MoMa (@themuseumofmodernart)
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![Curators Sarah Meister (@themomameister) and Rajendra Roy (@rajendraroymoma) offer new ways of looking at MoMA's earliest films and photographs, on view in the newly-reinstalled Gallery 502.When photography and film first appeared in the 19th century, they fascinated viewers with their ability not only to record but also to reinvent reality. These technologies reshaped the visual culture of the time, providing an alternative to traditional methods of image-making involving hand, pen, and brush. “What we could do with film and photography is to suggest… the idea that this transformation of the way people saw the world was happening at the same time that [artists like #Cézanne, #VanGogh, and #Gauguin] were making those paintings: it was so abundant that you couldn’t escape it.," Meister explained. "1889 is the year Van Gogh painted ‘The Starry Night,’ but it is also the year that the Kodak No. 1 camera was introduced. The marketing slogan for that camera was, ‘You push the button, we do the rest.’” Read their full conversation on #MoMAMagazine at link in bio.
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[Artworks pictured left to right: Eadweard J. Muybridge. "Movement of the Hand, Beating Time": Plate 535 from "Animal Locomotion." 1884-86. Collotype. 9 1/2 x 11 13/16" (24.1 x 30 cm); American Mutoscope and Biograph Company, G. W. Bitzer, F. A. Dobson. "Interior N.Y. Subway, 14th Street to 42nd Street." 1905. 35mm film transferred to video (black and white, silent). 4 min. at 18 fps; Klaw & Erlanger, Biograph Company, Bert Williams, Edwin Middleton, T. Hayes Hunter. Excerpt from "Lime Kiln Club Field Day." 1914. 35mm film transferred to video (black and white, silent). 3 min. at 17 fps; Installation views of the gallery "Early Photography and Film" in the exhibition "Collection 1880s-1940s." October 21, 2019-October 25, 2021. Photographs by Jonathan Muzikar]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e35/c146.0.1147.1147a/s150x150/81654988_115933889775263_1515758421637158288_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=1&_nc_ohc=4v-o4LXiHpMAX8ejvCm&oh=488a0786a6b286b79e9ac833eb541e15&oe=5EC3B896 "Curators Sarah Meister (@themomameister) and Rajendra Roy (@rajendraroymoma) offer new ways of looking at MoMA's earliest films and photographs, on view in the newly-reinstalled Gallery 502.When photography and film first appeared in the 19th century, they fascinated viewers with their ability not only to record but also to reinvent reality. These technologies reshaped the visual culture of the time, providing an alternative to traditional methods of image-making involving hand, pen, and brush. “What we could do with film and photography is to suggest… the idea that this transformation of the way people saw the world was happening at the same time that [artists like #Cézanne, #VanGogh, and #Gauguin] were making those paintings: it was so abundant that you couldn’t escape it.,\" Meister explained. \"1889 is the year Van Gogh painted ‘The Starry Night,’ but it is also the year that the Kodak No. 1 camera was introduced. The marketing slogan for that camera was, ‘You push the button, we do the rest.’” Read their full conversation on #MoMAMagazine at link in bio.
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[Artworks pictured left to right: Eadweard J. Muybridge. \"Movement of the Hand, Beating Time\": Plate 535 from \"Animal Locomotion.\" 1884-86. Collotype. 9 1/2 x 11 13/16\" (24.1 x 30 cm); American Mutoscope and Biograph Company, G. W. Bitzer, F. A. Dobson. \"Interior N.Y. Subway, 14th Street to 42nd Street.\" 1905. 35mm film transferred to video (black and white, silent). 4 min. at 18 fps; Klaw & Erlanger, Biograph Company, Bert Williams, Edwin Middleton, T. Hayes Hunter. Excerpt from \"Lime Kiln Club Field Day.\" 1914. 35mm film transferred to video (black and white, silent). 3 min. at 17 fps; Installation views of the gallery \"Early Photography and Film\" in the exhibition \"Collection 1880s-1940s.\" October 21, 2019-October 25, 2021. Photographs by Jonathan Muzikar]")
![Swipe left to discover something new at MoMA →The existential metaphor of wide-open sky, contained.The eye was a subject that fascinated many #Surrealist poets and visual artists, given its position between inner, subjective self and the external world. René #Magritte’s “The False Mirror,” on view in Gallery 517: Surrealist Objects, has an unsettling character: it places the viewer on the spot, caught between looking through and being watched by an eye that, despite its cumulus-cloud-filled beauty, proves to be empty.#GeoffreyHendricks’s penchant for painting skies on everything earned him the nickname “Cloudsmith.” One thing that's consistent, Hendricks said, is the sky is always changing—you can paint it over and over again but it's never the same. The #Fluxus artist lived in New York’s industrial SoHo neighborhood in the 1960s, scrounging for humble art materials in dumpsters. “Sky Crated” is made from a common pallet used to load docks. See the irreverent work in Gallery 410: At the Border of Art and Life. #MoMACollection #newMoMA
