ニューヨーク近代美術館 さんのインスタグラム
レジャー施設 のニューヨーク近代美術館 さんのインスタグラム(Instagram)アカウントです。
4,928,973
MoMA The Museum of Modern Art
(themuseumofmodernart)
The world's museum for modern and contemporary art. Share your 🤳 #MyMoMANYC
http://mo.ma/links
![ニューヨーク近代美術館のインスタグラム：「Swipe left to discover something new at MoMA → Two visions of pregnancy made the same year, from a male and a female artist’s points of view. Working in Austria and Germany, respectively, in the years before World War I, artists Gustav #Klimt and #PaulaModersohnBecker reacted to the rapid transformations affecting society—industrialization and urbanization, as well as changing attitudes toward sexuality—with artworks of intense personal expression and emotional authenticity. Their unique visions of pregnancy are on view in Gallery 504: New Expression in Germany and Austria. Despite its iridescent, decorative qualities, Klimt’s “Hope, II” alludes to the dangers of childbirth with potent symbolism. The woman bows her head. Close to her stomach is a death’s head, a looming sign of the danger she faces. Here birth, death, and the sensuality of the living exist side by side, suspended in equilibrium. The harsh realities of childbirth come to light in Modersohn-Becker’s biography. She painted this emblematic self-portrait, in which the pregnant artist stares at viewers with a steady, compelling gaze, the year that she died, at age 31, weeks after giving birth to her first child. Yet Modersohn-Becker’s expression here seems hopeful, an attitude reinforced by her colorful, textured palette. #MoMACollection #newMoMA --- [Left to right: Gustav Klimt. “Hope, II.” 1907-08. Oil, gold, and platinum on canvas. 43 1/2 x 43 1/2" (110.5 x 110.5 cm); Paula Modersohn-Becker. “Self-Portrait with Two Flowers in Her Raised Left Hand.” 1907. Oil on canvas. 21 3/4 × 9 3/4" (55.2 × 24.8 cm)]」](https://www.instagram.com/p/B79UmxlJmbq/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「Is there anything that can’t be made into art? With no end in sight to their experimentation, contemporary artists have answered this question with a resounding “no.” Materials you might expect, like paint and film, are handled in new ways while other works embrace stranger substances—ultrasonic gel, vinyl, door frames—and cutting-edge processes like 3D-printed glass. “Everyone has a relationship to material,” artist #SheilaHicks (@ateliersheilahicks) has said. “There’s a hop, skip and a jump that takes you from material to art and often it’s circuitous.” Hicks has continued to push the boundaries of materials, namely fiber, over the course of her 60 year career. She considers color, form and texture to be inextricably linked in her work, and hopes that for anyone looking at it “the desire to touch [would] be very much alive. I think that is important, the wanting: the desire to hold it in your hands, to befriend it, to see if it bites, or if it’s compatible to your existence, and in what way.” Explore how artists are innovating materials in our free online @coursera course, #WhatIsContemporaryArt. Enroll today at mo.ma/whatiscontemporaryart」](https://www.instagram.com/p/B77C6yfI4vD/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「"I'm thrilled to see Hilma af Klint's mystical and inventive abstraction on the walls of the new MoMA. This painting is over 100 years old, and to me it feels ancient, contemporary, and from-the-future, all at once. I'm drawn to its dualities—spiritual/scientific, harmony/tension, delicate/bold, macrocosm/microcosm. Don't miss it!" Kaitlyn Stubbs (@kstubbz), a fellow in the Museum's Department of Education, shares a favorite discovery from the #newMoMA. See this painting by #HilmaafKlint in Gallery 505: Circa 1913 and explore more #MoMAPicks from our staff at mo.ma/staffpicks. --- [Hilma af Klint. "The Dove, No. 2, Series UW, Group IX." 1915. Oil on canvas. 59 13/16 x 45 1/4" (152 x 115 cm). Hilma af Klint Foundation]」](https://www.instagram.com/p/B74NSLWlGrP/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「MoMA wishes you a happy and prosperous Lunar New Year! We're celebrating #YearoftheRat 🐀 with Cai Guo-Qiang's "Transient Rainbow," a fireworks display over the East River that the Chinese-born, New York–based artist produced for the Museum in 2002. Cai first began experimenting with gunpowder in 1984. He is interested in the deep and varied associations the material, which was invented in China, has with the country's history and culture, from ancient medicine to ritual fireworks to modern warfare. "Transient Rainbow" is a pyrotechnic event commissioned by MoMA to celebrate the opening of the Museum's temporary home in Queens in 2002. A rainbow of fireworks crossed the East River on June 29th, mirroring MoMA's movement from Manhattan to Queens. The Museum moved back to its home on West 53rd Street in Manhattan in 2004. #ChineseNewYear #CaiGuoQiang #fireworks --- [Cai Guo-Qiang. "Transient Rainbow." One-minute fireworks display over the East River. Conceived by Cai Guo-Qiang, produced by Fireworks by Grucci Inc, commissioned by The Museum of Modern Art to celebrate the opening of MoMA QNS. June 29, 2002. The Museum of Modern Art Archives, New York]」](https://www.instagram.com/p/B7vpitRpKvP/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「Curators Sarah Meister (@themomameister) and Rajendra Roy (@rajendraroymoma) offer