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@themuseumofmodernart

MoMA The Museum of Modern Art

themuseumofmodernart

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

Q: What designs stand the test of time? 🤔
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“Good design [...] survives temporary and superficial changes.” –Serge Chermayeff, Curator of “Design For Use” exhibition at MoMA, 1944. Share your favorite classic designs in the comments below and explore more iconic objects in #ValueofGoodDesign.
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[Credits: Charles Eames, Ray Eames. “Prototype for Chaise Longue (La Chaise).” 1948. Hard rubber foam, plastic, wood, and metal. Gift of the designers; Richard James, Betty James. “Slinky.” 1945. Steel]
Don’t miss an incredible evening at our #PartyintheGarden After-Party on Tuesday, June 4 featuring music by Maggie Rogers (@maggierogers) and DJ sets by The Knocks (@the_knocks) and Nina Sky (@yourfavoritetwins)! Tables and tickets are available at moma.org/partyinthegarden2019 (link in bio)
Happy birthday to #HenriRousseau, born on this day in 1844! The self-taught artist—unable to paint full time until his retirement from working as a customs agent in 1893—centered his work on precise, exotic renditions of jungle scenes despite never leaving his home country of France. “He’s a great example of an artist that won’t give up on himself, on his work,” says guest assistant Larissa De Jesus. Hear what emerging artists can learn from the French post-impressionist painter in her gallery talk. #MoMAcollection #otd
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[Featured work: Henri Rousseau. “The Dream.” 1910. Oil on canvas. Gift of Nelson A. Rockefeller]
Don’t miss the chance to revel in weird and unexpected hybrids of things, bodies, and data that push the boundaries of technology. #ArtTechMoMA is in its final weeks, closing June 15. Explore contemporary artists that that don’t accept technology as it is but confront what it does, and see #MoMAcollection works—including @jacolbysatt’s “Country Ball 1989–2012”—that explore technology as a realm of possibility, of the unprecedented and unforeseen. mo.ma/arttech (link in bio)
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[Credit: #JacolbySatterwhite. “Country Ball 1989–2012.” 2012. Video animation. Acquired through the generosity of Bernard Lumpkin and Carmine Boccuzzi. © 2019 Jacolby Satterwhite]
“I look through the kitchen for humble things, any kind of thing, an ear of a corn, a grill, and make a picture from them. In order to give a communicative emotion to these things, we must love them enormously. If you don’t, you can be sure that you will do a picture of no interest at all.” –#JoanMiró, now on view in "Joan Miró: Birth of the World" mo.ma/joanmiro
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[Credit: Joan Miró. “Still Life I.” Montroig and Paris, July 1922-spring 1923. Oil on canvas. Purchase. © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris] #joanmiro
“... this piece is about in some way, transition and transitoriness. I had an idea: what if you did a work of art that was really like a conversation. As we talk, we drift from one subject to another. And I'm drifting from subject to subject about my idea of art.” –#JenniferBartlett on “Rhapsody” (1975-76), now on view in our Marron Atrium
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Hear the artist share more about the work which consists of 987 one-foot-square steel panels stretching over an expanse of more than 150 feet: mo.ma/rhapsody (link in bio)
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[Credit: Jennifer Bartlett. “Rhapsody.” 1975-76. Enamel on steel, 987 plates. Gift of Edward R. Broida. © 2019 Jennifer Bartlett. Photos: Jonathan Muzikar]
Celebrate the warm weather with an evening outdoors at @momaps1's second annual Springtoberfest, a one-night-only beer garden on Friday, May 17, from 8 p.m. to midnight. Enjoy selections from Long Island City breweries and food vendors, plus, enjoy a DJ set by @JADALAREIGN, outdoor screenings, and after-hours access to the galleries to explore current exhibitions. Tickets: mo.ma/natm (link in bio)
Joan Punyet Miró sat down with curator Anne Umland in New York to listen to some of his grandfather #JoanMiró’s favorite tracks from his eclectic record collection and to discuss what each reveals about Miró’s work. From Antonio Vivaldi’s “lovely walk in the countryside” that punctuates the vivid colors of Miró’s landscape, to John Cage and Miró’s shared interest in silence, to anecdotes about the painter playing traditional Catalan music and dancing on Sunday mornings, listening to Miró’s paintings through this lively commentary and soundtrack offers a whole new way to see them. 🔊 Tune in: mo.ma/miromusic (link in bio)
