MoMa (@themuseumofmodernart)
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![“4pm: Studio work——Paintings and photographs and text based works; the American South, the vitality or not of pan-Africanism, the drama that is called 'government' and 'race,' 'sex,' 'race' and the news, and poorly educated art critics and law and architecture and books and book delivery systems. ——Emails and fragrant floral and herbal aromas...My studio has candles burning most of the time, and scents through a diffuser all day long (Buddhist habits inherited from my mother).”
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🗓️June 1, 2019—Artist #XavieraSimmons shares an intimate day of rituals, images, and thoughts on America's construction through white supremacy and capitalism. Read the latest installment of #MoMAmagazine’s A Day series in which writer Heidi Julavits invites artists to share an account of their day with us: mo.ma/aday (direct link in bio)
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[Image: Xaviera Simmons. "Sundown (Number 30)." 2018. Color Photograph. Courtesy of teh artist and David Castillo Gallery]](http://scontent-ort2-1.cdninstagram.com/vp/fda9324f64b6499a1a5f1140062ebe42/5E163842/t51.2885-15/e15/c135.0.810.810a/s150x150/67094445_372579970284774_7561847331983368179_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "“4pm: Studio work——Paintings and photographs and text based works; the American South, the vitality or not of pan-Africanism, the drama that is called 'government' and 'race,' 'sex,' 'race' and the news, and poorly educated art critics and law and architecture and books and book delivery systems. ——Emails and fragrant floral and herbal aromas...My studio has candles burning most of the time, and scents through a diffuser all day long (Buddhist habits inherited from my mother).”
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🗓️June 1, 2019—Artist #XavieraSimmons shares an intimate day of rituals, images, and thoughts on America's construction through white supremacy and capitalism. Read the latest installment of #MoMAmagazine’s A Day series in which writer Heidi Julavits invites artists to share an account of their day with us: mo.ma/aday (direct link in bio)
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[Image: Xaviera Simmons. \"Sundown (Number 30).\" 2018. Color Photograph. Courtesy of teh artist and David Castillo Gallery]")
![The Sudanese artist #IbrahimElSalahi was arrested in September 1975 and held without trial for six months in Khartoum's notorious Kober Prison, wrongfully accused of involvement in an anti-government coup. In the weeks of house arrest that followed his release, the pioneering modernist artist, intellectual, and teacher produced his Prison Notebook. Modest in scale but immeasurable in impact, this sketchbook of masterful pen-and-ink drawings and virtuoso prose and poetry in Arabic served both to exorcise and document his experience behind bars. See it this fall in the #newMoMA.
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[Credit: Ibrahim El-Salahi. “Prison Notebook.” 1976. Notebook with 38 ink on paper drawings.Acquired through the generosity of Marlene Hess and James D. Zirin, Catie and Donald Marron, Alice and Tom Tisch (in honor of Christophe Cherix), Marnie Pillsbury and Committee on Drawings and Prints Fund]](http://scontent-ort2-1.cdninstagram.com/vp/13df3e4a29688dfd35fdb91f6178d08c/5DDCF9B5/t51.2885-15/e15/c112.0.855.855/s150x150/67380372_764086250713097_4938800014451627816_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "The Sudanese artist #IbrahimElSalahi was arrested in September 1975 and held without trial for six months in Khartoum's notorious Kober Prison, wrongfully accused of involvement in an anti-government coup. In the weeks of house arrest that followed his release, the pioneering modernist artist, intellectual, and teacher produced his Prison Notebook. Modest in scale but immeasurable in impact, this sketchbook of masterful pen-and-ink drawings and virtuoso prose and poetry in Arabic served both to exorcise and document his experience behind bars. See it this fall in the #newMoMA.
