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MoMA The Museum of Modern Art  The world's museum for modern and contemporary art. Discover artists and ideas that surprise, challenge, and inspire you.

“I had no proof that I had the stuff to be an artist, though I hungered to be one.” @momadesignstore had the privilege of hosting @thisispattismith this week to celebrate the new edition of her memoir “Just Kids: Illustrated Edition.” Check out their Instagram Story for an interview with the artist. Signed copies are available at MoMA Design Store Soho, 81 Spring Street in limited quantities. #MoMADesignStore #PattiSmith #JustKids

“Judson is come in whatever you need we're gonna try to give it to you. You will need a shower, come here. There's a shower, there's a toilet, there's a place to eat your lunch. You want to practice, there's a place to practice. You know the thing about those guys is, well, they believed in us, and they believed in the world.” –Aileen Passloff, reflects on Judson Memorial Church in our #JudsonDance audio guide on mo.ma/judsondance

The workshops in the basement of church were developed by the Judson group into performances that were presented in a series of sixteen free concerts between 1962 and 1964. Concerts took place all over the church, from the basement to the altar. In the sanctuary, pews would be cleared out after Sunday services to make way for the dancers.
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[Credit: Al Giese’s photograph of Rudy Perez and Elaine Summers in Perez’s Take Your Alligator with You. Performed at Concert of Dance #7, Judson Memorial Church, June 24, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY.]

Front and center in #CharlesWhite’s “Trenton Six” (1949) is Bessie Mitchell. Following the wrongful conviction of six African-American men for the murder of an elderly white shopkeeper in New Jersey—one of which was Mitchell’s brother—she led a public speaking campaign protesting their imprisonment. Her efforts secured a retrial, but the jury only acquitted four of the men. Mitchell’s brother died in prison.
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White brings Mitchell and the Trenton Six to life with his use of hatching and cross-hatching—a labor intensive technique where lines are applied parallel or crossed to each other to create tone and texture.

[Image Credit: Charles White. “Trenton Six.” 1949. Ink over graphite underdrawing on paperboard. Amon Carter Museum of American Art, Fort Worth, TX. © The Charles White Archives]

↖️Check out our Instagram Story for a special preview of our exciting new season featuring #JoanMiró’s radiantly imaginative paintings and New York visionary #LincolnKirstein’s expansive and alternative view of modern art. See how contemporary artists have been inspired by #technology, and explore beautifully designed answers to the question “What is good #design and how can it enhance everyday life?” At @MoMAPS1, discover #SimoneFattal’s mystical, enigmatic sculptures and #GinaBeavers’s visceral paintings of internet culture.
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Mark your 2019 calendars—and become a member to see it all first: mo.ma/spring

[Credit: Joan Miró. “The Beautiful Bird Revealing the Unknown to a Pair of Lovers (Le Bel oiseaudéchiffrant 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). © 2018 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris]

Yugoslavia’s monuments became fruitful ground for architectural experimentation. The Monument to the Battle of the Sutjeska commemorates a 1943 battle that marked the turning point for the country in World War II. Two abstract, jagged concrete masses face one another to simulate the landscape of the surrounding mountain gorge where the combat took place.
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Have you visited this monument? Share your experience, tagging your photo or video with #ConcreteUtopia. We’ll repost a few perspectives from our Instagram community.
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SUBMISSION RULES: Tag photos and videos you’ve taken with #ConcreteUtopia. Please do not tag images of people you have not received permission to document. Any tagged photo or video is eligible to be featured on the Museum’s channels.

[Miodrag Živković. Monument to the Battle of the Sutjeska. 1965–71, Tjentište, Bosnia and Herzegovina. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, 2016]

“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.” –Georgia O’Keeffe, born #otd in 1887, was the subject of MoMA’s first retrospective devoted to a woman artist in 1946.
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Renowned for her daring, close-up flower motif paintings, the range of her artistic achievement also includes abstraction and haunting landscapes. “From a Day with Juan II” (1977)—now on view in #TheLongRunMoMA, our showcase of late-career artistic innovation—was made when the artist was ninety years old. A seemingly abstract painting at first glance, it actually pictures the Washington Monument.

