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MoMa (@themuseumofmodernart)
Segui [themuseumofmodernart] The world's museum for modern and contemporary art
DestinazioneUSA.com
Il portale italiano sugli Stati Uniti
Il portale italiano sugli Stati Uniti
Hits: 58
![This Wednesday at 6 p.m., join us at @MoMAPS1 for the first of two free panel discussions that will consider the ways in which the infrastructure of #LongIslandCity has been impacted by the rapid growth of #NewYorkCity’s tech workforce, and how these conditions are emblematic of the city’s present confrontations with the #urbanplanning legacies of the past century. Info & tickets can be found at mo.ma/LIC (link in bio) #lic #nyc
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The second discussion will focus on tech and gentrification, and takes place on April 30 at MoMA. More info at mo.ma/LIC2
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[Madoka Takagi’s “Long Island Railroad Yard from Queens Boulevard, Queens” (1990) and “Long Island City, Queens” (1990). Platinum/Palladium print. Gift of Jessica and Robert Solomon. © 2019 Madoka Takagi]](http://scontent-mxp1-1.cdninstagram.com/vp/a9a5e6ae219d5c5e0380482eb303c58f/5D3F50ED/t51.2885-15/e35/c1.0.1076.1076a/s150x150/56402205_995518990643561_5197445064907303122_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "This Wednesday at 6 p.m., join us at @MoMAPS1 for the first of two free panel discussions that will consider the ways in which the infrastructure of #LongIslandCity has been impacted by the rapid growth of #NewYorkCity’s tech workforce, and how these conditions are emblematic of the city’s present confrontations with the #urbanplanning legacies of the past century. Info & tickets can be found at mo.ma/LIC (link in bio) #lic #nyc
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The second discussion will focus on tech and gentrification, and takes place on April 30 at MoMA. More info at mo.ma/LIC2
…
[Madoka Takagi’s “Long Island Railroad Yard from Queens Boulevard, Queens” (1990) and “Long Island City, Queens” (1990). Platinum/Palladium print. Gift of Jessica and Robert Solomon. © 2019 Madoka Takagi]")
![“Our elegance…[is] functional, meagre, thin, tight, but strong, delicate and austere.” –#LincolnKirstein
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What makes an artwork uniquely American? Lincoln Kirstein set out to define American modern art, spearheading projects that reflected social conditions in the United States, and championing realists and magic realists with meticulous craftsmanship and an uniquely homegrown point of view. Now on view.
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[Credit: #GeorgeTooker. “Sleepers, II.” 1959. Tempera on wood panel. The Museum of Modern Art, New York. Larry Aldrich Foundation Fund. © 2019 Estate of George Tooker. Courtesy of DC Moore Gallery, New York]](http://scontent-mxp1-1.cdninstagram.com/vp/9c7fb049b5c7c576f9eb5f575b0ac586/5D56919E/t51.2885-15/e15/c232.0.615.615/s150x150/58409620_482931465578183_4809444315781211061_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "“Our elegance…[is] functional, meagre, thin, tight, but strong, delicate and austere.” –#LincolnKirstein
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What makes an artwork uniquely American? Lincoln Kirstein set out to define American modern art, spearheading projects that reflected social conditions in the United States, and championing realists and magic realists with meticulous craftsmanship and an uniquely homegrown point of view. Now on view.
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[Credit: #GeorgeTooker. “Sleepers, II.” 1959. Tempera on wood panel. The Museum of Modern Art, New York. Larry Aldrich Foundation Fund. © 2019 Estate of George Tooker. Courtesy of DC Moore Gallery, New York]")
![The Modern Mondays spring season is in full swing! Join #MoMAFilm for screenings and intimate conversations with artists exploring technology, poetry, and changing the way we think about film with new work from around the world.
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Tickets are on now sale for this April's programs with Jen Liu on April 22 and Metahaven and April 29. Mark your calendars for an evening with an Evening with Bernadette Mayer and Morgan Ritter on May 6 and a special presentation from Wakaliwood Uganda Productions on May 13. Details and more at moma.org/modernmondays (link in bio)
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[Credits: Jen Liu. "The Pink Detachment" (detail) 2015. Single channel HD video, 19 minutes, 40 seconds. Courtesy the artist; Metahaven. "Information Skies" (detail) 2016. Single-channel video (color, sound), 24 min. Courtesy the artists; "Memory," (detail). 1971. Courtesy Bernadette Mayer Papers, Special Collections & Archives, University of California, San Diego; "Bad Black" (detail). Uganda. 2016. Directed by Nabwana I.G.G. Courtesy the filmmaker]](http://scontent-mxp1-1.cdninstagram.com/vp/68e2136a8546625a57c9167f44794968/5D51BA51/t51.2885-15/e35/s150x150/56400574_2022815428023115_106327906738019543_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "The Modern Mondays spring season is in full swing! Join #MoMAFilm for screenings and intimate conversations with artists exploring technology, poetry, and changing the way we think about film with new work from around the world.