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[Credit: Ibrahim El-Salahi. “Prison Notebook.” 1976. Notebook with 38 ink on paper drawings.Acquired through the generosity of Marlene Hess and James D. Zirin, Catie and Donald Marron, Alice and Tom Tisch (in honor of Christophe Cherix), Marnie Pillsbury and Committee on Drawings and Prints Fund]")
![“I’m a huge fan of the lobby of the former Time & Life Building, mostly for ‘Relational Painting No. 88’ (1960), the Mondrian-esque mural by American abstract painter #FritzGlarner. But I also admire the Portuguese-style floor tiles that evoke the sidewalks of Copacabana in Rio de Janeiro. The lobby makes a rather memorable appearance in the movie ‘Rosemary’s Baby,’ when Rosemary walks to the pay phones in the back (now gone) to try to call her friend Hutch, who was meant to meet her outside the building but never shows up.” –Glenn Belverio (@glennbelverio), content marketing manager for retail
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As we await our reopening, discover New York City's hidden art gems with our staff #MoMApicks: mo.ma/picks (link in bio)
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[Details: Fritz Glarner. “Relational Painting No. 88.” 1960. Time & Life Building, 1271 Avenue of the Americas. Photo: Glenn Belverio]](http://scontent-ort2-1.cdninstagram.com/vp/f19e7f600509aeed99a80dbbc15390b5/5DDF3A85/t51.2885-15/e15/s150x150/66852761_733809337062348_9192552070472708682_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "“I’m a huge fan of the lobby of the former Time & Life Building, mostly for ‘Relational Painting No. 88’ (1960), the Mondrian-esque mural by American abstract painter #FritzGlarner. But I also admire the Portuguese-style floor tiles that evoke the sidewalks of Copacabana in Rio de Janeiro. The lobby makes a rather memorable appearance in the movie ‘Rosemary’s Baby,’ when Rosemary walks to the pay phones in the back (now gone) to try to call her friend Hutch, who was meant to meet her outside the building but never shows up.” –Glenn Belverio (@glennbelverio), content marketing manager for retail
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As we await our reopening, discover New York City's hidden art gems with our staff #MoMApicks: mo.ma/picks (link in bio)
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[Details: Fritz Glarner. “Relational Painting No. 88.” 1960. Time & Life Building, 1271 Avenue of the Americas. Photo: Glenn Belverio]")
![In 1941, #JacobLawrence, then just 23 years old, completed a series of 60 small paintings with text captions on the subject of the Great Migration, the mass exodus of black Americans from the rural South to the urban North that began during World War I. Before picking up a paintbrush, he spent months at the 135th Street Branch of the New York Public Library (now NYPL’s @schomburgcenter) studying historical documents. The resulting work, “The Migration Series” (1940–41), is a landmark in the history of modern art and a key example of the way that history painting was radically reimagined in the modern era. His panels were the first works by an African American artist acquired by MoMA. Explore this moment in #MoMAhistory: moma.org/momathroughtime (direct link in bio)
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[Images: Jacob Lawrence. “The migration gained in momentum” (detail). 1940-41. Casein tempera on hardboard. Gift of Mrs. David M. Levy. © 2019 Jacob Lawrence / Artists Rights Society (ARS), New York]](http://scontent-ort2-1.cdninstagram.com/vp/ba4f6366392b78c6ac4d8c3a81b5a59d/5DDC08E7/t51.2885-15/e35/c0.180.1440.1440a/s150x150/66894905_161983984975736_5054159363600367575_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "In 1941, #JacobLawrence, then just 23 years old, completed a series of 60 small paintings with text captions on the subject of the Great Migration, the mass exodus of black Americans from the rural South to the urban North that began during World War I. Before picking up a paintbrush, he spent months at the 135th Street Branch of the New York Public Library (now NYPL’s @schomburgcenter) studying historical documents. The resulting work, “The Migration Series” (1940–41), is a landmark in the history of modern art and a key example of the way that history painting was radically reimagined in the modern era. His panels were the first works by an African American artist acquired by MoMA. Explore this moment in #MoMAhistory: moma.org/momathroughtime (direct link in bio)
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[Images: Jacob Lawrence. “The migration gained in momentum” (detail). 1940-41. Casein tempera on hardboard. Gift of Mrs. David M. Levy. © 2019 Jacob Lawrence / Artists Rights Society (ARS), New York]")
![“What I essentially look for everywhere is poetry.” –#GracielaIturbide
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See more works from this week’s #MoMAmagazine menu, showcasing food-inspired works from #MoMAcollection: mo.ma/menu (link in bio)
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[Credit: Graciela Iturbide. “Mercado de Sonora, Mexico City.” 1978. Gelatin silver print. Acquired through the generosity of the William Talbott Hillman Foundation. © 2019 Graciela Iturbide]](http://scontent-ort2-1.cdninstagram.com/vp/09a568b1f0ebbb924207362621031d8a/5DD197C7/t51.2885-15/e15/c5.0.1070.1070/s150x150/69010321_772093606555901_4200732705894035252_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "“What I essentially look for everywhere is poetry.” –#GracielaIturbide
