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- Our newest exhibition chronicles one of the most significant photographers of our time. “Stephen Shore,” is the artist’s first survey in New York to include his entire five-decade career —from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. Follow Shore’s continual, restless interrogation of image making. #StephenShore is on view through May 28. mo.ma/stephenshore … 🔈SOUND ON: Hear the story of #StephenShore in his own words.
- Our newest exhibition chronicles one of the most significant photographers of our time. “Stephen Shore,” is the artist’s first survey in New York to include his entire five-decade career —from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. Follow Shore’s continual, restless interrogation of image making. #StephenShore is on view through May 28. mo.ma/stephenshore … 🔈SOUND ON: Hear the story of #StephenShore in his own words.
- Our newest exhibition chronicles one of the most significant photographers of our time. “Stephen Shore,” is the artist’s first survey in New York to include his entire five-decade career —from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. Follow Shore’s continual, restless interrogation of image making. #StephenShore is on view through May 28. mo.ma/stephenshore … 🔈SOUND ON: Hear the story of #StephenShore in his own words.
- "I am in favor of the rupture with ancient and modern art." ... Belgian artist René Magritte was born #OTD in 1898. Watch ‪MoMA PS1‬’s curatorial assistant Oliver Shultz discuss Magritte’s "The Menaced Assassin" from this past September’s #ArtSpeaks program: mo.ma/2jdBP0A ... "The Menaced Assassin" is currently on view on our 5th floor. #MoMACollection ... [René Magritte. "The Menaced Assassin." 1927. Oil on canvas. Kay Sage Tanguy Fond. © 2017 C. Herscovici, Brussels/Artists Right Society (ARS), New York]
- "I am in favor of the rupture with ancient and modern art." ... Belgian artist René Magritte was born #OTD in 1898. Watch ‪MoMA PS1‬’s curatorial assistant Oliver Shultz discuss Magritte’s "The Menaced Assassin" from this past September’s #ArtSpeaks program: mo.ma/2jdBP0A ... "The Menaced Assassin" is currently on view on our 5th floor. #MoMACollection ... [René Magritte. "The Menaced Assassin." 1927. Oil on canvas. Kay Sage Tanguy Fond. © 2017 C. Herscovici, Brussels/Artists Right Society (ARS), New York]
- "I am in favor of the rupture with ancient and modern art." ... Belgian artist René Magritte was born #OTD in 1898. Watch ‪MoMA PS1‬’s curatorial assistant Oliver Shultz discuss Magritte’s "The Menaced Assassin" from this past September’s #ArtSpeaks program: mo.ma/2jdBP0A ... "The Menaced Assassin" is currently on view on our 5th floor. #MoMACollection ... [René Magritte. "The Menaced Assassin." 1927. Oil on canvas. Kay Sage Tanguy Fond. © 2017 C. Herscovici, Brussels/Artists Right Society (ARS), New York]
- “When our bodies work in different ways, sometimes the way designers address objects that are designed to conform to our bodies needs to be reevaluated, it isn’t always universal.” Jocelyn Miller, Assistant Curator at MoMA PS1, shares the design thinking behind Lucy Jones’s “Seated Pantyhose”—engineered for wheelchair users, with zippers and variable stretch, commissioned especially for #ItemsMoMA. ... #ArtSpeaks, a day of gallery talks with MoMA staff members, returns ‪November 28.‬ View the day’s schedule at mo.ma/artspeaks.
- “When our bodies work in different ways, sometimes the way designers address objects that are designed to conform to our bodies needs to be reevaluated, it isn’t always universal.” Jocelyn Miller, Assistant Curator at MoMA PS1, shares the design thinking behind Lucy Jones’s “Seated Pantyhose”—engineered for wheelchair users, with zippers and variable stretch, commissioned especially for #ItemsMoMA . ... #ArtSpeaks , a day of gallery talks with MoMA staff members, returns ‪November 28.‬ View the day’s schedule at mo.ma/artspeaks.
- “When our bodies work in different ways, sometimes the way designers address objects that are designed to conform to our bodies needs to be reevaluated, it isn’t always universal.” Jocelyn Miller, Assistant Curator at MoMA PS1, shares the design thinking behind Lucy Jones’s “Seated Pantyhose”—engineered for wheelchair users, with zippers and variable stretch, commissioned especially for #ItemsMoMA. ... #ArtSpeaks, a day of gallery talks with MoMA staff members, returns ‪November 28.‬ View the day’s schedule at mo.ma/artspeaks.
