ニューヨーク近代美術館

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データ更新日2020-05-30 01:37:06


ニューヨーク近代美術館 @themuseumofmodernart さんの最近の人気投稿(いいね順)

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“At a time when our world is flipped upside-down, [Christina is] an anchor, an enduring presence—an angel, perhaps. While we are confined between apartment walls, boundless space extends before her. She never looks back, however often I visit her (weekly, just before my shift). But one day, I know, our gazes will meet.” — Keith Daly, VolunteerWe asked our staff to share artworks they look to for solace, perspective, and resolve. Discover more #MoMAPicks at the link in our bio.---[Andrew Wyeth. “Christina’s World.” 1948. Oil on tempera] #AndrewWyeth #ChristinasWorld #MoMACollection “At a time when our world is flipped upside-down, [Christina is] an anchor, an enduring presence—an angel, perhaps. While we are confined between apartment walls, boundless space extends before her. She never looks back, however often I visit her (weekly, just before my shift). But one day, I know, our gazes will meet.” — Keith Daly, Volunteer

We asked our staff to share artworks they look to for solace, perspective, and resolve. Discover more #MoMAPicks at the link in our bio.
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[Andrew Wyeth. “Christina’s World.” 1948. Oil on tempera] #AndrewWyeth #ChristinasWorld #MoMACollection
2020/05/27 08:06:04 84,916 1,108
This #MemorialDay, we’re ringing in the unofficial start of summer with a virtual picnic, inspired by Stephen Frykohlm’s delectable posters 🍉🍔🌽🥧---[Stephen Frykholm. Herman Miller Summer Picnic posters. Silkscreen with lacquer finish] #stephenfrykholm #MoMACollection This #MemorialDay, we’re ringing in the unofficial start of summer with a virtual picnic, inspired by Stephen Frykohlm’s delectable posters 🍉🍔🌽🥧
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[Stephen Frykholm. Herman Miller Summer Picnic posters. Silkscreen with lacquer finish] #stephenfrykholm #MoMACollection
2020/05/26 00:01:41 18,815 106
“Everyone has a personal shape,” artist #AmySillman reminds us: A shadow, “that strange, flat, constantly shifting form that goes wherever you go, attached to both body and psyche.” These artworks were chosen by Sillman for her exhibition “The Shape of Shape.” What moods do the shadows cast? Are shadows always ominous, or can they be comforting, too?Consider the shapes we carry with us in our #MoMAVirtualViews at mo.ma/shapeofshape—👥Lee Friedlander. “New York City.” 1966. Gelatin silver print. © Lee Friedlander👥Ernst Ludwig Kirchner. “Three Nudes in the Forest.” 1933. Woodcut👥Francis Picabia. “Conversation II.” c. 1922. Watercolor on board. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris👥Gertrude Greene. “Construction.” 1935. Painted wood, board, and metal “Everyone has a personal shape,” artist #AmySillman reminds us: A shadow, “that strange, flat, constantly shifting form that goes wherever you go, attached to both body and psyche.” These artworks were chosen by Sillman for her exhibition “The Shape of Shape.” What moods do the shadows cast? Are shadows always ominous, or can they be comforting, too?

Consider the shapes we carry with us in our #MoMAVirtualViews at mo.ma/shapeofshape