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[Left to right: René Magritte. “The False Mirror” (detail). 1929. Oil on canvas. 21 1/4 x 31 7/8" (54 x 80.9 cm). © 2019 C. Herscovici, Brussels / Artists Rights Society (ARS), New York; Geoffrey Hendricks. “Sky Crated.” 1965. Oil on canvas and wood. 38 1/8 × 26 1/2 × 3 1/8" (96.8 × 67.3 × 8 cm). © 2019 Geoffrey Hendricks]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e35/s150x150/81123877_135852270790304_4740243279628739146_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=1&_nc_ohc=3M0M3n_JosMAX9meCkN&oh=ac652523733e3d265d396c72536d51e1&oe=5ED3DF0B "Swipe left to discover something new at MoMA →The existential metaphor of wide-open sky, contained.The eye was a subject that fascinated many #Surrealist poets and visual artists, given its position between inner, subjective self and the external world. René #Magritte’s “The False Mirror,” on view in Gallery 517: Surrealist Objects, has an unsettling character: it places the viewer on the spot, caught between looking through and being watched by an eye that, despite its cumulus-cloud-filled beauty, proves to be empty.#GeoffreyHendricks’s penchant for painting skies on everything earned him the nickname “Cloudsmith.” One thing that's consistent, Hendricks said, is the sky is always changing—you can paint it over and over again but it's never the same. The #Fluxus artist lived in New York’s industrial SoHo neighborhood in the 1960s, scrounging for humble art materials in dumpsters. “Sky Crated” is made from a common pallet used to load docks. See the irreverent work in Gallery 410: At the Border of Art and Life. #MoMACollection #newMoMA
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[Left to right: René Magritte. “The False Mirror” (detail). 1929. Oil on canvas. 21 1/4 x 31 7/8\" (54 x 80.9 cm). © 2019 C. Herscovici, Brussels / Artists Rights Society (ARS), New York; Geoffrey Hendricks. “Sky Crated.” 1965. Oil on canvas and wood. 38 1/8 × 26 1/2 × 3 1/8\" (96.8 × 67.3 × 8 cm). © 2019 Geoffrey Hendricks]")
![How do artists critique forces of power and political and economic structures? How can they help create a better, more sustainable future?Designer #MassoudHassani’s Mine Kafon Wind-Powered Deminer, on view in #EnergyMoMA through January 26, is designed to roll across the ground, detonating landmines in the process. In Hassani’s hometown of Qasaba, Afghanistan, leftover mines, remnants of conflicts, often injure or kill civilians. When the deminer blows across a minefield, it reclaims the space as safe and usable. The design was inspired by the wind-powered racing toys that Hassani and his friends built as children.Explore how artists engage with power, making visible its structures and symbols, its abuses, as well as its sources, in our free online @coursera course, #WhatIsContemporaryArt. Enroll today at mo.ma/whatiscontemporaryart
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[Installation view of the exhibition “Energy,” October 21, 2019 - January 26, 2020. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by Heidi Bohnenkamp]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e15/c236.0.607.607a/s150x150/82602990_115238389824064_3240828991630031852_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=104&_nc_ohc=mVmDPv-w9PkAX-4N1fB&oh=aaafb27b94d95e92472807eb862374c0&oe=5EB5D744 "How do artists critique forces of power and political and economic structures? How can they help create a better, more sustainable future?Designer #MassoudHassani’s Mine Kafon Wind-Powered Deminer, on view in #EnergyMoMA through January 26, is designed to roll across the ground, detonating landmines in the process. In Hassani’s hometown of Qasaba, Afghanistan, leftover mines, remnants of conflicts, often injure or kill civilians. When the deminer blows across a minefield, it reclaims the space as safe and usable. The design was inspired by the wind-powered racing toys that Hassani and his friends built as children.Explore how artists engage with power, making visible its structures and symbols, its abuses, as well as its sources, in our free online @coursera course, #WhatIsContemporaryArt. Enroll today at mo.ma/whatiscontemporaryart
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[Installation view of the exhibition “Energy,” October 21, 2019 - January 26, 2020. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by Heidi Bohnenkamp]")
![#SaidiyaHartman speaks with @prudence_peiffer and @thomaslax about "Wayward Lives, Beautiful Experiments" on #MoMAMagazine's inaugural books podcast. The 2019 book follows the lives of young black women at the beginning of the 20th century in New York and Philadelphia, and the ways that they tried to break free from imposed and invisible forms of servitude. It’s unlike any history book we’ve read before. Join the conversation at link in bio.The Books that Matter podcast was born from our love of reading. Reading a book is a little like standing in front of art at a museum. Both experiences are at once intimate and communal, and both can help you see something that you may not have noticed before. Over the course of this series, we’ll be reading nonfiction that borrows from fiction, fiction that crosses into history, and biographies that uproot histories altogether. We hope you’ll join along. ---