- This photomontage by #MaxErnst is based on an inverted aerial photograph of a chemical bomb published in Georg Paul Neumann’s “Deutsches Kriegsflugwesen” (1914), a popular picture book on German military aviation. Ernst added pencil lines and cut-outs of cross-sections of a beetle and a fish. ... Now on view in #BeyondPainting. ... [Max Ernst. “Here Everything Is Still Floating.” 1920. Cut-and-pasted printed paper and pencil on printed paper on cardstock. Purchase, 1937. Photo: John Wronn. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris; George Paul Neumann. “Deutsches Kriegsflugwesen.” Velhagen & Klaßings Volksbücher Nr. 138/39. Beilefeld and Leipzig: Verlag von Velhagen & Klasing, [1917], p. 34]
- This photomontage by #MaxErnst is based on an inverted aerial photograph of a chemical bomb published in Georg Paul Neumann’s “Deutsches Kriegsflugwesen” (1914), a popular picture book on German military aviation. Ernst added pencil lines and cut-outs of cross-sections of a beetle and a fish. ... Now on view in #BeyondPainting . ... [Max Ernst. “Here Everything Is Still Floating.” 1920. Cut-and-pasted printed paper and pencil on printed paper on cardstock. Purchase, 1937. Photo: John Wronn. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris; George Paul Neumann. “Deutsches Kriegsflugwesen.” Velhagen & Klaßings Volksbücher Nr. 138/39. Beilefeld and Leipzig: Verlag von Velhagen & Klasing, [1917], p. 34]
- This photomontage by #MaxErnst is based on an inverted aerial photograph of a chemical bomb published in Georg Paul Neumann’s “Deutsches Kriegsflugwesen” (1914), a popular picture book on German military aviation. Ernst added pencil lines and cut-outs of cross-sections of a beetle and a fish. ... Now on view in #BeyondPainting. ... [Max Ernst. “Here Everything Is Still Floating.” 1920. Cut-and-pasted printed paper and pencil on printed paper on cardstock. Purchase, 1937. Photo: John Wronn. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris; George Paul Neumann. “Deutsches Kriegsflugwesen.” Velhagen & Klaßings Volksbücher Nr. 138/39. Beilefeld and Leipzig: Verlag von Velhagen & Klasing, [1917], p. 34]
- #LouiseBourgeois began exploring the hysterical figure as a symbol of psychosomatic pain in the 1990s. She was particularly concerned by the association of hysteria with women, and retaliated by depicting male forms in hysterics as seen in the bronze work, “Arch of Hysteria.” … Image Credit: Installation view of “Louise Bourgeois: An Unfolding Portrait.” The Museum of Modern Art, New York, September 24, 2017–January 28, 2018. © 2017 The Easton Foundation/Licensed by VAGA, NY. Photo by Martin Seck.
- #LouiseBourgeois began exploring the hysterical figure as a symbol of psychosomatic pain in the 1990s. She was particularly concerned by the association of hysteria with women, and retaliated by depicting male forms in hysterics as seen in the bronze work, “Arch of Hysteria.” … Image Credit: Installation view of “Louise Bourgeois: An Unfolding Portrait.” The Museum of Modern Art, New York, September 24, 2017–January 28, 2018. © 2017 The Easton Foundation/Licensed by VAGA, NY. Photo by Martin Seck.
- #LouiseBourgeois began exploring the hysterical figure as a symbol of psychosomatic pain in the 1990s. She was particularly concerned by the association of hysteria with women, and retaliated by depicting male forms in hysterics as seen in the bronze work, “Arch of Hysteria.” … Image Credit: Installation view of “Louise Bourgeois: An Unfolding Portrait.” The Museum of Modern Art, New York, September 24, 2017–January 28, 2018. © 2017 The Easton Foundation/Licensed by VAGA, NY. Photo by Martin Seck.
