Bøger udgivet af Museum of Modern Art

Comprised of 159 extraordinary platinum plates, Frances Benjamin Johnston's Hampton Album documents life at the Hampton Institute marking a pivotal moment in this historically black university's history . Frances Benjamin Johnston (American, 1864-1952), one of the first women in America to work as a professional photographer, was commissioned in 1899 to photograph the Hampton Institute, then a thirty year old institution dedicated to the practical and academic education of freed slaves and Native Americans. What became known as the Hampton Album - comprised of 159 platinum plates exhibited in 1900 at the Exposition Universelle in Paris - is Johnston's signature work, and has become a touchstone for contemporary historians and artists. The leather-bound album was discovered serendipitously by Lincoln Kirstein in a Washington, D.C. bookstore during World War II and donated to MoMA in 1965.

This new edition of MoMA Highlights presents 375 works from the Museum of Modern Art's unparalleled collection of modern and contemporary art. Featuring 170 new selections--a greater representation of women, artists of color, and artists from around the world--this updated volume reflects the inclusionary ethos of the newly expanded museum.ed museum.

Presents highlights from the transformative gift of nearly 150 works of modern art from Latin America offered to The Museum of Modern Art by Patricia Phelps de Cisneros Sur moderno: Journeys of Abstraction presents a richly illustrated overview of the significant cultural transformations propelled by the abstract and concrete art movements in South America between the mid-1940s and the late 1970s. Published to accompany a major exhibition at The Museum of Modern Art, the catalogue features works by artists working in Argentina, Uruguay, Brazil, and Venezuela - including Lygia Clark, Hélio Oiticica, Lygia Pape, Jesús Rafael Soto, Alejandro Otero and Tomás Maldonado - who advanced the achievements of geometric abstraction in the early twentieth century, and built a new modern vision of the region. The catalogue highlights a selection of works gifted to MoMA by Patricia Phelps de Cisneros between 1993 and 2016, which had a transformative impact on the Museum's holdings of Latin American art. The Cisneros collection, which includes paintings, sculptures, and works on paper, allows for in-depth study of art produced in the region during this period, allowing the Museum to represent a more comprehensive, plural, and robust narrative of artistic practices that demonstrate the integral role of Latin America in the establishment of modern art.

The first-ever history of New York's pioneering art space, with film stills, ephemera, and photography in a scrapbook style, this groundbreaking publication captures the vibrancy of a long and venerable tradition that began with the legendary series of performances and events organized by founder Alanna Heiss under the Brooklyn Bridge in 1971.

New in MoMA's 'One on One' series, this book focuses on Betye Saar's Black Girl's Window (1969) and a selection of the artist's prints from the 1960s and early 1970s . Betye Saar made Black Girl's Window in 1969. It is a deeply autobiographical picture that alluded to her African-American heritage along with her interest in mysticism and astrology. The black girl named in the title appears in the lower half of this found window frame. The girl's facial features are hidden. The only thing there are these surprisingly bright blue eyes, which appear to open and close if you shift back and forth in front of it. The work encourages us to think about connections between eyes, that are often said to be windows on the soul, and pictures, that have been said to be windows on the world. Saar herself once said that she considers windows to represent a means of traveling from one level of consciousness to another. If you continue to look at the girl, you can see that her hands are covered with yellow and red symbols. Some of these same symbols, in particular the crescent moon and the stars, are echoed in the nine small vignettes created in the spaces outlined by the intersecting crossbars of her found window frame.

Roberts' essay moves between the public and the private as it situates Kahlo's painting in the context of the Mexican Revolution's legacy, the Surrealist tradition and the artist's own life to explore the ways in which Kahlo constructed and reconstructed her own identity.

Now available in its original edition along with critical commentary, Complexity and Contradiction in Architecture is the founding text of postmodernism in architecture, first published in 1966.

Originally delivered as talks at a symposium held at the Museum of Modern Art in 2016, the 10 essays gathered in this volume offer insight into the collaborations between architects and structural engineers that engendered many of the most important buildings erected in Japan after 1945.

This expansive collection of essays on nearly 200 works in the collection of the Museum of Modern Art is the first substantial exploration of MoMA's uneven historical relationship with black artists, black audiences, and the broader subject of racial blackness.