...
Tickets are on now sale for this April's programs with Jen Liu on April 22 and Metahaven and April 29. Mark your calendars for an evening with an Evening with Bernadette Mayer and Morgan Ritter on May 6 and a special presentation from Wakaliwood Uganda Productions on May 13. Details and more at moma.org/modernmondays (link in bio)
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[Credits: Jen Liu. \"The Pink Detachment\" (detail) 2015. Single channel HD video, 19 minutes, 40 seconds. Courtesy the artist; Metahaven. \"Information Skies\" (detail) 2016. Single-channel video (color, sound), 24 min. Courtesy the artists; \"Memory,\" (detail). 1971. Courtesy Bernadette Mayer Papers, Special Collections & Archives, University of California, San Diego; \"Bad Black\" (detail). Uganda. 2016. Directed by Nabwana I.G.G. Courtesy the filmmaker]")
![Technology was never neutral for artist #HarunFarocki. In this video, the pioneering filmmaker collected images from military and industrial surveillance devices to explore the increasingly complex relationship between humans and hardware, battlefields and factories, war and capital.
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On the one hand, we see footage from aerial reconnaissance, targeting, and bombing strikes; on the other, scenes of material production, labor, and manufacturing. Farocki’s piece puts the body and the machine side by side, with the former being overtaken by the latter: the eye replaced by automated drones, cameras, and weapons. Now on view in #ArtTechMoMA.
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[Credit: Harun Farocki. “Eye/Machine I, Auge/Maschine I.” 2001. Two-channel video installation re-edited to single-channel video (color, sound). Committee on Film Funds. © 2019 Harun Farocki Filmproduktion]](http://scontent-mxp1-1.cdninstagram.com/vp/46645f88cb70272db080f6c0b32f6222/5CC04E42/t51.2885-15/e15/c236.0.607.607/s150x150/56703059_2449286075104785_6843859616244371910_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "Technology was never neutral for artist #HarunFarocki. In this video, the pioneering filmmaker collected images from military and industrial surveillance devices to explore the increasingly complex relationship between humans and hardware, battlefields and factories, war and capital.
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On the one hand, we see footage from aerial reconnaissance, targeting, and bombing strikes; on the other, scenes of material production, labor, and manufacturing. Farocki’s piece puts the body and the machine side by side, with the former being overtaken by the latter: the eye replaced by automated drones, cameras, and weapons. Now on view in #ArtTechMoMA.
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[Credit: Harun Farocki. “Eye/Machine I, Auge/Maschine I.” 2001. Two-channel video installation re-edited to single-channel video (color, sound). Committee on Film Funds. © 2019 Harun Farocki Filmproduktion]")
![Composed of Vinylite and manufactured by a chemical company, this chair is the embodies the application of innovative materials and production techniques—heightened during wartime—to domestic products. Its designer was an employee of Gallowhur Chemical Corporation. During World War II, he collaborated with a cousin of Franklin D. Roosevelt to design a pocket-sized water- desalination device that became standard equipment for Army and Navy fliers. Explore more iconic and unexpected designs in #ValueofGoodDesign.
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[Credit: William H. Miller, Jr. Inflatable chair c. 1944. Vinylite (polyvinyl chloride) tube ring, plywood frame, aluminum legs, and string netting Manufactured by Gallowhur Chemical Corp., Windsor, VT. Gift of the manufacturer]](http://scontent-mxp1-1.cdninstagram.com/vp/db6da79f9a27ff4c9cc988aa57df0938/5D3618E5/t51.2885-15/e15/s150x150/57239255_2170927346328464_590165823393014863_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "Composed of Vinylite and manufactured by a chemical company, this chair is the embodies the application of innovative materials and production techniques—heightened during wartime—to domestic products. Its designer was an employee of Gallowhur Chemical Corporation. During World War II, he collaborated with a cousin of Franklin D. Roosevelt to design a pocket-sized water- desalination device that became standard equipment for Army and Navy fliers. Explore more iconic and unexpected designs in #ValueofGoodDesign.
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[Credit: William H. Miller, Jr. Inflatable chair c. 1944. Vinylite (polyvinyl chloride) tube ring, plywood frame, aluminum legs, and string netting Manufactured by Gallowhur Chemical Corp., Windsor, VT. Gift of the manufacturer]")
![“Atget would place his camera across the Seine to get a full view, knowing this majestic structure could hold its own through a scrim of bare branches.”