- "My work is described as beautiful, horrible, hogwash, genius, maundering, precise, quaint, avant-garde, historical, hackneyed, masterful, trivial, intense, mystical, virtuosic, bewildering, absorbing, concise, absurd, amusing, innovative, nostalgic, contemporary, iconoclastic, sophisticated, trash, masterpieces, etc. it's all true.” — Bruce Conner ... #BruceConner was born #OTD in 1933 in McPherson, Kansas. Conner created "Angel Arms" in 1973: mo.ma/2zRPe6l [link in bio] ... [Gelatin silver prints. The Family of Man Fund and Horace W. Goldsmith Fund through Robert B. Menschel. © 2017 Bruce Conner/Artists Rights Society (ARS), New York]
- "My work is described as beautiful, horrible, hogwash, genius, maundering, precise, quaint, avant-garde, historical, hackneyed, masterful, trivial, intense, mystical, virtuosic, bewildering, absorbing, concise, absurd, amusing, innovative, nostalgic, contemporary, iconoclastic, sophisticated, trash, masterpieces, etc. it& #39;s all true.” — Bruce Conner ... #BruceConner was born #OTD in 1933 in McPherson, Kansas. Conner created "Angel Arms" in 1973: mo.ma/2zRPe6l [link in bio] ... [Gelatin silver prints. The Family of Man Fund and Horace W. Goldsmith Fund through Robert B. Menschel. © 2017 Bruce Conner/Artists Rights Society (ARS), New York]
- "My work is described as beautiful, horrible, hogwash, genius, maundering, precise, quaint, avant-garde, historical, hackneyed, masterful, trivial, intense, mystical, virtuosic, bewildering, absorbing, concise, absurd, amusing, innovative, nostalgic, contemporary, iconoclastic, sophisticated, trash, masterpieces, etc. it's all true.” — Bruce Conner ... #BruceConner was born #OTD in 1933 in McPherson, Kansas. Conner created "Angel Arms" in 1973: mo.ma/2zRPe6l [link in bio] ... [Gelatin silver prints. The Family of Man Fund and Horace W. Goldsmith Fund through Robert B. Menschel. © 2017 Bruce Conner/Artists Rights Society (ARS), New York]
- Never locking into one style, always moving forward, considering each image as a problem to solve: these practices have defined @Stephen.Shore’s work for the past fifty years. Explore the restless interrogation of image making that has made Shore one of the most significant photographers of our time in #StephenShore, open this Sunday. mo.ma/stephenshore ... Members can see “Stephen Shore” now! Visit mo.ma/join for details. … Stephen Shore. “U.S. 97, South of Klamath Falls, Oregon, July 21, 1973.” 1973. Chromogenic color print, printed 2002. The Museum of Modern Art, New York. The Photography Council Fund. © 2017 Stephen Shore
- Never locking into one style, always moving forward, considering each image as a problem to solve: these practices have defined @Stephen.Shore ’s work for the past fifty years. Explore the restless interrogation of image making that has made Shore one of the most significant photographers of our time in #StephenShore , open this Sunday. mo.ma/stephenshore ... Members can see “Stephen Shore” now! Visit mo.ma/join for details. … Stephen Shore. “U.S. 97, South of Klamath Falls, Oregon, July 21, 1973.” 1973. Chromogenic color print, printed 2002. The Museum of Modern Art, New York. The Photography Council Fund. © 2017 Stephen Shore
- Never locking into one style, always moving forward, considering each image as a problem to solve: these practices have defined @Stephen.Shore’s work for the past fifty years. Explore the restless interrogation of image making that has made Shore one of the most significant photographers of our time in #StephenShore, open this Sunday. mo.ma/stephenshore ... Members can see “Stephen Shore” now! Visit mo.ma/join for details. … Stephen Shore. “U.S. 97, South of Klamath Falls, Oregon, July 21, 1973.” 1973. Chromogenic color print, printed 2002. The Museum of Modern Art, New York. The Photography Council Fund. © 2017 Stephen Shore
- The HIJAB, Item No. 49 on our exhibition checklist, is our next #ItemsMoMA Instagram Challenge. The hijab is a mainstay of contemporary dress for millions of Muslims across the globe. This weekend, share photos that capture how you or your friends interpret it as part of a modern wardrobe. Next week, we’ll share some favorites from the curatorial team and @hautehijab on the MoMA account. … CHALLENGE RULES: Post photos and videos you’ve taken with the hashtag #ItemsMoMA. Please do not share images of people you have not received permission to document. Any tagged photo or video posted over the weekend is eligible to be featured next week. ... “Items: Is Fashion Modern?” is on view at the Museum through January 28.
- The HIJAB, Item No. 49 on our exhibition checklist, is our next #ItemsMoMA Instagram Challenge. The hijab is a mainstay of contemporary dress for millions of Muslims across the globe. This weekend, share photos that capture how you or your friends interpret it as part of a modern wardrobe. Next week, we’ll share some favorites from the curatorial team and @hautehijab on the MoMA account. … CHALLENGE RULES: Post photos and videos you’ve taken with the hashtag #ItemsMoMA . Please do not share images of people you have not received permission to document. Any tagged photo or video posted over the weekend is eligible to be featured next week. ... “Items: Is Fashion Modern?” is on view at the Museum through January 28.
- The HIJAB, Item No. 49 on our exhibition checklist, is our next #ItemsMoMA Instagram Challenge. The hijab is a mainstay of contemporary dress for millions of Muslims across the globe. This weekend, share photos that capture how you or your friends interpret it as part of a modern wardrobe. Next week, we’ll share some favorites from the curatorial team and @hautehijab on the MoMA account. … CHALLENGE RULES: Post photos and videos you’ve taken with the hashtag #ItemsMoMA. Please do not share images of people you have not received permission to document. Any tagged photo or video posted over the weekend is eligible to be featured next week. ... “Items: Is Fashion Modern?” is on view at the Museum through January 28.
