MoMa (@themuseumofmodernart)
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!["Walk along the dark and gleaming street, smooth as a mirror. Here a world beyond what we know exists." Wendy S. Walters considers Constantin Brancusi’s "Bird in Space" (1928) for #MoMAMagazine's Poetry Project. "One of the things that compelled me as a poet," Walters said, "was thinking about whether or not the object itself was more important, or the idea of the object, or the ideas that the object contained." Read the full poem at link in bio.#UNIQLOFreeFridayNights make tonight the perfect time to experience #Brancusi's sculptures for yourself on the fifth floor of the Museum. We're open late, from 5:30 to 9:00 p.m., with free admission! More info at mo.ma/freefridays
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[Installation view of the gallery "Constantin Brancusi" in the exhibition "Collection 1880s–1940s," October 21, 2019–October 25, 2021. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by Martin Seck] #MoMACollection](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e15/c180.0.719.719a/s150x150/75408703_583616135732066_3271081055653299115_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=1&oh=73d742ac55b48c6c24a8eaace855d220&oe=5EB25985 "\"Walk along the dark and gleaming street, smooth as a mirror. Here a world beyond what we know exists.\" Wendy S. Walters considers Constantin Brancusi’s \"Bird in Space\" (1928) for #MoMAMagazine's Poetry Project. \"One of the things that compelled me as a poet,\" Walters said, \"was thinking about whether or not the object itself was more important, or the idea of the object, or the ideas that the object contained.\" Read the full poem at link in bio.#UNIQLOFreeFridayNights make tonight the perfect time to experience #Brancusi's sculptures for yourself on the fifth floor of the Museum. We're open late, from 5:30 to 9:00 p.m., with free admission! More info at mo.ma/freefridays
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[Installation view of the gallery \"Constantin Brancusi\" in the exhibition \"Collection 1880s–1940s,\" October 21, 2019–October 25, 2021. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by Martin Seck] #MoMACollection")
![“There has been an apparent thread in my art that weaves from my early prints of the 1960s through later collages and assemblages... That thread is a curiosity about the mystical.” —Betye Saar#BetyeSaar began studying printmaking in 1962. “Printmaking was a great seducer,” she recalled, “because the technique sucked me in.” Finding time between her responsibilities as a mother, Saar explored the medium as an imaginative collage, creating a body of work that traces themes of family, history, and mysticism—still at the core of her practice today. "Betye Saar: The Legends of Black Girl’s Window" offers an in-depth examination of the artist's early works on paper. See the exhibition before it closes on January 4. Members get a Last Look of the show on Sunday, January 5. Learn more at mo.ma/betyesaar
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[Betye Saar holding "Black Girl’s Window" at her Laurel Canyon Studio, Los Angeles, California, 1970. Photo by Bob Nakamura. © 2019 Betye Saar; Betye Saar at her Laurel Canyon Studio, Los Angeles, California, 2019. Photo by David Sprague. Both photos courtesy of the artist and Roberts Projects, Los Angeles, California]](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e35/c200.0.1040.1040a/s150x150/75325007_173583894038704_6535957412654157707_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=104&oh=ef2c623c88a62a3dc99810e6226a9017&oe=5E920905 "“There has been an apparent thread in my art that weaves from my early prints of the 1960s through later collages and assemblages... That thread is a curiosity about the mystical.” —Betye Saar#BetyeSaar began studying printmaking in 1962. “Printmaking was a great seducer,” she recalled, “because the technique sucked me in.” Finding time between her responsibilities as a mother, Saar explored the medium as an imaginative collage, creating a body of work that traces themes of family, history, and mysticism—still at the core of her practice today. \"Betye Saar: The Legends of Black Girl’s Window\" offers an in-depth examination of the artist's early works on paper. See the exhibition before it closes on January 4. Members get a Last Look of the show on Sunday, January 5. Learn more at mo.ma/betyesaar
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[Betye Saar holding \"Black Girl’s Window\" at her Laurel Canyon Studio, Los Angeles, California, 1970. Photo by Bob Nakamura. © 2019 Betye Saar; Betye Saar at her Laurel Canyon Studio, Los Angeles, California, 2019. Photo by David Sprague. Both photos courtesy of the artist and Roberts Projects, Los Angeles, California]")
![Have you seen the new trailer for #WW84, the latest @wonderwomanfilm set in 1984? Only a few years earlier, in 1978, artist #DaraBirnbaum began working with footage hijacked from television broadcasts, re-editing material from the popular #WonderWoman TV show to emphasize how mass media alternates between heroic and trivializing depictions of women. Seizing control of the camera or broadcasting on cable and public-access television was, according to Birnbaum, “a way of talking back to the media.”