👥Lee Friedlander. “New York City.” 1966. Gelatin silver print. © Lee Friedlander
👥Ernst Ludwig Kirchner. “Three Nudes in the Forest.” 1933. Woodcut
👥Francis Picabia. “Conversation II.” c. 1922. Watercolor on board. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris
👥Gertrude Greene. “Construction.” 1935. Painted wood, board, and metal
2020/05/23 01:02:15 16,827 45
Man Ray claimed to have invented the photogram, which he called a “rayograph,” in 1921. In fact, the practice had existed since the earliest days of photography. Yet in #ManRay’s hands the photogram—a picture made on photographic paper without the aid of a camera—became an unpredictable pictorial adventure.To create this #photogram, Man Ray exposed the paper to light at least three times. Each time, a different set of objects acted as a stencil: a pair of hands, a pair of heads kissing, and two darkroom trays, which seem almost to kiss each other with their corner spouts. With each exposure, the paper darkened where it was not masked. A perfect art experiment for a sunny day ☀️while we #MuseumFromHome! Learn more about making a photogram at the link in our bio.---[Man Ray (Emmanuel Radnitzky). “Rayograph.” 1922. Gelatin silver print (photogram). © 2020 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris] #MoMACollection #rayograph #photography Man Ray claimed to have invented the photogram, which he called a “rayograph,” in 1921. In fact, the practice had existed since the earliest days of photography. Yet in #ManRay’s hands the photogram—a picture made on photographic paper without the aid of a camera—became an unpredictable pictorial adventure.

To create this #photogram, Man Ray exposed the paper to light at least three times. Each time, a different set of objects acted as a stencil: a pair of hands, a pair of heads kissing, and two darkroom trays, which seem almost to kiss each other with their corner spouts. With each exposure, the paper darkened where it was not masked. A perfect art experiment for a sunny day ☀️while we #MuseumFromHome! Learn more about making a photogram at the link in our bio.
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[Man Ray (Emmanuel Radnitzky). “Rayograph.” 1922. Gelatin silver print (photogram). © 2020 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris] #MoMACollection #rayograph #photography
2020/05/27 01:45:10 15,215 72
#AmySillman has helped redefine contemporary painting, pushing the medium into drawing, installations, video, and zines. “All accidents and experiments, and discoveries, are what my work is about,” the artist has said.Sillman’s exhibition, #AmySillman has helped redefine contemporary painting, pushing the medium into drawing, installations, video, and zines. “All accidents and experiments, and discoveries, are what my work is about,” the artist has said.

Sillman’s exhibition, "The Shape of Shape," draws from our collection and celebrates the “eccentric, poetic, or intimate” works that operate “at the hub of language and matter, signs and sensations.” Explore our #MoMAVirtualViews at mo.ma/shapeofshape
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[Amy Sillman. “Untitled.” 2016. Colored ink, charcoal, and crayon on paper; “Rome #4.” 2014. Pastel and gouache on paper; Rome #12. 2014. Pastel and gouache on cut-and-pasted paper. All © 2020 Amy Sillman]
2020/05/23 06:39:52 15,199 73
“Basically everything in the world is a shape… every edge, corner, blob, form, silhouette, or negative space is something you have to navigate to get through a room,” artist #AmySillman asserts. Yet, “even though shape is everywhere, we don’t talk about it much.” While combing through thousands of works in our collection for her Artist’s Choice exhibition, “The Shape of Shape,” Sillman wondered “if, in fact, shape got left behind when modern art turned to systems, series, grids, and all things calculable in the 20th century. Was shape too personal, too subjective, to be considered rigorously modern? Or is it just too indefinite, too big, to systematize?” Explore our #MoMAVirtualViews at mo.ma/shapeofshape—🔹Romare Bearden. “Patchwork Quilt.” 1970. Cut-and-pasted cloth and paper with acrylic on board🔻Arshile Gorky. “Argula.” 1938. Oil on canvas. © 2020 Estate of Arshile Gorky / Artists Rights Society (ARS), New York🔸Auguste Rodin. “Reclining Woman.” c. 1900–06. Watercolor and pencil on paper “Basically everything in the world is a shape… every edge, corner, blob, form, silhouette, or negative space is something you have to navigate to get through a room,” artist #AmySillman asserts. Yet, “even though shape is everywhere, we don’t talk about it much.” While combing through thousands of works in our collection for her Artist’s Choice exhibition, “The Shape of Shape,” Sillman wondered “if, in fact, shape got left behind when modern art turned to systems, series, grids, and all things calculable in the 20th century. Was shape too personal, too subjective, to be considered rigorously modern? Or is it just too indefinite, too big, to systematize?” Explore our #MoMAVirtualViews at mo.ma/shapeofshape