- Prolific photographer, August Sander, was born on this day in 1876. In celebration, we’ve been sharing excerpts from the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century,” all week. Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios. Take a look inside this year’s symposium at mo.ma/augustsander (link in bio) ... Thomas Struth paired August Sander’s images with pictures from across the history of photography. Discussing the portfolio, “The Persecuted,” Struth stated, “I see Sander as an ancestor, both as a fellow German with all its terrible implications of the 20th century and its wonderful heritage of music, literature, art, design and architecture… as an artist of incredible devotion, accuracy and overwhelming persistence.” … … … Image Credits: [1] August Sander. “Farming Family.” 1913. [2] Thomas Struth. “The Bernstein Family, Mündersbach.” 1990. Chromogenic print. Courtesy of the artist. © Thomas Struth. [3] August Sander. “Painter [Heinrich Hoerle].” 1928. [4] Nadar (Gaspard-Félix Tournachon). “Eugène Delacroix.” c. 1857. Albumen silver print. Suzanne Winsberg Collection. Gift of Suzanne Winsberg. [5] August Sander. “High School Student.” 1926. [6] Walker Evans. “Citizen in Downtown Havana.” 1932. Gelatin silver print, printed c. 1969 by Charles Rodemeyer. Lily Auchincloss Fund. © 2017 Walker Evans Archive, The Metropolitan Museum of Art. [7] August Sander. “Working Students.” 1926. [8] Nicholas Nixon. “The Brown Sisters, Cambridge, Massachusetts.” 1986. Gelatin silver print. Lois and Bruce Zenkel Fund. © 2017 Nicholas Nixon. All August Sanders works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- Prolific photographer, August Sander, was born on this day in 1876. In celebration, we’ve been sharing excerpts from the #AugustSanderProject , a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century,” all week. Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios. Take a look inside this year’s symposium at mo.ma/augustsander (link in bio) ... Thomas Struth paired August Sander’s images with pictures from across the history of photography. Discussing the portfolio, “The Persecuted,” Struth stated, “I see Sander as an ancestor, both as a fellow German with all its terrible implications of the 20th century and its wonderful heritage of music, literature, art, design and architecture… as an artist of incredible devotion, accuracy and overwhelming persistence.” … … … Image Credits: [1] August Sander. “Farming Family.” 1913. [2] Thomas Struth. “The Bernstein Family, Mündersbach.” 1990. Chromogenic print. Courtesy of the artist. © Thomas Struth. [3] August Sander. “Painter [Heinrich Hoerle].” 1928. [4] Nadar (Gaspard-Félix Tournachon). “Eugène Delacroix.” c. 1857. Albumen silver print. Suzanne Winsberg Collection. Gift of Suzanne Winsberg. [5] August Sander. “High School Student.” 1926. [6] Walker Evans. “Citizen in Downtown Havana.” 1932. Gelatin silver print, printed c. 1969 by Charles Rodemeyer. Lily Auchincloss Fund. © 2017 Walker Evans Archive, The Metropolitan Museum of Art. [7] August Sander. “Working Students.” 1926. [8] Nicholas Nixon. “The Brown Sisters, Cambridge, Massachusetts.” 1986. Gelatin silver print. Lois and Bruce Zenkel Fund. © 2017 Nicholas Nixon. All August Sanders works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- Prolific photographer, August Sander, was born on this day in 1876. In celebration, we’ve been sharing excerpts from the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century,” all week. Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios. Take a look inside this year’s symposium at mo.ma/augustsander (link in bio) ... Thomas Struth paired August Sander’s images with pictures from across the history of photography. Discussing the portfolio, “The Persecuted,” Struth stated, “I see Sander as an ancestor, both as a fellow German with all its terrible implications of the 20th century and its wonderful heritage of music, literature, art, design and architecture… as an artist of incredible devotion, accuracy and overwhelming persistence.” … … … Image Credits: [1] August Sander. “Farming Family.” 1913. [2] Thomas Struth. “The Bernstein Family, Mündersbach.” 1990. Chromogenic print. Courtesy of the artist. © Thomas Struth. [3] August Sander. “Painter [Heinrich Hoerle].” 1928. [4] Nadar (Gaspard-Félix Tournachon). “Eugène Delacroix.” c. 1857. Albumen silver print. Suzanne Winsberg Collection. Gift of Suzanne Winsberg. [5] August Sander. “High School Student.” 1926. [6] Walker Evans. “Citizen in Downtown Havana.” 1932. Gelatin silver print, printed c. 1969 by Charles Rodemeyer. Lily Auchincloss Fund. © 2017 Walker Evans Archive, The Metropolitan Museum of Art. [7] August Sander. “Working Students.” 1926. [8] Nicholas Nixon. “The Brown Sisters, Cambridge, Massachusetts.” 1986. Gelatin silver print. Lois and Bruce Zenkel Fund. © 2017 Nicholas Nixon. All August Sanders works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- To make this collage, Max Ernst glued images of birds, angiosperms (flowering plants), and a tall oven to a cross-section diagram of a meat fly published in the “Bibliotheca Paedagogica” (1914), a teaching-aid supply catalog. ... Now on view in #BeyondPainting. ... Image Credits: #MaxErnst. “The Horse He’s Sick.” 1920. Cut-and-pasted printed paper with pencil and gouache on printed paper on cardstock. Purchase, 1935. Photo: Kate Keller. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris Advertisement for Osterhoh’s model of a “Meat Fly (Musca vomitoria). Proboscis with a section of a head, enlarged 150X (75 cm long)” in “Bibliotheca Paedagogica: Verzeichnis der bewährtesten und neuesten Lehrmittel für höhere, mittlere und Elementarschulen sowie von Werken der Erziehungs-und Unterrichts- Wissenschaft.” 21. Edition. Berlin: Gebr. Höpfel, [1914], p. 560
