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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.

One of the earthworks artists of the 1960s and 1970s, Robert Smithson manipulated the natural landscape in his work—sometimes drastically, with a bulldozer, and sometimes simply and temporarily, through mirrors, as in “Corner Mirror with Coral” (1969).
Experience this work in #GundStudioVisit, our exhibition celebrating gifts from the remarkable Agnes “Aggie” Gund, a longtime Trustee of the Museum. While viewing this artwork Aggie noted, “I always like the Smithsons that are mirrored. Obviously they're very captivating and they show another see out differently when you have a mirror. A mirror makes it bigger, smaller, taller, higher.... I think Smithson's idea of putting heaps of things there and having them reflected, it was quite wonderful.”

[Artwork details: Robert Smithson. “Corner Mirror with Coral.” 1969. Mirrors and coral. Gift of Agnes Gund in honor of Ann Temkin]

Tarsila do Amaral’s “Calmaria II (Calmness II)” (1929) is a unique exercise among her work from the 1920’s. Dreamlike mirrored geometric forms reflect the influence of the enigmatic paintings of #GiorgiodeChirico, who left a strong impression on Tarsila during her time in Paris. Coincidental to the title of this work, de Chirico compared his style to “the flat surface of a perfectly calm ocean. #TarsilaMoMA

[Artwork details: Oil on canvas. Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo]

In celebration of #nationalphotographymonth, this month's LIVE Q&A will take you behind the scenes on a live tour of MoMA's collection storage, where many photographs are stored, followed by a Q&A with MoMA curator Sarah Meister (@themomameister).

Curious about how curators choose which photographs to acquire and display? Is there a photograph in MoMA's Collection you'd like to see up-close? Submit your questions or a work you’d like to see in the comments below, or live during the Q&A ‪on Wednesday, May 23 at 3:00 p.m. EDT‬. Links and more info at #photography

“...the basis for each image is the universality of our human experiences. I have chosen to share this message by using my personal cultural heritage and encounters with it as inspiration...” —Aida Muluneh (@aidamuluneh)
How do you use photography to investigate the self? We asked photographers now on view in “Being: #NewPhotography2018" to share the ideas and techniques that influence the exploration of personhood in their work. See their responses at

[Artwork details: Aida Muluneh. “Strength in Honor.” 2016. Pigmented inkjet print. Courtesy the artist and David Knut Projects, New York and Johannesburg. © 2018 Aida Muluneh]

We’re counting the days until Grammy Award-winning artist St. Vincent (@st_vincent) graces our Agnes Gund Garden Lobby with a special performance for the Party in the Garden After-Party! Join us on Thursday, May 31 for an incredible evening featuring DJ sets by SIMIHAZE (@simihaze) and Sofi Tukker (@sofitukker), all in honor of philanthropist Agnes Gund with proceeds supporting our award-winning education programs and the care, study, and exhibition of our collection. Tickets at (link in bio) #PartyintheGarden

“I met Agnes Gund probably about 10 years ago at one of my exhibitions in New York. She was very interested in the sort of magical, transformative aspect of the work...Aggie has really been a critical supporter for artists, for placing artists in museums, providing them with the credibility. For me she was someone that really believed in the work. That changes how you see your future.”—Hear more from artist Nick Cave on the story behind his “Soundsuit” (2011), now on view in #GundStudioVisit 🔊

[Artwork details: Found objects, knit head and bodysuit, and mannequin. Gift of Agnes Gund in honor of Dr. Stuart W. Lewis. © Nick Cave]

Vija Celmins's star-pocked skies explore the links between memory, perception, and images. The artist replicates detailed, expansive views captured in photographs with mezzotint—a labor intensive print technique. In this process, an image is made using a metal printing plate that has been partially roughened and smoothed to create soft, velvety gradations of tone. Her “Untitled (Large Night Sky)” (2016) is now on view in #TheLongRunMoMA

[Artwork details: Vija Celmins. “Untitled (Large Night Sky).” Mezzotint. The Museum of Modern Art. Gift of Jack Shear. © Vija Celmins, Courtesy Matthew Marks Gallery]

The “Vanilla Nightmares” works, drawn in charcoal on articles and advertisements in the New York Times, depict European-American fantasies and fears about African Americans in enigmatic, overpowering, or sexual images that interact with the newspaper’s images and words. The drawings suggest the racial fears and biases of a culturally liberal publication, literally bringing them to the surface. Now on view. #AdrianPiper

[Artwork: Adrian Piper. “Vanilla Nightmares #12.” 1986. Charcoal on newspaper. The Museum of Modern Art, New York. Gift of Gwen and Peter Norton. © Adrian Piper Research Archive Foundation Berlin. Photography by John Wronn]

“No matter how put together we are, or how much structure we give our lives, we’re still human, we’re still going to be inexact.” —Michele Carlucci, coordinator in our department of education, shares how the calming influence of the Agnes Martin gallery in #TheLongMoMA—home to “With My Back to the World” (1997)—makes it one of her favorite havens in the Museum.

#ArtSpeaks is a day of community and conversation led by Museum staff on the last Tuesday of every month. Full gallery talks are on our Facebook page:

For “Rosita” (1923), legendary silent film actress Mary Pickford handpicked German filmmaker Ernst Lubitsch to direct her in what would become her first adult role.

The costume romance, set in a mythical Spain, follows a lecherous King (Holbrook Blinn) who has his eye on a popular but provocative street singer (Mary Pickford). She, in turn, yearns for the handsome young nobleman (George Walsh) who rescued her from the angry king’s guards—and has been condemned to a dungeon for his troubles. The Queen (Irene Rich) wisely bides her time, waiting for the right moment to intervene.

The restoration premiere for “Rosita” is Friday, May 25! Reserve your ticket and learn how our Department of Film reconstructed the film from severely damaged negatives and early draft screenplays at

“Manacá” (1927) is one example of Tarsila do Amaral’s commitment to showcasing subjects and themes native to Brazil. In 1927, she set out to research the cultures of the northeastern coastal cities of Recife and Salvador, where she was introduced to the Amazonian manacá plant, used by the indigenous Tupi people for medicinal and magical purposes. Now on view. #TarsilaMoMA

[Artwork details: Tarsila do Amaral. “Manacá.” 1927. Oil on canvas. Private collection, São Paulo.]

In celebration of #NYCxDESIGN, @momadesignstore has teamed up with @la_frenchtech, a booming startup ecosystem supported by the French government. As part of our ongoing commitment to exploring the latest in tech, the MoMA Design Store team collaborated with La French Tech to select over twenty of France’s most innovative new technology products. From high-flying drones to Bluetooth headphones perfectly design for your favorite cap—take a deep dive in the world of French tech designs at (link in bio) #MoMADesignStore

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