[#GeorgiaOKeeffe. “From a Day with Juan II” (detail). 1977. Oil on canvas. Georgia O'Keeffe Bequest. © 2018 The Museum of Modern Art / Artists Rights Society (ARS), New York]

“I perhaps owe having become a painter to flowers.” –Claude Monet, born on this day in 1840
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Several of the Impressionist master’s best-known works were based on the extravagant gardens on his property in Giverny—their upkeep required the services of six full-time gardeners! In his enveloping, large-scale canvases Monet sought to create “the refuge of a peaceful meditation in the center of a flowering aquarium.” Visit “Water Lilies” (1914-26) in our fifth floor #MoMACollection galleries.

[Credit: Claude Monet. Water Lilies. 1914-26. Oil on canvas, three panels. Mrs. Simon Guggenheim Fund. Photo: John Wronn]

“That’s how our brains function. We think of several things at the same time....In a way, her work represents that way of seeing the world." –Intern Rose Liu shares the work that made her fall in love with video art.
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#ArtSpeaks is a day of community and conversation led by Museum staff on the last Tuesday of every month. Watch Rose’s full gallery talk on Joan Jonas’s “Reanimation” (2010/2012/2013) on our Facebook page at mo.ma/fb.

The finest films of 2018 are #MoMAContenders. We’ve combed major studio releases and the world's top film festivals selecting films that we believe will stand the test of time. Reserve your ticket for our special screenings and revealing conversations with filmmakers and actors at mo.ma/contenders. Now playing through January 8. #MoMAFilm
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[Credits: “Free Solo.” 2018. USA. Directed by Jimmy Chin and Elizabeth Chai Vasarhelyi. Courtesy of National Geographic Films; “BlacKkKlansman.” 2018. USA. Directed by Spike Lee. Courtesy of Focus Features; “Wildlife.” 2018. USA. Directed by Paul Dano. Courtesy of IFC Films; “Roma.” 2018. Mexico. Directed by Alfonso Cuarón. Courtesy of Netflix; “First Reformed.” 2018. USA. Directed by Paul Schrader. Courtesy of A24; “Suspiria.” 2018. Italy/USA. Directed by Luca Guadagnino. Courtesy of Amazon Studios; “Lazzaro Felice (Happy as Lazzaro).” 2018. Italy. Directed by Alice Rohrwacher. Courtesy of Netflix; If Beale Street Could Talk. 2018. USA. Directed by Barry Jenkins. Courtesy Annapurna Pictures]

#CharlesWhite’s first mural “Five Great American Negroes”—painted when he was just 21 years old—comes to New York thanks to a historic loan from Howard University (@howard1867). Created in Chicago as part of a fundraiser for the @SouthSideCommunityArtCenter, the “great Americans” depicted were chosen by readers of the Chicago Defender, a major black newspaper. Can you name all five?
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Like many American artists, White was influenced by Mexican muralists like Diego Rivera and adapted their strategies for educating and inspiring viewers. White would produce three more murals between 1939 and 1943. Their public placement perfectly suited his lifelong goal of promoting African American history to combat what he called “a plague of distortions” in popular visual culture.

[Image Credits: “Photograph of Charles White working on ‘Five Great American Negroes’ (1939).” 1939. Gelatin silver print. The Museum of Modern Art Archives, New York
Charles White. “Five Great American Negroes.” 1939. Oil on canvas. From the Collection of the Howard University Gallery of Art, Washington, D.C. © The Charles White Archives. Photo: Austin Donohue]

The human form became an essential tool for #BruceNauman as he used his body as “a place to start.” Now on view at MoMA, “Neon Templates of the Left Half of My Body Taken at Ten-Inch Intervals ” reduces the figure to units of measure that glow uranium green. Across the river at @MoMAPS1, Nauman’s own body is a sculptural material that is poked and prodded in slow motion in “Poke in the Eye/Nose/Ear 3/8/94 Edit.”
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[1: Installation view, “Light Trap for Henry Moore, No. 1” (1967) and “Neon Templates of the Left Half of My Body Taken at Ten-Inch Intervals” (1966) in "Bruce Nauman: Disappearing Acts" at MoMA. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Martin Seck
2: Installation view, “Poke in the Eye/Nose/Ear 3/8/94 Edit” (1994) in "Bruce Nauman: Disappearing Acts" at MoMA PS1. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Martin Seck]

For stories told, imaginations ignited, and artistry inspired—thank you Stan Lee. Excelsior!
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🎨 : Sigmar Polke. "Spiderman." 1971-74. Cut-and-pasted painted papers on canvas. Purchased with funds given by Leon D. Black, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and the Richard E. Salomon Family. © 2018 Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany #MoMACollection

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