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Visitors to MoMA can watch "Technology/Transformation: Wonder Woman" on the second floor of the Museum in Gallery 201: Public Images. This gallery gathers artists who questioned how images shape our perceptions of ourselves and our experiences of the world. In quoting and reframing familiar images, and staging their own versions, they exposed the ways in which gender and power relations are constructed. #MoMACollection
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[Dara Birnbaum. "Technology/Transformation: Wonder Woman" (detail). 1978-79. Video (color, sound). 5:50 min. © 2017 Dara Birnbaum. Courtesy Electronic Arts Intermix (EAI), New York.]](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e35/c90.0.540.540a/s150x150/75571716_756657741517958_384384094463713362_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=102&oh=6a3a43bd89830b25e74efcef17ef51fe&oe=5DF72865 "Have you seen the new trailer for #WW84, the latest @wonderwomanfilm set in 1984? Only a few years earlier, in 1978, artist #DaraBirnbaum began working with footage hijacked from television broadcasts, re-editing material from the popular #WonderWoman TV show to emphasize how mass media alternates between heroic and trivializing depictions of women. Seizing control of the camera or broadcasting on cable and public-access television was, according to Birnbaum, “a way of talking back to the media.”
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Visitors to MoMA can watch \"Technology/Transformation: Wonder Woman\" on the second floor of the Museum in Gallery 201: Public Images. This gallery gathers artists who questioned how images shape our perceptions of ourselves and our experiences of the world. In quoting and reframing familiar images, and staging their own versions, they exposed the ways in which gender and power relations are constructed. #MoMACollection
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[Dara Birnbaum. \"Technology/Transformation: Wonder Woman\" (detail). 1978-79. Video (color, sound). 5:50 min. © 2017 Dara Birnbaum. Courtesy Electronic Arts Intermix (EAI), New York.]")
!["I became giddy when I saw #LeeKrasner, #HelenFrankenthaler, and #JoanMitchell all hung in the same room. Three artists whose work with color creates deep emotional tones; it's a physical reaction looking at these paintings. The artists are all part of the New York School and all of them have a very strong conception of what is distinctive to them. I work in retail and would recommend that anyone interested in these artists read the book "Ninth Street Women." In it, Frankenthaler suggests, "Let the picture lead you where it must go." —Phoebe Lifton, Selling Specialist, RetailWe asked our staff to explore the #newMoMA and report back with tips about fresh discoveries and old favorites. See innovative works by the women of #AbstractExpressionism in Gallery 405, "Action Painting II." Discover more #MoMAPicks at link in bio. #MoMACollection
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[Joan Mitchell. Ladybug. 1957. Oil on canvas. 6' 5 7/8" x 9' (197.9 x 274 cm). © Estate of Joan Mitchell; Installation views of the gallery "Action Painting II" in the exhibition "Collection 1940s–1970s,” October 21, 2019–October 25, 2021. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photos by Robert Gerhardt]](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e35/c101.0.518.518a/s150x150/79755111_158016898765468_8448047756987801251_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=104&oh=d6f088cebd450b7f2d78bfa7e2f146d3&oe=5E832A42 "\"I became giddy when I saw #LeeKrasner, #HelenFrankenthaler, and #JoanMitchell all hung in the same room. Three artists whose work with color creates deep emotional tones; it's a physical reaction looking at these paintings. The artists are all part of the New York School and all of them have a very strong conception of what is distinctive to them. I work in retail and would recommend that anyone interested in these artists read the book \"Ninth Street Women.\" In it, Frankenthaler suggests, \"Let the picture lead you where it must go.\" —Phoebe Lifton, Selling Specialist, RetailWe asked our staff to explore the #newMoMA and report back with tips about fresh discoveries and old favorites. See innovative works by the women of #AbstractExpressionism in Gallery 405, \"Action Painting II.\" Discover more #MoMAPicks at link in bio. #MoMACollection
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[Joan Mitchell. Ladybug. 1957. Oil on canvas. 6' 5 7/8\" x 9' (197.9 x 274 cm). © Estate of Joan Mitchell; Installation views of the gallery \"Action Painting II\" in the exhibition \"Collection 1940s–1970s,” October 21, 2019–October 25, 2021. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photos by Robert Gerhardt]")
!["cut into the color
of those waters
feel the past course through you
and then fall"For #MoMAMagazine's Poetry Project, lê thị diễm thúy reflects on #HenriMatisse’s "The Swimming Pool," and a world without papers—an homage to the paper cutout, "but also echoing the notions of those who have no papers, what it means to be without papers, to be born across water, to be floating." Read more at link in bio.Commenting on his largest cutout, Matisse said, "I have always adored the sea, and now that I can no longer go for a swim, I have surrounded myself with it." This 1952 work was designed to adorn the walls of the artist's dining room at the Hôtel Régina in Nice. See the nearly fifty-four-foot-long frieze of blue bathers in its own room in our fourth-floor collection galleries. #MoMACollection
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[Installation view of the exhibition "Henri Matisse: The Cut-Outs," October 12, 2014 - February 10, 2015. The Museum of Modern Art, New York. Photo by Jonathan Muzikar]](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e15/c180.0.719.719a/s150x150/75349252_192218121939824_5388264511737102511_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=108&oh=7bf4820e80a72a916aa007dbd1cfd1fd&oe=5EB38347 "\"cut into the color
of those waters
feel the past course through you
and then fall\"For #MoMAMagazine's Poetry Project, lê thị diễm thúy reflects on #HenriMatisse’s \"The Swimming Pool,\" and a world without papers—an homage to the paper cutout, \"but also echoing the notions of those who have no papers, what it means to be without papers, to be born across water, to be floating.\" Read more at link in bio.Commenting on his largest cutout, Matisse said, \"I have always adored the sea, and now that I can no longer go for a swim, I have surrounded myself with it.\" This 1952 work was designed to adorn the walls of the artist's dining room at the Hôtel Régina in Nice. See the nearly fifty-four-foot-long frieze of blue bathers in its own room in our fourth-floor collection galleries. #MoMACollection
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[Installation view of the exhibition \"Henri Matisse: The Cut-Outs,\" October 12, 2014 - February 10, 2015. The Museum of Modern Art, New York. Photo by Jonathan Muzikar]")
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![On December 13, 1946, the @metcostumeinstitute opened its first exhibition to the public. 👗✨
Displaying fashions from the 18th and 19th centuries, the exhibition featured 49 costumes from The Costume Institute's collection, alongside furniture, accessories, and artworks, including some items from the @museumofcityny!
