this Sunday, 12:00–6:00 p.m., at our free Spring Open House and Performance Festival in Long Island City, Queens.
 Julia Phillips. “Extruder (#1).” 2017. Partially glazed ceramics, screws, metal structure, metal pipes, concrete tiles, lacquer. Image courtesy the artist.
 Gauri Gill. “Untitled from the series Acts of Appearance.” 2015–ongoing. Pigmented inkjet print. Courtesy the artist and Nature Morte, New Delhi, India. 2018 Gauri Gill
 Li Binyuan. “Freedom Farming.” 2014. Image courtesy the artist
 Fernando Palma Rodríguez. “Papalutzin.” 2011. Microcontrollers, light sensors, electronic sensor and aluminum. Image courtesy the artist and House of Gaga, Mexico City
Canadian painter, textile artist, installation artist, and filmmaker Joyce Wieland (1931-1998) is Department of Film Curator Josh Siegel’s pick for a #MoMACollection artist you should know.
He writes, “Wieland radically altered the experimental landscape of the mid-20th century. Though she was ardently committed to feminism and female sexuality (“Peggy’s Blue Skylight,” 1964), Canadian nationalism, ecology and anti-Vietnam War activism (“Rat Life and Diet in North America,” 1968), and the pleasures of domestic life (“Cat Food,” 1967), her films had none of the simplistic, strident banality that marred much protest and political art of the time. Rather, Wieland transcended the insular and often rigid edicts of Structuralist cinema—and the outright sexism of the male-dominated artistic community on both sides of the North American border—to make work that remains distinguished by its painterly aesthetics, sensuousness, and humor.”
[Image: Joyce Wieland. “Handtinting.” 1967-1968. 16mm film (color, silent). Purchase from the Canadian Filmmakers Distribution Center.]
"As an artist, as a manual craftsman, I wage my revolution on walls." – Robert Delaunay
Best known as one of the pioneers of #Cubism, the French artist was born 133 years ago today. Delaunay’s “Simultaneous Contrasts: Sun and Moon,” along with 200 other works from the #MoMACollection, will be part of @ngvmelbourne's exhibition “MoMA at NGV: 130 Years of Modern and Contemporary Art", opening June 9, 2018. More info at mo.ma/ngv
[Robert Delaunay. “Simultaneous Contrasts: Sun and Moon.” Paris, 1913. Oil on canvas. Mrs. Simon Guggenheim Fund]
On Sunday, April 29, #PopRally and essayist Rachel Kaadzi Ghansah host “A Woman’s Work,” an evening of readings, performances, and short film screenings honoring the enduring creativity of black women and unsung foremothers. Join us for a meditation on this creative legacy with appearances by Jamaica Kincaid, Steffani Jemison and Sharifa Rhodes-Pitts are FORT, Saeed Jones, Darryl Pinckney, and Greg Tate, works by Julie Dash, Kandis Williams, and dream hampton, and a DJ set by Helado Negro. Tickets at mo.ma/womanswork (link in bio)
[Image: Jack Delano. "Interior of Negro Rural House, Greene County, Georgia." June 1941. Gelatin silver print. Purchase.]
Hey NYC, it sounds like spring might be visiting us on Friday and Saturday! Come enjoy the return of some badly needed warm weather and relax outside in our Sculpture Garden *before* the weather changes its mind! Explore works by Isa Genzken, Jenny Holzer, Alexander Calder, Barnett Newman, Pablo Picasso, Henri Matisse, and more in our sculpture garden. Find tickets at mo.ma/tickets
Photo by Gus Powell