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[Credits: Gymnopedies, I. “Lent” by Erik Satie paired with Joan Miró. “Portrait of Enric Cristòfol Ricart” (detail). 1917. Oil and pasted paper on canvas, 32 1/8 x 25 7/8" (81.6 x 65.7 cm). Florene May Schoenborn Bequest. © 2019 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris]
“Balanchine famously said that there are no new steps, just new combinations...We have the traditional French names for all of those steps, it's just the angles at which they are being attacked and the combination in which they’re unfolding was new, and still feels new. It's…it’s radical.” –Adrian Danchig-Waring, principal dancer at the @nycballet and the director of the New York Choreographic Institute
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Hear more perspectives on the artists of #LincolnKirstein’s Modern in our audio guide: mo.ma/kirsteinaudio (link in bio)
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[Credit: George Balanchine. “The Four Temperaments.” 1946. Excerpt presented in “Kirstein and Balanchine’s New York City Ballet: Four Modern Works” in the Marron Atrium at The Museum of Modern Art, New York, March 16, 2019, in conjunction with Lincoln Kirstein’s Modern (March 17–June 15). Dancers, from left: Peter Walker, Miriam Miller. Digital image © 2019 The Museum of Modern Art, New York. Photo: Julieta Cervantes]
“...instead of showing you an example of that work realized as an object, only the text was presented. You could therefore make the work in your mind, or at home, or in the space. That was a really radical move, because it was one of the very first instances where the idea itself was the work of art.” –Chief curator Christophe Cherix on #YokoOno's “22 Instructions for Paintings”
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For Ono, the concept and the potential for a work to be made are just as important as the object itself. Learn more about how this recent #MoMACollection acquisition—a group of small texts written in Japanese describing works to be realized—fits into Ono’s career and invites viewers to collaborate with the artist in making a work: mo.ma/instructions (link in bio) #WomenInCulture
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[Credit: Yoko Ono. “Instructions for Paintings.” 1961–1962. Ink on paper. 22 sheets. Gilbert B. & Lila Silverman Collection, Detroit]
“Trembling sun
Open signal and signal like a fan-shaped dial
Like the united caresses of one hand on the sky
With birds opening up the book of the blind
And of one wing after the other between this hour and the next
Drawing the horizon, reshifting the shadows
Which limit the world when I lower my eyes.”
–Excerpt of Paul Éluard’s “A Côté (2)” from “Répétitions” (1922)
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Avant-garde poetry had a profound impact on #JoanMiró’s visual language. Create a work of your own that engages with Paul Éluard’s poem—one of Miró’s favorites. Share your poetry-inspired work with the tag #PoetryofMiro for a chance to be featured on MoMA's account.
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SUBMISSION RULES: Tag your work with #PoetryofMiro. Please do not tag work that is not your own, or you have not received permission to share. Any tagged image is eligible to be featured on the Museum’s channels.
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[Image: Joan Miró. "Hirondelle Amour." Barcelona, late fall 1933-winter 1934. Oil on canvas. Gift of Nelson A. Rockefeller. © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris] #joanmiro
Our ability to discern the truth seems to be increasingly more difficult to achieve. We are bombarded, daily, on television, in print media, and most particularly on the Internet, with a growing mountain of information and images - how can we begin to address and understand all of this information and its relationship to the truth?
💭 How do we define the truth?
💭 Would you be more likely to believe something that you see or something that you read?
💭 Are there any differences in the truth that is presented in an image versus that which is defined in a text?
💭 Can looking at works of art help us to build a better understanding of the truth? How?
💭 Can looking at and discussing works of art help us to think about pressing social matters and concerns? How?
💭 How have images (works of art) been used in past to support or obscure the truth?
💭 What role might museums play in all of this?
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Jane Royal (@jklroyal) leads tomorrow’s agora—group discussions examining questions around art, design, and society in #MoMAGarden—asking: How can art and technology help us tell the truth? Add your questions and comments for Jane in the discussion below, and join us in searching for answers in the Sculpture Garden this Wednesday at 3:00 p.m. mo.ma/agora (link in bio)
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[Image: Crispin Jones. “Tengu.” 2007. ABS plastic and electronics, 2 3/4 x 1 11/16 x 9/16" (7 x 4.3 x 1.5 cm). Gift of the designer]

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