- To make this collage, Max Ernst glued images of birds, angiosperms (flowering plants), and a tall oven to a cross-section diagram of a meat fly published in the “Bibliotheca Paedagogica” (1914), a teaching-aid supply catalog. ... Now on view in #BeyondPainting . ... Image Credits: #MaxErnst . “The Horse He’s Sick.” 1920. Cut-and-pasted printed paper with pencil and gouache on printed paper on cardstock. Purchase, 1935. Photo: Kate Keller. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris Advertisement for Osterhoh’s model of a “Meat Fly (Musca vomitoria). Proboscis with a section of a head, enlarged 150X (75 cm long)” in “Bibliotheca Paedagogica: Verzeichnis der bewährtesten und neuesten Lehrmittel für höhere, mittlere und Elementarschulen sowie von Werken der Erziehungs-und Unterrichts- Wissenschaft.” 21. Edition. Berlin: Gebr. Höpfel, [1914], p. 560
- To make this collage, Max Ernst glued images of birds, angiosperms (flowering plants), and a tall oven to a cross-section diagram of a meat fly published in the “Bibliotheca Paedagogica” (1914), a teaching-aid supply catalog. ... Now on view in #BeyondPainting. ... Image Credits: #MaxErnst. “The Horse He’s Sick.” 1920. Cut-and-pasted printed paper with pencil and gouache on printed paper on cardstock. Purchase, 1935. Photo: Kate Keller. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris Advertisement for Osterhoh’s model of a “Meat Fly (Musca vomitoria). Proboscis with a section of a head, enlarged 150X (75 cm long)” in “Bibliotheca Paedagogica: Verzeichnis der bewährtesten und neuesten Lehrmittel für höhere, mittlere und Elementarschulen sowie von Werken der Erziehungs-und Unterrichts- Wissenschaft.” 21. Edition. Berlin: Gebr. Höpfel, [1914], p. 560
- “By investing in family audiences, we are investing in future generations of museumgoers.” ... In celebration of the 80th anniversary of MoMA’s Department of Education, Elizabeth Margulies, Director, Family Programs and Initiatives, reflects on how much our current family programs and resources are built upon the ideas and innovations that came before. Read more at mo.ma/2zGuLEf. What were your earliest memories of experience with art at MoMA or another museum? ... For more information visit mo.ma/learning80 #MoMALearning ... Images: A participant at the Children’s Holiday Carnival of Modern Art, December 5, 1950–January 7, 1951. Gelatin-silver print, 7 x 9 1/2" (17.7 x 24.1 cm). The Museum of Modern Art, New York. Photographic Archive Art Lab: Nature participants, The Museum of Modern Art, 2017. Photo: Martin Seck
- “By investing in family audiences, we are investing in future generations of museumgoers.” ... In celebration of the 80th anniversary of MoMA’s Department of Education, Elizabeth Margulies, Director, Family Programs and Initiatives, reflects on how much our current family programs and resources are built upon the ideas and innovations that came before. Read more at mo.ma/2zGuLEf. What were your earliest memories of experience with art at MoMA or another museum? ... For more information visit mo.ma/learning80 #MoMALearning ... Images: A participant at the Children’s Holiday Carnival of Modern Art, December 5, 1950–January 7, 1951. Gelatin-silver print, 7 x 9 1/2" (17.7 x 24.1 cm). The Museum of Modern Art, New York. Photographic Archive Art Lab: Nature participants, The Museum of Modern Art, 2017. Photo: Martin Seck
- “By investing in family audiences, we are investing in future generations of museumgoers.” ... In celebration of the 80th anniversary of MoMA’s Department of Education, Elizabeth Margulies, Director, Family Programs and Initiatives, reflects on how much our current family programs and resources are built upon the ideas and innovations that came before. Read more at mo.ma/2zGuLEf. What were your earliest memories of experience with art at MoMA or another museum? ... For more information visit mo.ma/learning80 #MoMALearning ... Images: A participant at the Children’s Holiday Carnival of Modern Art, December 5, 1950–January 7, 1951. Gelatin-silver print, 7 x 9 1/2" (17.7 x 24.1 cm). The Museum of Modern Art, New York. Photographic Archive Art Lab: Nature participants, The Museum of Modern Art, 2017. Photo: Martin Seck