🔹Romare Bearden. “Patchwork Quilt.” 1970. Cut-and-pasted cloth and paper with acrylic on board
🔻Arshile Gorky. “Argula.” 1938. Oil on canvas. © 2020 Estate of Arshile Gorky / Artists Rights Society (ARS), New York
🔸Auguste Rodin. “Reclining Woman.” c. 1900–06. Watercolor and pencil on paper
2020/05/24 00:15:51 14,699 48
Sharing #SundayVibes from photographer #WilliamEggleston.Get in the right state of mind to enjoy your day—from mindful walks to drawing prompts, we’ve got your guide to connectedness and healing through art. For activities and ideas, head to the link in our bio or mo.ma/wellbeing---[William Eggleston. “Untitled.” c. 1975. Dye transfer print, printed 1993. © 2020 William Eggleston] Sharing #SundayVibes from photographer #WilliamEggleston.

Get in the right state of mind to enjoy your day—from mindful walks to drawing prompts, we’ve got your guide to connectedness and healing through art. For activities and ideas, head to the link in our bio or mo.ma/wellbeing
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[William Eggleston. “Untitled.” c. 1975. Dye transfer print, printed 1993. © 2020 William Eggleston]
2020/05/24 23:55:05 12,472 52
Can art transform our lives and our minds? In the years after the Second World War, artists in South America upended long-standing conventions to reinvent abstraction—and the role of art in society. Journey through this radical chapter in the history of modern art in “Sur moderno,” our latest #MoMAVirtualViews.Tune in tonight, May 28, at 8:00 p.m. EDT for a live Q&A with curator Inés Katzenstein and Gabriel Pérez-Barreiro (@gperezbarreiro), Senior Advisor to @cppcisneros, about #SurModerno. Explore more at mo.ma/surmoderno🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀¿Puede el arte transformar nuestras vidas y a nuestras mentes? En los años posteriores a la Segunda Guerra Mundial, los artistas de América del Sur volcaron las convenciones tradicionales para reinventar la abstracción y el papel del arte en nuestra sociedad. Viaje a este capítulo radical de la historia del arte moderno a través de “Sur Moderno”, nuestro último #MoMAVirtualViews.Sintonice hoy, 29 de mayo, a las 8:00 p.m. EDT, una sesión de preguntas y respuestas acerca de #SurModerno, con la curadora Inés Katzenstein y Gabriel Pérez-Barreiro, asesor principal de @cppcisneros. Conozca más través de mo.ma/surmoderno Can art transform our lives and our minds? In the years after the Second World War, artists in South America upended long-standing conventions to reinvent abstraction—and the role of art in society. Journey through this radical chapter in the history of modern art in “Sur moderno,” our latest #MoMAVirtualViews.

Tune in tonight, May 28, at 8:00 p.m. EDT for a live Q&A with curator Inés Katzenstein and Gabriel Pérez-Barreiro (@gperezbarreiro), Senior Advisor to @cppcisneros, about #SurModerno. Explore more at mo.ma/surmoderno
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¿Puede el arte transformar nuestras vidas y a nuestras mentes? En los años posteriores a la Segunda Guerra Mundial, los artistas de América del Sur volcaron las convenciones tradicionales para reinventar la abstracción y el papel del arte en nuestra sociedad. Viaje a este capítulo radical de la historia del arte moderno a través de “Sur Moderno”, nuestro último #MoMAVirtualViews.