The marriage between The Costume Institute and #TheMet was a major step in validating the field of costume research. In 1944 Dorothy Shaver, president of Lord & Taylor and head of the fundraising committee that facilitated the merger, said:
"Today's announcement, that the Metropolitan Museum is taking steps to emphasize fashion as an art, is a history-making move in the life of American fashion. It recognizes the vitality and progressive spirit of the American fashion industries and it shows a desire on the part of a great museum to serve effectively these industries."
📸: Fashions from the third quarter of the 18th century to the end of the 19th century with furniture from The Met collection and the Museum of the City of New York : [installation photographs, checklists] December 12, 1946 through May 15, 1947, 1946. © The Metropolitan Museum of Art. #FBF #FashionFriday #CostumeInstitute #OnThisDay](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e35/c0.177.1440.1440a/s150x150/79293325_472730296776807_6854185128358178241_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=1&oh=d4d6c6fb301aec07b2ea404ce1a2999f&oe=5E8453C8 "On December 13, 1946, the @metcostumeinstitute opened its first exhibition to the public. 👗✨
Displaying fashions from the 18th and 19th centuries, the exhibition featured 49 costumes from The Costume Institute's collection, alongside furniture, accessories, and artworks, including some items from the @museumofcityny!
The marriage between The Costume Institute and #TheMet was a major step in validating the field of costume research. In 1944 Dorothy Shaver, president of Lord & Taylor and head of the fundraising committee that facilitated the merger, said:
\"Today's announcement, that the Metropolitan Museum is taking steps to emphasize fashion as an art, is a history-making move in the life of American fashion. It recognizes the vitality and progressive spirit of the American fashion industries and it shows a desire on the part of a great museum to serve effectively these industries.\"
📸: Fashions from the third quarter of the 18th century to the end of the 19th century with furniture from The Met collection and the Museum of the City of New York : [installation photographs, checklists] December 12, 1946 through May 15, 1947, 1946. © The Metropolitan Museum of Art. #FBF #FashionFriday #CostumeInstitute #OnThisDay")
![Happy birthday, Helen Frankenthaler! Painter Morris Louis famously described her work as "the bridge between [Jackson] Pollock and what is possible." ✨
Enjoy this dreamy #MetMoment captured by visitor @robertearlstewart in front of her 1957 piece "Western Dream."
🎨 #HelenFrankenthaler (American, 1928–2011). Western Dream, 1957. Oil on unsized, unprimed canvas. ©️ Helen Frankenthaler Foundation. On view in Gallery 920. #MetModern #MetEpicAbstraction #5WomenArtists](http://scontent-dfw5-1.cdninstagram.com/v/t51.2885-15/e35/c0.169.1351.1351a/s150x150/76894213_435146113830702_7986845976587175561_n.jpg?_nc_ht=scontent-dfw5-1.cdninstagram.com&_nc_cat=106&oh=870b9ee4a49956b5c1729541f291b877&oe=5E74A08B "Happy birthday, Helen Frankenthaler! Painter Morris Louis famously described her work as \"the bridge between [Jackson] Pollock and what is possible.\" ✨
Enjoy this dreamy #MetMoment captured by visitor @robertearlstewart in front of her 1957 piece \"Western Dream.\"
🎨 #HelenFrankenthaler (American, 1928–2011). Western Dream, 1957. Oil on unsized, unprimed canvas. ©️ Helen Frankenthaler Foundation. On view in Gallery 920. #MetModern #MetEpicAbstraction #5WomenArtists")