[A photo featured in "Wayward Lives, Beautiful Experiments": Champion Charleston dancer Gwendolyn Graham with the chorus of the revue "Blackbirds" taking part in their first rehearsal on the roof of the Pavilion Theater in London in 1928. Photo by General Photographic Agency/Getty Images]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e15/c172.0.736.736a/s150x150/81534538_2515860271857031_4265174824896472784_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=107&_nc_ohc=koSeikd3h84AX_gymO6&oh=1e0d2349ce76cd839565dec99b1c8090&oe=5ED1A379 "#SaidiyaHartman speaks with @prudence_peiffer and @thomaslax about \"Wayward Lives, Beautiful Experiments\" on #MoMAMagazine's inaugural books podcast. The 2019 book follows the lives of young black women at the beginning of the 20th century in New York and Philadelphia, and the ways that they tried to break free from imposed and invisible forms of servitude. It’s unlike any history book we’ve read before. Join the conversation at link in bio.The Books that Matter podcast was born from our love of reading. Reading a book is a little like standing in front of art at a museum. Both experiences are at once intimate and communal, and both can help you see something that you may not have noticed before. Over the course of this series, we’ll be reading nonfiction that borrows from fiction, fiction that crosses into history, and biographies that uproot histories altogether. We hope you’ll join along. ---
[A photo featured in \"Wayward Lives, Beautiful Experiments\": Champion Charleston dancer Gwendolyn Graham with the chorus of the revue \"Blackbirds\" taking part in their first rehearsal on the roof of the Pavilion Theater in London in 1928. Photo by General Photographic Agency/Getty Images]")
![“With all of the terrifying and corrupt institutions of this country, it turns out that the endurance of the black people in this country may indeed prove to be—may already have proven to be—the only real thing which can save the country.” —James Baldwin#JamesBaldwin gave a powerful tribute to Dr. Martin Luther King Jr. at a memorial evening of readings by writers and poets hosted by MoMA on November 3, 1968—eight months after the civil rights leader's assassination. The event, presented in conjunction with a benefit exhibition, "In Honor of Dr. Martin Luther King," featured tributes to Dr. King by American literary greats including Baldwin, Allen Ginsberg, Ralph Ellison, and Robert Penn Warren.To commemorate Martin Luther King Jr. Day, explore archival photos of the exhibition and listen to an audio recording of Baldwin's full speech at link in bio. #MLK #MLKDay #MartinLutherKing
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[Leonard Freed. "Baltimore, Maryland: Dr. Martin Luther King, Jr. being greeted upon his return to the United States after receiving the Nobel Peace Prize." October 31, 1964. Photograph. 14 1/4 x 21 3/16" (36.2 x 53.8 cm). © 2017 Leonard Freed/Magnum Photos]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e15/c181.0.718.718a/s150x150/82095936_1079839242349415_536789349473057720_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=111&_nc_ohc=zwMQq9Sn5ZoAX-Vo-fl&oh=47320dd6708b8d6e743c275157b3d4e4&oe=5ED58FB6 "“With all of the terrifying and corrupt institutions of this country, it turns out that the endurance of the black people in this country may indeed prove to be—may already have proven to be—the only real thing which can save the country.” —James Baldwin#JamesBaldwin gave a powerful tribute to Dr. Martin Luther King Jr. at a memorial evening of readings by writers and poets hosted by MoMA on November 3, 1968—eight months after the civil rights leader's assassination. The event, presented in conjunction with a benefit exhibition, \"In Honor of Dr. Martin Luther King,\" featured tributes to Dr. King by American literary greats including Baldwin, Allen Ginsberg, Ralph Ellison, and Robert Penn Warren.To commemorate Martin Luther King Jr. Day, explore archival photos of the exhibition and listen to an audio recording of Baldwin's full speech at link in bio. #MLK #MLKDay #MartinLutherKing
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[Leonard Freed. \"Baltimore, Maryland: Dr. Martin Luther King, Jr. being greeted upon his return to the United States after receiving the Nobel Peace Prize.\" October 31, 1964. Photograph. 14 1/4 x 21 3/16\" (36.2 x 53.8 cm). © 2017 Leonard Freed/Magnum Photos]")
![2020 Vision 👀To ring in the new year and the new decade, we invited MoMA’s curators to choose something in art and culture they are looking forward to—whether a work, event, or topic—or to pick an artwork from the collection that speaks to their hopes and concerns for the year ahead. Read their thoughts on #MoMAMagazine at link in bio.