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In the aftermath of Notre Dame’s fire, our curators discuss works by Eugène Atget, Henri Matisse, Ernest Fiene, and László Moholy-Nagy that depict #NotreDame not only as an enduring work of art, but as a landmark for modern artists. Read more at mo.ma/notredame
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[Eugène Atget’s “Notre-Dame” (1925) and “Notre-Dame (portail), detail” (1921–22). Gelatin silver printing-out-paper print. Abbott-Levy Collection. Partial gift of Shirley C. Burden]](http://scontent-mxp1-1.cdninstagram.com/vp/90a768e1bbdfa3d16e1d15aa84314a0b/5D572795/t51.2885-15/e35/s150x150/56828255_432032574197650_2775136643037167128_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "“Atget would place his camera across the Seine to get a full view, knowing this majestic structure could hold its own through a scrim of bare branches.”
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In the aftermath of Notre Dame’s fire, our curators discuss works by Eugène Atget, Henri Matisse, Ernest Fiene, and László Moholy-Nagy that depict #NotreDame not only as an enduring work of art, but as a landmark for modern artists. Read more at mo.ma/notredame
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[Eugène Atget’s “Notre-Dame” (1925) and “Notre-Dame (portail), detail” (1921–22). Gelatin silver printing-out-paper print. Abbott-Levy Collection. Partial gift of Shirley C. Burden]")
![Music, for me, is a love bewitched.
Fame as a painter?
Writer, modern poet? Bad joke.
So I have no calling, and loaf.
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“Artist Paul Klee wrote this short poem in his diary during his first year of study in Munich in 1898–99 (from The Diaries of Paul Klee, 1898–1918). Written at a moment when he was still unsure about his future career, this poem reveals Klee’s lifelong interest in music and writing, both of which would serve as inspiration for many of his artworks, including MoMA’s Vocal Fabric of the Singer Rosa Silber.” –Charlotte Healy (@cahealy88), Museum Research Consortium Fellow, Department of Painting and Sculpture
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Explore our staff’s #MoMApicks of #MoMACollection works that use words to challenge artistic convention: mo.ma/picks (link in bio)
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[Credit: Paul Klee. Vocal Fabric of the Singer Rosa Silber. 1922 Watercolor and ink on plastered fabric mounted on board, with watercolor and ink borders, 24 1/2 x 20 1/2" (62.3 x 52.1 cm). Gift of Mr. and Mrs. Stanley Resor. © 2019 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn]](http://scontent-mxp1-1.cdninstagram.com/vp/c1679432fc0ad05b7c7540f962523be4/5D3FE49E/t51.2885-15/e15/c0.84.720.720a/s150x150/56344628_2603246776356946_3849823376164311066_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "Music, for me, is a love bewitched.
Fame as a painter?
Writer, modern poet? Bad joke.
So I have no calling, and loaf.
...
“Artist Paul Klee wrote this short poem in his diary during his first year of study in Munich in 1898–99 (from The Diaries of Paul Klee, 1898–1918). Written at a moment when he was still unsure about his future career, this poem reveals Klee’s lifelong interest in music and writing, both of which would serve as inspiration for many of his artworks, including MoMA’s Vocal Fabric of the Singer Rosa Silber.” –Charlotte Healy (@cahealy88), Museum Research Consortium Fellow, Department of Painting and Sculpture
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Explore our staff’s #MoMApicks of #MoMACollection works that use words to challenge artistic convention: mo.ma/picks (link in bio)
...
[Credit: Paul Klee. Vocal Fabric of the Singer Rosa Silber. 1922 Watercolor and ink on plastered fabric mounted on board, with watercolor and ink borders, 24 1/2 x 20 1/2\" (62.3 x 52.1 cm). Gift of Mr. and Mrs. Stanley Resor. © 2019 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn]")
!["...Celestial activity explored for the first time. The planets furtively drew near and gloomy silences thronged the stars. The hills gather round them the least delays. On the marshes remain only the memories of flights.
My eyes belong to me alone and I pin them up on my cheeks so fresh and so ravaged by the wind of your words."
–Excerpts from André Breton’s “Les Champs Magnétiques” (1920)
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Explore the profound influence of avant-garde poetry on #JoanMiró’s visual language: mo.ma/joanmiro
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[Credit: Joan Miró. “The Beautiful Bird Revealing the Unknown to a Pair of Lovers (Le Bel oiseau déchiffrant l'inconnu au couple d'amoureux) (from the Constellation series)” (detail). 1941. Gouache, oil wash, and charcoal on paper Acquired through the Lillie P. Bliss Bequest (by exchange). © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris]](http://scontent-mxp1-1.cdninstagram.com/vp/11b81cb7d56fbef9162580a8a81d3db1/5D430056/t51.2885-15/e15/s150x150/56344601_1577248949066798_2284031689212643456_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "\"...Celestial activity explored for the first time. The planets furtively drew near and gloomy silences thronged the stars. The hills gather round them the least delays. On the marshes remain only the memories of flights.