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See more works from this week’s #MoMAmagazine menu, showcasing food-inspired works from #MoMAcollection: mo.ma/menu (link in bio)
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[Credit: Graciela Iturbide. “Mercado de Sonora, Mexico City.” 1978. Gelatin silver print. Acquired through the generosity of the William Talbott Hillman Foundation. © 2019 Graciela Iturbide]")
!["I just want to say a true thing." –#SaraCwynar
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As we prepare for the reopening of a #newMoMA, photographer Sara Cwynar (@cwynars) takes a closer look at #MoMACollection in the commissioned series “Modern Art in Your Life,” examining the stories we tell and reinforce through art historical objects and popular images. See more of her work: mo.ma/cwynar (link in bio)
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[Credits: Director: Sara Cwynar; Cinematographer: Wilson Cameron; Gaffer: Tim Ciavara; Sound: Drew Brown]](http://scontent-ort2-1.cdninstagram.com/vp/950097d7e266a1f01075f369d859c2c8/5D5C5C5C/t51.2885-15/e15/c0.135.1080.1080a/s150x150/66907053_159929048512123_6392985403417538435_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "\"I just want to say a true thing.\" –#SaraCwynar
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As we prepare for the reopening of a #newMoMA, photographer Sara Cwynar (@cwynars) takes a closer look at #MoMACollection in the commissioned series “Modern Art in Your Life,” examining the stories we tell and reinforce through art historical objects and popular images. See more of her work: mo.ma/cwynar (link in bio)
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[Credits: Director: Sara Cwynar; Cinematographer: Wilson Cameron; Gaffer: Tim Ciavara; Sound: Drew Brown]")
![“Something that many people don’t know about is Alison Saar’s Harriet Tubman Memorial. But it is beloved and taken care of by the surrounding community. So much so, in fact, that 80-year-old community member and gardener Willie Morgan takes on a volunteer role every year, planting cotton in the planters surrounding the sculpture.” –Angelica Fox (@angelicadangerfox), development assistant for Institutional Giving
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As we await our reopening, discover New York City's hidden art gems with our staff #MoMApicks: mo.ma/picks (link in bio)
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[Details: Alison Saar. “Swing Low: The Harriet Tubman Memorial.” 2007. St. Nicholas Avenue and 122nd Street. Photo: Jim.henderson. Used through Creative Commons open content license]](http://scontent-ort2-1.cdninstagram.com/vp/2f19f398ce62860877a9c8147ac48cb6/5DF1FCD8/t51.2885-15/e15/c0.135.1080.1080a/s150x150/67760433_367427960616792_7428636096836944022_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "“Something that many people don’t know about is Alison Saar’s Harriet Tubman Memorial. But it is beloved and taken care of by the surrounding community. So much so, in fact, that 80-year-old community member and gardener Willie Morgan takes on a volunteer role every year, planting cotton in the planters surrounding the sculpture.” –Angelica Fox (@angelicadangerfox), development assistant for Institutional Giving
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As we await our reopening, discover New York City's hidden art gems with our staff #MoMApicks: mo.ma/picks (link in bio)
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[Details: Alison Saar. “Swing Low: The Harriet Tubman Memorial.” 2007. St. Nicholas Avenue and 122nd Street. Photo: Jim.henderson. Used through Creative Commons open content license]")
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![In the 1980s #MrinaliniMukherjee—seeking to convey "the feeling of awe [you get] when you walk into the small sanctum of a temple and look up to be held by an iconic presence"—embarked on a group of daring, monumental fiber sculptures. Leaving behind a conventional approach to display, she rejected pedestals and put her sculptures in contact with the floor. Standing upright, they are imposing but do not resist gravity.
See this and others in "Phenomenal Nature: Mrinalini Mukherjee" on view through September 29 at the @metbreuer.
🎨 Mrinalini Mukherjee. Van Raja I (King of the Forest), 1981. Fiber. Roopankar Museum of Fine Arts, Bharat Bhavan, Bhopal. #MetBreuer #MetModern](http://scontent-ort2-1.cdninstagram.com/vp/95fa162a7a3a3eb3f177afeac4582453/5DEEEC60/t51.2885-15/e35/c0.180.1440.1440a/s150x150/61710689_2314497205546284_1063481954732130390_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com "In the 1980s #MrinaliniMukherjee—seeking to convey \"the feeling of awe [you get] when you walk into the small sanctum of a temple and look up to be held by an iconic presence\"—embarked on a group of daring, monumental fiber sculptures. Leaving behind a conventional approach to display, she rejected pedestals and put her sculptures in contact with the floor. Standing upright, they are imposing but do not resist gravity.
See this and others in \"Phenomenal Nature: Mrinalini Mukherjee\" on view through September 29 at the @metbreuer.
🎨 Mrinalini Mukherjee. Van Raja I (King of the Forest), 1981. Fiber. Roopankar Museum of Fine Arts, Bharat Bhavan, Bhopal. #MetBreuer #MetModern")