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[Man Ray. "Indestructible Object (or Object to Be Destroyed)." 1964 (replica of 1923 original). Metronome with cutout photograph of eye on pendulum. 8 7/8 x 4 3/8 x 4 5/8" (22.5 x 11 x 11.6 cm). © 2017 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Mali Olatunji]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e15/s150x150/80640905_177943529978877_4120774624320657668_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=109&_nc_ohc=EuTKLOaxWtsAX8tpLqr&oh=e34d454aad0b90b58d59a767f43563cf&oe=5ED2BD9E "2020 Vision 👀To ring in the new year and the new decade, we invited MoMA’s curators to choose something in art and culture they are looking forward to—whether a work, event, or topic—or to pick an artwork from the collection that speaks to their hopes and concerns for the year ahead. Read their thoughts on #MoMAMagazine at link in bio.
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[Man Ray. \"Indestructible Object (or Object to Be Destroyed).\" 1964 (replica of 1923 original). Metronome with cutout photograph of eye on pendulum. 8 7/8 x 4 3/8 x 4 5/8\" (22.5 x 11 x 11.6 cm). © 2017 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Mali Olatunji]")
![#MoMAMagazine pays tribute to the late artist John Baldessari in three acts: Louise Lawler shares a postcard, Christopher Williams remembers Baldessari’s studio, and Stephen Prina sings one of the great Conceptualist’s paintings. More at mo.ma/magazine (or head to link in bio).
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[Albrecht Fuchs. John Baldessari Los Angeles. 2004. Photograph. Courtesy of the artist] #JohnBaldessari #LouiseLawler #ChristopherWilliams #StephenPrina](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e15/c0.134.1080.1080a/s150x150/80602120_536755850517911_5825637850296494976_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=111&_nc_ohc=e5PvMB1ZLDQAX9I4Ly2&oh=60b47f4e997fc48f0b78f27c1e41eb13&oe=5EBC792F "#MoMAMagazine pays tribute to the late artist John Baldessari in three acts: Louise Lawler shares a postcard, Christopher Williams remembers Baldessari’s studio, and Stephen Prina sings one of the great Conceptualist’s paintings. More at mo.ma/magazine (or head to link in bio).
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[Albrecht Fuchs. John Baldessari Los Angeles. 2004. Photograph. Courtesy of the artist] #JohnBaldessari #LouiseLawler #ChristopherWilliams #StephenPrina")
![#MichaelArmitage’s paintings are hard to place. He works between London and Nairobi, and often strings together surreal scenes that contemplate contemporary, historical, and imagined narratives of both cities. But his paintings are always firmly rooted in East Africa, not only in the subjects he depicts but also in the materials he uses.After spending years looking for a different kind of painting support, one that would break with the history and associations of painting on canvas, Armitage came across the lubugo, a Ugandan material made from ficus tree bark. On the occasion of his MoMA exhibition "Projects 110: Michael Armitage" #MoMAMagazine spoke with the artist about the significance of bark cloth in his work and how the material changed his artistic process. Read more at link in bio and see the exhibition before it closes on January 20! #ProjectsArmitage @manairobi
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[From left: The artist in his studio; sunning the bark cloth; a stretched bark cloth support before it is primed; Michael Armitage. 2019. "Enasoit." Oil on Lubugo bark cloth. 66 15/16 × 118 1/8" (170 × 300 cm); all images courtesy of the Artist and White Cube]](http://scontent-ort2-1.cdninstagram.com/v/t51.2885-15/e35/c148.0.908.908a/s150x150/80467077_200586221099206_7235885751844164229_n.jpg?_nc_ht=scontent-ort2-1.cdninstagram.com&_nc_cat=110&_nc_ohc=gQFo0ERF2_oAX_7CASv&oh=fdcc066a927eed71f3046043e2f79371&oe=5EDBEEEB "#MichaelArmitage’s paintings are hard to place. He works between London and Nairobi, and often strings together surreal scenes that contemplate contemporary, historical, and imagined narratives of both cities. But his paintings are always firmly rooted in East Africa, not only in the subjects he depicts but also in the materials he uses.After spending years looking for a different kind of painting support, one that would break with the history and associations of painting on canvas, Armitage came across the lubugo, a Ugandan material made from ficus tree bark. On the occasion of his MoMA exhibition \"Projects 110: Michael Armitage\" #MoMAMagazine spoke with the artist about the significance of bark cloth in his work and how the material changed his artistic process. Read more at link in bio and see the exhibition before it closes on January 20! #ProjectsArmitage @manairobi
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[From left: The artist in his studio; sunning the bark cloth; a stretched bark cloth support before it is primed; Michael Armitage. 2019. \"Enasoit.\" Oil on Lubugo bark cloth. 66 15/16 × 118 1/8\" (170 × 300 cm); all images courtesy of the Artist and White Cube]")
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