- “The film ‘Hummingbird’ anticipates the future, when computers will have the ability to think for themselves. The film begins with empty space and the idea that the computer has intelligence and is capable of drawing a hummingbird—a science fiction notion with its implications for the future. The drawing ensues and a representation of a hummingbird appears at a steady, measured pace before our eyes. ... An artist's hand does not make the line segments. Instead, some invisible force is in charge, one that eventually fragments the drawing into moving line segments, which become increasingly chaotic and abstracted. Movement is achieved through distortion, much like a child twisting and rotating a paper hummingbird. The child knows it cannot flap its wings, but let's pretend it can. Then the hummingbird gradually collapses into a single line, only to reappear and move in an opposite direction. ... The computer has a perfect memory and can make exact copies of everything. After several more explorations and variations, the watching intelligence decides ‘time is up’ and slowly erases the hummingbird, returning to empty space.” … Contributed by #CharlesCsuri for #ThinkingMachines, now on view. Watch the full version of “Hummingbird”—one of the earliest computer-animated films—on mo.ma/hummingbird (link in bio) … Credit: Charles Csuri. “Hummingbird.” 1968. 16mm film transferred to video (black and white), 12 min. The Museum of Modern Art, New York. Purchase, 1969. © 2017 Charles Csuri
- “The film ‘Hummingbird’ anticipates the future, when computers will have the ability to think for themselves. The film begins with empty space and the idea that the computer has intelligence and is capable of drawing a hummingbird—a science fiction notion with its implications for the future. The drawing ensues and a representation of a hummingbird appears at a steady, measured pace before our eyes. ... An artist& #39;s hand does not make the line segments. Instead, some invisible force is in charge, one that eventually fragments the drawing into moving line segments, which become increasingly chaotic and abstracted. Movement is achieved through distortion, much like a child twisting and rotating a paper hummingbird. The child knows it cannot flap its wings, but let& #39;s pretend it can. Then the hummingbird gradually collapses into a single line, only to reappear and move in an opposite direction. ... The computer has a perfect memory and can make exact copies of everything. After several more explorations and variations, the watching intelligence decides ‘time is up’ and slowly erases the hummingbird, returning to empty space.” … Contributed by #CharlesCsuri for #ThinkingMachines , now on view. Watch the full version of “Hummingbird”—one of the earliest computer-animated films—on mo.ma/hummingbird (link in bio) … Credit: Charles Csuri. “Hummingbird.” 1968. 16mm film transferred to video (black and white), 12 min. The Museum of Modern Art, New York. Purchase, 1969. © 2017 Charles Csuri
- “The film ‘Hummingbird’ anticipates the future, when computers will have the ability to think for themselves. The film begins with empty space and the idea that the computer has intelligence and is capable of drawing a hummingbird—a science fiction notion with its implications for the future. The drawing ensues and a representation of a hummingbird appears at a steady, measured pace before our eyes. ... An artist's hand does not make the line segments. Instead, some invisible force is in charge, one that eventually fragments the drawing into moving line segments, which become increasingly chaotic and abstracted. Movement is achieved through distortion, much like a child twisting and rotating a paper hummingbird. The child knows it cannot flap its wings, but let's pretend it can. Then the hummingbird gradually collapses into a single line, only to reappear and move in an opposite direction. ... The computer has a perfect memory and can make exact copies of everything. After several more explorations and variations, the watching intelligence decides ‘time is up’ and slowly erases the hummingbird, returning to empty space.” … Contributed by #CharlesCsuri for #ThinkingMachines, now on view. Watch the full version of “Hummingbird”—one of the earliest computer-animated films—on mo.ma/hummingbird (link in bio) … Credit: Charles Csuri. “Hummingbird.” 1968. 16mm film transferred to video (black and white), 12 min. The Museum of Modern Art, New York. Purchase, 1969. © 2017 Charles Csuri
- This year, art historian Robin Kelsey, considering the role of judgment in August Sander’s work, noted, “It is striking to me that although the portfolio is titled ‘The Judge and the Attorney,’ no photograph in the portfolio is captioned ‘The Judge.’ Are we to infer that the judges were expelled from the category bearing their name because of the extraordinary general complicity of the judiciary with the rise of fascism in Germany… Or are we to infer that adjudication is what brings us into the circuitry of the portfolio?” … We are in the midst of the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Notary.” 1924. [2] August Sander. “Amateur Advocate.” 1952. [3] August Sander. “Attorney.” 1932. [4] August Sander. “The Arbitrator.” 1919. [5] August Sander. “Attorney.” 1931. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- This year, art historian Robin Kelsey, considering the role of judgment in August Sander’s work, noted, “It is striking to me that although the portfolio is titled ‘The Judge and the Attorney,’ no photograph in the portfolio is captioned ‘The Judge.’ Are we to infer that the judges were expelled from the category bearing their name because of the extraordinary general complicity of the judiciary with the rise of fascism in Germany… Or are we to infer that adjudication is what brings us into the circuitry of the portfolio?” … We are in the midst of the #AugustSanderProject , a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Notary.” 1924. [2] August Sander. “Amateur Advocate.” 1952. [3] August Sander. “Attorney.” 1932. [4] August Sander. “The Arbitrator.” 1919. [5] August Sander. “Attorney.” 1931. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- This year, art historian Robin Kelsey, considering the role of judgment in August Sander’s work, noted, “It is striking to me that although the portfolio is titled ‘The Judge and the Attorney,’ no photograph in the portfolio is captioned ‘The Judge.’ Are we to infer that the judges were expelled from the category bearing their name because of the extraordinary general complicity of the judiciary with the rise of fascism in Germany… Or are we to infer that adjudication is what brings us into the circuitry of the portfolio?” … We are in the midst of the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Notary.” 1924. [2] August Sander. “Amateur Advocate.” 1952. [3] August Sander. “Attorney.” 1932. [4] August Sander. “The Arbitrator.” 1919. [5] August Sander. “Attorney.” 1931. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- Open Art Space is back, November 30! Open Art Space is a relaxed drop-in program for #LGBTQ high school students who are interested in thinking about and making art in a creative and welcoming environment. Join @MoMATeens every Thursday night from 4:30-6:30pm. ... Free food, drinks, and MetroCards are provided each week. No previous art-making experience is necessary. All high school–age participants may attend. ... For more information check out @momateens on Instagram, and email teenprograms@moma.org.
- Open Art Space is back, November 30! Open Art Space is a relaxed drop-in program for #LGBTQ high school students who are interested in thinking about and making art in a creative and welcoming environment. Join @MoMATeens every Thursday night from 4:30-6:30pm. ... Free food, drinks, and MetroCards are provided each week. No previous art-making experience is necessary. All high school–age participants may attend. ... For more information check out @momateens on Instagram, and email teenprogram @moma.org.
- Open Art Space is back, November 30! Open Art Space is a relaxed drop-in program for #LGBTQ high school students who are interested in thinking about and making art in a creative and welcoming environment. Join @MoMATeens every Thursday night from 4:30-6:30pm. ... Free food, drinks, and MetroCards are provided each week. No previous art-making experience is necessary. All high school–age participants may attend. ... For more information check out @momateens on Instagram, and email teenprograms@moma.org.
- Tomorrow at #Club57nyc: Émigré curator and art critic Edit DeAk’s Super 8 home movies offer a deeply personal look at New York’s post-punk scene and the artists and luminaries who defined it with her. Join us for a rare screening of DeAk’s "Beyond Genre" film cycle (1977–86) with introduction by collaborator Patrick Fox, and musical accompaniment from eminent 1980s club DJ Johnny Dynell. ... Free and open to the public. Space is limited and available on a first-come, first-served basis. Sign-up begins at 3:00 p.m. on Thursday at the film desk. ... Image: Still from Edit DeAk's "Beyond Genre" film cycle. c. 1977. Courtesy of Patrick Fox, with thanks to the estate of Edit DeAk
- Tomorrow at #Club57nyc: Émigré curator and art critic Edit DeAk’s Super 8 home movies offer a deeply personal look at New York’s post-punk scene and the artists and luminaries who defined it with her. Join us for a rare screening of DeAk’s "Beyond Genre" film cycle (1977–86) with introduction by collaborator Patrick Fox, and musical accompaniment from eminent 1980s club DJ Johnny Dynell. ... Free and open to the public. Space is limited and available on a first-come, first-served basis. Sign-up begins at 3:00 p.m. on Thursday at the film desk. ... Image: Still from Edit DeAk& #39;s "Beyond Genre" film cycle. c. 1977. Courtesy of Patrick Fox, with thanks to the estate of Edit DeAk
- Tomorrow at #Club57nyc: Émigré curator and art critic Edit DeAk’s Super 8 home movies offer a deeply personal look at New York’s post-punk scene and the artists and luminaries who defined it with her. Join us for a rare screening of DeAk’s "Beyond Genre" film cycle (1977–86) with introduction by collaborator Patrick Fox, and musical accompaniment from eminent 1980s club DJ Johnny Dynell. ... Free and open to the public. Space is limited and available on a first-come, first-served basis. Sign-up begins at 3:00 p.m. on Thursday at the film desk. ... Image: Still from Edit DeAk's "Beyond Genre" film cycle. c. 1977. Courtesy of Patrick Fox, with thanks to the estate of Edit DeAk
