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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.

“Our bodies have been broken apart bit by bit and need a lot of healing; our whole society is very fragmented... Everything is split, and is presented as dichotomies–male/female, body/mind—and those splits need mending. "
#KikiSmith, born on this day in 1954
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Known primarily as a sculptor, German-born American artist KiKi Smith has also devoted herself to printmaking, which she considers an equally vital part of her work. Her work examines the body as a political tool, and at its most powerful, reminds us that it is the vulnerable body, not the mind, that is "our primary vehicle for experiencing our lives." Explore her work in #MoMACollection: mo.ma/kikismith

[Credit: Kiki Smith. “Lure.” 1995. Bronze with string, forged bronze hook, and pewter sinker. Gift of Joel and Anne Ehrenkranz in honor of Katherine Farley and Jerry Speyer. © 2017 Kiki Smith]

Rarities of African American cinema are on view at #MoMAFilm this holiday weekend. Take in a collection of brilliantly restored film treasures including a rare 1966 TV newsfilm of Martin Luther King Jr., and “the earliest depiction of black intimacy on film”: “Something Good—Negro Kiss” (1898) on Monday. The weekend kicks off with screening of Horace Jenkins’ love story “Cane River” (1982) on Friday, and the experimental films of Edward Owens on Sunday. Tickets and showtimes at mo.ma/film
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Presented as part of our film preservation festival #ToSaveAndProject

[🎥: “Something Good—Negro Kiss.” 1898. Selig Polyscope Co.; “Private Imaginings and Narrative Facts.” 1968-70. USA. Directed by Edward Owens. Courtesy The Film-Makers’ Cooperative; “Cane River.” 1982. USA. Written and directed by Horace Jenkins.]

“When language begins to break down a little bit, it becomes exciting and communicates in nearly the simplest way that it can function: you are forced to be aware of the sounds and the poetic parts of words.” –#BruceNauman
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Through works like “Make Me Think Me (1993) on view at MoMA, Nauman experiments with language as a basic form of communication. Join his exploration in “Bruce Nauman: Disappearing Acts.”

[Credits: Bruce Nauman. “Make Me Think Me.” 1993. Graphite charcoal, masking tape on paper; “Vision” (detail). 1973. Lithograph; All works © 2018 Bruce Nauman/Artists Rights Society (ARS), New York.]

Constantin Brancusi’s studio through the artist’s eyes—a closer look reveals his sculptures “The Kiss” in the background and “Mlle Pogany” in the foreground. Brancusi made fewer than 200 drawings, some of which depicted his studio, a subject that also appeared frequently in his photographs. In both his photographs and drawings, Brancusi shows his works stacked and layered in space. He often moved works from base to base, or placed them directly on the floor of his studio, so that they lived in the world alongside ordinary objects, and among people. Now on view in #BrancusiMoMA: mo.ma/brancusi

[🎨: Constantin Brancusi. “View of the Artist's Studio.” 1918. Gouache and pencil on board. The Joan and Lester Avnet Collection. © Succession Brancusi - All rights reserved (ARS) 2018]

Sir Sidney Poitier takes center stage for #MoMAFilm's Modern Matinees series. Revisit the actor, director, author, diplomat, and humanitarian’s unparalleled filmography. Now playing through February 28. Tickets: mo.ma/matinees
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What’s your favorite Poitier performance?

[🎥: “In the Heat of the Night.” 1967. USA. Directed by Norman Jewison. Courtesy United Artists/Photofest]

The new availability of affordable CCTV equipment and its use as a surveillance tool in the late 1960s drove Nauman’s quest to interrogate what art can be in a new direction.
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“Audio-Video Underground Chamber” (1972-74) invites viewers to contemplate the grave, broadcasting a live feed from inside a coffin-shaped concrete box, buried in the ground with a working security camera and a microphone inside. Now on view in "#BruceNauman: Disappearing Acts."

[Credit: Bruce Nauman. “Audio-Video Underground Chamber.” 1972–1974. Concrete chamber, video camera, microphone, rubber gasket, steel plate, bolts, cord, black-and-white video monitor. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York.]

For the final weeks of #JudsonDance, @movementresearch (MR)—one of the world’s leading laboratories for the investigation of dance and other movement-based forms—transforms our Marron Atrium into a space for the creative process and education. Register online to join MR for free classes, workshops, and conversations: mo.ma/movementresearch
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[Photos by: Ian Douglas and Quentin Burley]

Our “Charles White: A Retrospective” closes today! If you missed the exhibition, make sure to watch the latest episode of “How To See,” with #CharlesWhite exhibition curator Esther Adler, artist Toyin Ojih Odutola (@toyinojihodutola), and MoMA staff. Watch the full episode at mo.ma/hts_charleswhite (link in bio)

#CharlesWhite’s legacy is evident not only in the work he created, but in the generosity he demonstrated as a teacher. Learn more about the lasting effects of White’s teachings, and hear from past students including #KerryJamesMarshall, #DavidHammons, #RichardWyattJr., #JuditheHernández, and #KentTwitchell: mo.ma/2CijBEL
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[Charles White. “Drawing class.” c. 1950. Black-and-white photograph. Private collection. © The Charles White Archives]

Explore #CharlesWhite’s technical prowess, his ability to depict “images of dignity,” and his groundbreaking collaboration with ‪Harry Belafonte‬, alongside artist @toyinojihodutola and exhibition curator Esther Adler, in our latest episode of HOW TO SEE: mo.ma/hts_charleswhite (link in bio)
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This is the final weekend to see “Charles White: A Retrospective” before it closes on Sunday, January 13.

Don’t miss the chance to take a closer look at the remarkable work that emerged when Yugoslavia set out to create a distinct architectural identity. Explore more than 400 drawings, models, photographs, and film reels from an array of municipal archives, family-held collections, and museums across the region in "Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980,” closing this Sunday, January 13. #ConcreteUtopia

[Installation view of “Toward a Concrete Utopia: Architecture in Yugoslavia,” 1948–1980, The Museum of Modern Art, New York, July 15, 2018–January 13, 2019. © 2018 The Museum of Modern Art. Photo: Carly Gaebe / Steadfast Studio] #architecture #brutalism

“Art is the senses’ grindstone, sharpening the eyes, the mind, and the feelings.” –László Moholy-Nagy, artist, designer and leading figure in the influential modernist school, the Bauhaus, is now on view in our #MoMACollection gallery.

[Credit: László Moholy-Nagy. “Q 1 Suprematistic.” 1923. Oil on canvas. The Riklis Collection of McCrory Corporation. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn]

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