A dancer, designer, puppet maker, sculptor and painter at the heart of the Zurich Dada movement, Taeuber-Arp made Head in the wake of World War I, during a time of profound political and cultural self-questioning. Almost a century later, her witty wooden figure has lost none of its punch as an investigation of art across aesthetic and material boundaries rather than within them.

A lady checks her luggage for a train ride: a couch, a suitcase, a traveling bag, a picture, a basket, a hat-box, and a little dog. Will they all make it to her destination?

Lincoln Kirstein was an omnivorous writer, critic, curator and impresario: a key connector and an indefatigable catalyst who drove and supported American artists and institutions in the 1930s and 40s. While he is perhaps best known as the founder of the New York City Ballet, he is also a crucial figure in The Museum of Modern Art's own history: he shaped exhibitions on topics ranging from mural design to Magic Realism; acquired Latin American works for the collection under the auspices of the Inter- American Fund; established the Museum's short-lived Dance Archives and curatorial department of Dance and Theater Design; and contributed an alternative vision to a Museum known for its devotion to abstraction. Published in conjunction with an exhibition devoted to the overlapping networks around Kirstein, this volume examines the Museum's collection from an alternative approach, one that champions figuration, decadence and interdisciplinarity over abstraction, reduction and medium specificity.

Presents Bogdan Bogdanovic's built oeuvre through his own eyes, in a selection of nearly fifty, recently discovered colour photographs of his memorials. Bogdan Bogdanovic (1922-2010) was a Yugoslav architect, theorist, professor, and a one-time mayor of Belgrade. His idiosyncratic memorials to the victims and heroes of World War II, scattered around the former Yugoslavia, continue to attract attention today, more than twenty-five years after the country's collapse. The monuments, cemeteries, mausoleums, memorial parks, necropolises, cenotaphs and other sites of memory Bogdanovic designed between the early 1950s and late 1970s occupy a unique place in the history of modern architecture, redrawing the boundaries between architecture, landscape, and sculpture in varied and unexpected ways. This book presents Bogdanovic's built oeuvre through his own eyes, in a selection of nearly fifty colour photographs of his memorials, which the architect took soon after the completion of each project. Carefully staged and taken with professional medium- format cameras, these photos, many of them previously unpublished, are in themselves works of art that bespeak their author's surrealist sensibility. The book includes an introduction by the architectural historian Vladimir Kulic, a preface by curator Martino Stierli, and a selection of Bogdanovic's own thoughts on photography, excerpted from an unpublished interview that Kuliccconducted in 2005.

Every day, young Charles White's mother took him to the Chicago Public Library, where the librarians looked after him until six o'clock. At the library Charles looked carefully at the picture books the librarians give him and also at the people around him, later drawing what he saw on scraps of paper at home. He learned to be patient and observant - and, by watching art students painting in the park, how to mix and use oil paints. As he grew up, he painted the people he saw and admired, and ultimately became a great artist whose works now hang in museums all over the United States. Written and illustrated by his son, C. Ian White, and featuring full-colour. reproductions of Charles White's own artworks, this deeply personal story traces the childhood influences that inspired young Charles to become an artist and a teacher.

The Work is Never Done

The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art is beloved by all, whether artists or ordinary museum goers, New Yorkers or visitors from around the world. It is a respite from the crowds and skyscrapers that surround it, as well as a place to commune with major works of modern and contemporary art. Through essays and archival images, this lavishly illustrated volume pays tribute to the Garden's beauty and remarkable history, while offering a behind-the-scenes look at the many exhibitions, programmes and events that have taken place there over the past eighty years. The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art features the sculptures that have become synonymous with the Garden, along with the many architects, artists and curators who have worked on and in this remarkable space. This unique publication also debuts a portfolio of images of the Garden by some of the world's most renowned contemporary photographers, demonstrating that while the outdoor gallery is constantly changing with the seasons, new programming, and rotations of the art on display, it continues to be an inspiration to artists and the broader public alike.

Diane Radycki is an art historian (Ph.D. Harvard University, 1993) and specializes in European art from the late-nineteenth to the mid-twentieth centuries. Her scholarship focuses on the work of women artists in this period.

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Anneka Lenssen is Assistant Professor of Art History at the University of California, Berkeley. Sarah Rogers is an independent scholar. Nada Shabout is Professor of Art History at the University of North Texas.

