Bøger udgivet af Museum of Modern Art

Features photographs of lovers and marriage and child-bearing; photographs concerned with man's dreams and aspirations and photographs of the flaming creative forces of love and truth and the corrosive evil inherent in the lie.

The first survey on the interdisciplinary biodesign genius of Neri Oxman, pioneer of "material ecology" Throughout her 20-year career, Neri Oxman has invented not only new ideas for materials, buildings and construction processes, but also new frameworks for interdisciplinary¿and interspecies¿collaborations. She coined the term ¿material ecology¿ to describe her process of producing techniques and objects informed by the structural, systemic and aesthetic wisdom of nature, from the shells of crustaceans to the flow of human breathing. Groundbreaking for its solid technological and scientific basis, its rigorous and daring experimentation, its visionary philosophy and its unquestionable attention to formal elegance, Oxman¿s work operates at the intersection of biology, engineering, architecture and artistic design, material science and computer science. This book¿designed by Irma Boom and published to accompany a midcareer retrospective of Oxman¿s work¿highlights the interdisciplinary nature of the designer¿s practice. It demonstrates how Oxman¿s contributions allow us to question and redefine the idea of modernism¿a concept in constant evolution¿and of organic design. Some of the projects featured in the book and exhibition include the Silk Pavilion, which harnesses silkworms' ability to generate a 3-D cocoon out of a single thread silk in order to create architectural constructions; Aguahoja, a water-based fabrication platform that prints structures made out of different biopolymers; and Glass, an additive manufacturing technology for 3-D printing optically transparent glass structures at architectural dimensions.

Focuses on the surrealist years of Rene Magritte, creator of some of the 20th centurys most extraordinary images. Bringing together nearly 80 paintings, periodicals and early commercial work, this title offers insight into Magrittes identity as a revolutionary painter and surrealist artist.

A facsimile edition.

"A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, sensitive portraits to architectural studies, ecstatic images of nightlife to cameraless abstractions, astronomical observations to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with ways to make new pictures and deepen the viewer's experience. Published in conjunction with a major exhibition of Tillmans's work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist's career. An outstanding group of writers offer diverse essays addressing key aspects of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs."--

This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew. Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

The authors are all curators at The Museum of Modern Art, New York.

Shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality.

Design and Violence.

Having trained with modern masters from the late 1940s to mid-1950s, Lygia Clark was at the forefront of Constructivist and Neo-Concretist movements in Brazil. This title examines Clarks output from her early abstract compositions to the biological architectures and relational objects she created late in her career.

Published to accompany a major career retrospective at The Museum of Modern Art, this volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, from his earliest childhood drawings through his mature oeuvre.

During the 1920s, Georgia O'Keeffe became widely-known for her paintings of enlarged flowers, and these canvases arguably remain her most iconic today. But she regularly returned to abstraction?the language of her breakthrough drawings from the 1910s. Executed in 1927, Abstraction Blue retains the glowing color, careful modulation, and zoomed-in view of the artist's contemporaneous blooms, while foregoing any obligation toward representation. In this volume of the MoMA One on One series, curator Samantha Friedman considers how these and other factors converged in the creation of this composition.

Conceived in conjunction with an exhibition opening at The Museum of Modern Art in 2022, this publication focuses on an exceptional gift of 108 photographs by women artists from the collection of Helen Kornblum, distinguished member of MoMA's Committee onPhotography. The publication will highlight this significant acquisition, which contributes to the Museum's continuous effort to research and rethink twentieth century art history narratives by amplifying the presence of women artists. Like the exhibition, the book will be structured around thematic groupings, arranged chronologically, and each prefaced by a short text. Special attention will be devoted to topics such as: pictorialist portraiture, surrealist explorations, portraits of artists, the social documentary, advertising, photography and language, photojournalism, gender and the media, still life and domesticity, performance for the camera, and to the camera as a means of personal artistic expression.From modernists such as Claude Cahun and Yva to contemporary photographer Catherine Opie, many of the works in this volume elicit conversations about queer subjectivity. Themes related to colonial history and indigeneity are addressed in photographic projects by both Native artists such as Cara Romero and Hulleah Tsinhnahjinnie, and non-Native practitioners including Graciela Iturbide, Sharon Lockhart, Meridel Rubenstein, Tatiana Parcero, and Tracey Moffatt. Lorna Simpson and Carrie Mae Weems offer uniquely feminist African-diasporic viewpoints on the relationship of race and gender. Our Selves presents a series of new perspectives that rise to our current moment, addressing the urgent need for more intersectional conversations in the arts.