Sintonice hoy, 29 de mayo, a las 8:00 p.m. EDT, una sesión de preguntas y respuestas acerca de #SurModerno, con la curadora Inés Katzenstein y Gabriel Pérez-Barreiro, asesor principal de @cppcisneros. Conozca más través de mo.ma/surmoderno
2020/05/28 23:57:32 6,465 41
Like the visual artists featured in #Surmoderno, 20th-century Latin American composers sought to find a distinctive artistic voice, often in dialogue with the most cutting edge musical experiments emerging from Europe. At the link in our bio, listen to a playlist by Pablo Helguera (@helguerapablo) “scoring” the abstract art featured in the #MoMAVirtualViews.While you listen, consider the influence of music on #AlejandroOtero’s “Colorhythm” series from the 1940s and 1950s. Over 75 paintings, the Venezuelan artist manipulated the same basic elements: brightly-colored shapes and alternating light and dark bands. The shapes glide, float, and sink against the bands in “Colorhythm, 1,” pulsating into their surroundings in what the artist called “an open directional rhythm.” Learn more at mo.ma/surmoderno 🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀 Al igual que los artistas visuales exhibidos en #Surmoderno, los compositores latinoamericanos del siglo XX querían encontrar una voz artística distintiva y a menudo en diálogo con los experimentos musicales más innovadores que emergieron de Europa. A través del enlace en nuestra biografía, escuche una lista musical creada por Pablo Helguera (@helguerapablo) que “anota” el arte abstracto exhibido en #MoMAVirtualViews.Al escuchar, tome en cuenta la influencia de la música en la serie “Colorhythm” de #AlejandroOtero de las décadas de 1940 y 1950. En más de 75 pinturas, el artista venezolano manipuló los mismos principios básicos: formas de colores brillantes y franjas claras y oscuras alternadas. En “Colorhythm, 1”, las formas se deslizan, flotan, se hunden y vibran en su entorno a través de lo que el artista llamó: “un ritmo direccional abierto”. Obtenga más información en: mo.ma/surmoderno---[Alejandro Otero. “Colorhythm, 1” (detail). 1955. Enamel on plywood. © 2020 / Artists Rights Society (ARS), New York / AUTORARTE, Venezuela] Like the visual artists featured in #Surmoderno, 20th-century Latin American composers sought to find a distinctive artistic voice, often in dialogue with the most cutting edge musical experiments emerging from Europe. At the link in our bio, listen to a playlist by Pablo Helguera (@helguerapablo) “scoring” the abstract art featured in the #MoMAVirtualViews.

While you listen, consider the influence of music on #AlejandroOtero’s “Colorhythm” series from the 1940s and 1950s. Over 75 paintings, the Venezuelan artist manipulated the same basic elements: brightly-colored shapes and alternating light and dark bands. The shapes glide, float, and sink against the bands in “Colorhythm, 1,” pulsating into their surroundings in what the artist called “an open directional rhythm.” Learn more at mo.ma/surmoderno 🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀 Al igual que los artistas visuales exhibidos en #Surmoderno, los compositores latinoamericanos del siglo XX querían encontrar una voz artística distintiva y a menudo en diálogo con los experimentos musicales más innovadores que emergieron de Europa. A través del enlace en nuestra biografía, escuche una lista musical creada por Pablo Helguera (@helguerapablo) que “anota” el arte abstracto exhibido en #MoMAVirtualViews.