Published in conjunction with an exhibition of the same name held May 26, 2018-January 1, 2019 at The Museum of Modern Art, New York.

Art Making with MoMA, from the educators at The Museum of Modern Art, New York, presents 20 interactive activities that encourage kids (and adults!) to discover how modern and contemporary artists experiment with materials and techniques. Drawing on over 15 years of research and hands-on experience engaging families in multi-sensory programs at MoMA, this colorful activity book provides opportunities for creative exploration and art making at home, in a group or alone, while providing real examples of the tools, techniques, and ideas used by contemporary and modern artists whose works can be found in MoMA’s collection. Each project is inspired by a particular artist, movement, or design concept, and features full-color reproductions of artwork from the likes of Diego Rivera, Vassily Kandinsky, Berenice Abbott, and Charles and Ray Eames. Step-by-step instructions, handy tips and open-ended questions encourage kids to think like artists and develop their own techniques and ideas for art making.

Ibrahim El-Salahi (Sudanese, born 1930) is an artist, writer, critic, cultural diplomat and Sudanese TV star, and one of the most important figures of African and Arabic modernism. He pioneered an artistic language that engaged Western formal traditions in dialogue with Sudanese decorative elements and Arabic calligraphy that he has practised since childhood. The resulting body of work brought him international acclaim, and he became a major voice of the pan-African avant-garde in the 1960s, representing Sudan both in domestic government and on the world stage. While serving as Sudan's Undersecretary of Culture in 1975, El-Salahi was imprisoned without trial and endured six months of deprivation in the notorious Cooper (now Kober) Prison. During a period of house arrest that followed, he exorcised his experience in the Prison Notebook , arguably the landmark work in the artist's oeuvre. This intensely personal work is both a major historical document and a masterpiece of drawing containing pages filled with delicate pen-and-ink drawings of cramped and shackled figures, faces behind barred doors, self-portraits, prison architecture, birds and mythological figures that suggest the hope of freedom or escape. This bilingual English-Arabic volume comprises a facsimile of the Prison Notebook (recently acquired by The Museum of Modern Art); an English translation of the prose that appears in the diary; a contextualizing essay by art historian Salah Hassan that addresses both the work's significance and the social and political moment in which it was produced; and contemporary commentary by the artist (transcribed from a recent extant interview) about his images and verse.

Published in conjunction with a major survey exhibition on the architectural production of Yugoslavia between 1948 and 1980, this is the first scholarly publication to showcase an understudied but important and exceptional body of modernist architecture. Squeezed between the two rival Cold War blocs, Yugoslav architecture consistently adhered to a modernist trajectory. As a founding nation of the Non-Aligned Movement, Yugoslavia became a major exporter of modernist architecture to Africa and the Middle East in a postcolonial world. By merging a variety of local traditions and contemporary international influences in the context of a unique Yugoslav brand of socialism, often described as the 'Third Way', local architects produced a veritable 'parallel universe' of modern architecture during the forty-five years of the country's existence. This remarkable body of work has sparked recurrent international interest, yet a rigorous interpretative study never materialized in the United States until now. Published in conjunction with a major exhibition on the architectural production of Yugoslavia between 1948 and 1980, this is the first scholarly publication to showcase an understudied but important body of modernist architecture. Featuring new scholarship and previously unpublished archival materials, this richly illustrated publication sheds light on key ideological concepts of Yugoslav architecture, urbanism, and society by delving into the exceptional projects and key figures of the era.

Connie Butler is the Chief Curator at the Hammer Museum, UCLA. David Platzker is a Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.

The late Carolyn Lanchner was a longstanding curator at The Museum of Modern Art, New York.

A hardback edition of the popular MoMA Artist Series, with larger reproductions of Van Gogh¿s artworks. Vincent van Gogh is one of the modern art¿s most celebrated figures, and his painting The Starry Night is one of the touchstones of the modern period. Painted at the tumultuous end of the artist¿s life, Van Gogh¿s imagined firmament, executed in deep blues and brilliant yellows, continues to capture the imaginations of all who view it. Its mystery, its evocation of the infinite, and its ability to inspire wonder have long made it one of the most beloved works in the collection of The Museum of Modern Art. An essay by art historian Richard Thomson looks in depth at the artist¿s career ¿ from Van Gogh¿s turn to art at a relatively late age to the complex and difficult days at the end of his life ¿ and the making of this luminous painting.