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From left: Antonio Gaudi. Stars and Doves. 1883-1926; Exterior Grille. 1906-12

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User Image themuseumofmodernart Posted: Nov 24, 2017 11:41 PM (UTC)
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Only four episodes left in our new documentary series, "At the Museum." See what's next in this week's sneak preview: MoMA curators recreate the 80's East Village scene with a little help from Club 57 regular @joeyariasnyc, and artists #CaroleeSchneemann and @Stephen.Shore install two new comprehensive surveys of their work at MoMA and @MoMAPS1.

New episodes released every ‪Friday through 12/15‬: mo.ma/subscribe
User Image themuseumofmodernart Posted: Nov 24, 2017 8:41 PM (UTC)
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“1974 was a pivotal year for me. I found myself working in three communications media at the same time: in print... in video, and at the loom. It was a revelation to me that all three encode and decode information in lines…[“Text and Commentary”] produces a dialogue between an ancient technology and the then-new medium of video.”
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Read more about Beryl Korot’s groundbreaking video installation “Text and Commentary,” —now on view in #ThinkingMachines—on @artforum: mo.ma/2mLXySs (link in bio)

[Beryl Korot. “Text and Commentary.” 1976-77. Five-channel video (black and white, sound; 30 min.), weavings, and pictographic video notations (detail). The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2017 Beryl Korot]
User Image themuseumofmodernart Posted: Nov 24, 2017 3:43 PM (UTC)
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MoMA Membership is a truly distinctive and meaningful gift that lasts all year long. Members enjoy free admission to the Museum and @momaps1, exclusive members-only hours, free films every day, and much more! Visit moma.org/holiday and use the code “FRIYAY” for a special #BlackFriday deal of 6 additional months free.
User Image themuseumofmodernart Posted: Nov 23, 2017 2:47 PM (UTC)
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Happy Thanksgiving from MoMA! The Museum will be closed today, ‪Thursday, November 23‬, but open for the rest of the holiday weekend! Come see #StephenShore, #ItemsMoMA, & more!

[Afro (Afro Basaldella). “Boy with Turkey.” 1954. Oil on canvas. Gift of Nina and Gordon Bunshaft. © 2017 Artists Rights Society (ARS), New York/SIAE, Rome]
User Image themuseumofmodernart Posted: Nov 22, 2017 8:14 PM (UTC)
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From Rauschenberg and Picabia to MoMA Dance Company and #ArtSpeaks, take a look back at the many great stories of 2016-2017, in our Year in Review. It was an incredible year celebrating creativity and conversation and we're glad you were part of it. mo.ma/yearinreview (link in bio)
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["Artist’s Choice: Jérôme Bel/MoMA Dance Company," ‪The Museum of Modern Art‬, New York, October 27–31, 2016. Photo: Julieta Cervantes]
User Image themuseumofmodernart Posted: Nov 22, 2017 5:50 PM (UTC)
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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.
User Image themuseumofmodernart Posted: Nov 21, 2017 11:52 PM (UTC)
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"I am in favor of the rupture with ancient and modern art."
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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
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"The Menaced Assassin" is currently on view on our 5th floor. #MoMACollection
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[René Magritte. "The Menaced Assassin." 1927. Oil on canvas. Kay Sage Tanguy Fond. © 2017 C. Herscovici, Brussels/Artists Right Society (ARS), New York]
User Image themuseumofmodernart Posted: Nov 21, 2017 8:22 PM (UTC)
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“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.
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#ArtSpeaks, a day of gallery talks with MoMA staff members, returns ‪November 28.‬ View the day’s schedule at mo.ma/artspeaks.
User Image themuseumofmodernart Posted: Nov 21, 2017 5:00 PM (UTC)
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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.
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Now on view in #BeyondPainting.
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[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]
From active to formal wear, Muslim women around the globe are adapting the hijab to their modern lifestyles. Thanks to everyone who shared photos of Item No. 49 with us. Check out a sample of our favorites here and on our Instagram Story with @hautehijab. The next #ItemsMoMA Challenge goes out next Friday, December 1.

Featured: @rafafarihah, @doctorsabzi, @fatima_seyma, @nerdgeekninja, & @abouthedaieh.
User Image themuseumofmodernart Posted: Nov 20, 2017 3:54 PM (UTC)
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#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.
User Image themuseumofmodernart Posted: Nov 18, 2017 8:03 PM (UTC)
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"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
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#BruceConner was born #OTD in 1933 in McPherson, Kansas. Conner created "Angel Arms" in 1973: mo.ma/2zRPe6l [link in bio]
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[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]
User Image themuseumofmodernart Posted: Nov 17, 2017 10:36 PM (UTC)
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What does art say to you? MoMA staff and visitors reflect on the purposes of modern art—as an aide to clear your mind, symbols of societal change, or as abstract images that can form links between two complete strangers. Episode 4 of AT THE MUSEUM is now playing on youtube.com/moma (direct link in bio)
User Image themuseumofmodernart Posted: Nov 17, 2017 9:15 PM (UTC)
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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
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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
User Image themuseumofmodernart Posted: Nov 17, 2017 4:58 PM (UTC)
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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.
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“Items: Is Fashion Modern?” is on view at the Museum through January 28.
User Image themuseumofmodernart Posted: Nov 17, 2017 3:13 PM (UTC)
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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)
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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
User Image themuseumofmodernart Posted: Nov 16, 2017 10:12 PM (UTC)
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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.
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Now on view in #BeyondPainting.
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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
User Image themuseumofmodernart Posted: Nov 16, 2017 8:14 PM (UTC)
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“By investing in family audiences, we are investing in future generations of museumgoers.”
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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?
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For more information visit mo.ma/learning80 #MoMALearning
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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
User Image themuseumofmodernart Posted: Nov 16, 2017 6:17 PM (UTC)
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“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.
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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.
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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
User Image themuseumofmodernart Posted: Nov 16, 2017 4:08 PM (UTC)
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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