Al escuchar, tome en cuenta la influencia de la música en la serie “Colorhythm” de #AlejandroOtero de las décadas de 1940 y 1950. En más de 75 pinturas, el artista venezolano manipuló los mismos principios básicos: formas de colores brillantes y franjas claras y oscuras alternadas. En “Colorhythm, 1”, las formas se deslizan, flotan, se hunden y vibran en su entorno a través de lo que el artista llamó: “un ritmo direccional abierto”. Obtenga más información en: mo.ma/surmoderno
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[Alejandro Otero. “Colorhythm, 1” (detail). 1955. Enamel on plywood. © 2020 / Artists Rights Society (ARS), New York / AUTORARTE, Venezuela]
2020/05/29 23:53:05 4,448 20
Curator Inés Katzenstein introduces “Sur moderno: Journeys of Abstraction.” In the postwar years, artists from across South America explored the possibilities of “creating a painting that was not a fixed image but that demands from you movement, and proposes change, proposes different kinds of optical effects.” Explore their modernist revolution in our #MoMAVirtualViews at mo.ma/surmoderno#SurModerno🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀🌀“Estos artistas querían reimaginar el mundo”. La curadora Inés Katzenstein presenta “Sur moderno: recorridos de la abstracción”. En los años de la postguerra, artistas de América del Sur exploraron las posibilidades de “crear una pintura que no fuera una imagen inamovible sino que exige de ti movimiento y propone cambio, propone  efectos ópticos diferentes”. Conozca más sobre esta revolución moderna a través de #MoMAVirtualViews: mo.ma/surmoderno Curator Inés Katzenstein introduces “Sur moderno: Journeys of Abstraction.” In the postwar years, artists from across South America explored the possibilities of “creating a painting that was not a fixed image but that demands from you movement, and proposes change, proposes different kinds of optical effects.” Explore their modernist revolution in our #MoMAVirtualViews at mo.ma/surmoderno
#SurModerno
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“Estos artistas querían reimaginar el mundo”. La curadora Inés Katzenstein presenta “Sur moderno: recorridos de la abstracción”. En los años de la postguerra, artistas de América del Sur exploraron las posibilidades de “crear una pintura que no fuera una imagen inamovible sino que exige de ti movimiento y propone cambio, propone efectos ópticos diferentes”. Conozca más sobre esta revolución moderna a través de #MoMAVirtualViews: mo.ma/surmoderno
2020/05/29 07:06:09 4,357 50
We're screening #ArthurJafa’s 2018 video “akingdoncomethas” on #MoMAMagazine every day for a day for a week, from 12:00 to 3:00 p.m. EDT, through Tuesday, June 2. “A kingdom cometh as” is a millennial Christian expression for the end of time, a description of the world to come after the rapture. The video assembles over 100 minutes of found footage of black church services and features a range of megachurch bishops, gospel songwriters, and musicians, including TD Jakes, Le’Andria Johnson, and Al Green. Jafa told Isis Pickens, the First Lady of Harlem’s Zion Hill Baptist Church, that while he had gone to church with his grandmother as a child growing up in Mississippi, he was not religious as an adult. Pickens responded by saying, “If I didn’t know any better, I would think you were a believer,” to which Jafa said, “I believe in black people believing.” Watch the video at the link in our bio.Before the first screening, drop in with the artist @anamibia and curator @thomaslax on our Instagram Live today at noon EDT.---[Arthur Jafa, “akingdoncomethas,” 2018. Video excerpt. Courtesy the artist and Gavin Brown’s enterprise, New York.] We're screening #ArthurJafa’s 2018 video “akingdoncomethas” on #MoMAMagazine every day for a day for a week, from 12:00 to 3:00 p.m. EDT, through Tuesday, June 2. “A kingdom cometh as” is a millennial Christian expression for the end of time, a description of the world to come after the rapture. The video assembles over 100 minutes of found footage of black church services and features a range of megachurch bishops, gospel songwriters, and musicians, including TD Jakes, Le’Andria Johnson, and Al Green. Jafa told Isis Pickens, the First Lady of Harlem’s Zion Hill Baptist Church, that while he had gone to church with his grandmother as a child growing up in Mississippi, he was not religious as an adult. Pickens responded by saying, “If I didn’t know any better, I would think you were a believer,” to which Jafa said, “I believe in black people believing.” Watch the video at the link in our bio.

Before the first screening, drop in with the artist @anamibia and curator @thomaslax on our Instagram Live today at noon EDT.
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[Arthur Jafa, “akingdoncomethas,” 2018. Video excerpt. Courtesy the artist and Gavin Brown’s enterprise, New York.]
2020/05/27 22:36:52 4,317 32
The artist @anamibia checks in with curator @thomaslax from his car in Los Angeles for a live conversation about our current moment, the expressive power of gospel music, and The artist @anamibia checks in with curator @thomaslax from his car in Los Angeles for a live conversation about our current moment, the expressive power of gospel music, and "making the bad good.” We're screening #ArthurJafa’s 2018 video “akingdoncomethas”—which assembles over 100 minutes of found footage of black church services—on #MoMAMagazine every day for a week, from 12:00 to 3:00 p.m. EDT, through Tuesday, June 2. Watch his Artist Project at moma.org/magazine 2020/05/28 09:03:18 2,766 20

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