My eyes belong to me alone and I pin them up on my cheeks so fresh and so ravaged by the wind of your words.\"
–Excerpts from André Breton’s “Les Champs Magnétiques” (1920)
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Explore the profound influence of avant-garde poetry on #JoanMiró’s visual language: mo.ma/joanmiro
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[Credit: Joan Miró. “The Beautiful Bird Revealing the Unknown to a Pair of Lovers (Le Bel oiseau déchiffrant l'inconnu au couple d'amoureux) (from the Constellation series)” (detail). 1941. Gouache, oil wash, and charcoal on paper Acquired through the Lillie P. Bliss Bequest (by exchange). © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris]")
![#EllsworthKelly first developed his distinct, resolutely abstract vocabulary of line, form, and color when he was in his mid-twenties. He eventually became interested in the way that a painting engages with the space it inhabits, increasing the scale and intensity of his hard-edged, loosely geometric compositions, all the while preserving his longtime interest in the relationship between figure and ground.
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Kelly considered the wall a kind of “ground,” the painting itself a “figure” upon it. This approach endured throughout Kelly’s nearly seventy-year career, even as he experimented with new formats, structures, and materials.
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#TheLongRunMoMA celebrates continual creativity with works made later in artists careers. Learn more: mo.ma/thelongrun
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[Credit: Ellsworth Kelly. “Red-Orange Panel with Curve.” 1993. Oil on canvas. Gift of the Committee on Painting and Sculpture in honor of Richard E. Oldenburg; Ellsworth Kelly. “White Relief over White.” 2003. Oil on canvas, two panels. Gift of Kathy and Richard S. Fuld, Jr. Photo: John Wronn; Ellsworth Kelly. “Black Form II.” 2012. Painted aluminum. Gift of James and Kathy Goodman in memory of Kirk Varnedoe (by exchange). Photo: John Wronn; All works © 2019 Ellsworth Kelly]](http://scontent-mxp1-1.cdninstagram.com/vp/401976b23f278a18c5924f44f541e6fe/5D3A8459/t51.2885-15/e35/s150x150/56219758_340741253244755_6222992823889293100_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "#EllsworthKelly first developed his distinct, resolutely abstract vocabulary of line, form, and color when he was in his mid-twenties. He eventually became interested in the way that a painting engages with the space it inhabits, increasing the scale and intensity of his hard-edged, loosely geometric compositions, all the while preserving his longtime interest in the relationship between figure and ground.
…
Kelly considered the wall a kind of “ground,” the painting itself a “figure” upon it. This approach endured throughout Kelly’s nearly seventy-year career, even as he experimented with new formats, structures, and materials.
...
#TheLongRunMoMA celebrates continual creativity with works made later in artists careers. Learn more: mo.ma/thelongrun
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[Credit: Ellsworth Kelly. “Red-Orange Panel with Curve.” 1993. Oil on canvas. Gift of the Committee on Painting and Sculpture in honor of Richard E. Oldenburg; Ellsworth Kelly. “White Relief over White.” 2003. Oil on canvas, two panels. Gift of Kathy and Richard S. Fuld, Jr. Photo: John Wronn; Ellsworth Kelly. “Black Form II.” 2012. Painted aluminum. Gift of James and Kathy Goodman in memory of Kirk Varnedoe (by exchange). Photo: John Wronn; All works © 2019 Ellsworth Kelly]")
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!["[Simone] Leigh’s unfaltering dedication to place black femininity at the center of her narrative has allowed a younger generation to not only bear witness to these lives but acknowledge and accept them as part of the fiber of contemporary art."—@cultured_mag__
“The Hugo Boss Prize 2018: Simone Leigh, Loophole of Retreat” is now on view. Learn more at guggenheim.org/simoneleigh.__
#SimoneLeigh #HUGOBOSSPRIZE #Guggenheim
Photos: Kyle Knodell](http://scontent-mxp1-1.cdninstagram.com/vp/8caef82d16a9c7641a75c7e89a5c780b/5D401DE5/t51.2885-15/e35/c161.0.757.757a/s150x150/56390546_171355730524746_1934359375419029250_n.jpg?_nc_ht=scontent-mxp1-1.cdninstagram.com "\"[Simone] Leigh’s unfaltering dedication to place black femininity at the center of her narrative has allowed a younger generation to not only bear witness to these lives but acknowledge and accept them as part of the fiber of contemporary art.\"—@cultured_mag__
“The Hugo Boss Prize 2018: Simone Leigh, Loophole of Retreat” is now on view. Learn more at guggenheim.org/simoneleigh.__
#SimoneLeigh #HUGOBOSSPRIZE #Guggenheim
Photos: Kyle Knodell")