In 2022, The Museum of Modern Art and the Statens Museum for Kunst will present an ambitious dossier exhibition focusing on Henri Matisse's Red Studio from 1911. The large painting depicts the artist's work environment in Issy-les-Moulineaux, crowded with his own canvases, sculptures, furniture and decorative objects. Matisse's radical decision to saturate the work's surface with red has continued to fascinate generations of scholars and artists. Yet much remains to be explored in terms of the painting's genesis and history. This show presents a unique opportunity to assess Matisse's painting anew. The first gallery of the exhibition will reunite The Red Studio - in MoMA's collection since 1949 - with the works depicted in it (three of them belong to the Statens Museum for Kunst). Ranging from 1898 to 1911, they span the artist's career up to that date and combine both familiar and lesser-known pieces. The second gallery of the exhibition will retrace the painting's complex history, from the artist's studio in the Parisian suburb to its subsequent international travels and reception. We will explore, for example, how The Red Studio was originally conceived for the Muscovite collector Sergei Shchukin; how it was later included in the famous 1913 Armory Show; how it was on display for fifteen years on the walls of a London social club; and its eventual acquisition by MoMA. A rich selection of archival materials such as photographs, catalogues, letters, and press clippings will join artworks by Matisse and others on display.

Towards the end of her life, Dorothea Lange (American, 1895-1965) remarked that "all photographs-not only those that are so-called 'documentary,' and every photograph really is documentary and belongs in some place, has a place in history-can be fortified by words." Though Lange's career is widely heralded, this connection between words and pictures has received scant attention. Published in conjunction with an exhibition at The Museum of Modern Art, this catalogue provides a fresh approach to some of her best-known and beloved photographs, highlighting the ways in which these images first circulated in magazines, government reports, books, etc. An introductory text by curator Sarah Hermanson Meister will be followed by plates organized according to "words" from a variety of sources that expand our understanding of the photographs. The featured photographs will range from Lange's first engagement with documentary photography in San Francisco in the early-mid 1930s, including her iconic White Angel Breadline (1933), to landmark photographs she made for the Resettlement Administration (later the Farm Security Administration) such as Migrant Mother (1936), powerful photographs made during World War II in California's internment camps for Japanese-Americans, major photo-essays published in Life magazine on Mormon communities in Utah (in 1954) and County Clare, Ireland (in 1955), and quietly damning photographs made in the Berryessa Valley in 1956-57, before the region was flooded by the construction of a dam intended to address California's chronic water shortages. Exhibition opens December 2019.

"Each volume in the One on One series is a sustained meditaion on a single work from the collection of The Museum of Modern Art"--Front cover, inside flap.

The most comprehensive and up-to-date survey of Brandt's work on the market today.

Published to accompany the first retrospective of her work in a US museum since 1973, at The Museum of Modern Art, this title considers Sturtevant as a uniquely American artist, with political concerns inflected specifically by her upbringing and adult life in the US.

Explores the remarkable relationship between Paul Gauguins rare and prints and transfer drawings, and his better-known paintings and sculptures in wood and ceramic. This title also explores the artists radically experimental approach to techniques and his pivotal place in the history of art.

Originally published by Viking Press in 1971; republished vy the Modern Library in 1998 with a new foreword.

Delves into various aspects of the artist Henri Rousseau's oeuvre and places the work in a broader social and art-historical context.

What is a print? This title intends to answer that question by exploring the four basic printmaking techniques - woodcut, intaglio, lithography and screenprint - that have been used to create some of the most iconic images in modern art, from Paul Gauguin's "Noa Noa" to Andy Warhol's "Marilyn Monroe".

Pablo Picassos modest yet revolutionary cardboard and sheet metal Guitar sculptures (1912 and 1914, respectively) bracket an incandescent period of structural, spatial and material experimentation for the artist. This essay incorporates photographs, correspondence, archival records and accounts, providing insights into Picassos practice.