- This year, MoMA Curator Sarah Meister addressed the August Sander portfolio “Woman and Man,” arguing, “The pictorial union of different genders in this portfolio…symbolize not only the myriad other differences embedded in the project, but Sander’s position at the crossroads of photography’s vernacular and artistic traditions.” … We are in the midst of the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Architect Hans Heinz Lüttgen and his Wife Dora.” 1926. [2] August Sander. “Wholesale Merchant and Wife.” 1923. [3] August Sander. “The Innkeeper and his Wife.” 1930. [4] August Sander. “The Painter Otto Dix and his Wife Martha.” 1925-26. [5] August Sander. “The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo].” 1929. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- This year, MoMA Curator Sarah Meister addressed the August Sander portfolio “Woman and Man,” arguing, “The pictorial union of different genders in this portfolio…symbolize not only the myriad other differences embedded in the project, but Sander’s position at the crossroads of photography’s vernacular and artistic traditions.” … We are in the midst of the #AugustSanderProject , a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Architect Hans Heinz Lüttgen and his Wife Dora.” 1926. [2] August Sander. “Wholesale Merchant and Wife.” 1923. [3] August Sander. “The Innkeeper and his Wife.” 1930. [4] August Sander. “The Painter Otto Dix and his Wife Martha.” 1925-26. [5] August Sander. “The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo].” 1929. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- This year, MoMA Curator Sarah Meister addressed the August Sander portfolio “Woman and Man,” arguing, “The pictorial union of different genders in this portfolio…symbolize not only the myriad other differences embedded in the project, but Sander’s position at the crossroads of photography’s vernacular and artistic traditions.” … We are in the midst of the #AugustSanderProject, a five-year research initiative that explores Sander’s epic photographic survey of German society, “People of the Twentieth Century.” Each year we invite scholars and artists to reflect on one of the project’s 49 portfolios, and in honor of Sander’s birthday (on November 17, 1876) we are sharing excerpts from a few of these all week. Take a look inside this year’s symposium at mo.ma/augustsander. … … … Image Credits: [1] August Sander. “The Architect Hans Heinz Lüttgen and his Wife Dora.” 1926. [2] August Sander. “Wholesale Merchant and Wife.” 1923. [3] August Sander. “The Innkeeper and his Wife.” 1930. [4] August Sander. “The Painter Otto Dix and his Wife Martha.” 1925-26. [5] August Sander. “The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo].” 1929. All works: Gelatin silver print. Acquired through the generosity of the family of August Sander. © 2017 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY
- #GeorgiaOKeeffe was born 130 years ago today in Sun Prairie, Wisconsin. O'Keeffe's “From a Day with Juan II” was painted when the artist was 90 years old, and pictures the Washington Monument. Recounting how she arrived at her highly personal artistic vision, O’Keefe recalled, “I found that I could say things with color and shapes that I couldn’t say in any other way - things I had no words for.” The work is on view on the 4th floor of the Museum in our new exhibition #TheLongRunMoMA. More info at mo.ma/thelongrun (link in bio). #MoMACollection ... [Georgia O'Keeffe. “From a Day with Juan II.” 1977. Oil on canvas. Georgia O'Keeffe Bequest. © 2017 The Museum of Modern Art / Artists Rights Society (ARS), New York]
- #GeorgiaOKeeffe was born 130 years ago today in Sun Prairie, Wisconsin. O& #39;Keeffe & #39;s “From a Day with Juan II” was painted when the artist was 90 years old, and pictures the Washington Monument. Recounting how she arrived at her highly personal artistic vision, O’Keefe recalled, “I found that I could say things with color and shapes that I couldn’t say in any other way - things I had no words for.” The work is on view on the 4th floor of the Museum in our new exhibition #TheLongRunMoMA . More info at mo.ma/thelongrun (link in bio). #MoMACollection ... [Georgia O& #39;Keeffe . “From a Day with Juan II.” 1977. Oil on canvas. Georgia O& #39;Keeffe Bequest. © 2017 The Museum of Modern Art / Artists Rights Society (ARS), New York]
- #GeorgiaOKeeffe was born 130 years ago today in Sun Prairie, Wisconsin. O'Keeffe's “From a Day with Juan II” was painted when the artist was 90 years old, and pictures the Washington Monument. Recounting how she arrived at her highly personal artistic vision, O’Keefe recalled, “I found that I could say things with color and shapes that I couldn’t say in any other way - things I had no words for.” The work is on view on the 4th floor of the Museum in our new exhibition #TheLongRunMoMA. More info at mo.ma/thelongrun (link in bio). #MoMACollection ... [Georgia O'Keeffe. “From a Day with Juan II.” 1977. Oil on canvas. Georgia O'Keeffe Bequest. © 2017 The Museum of Modern Art / Artists Rights Society (ARS), New York]

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