new ways of looking at MoMA's earliest films and photographs, on view in the newly-reinstalled Gallery 502. When photography and film first appeared in the 19th century, they fascinated viewers with their ability not only to record but also to reinvent reality. These technologies reshaped the visual culture of the time, providing an alternative to traditional methods of image-making involving hand, pen, and brush. “What we could do with film and photography is to suggest… the idea that this transformation of the way people saw the world was happening at the same time that [artists like #Cézanne, #VanGogh, and #Gauguin] were making those paintings: it was so abundant that you couldn’t escape it.," Meister explained. "1889 is the year Van Gogh painted ‘The Starry Night,’ but it is also the year that the Kodak No. 1 camera was introduced. The marketing slogan for that camera was, ‘You push the button, we do the rest.’” Read their full conversation on #MoMAMagazine at link in bio. --- [Artworks pictured left to right: Eadweard J. Muybridge. "Movement of the Hand, Beating Time": Plate 535 from "Animal Locomotion." 1884-86. Collotype. 9 1/2 x 11 13/16" (24.1 x 30 cm); American Mutoscope and Biograph Company, G. W. Bitzer, F. A. Dobson. "Interior N.Y. Subway, 14th Street to 42nd Street." 1905. 35mm film transferred to video (black and white, silent). 4 min. at 18 fps; Klaw & Erlanger, Biograph Company, Bert Williams, Edwin Middleton, T. Hayes Hunter. Excerpt from "Lime Kiln Club Field Day." 1914. 35mm film transferred to video (black and white, silent). 3 min. at 17 fps; Installation views of the gallery "Early Photography and Film" in the exhibition "Collection 1880s-1940s." October 21, 2019-October 25, 2021. Photographs by Jonathan Muzikar]」](https://www.instagram.com/p/B7t-o62JKcr/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「Swipe left to discover something new at MoMA → The existential metaphor of wide-open sky, contained. The eye was a subject that fascinated many #Surrealist poets and visual artists, given its position between inner, subjective self and the external world. René #Magritte’s “The False Mirror,” on view in Gallery 517: Surrealist Objects, has an unsettling character: it places the viewer on the spot, caught between looking through and being watched by an eye that, despite its cumulus-cloud-filled beauty, proves to be empty. #GeoffreyHendricks’s penchant for painting skies on everything earned him the nickname “Cloudsmith.” One thing that's consistent, Hendricks said, is the sky is always changing—you can paint it over and over again but it's never the same. The #Fluxus artist lived in New York’s industrial SoHo neighborhood in the 1960s, scrounging for humble art materials in dumpsters. “Sky Crated” is made from a common pallet used to load docks. See the irreverent work in Gallery 410: At the Border of Art and Life. #MoMACollection #newMoMA --- [Left to right: René Magritte. “The False Mirror” (detail). 1929. Oil on canvas. 21 1/4 x 31 7/8" (54 x 80.9 cm). © 2019 C. Herscovici, Brussels / Artists Rights Society (ARS), New York; Geoffrey Hendricks. “Sky Crated.” 1965. Oil on canvas and wood. 38 1/8 × 26 1/2 × 3 1/8" (96.8 × 67.3 × 8 cm). © 2019 Geoffrey Hendricks]」](https://www.instagram.com/p/B7rTqYLJSz5/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「How do artists critique forces of power and political and economic structures? How can they help create a better, more sustainable future? Designer #MassoudHassani’s Mine Kafon Wind-Powered Deminer, on view in #EnergyMoMA through January 26, is designed to roll across the ground, detonating landmines in the process. In Hassani’s hometown of Qasaba, Afghanistan, leftover mines, remnants of conflicts, often injure or kill civilians. When the deminer blows across a minefield, it reclaims the space as safe and usable. The design was inspired by the wind-powered racing toys that Hassani and his friends built as children. Explore how artists engage with power, making visible its structures and symbols, its abuses, as well as its sources, in our free online @coursera course, #WhatIsContemporaryArt. Enroll today at mo.ma/whatiscontemporaryart --- [Installation view of the exhibition “Energy,” October 21, 2019 - January 26, 2020. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by Heidi Bohnenkamp]」](https://www.instagram.com/p/B7oaJGAFeKR/media?size=m)
![ニューヨーク近代美術館のインスタグラム：「Multiple narratives unfold across the images in #DayanitaSingh’s "Museum of Chance" (2013), on view in #SurroundsMoMA, 11 installations by some of today's most exciting contemporary artists. Singh shot the more than 160 photographs that make up the work over many years, probing the parameters of photography as a medium and its intricate relationship to the ways images are disseminated. By presenting her photographs not in a fixed sequence but in moveable, hand-built teak panels, the artist allows them to take on multiple—and evolving—relationships with one another. This Thursday, December 5, is the perfect time to catch the exhibition before it closes. Join Singh at the Museum after hours for First Thursdays, a special night each month when we're open until 9:00 p.m. The artist will discuss "Museum of Chance" with Lucy Gallun, associate curator in the Department of Photography. Find more info at link in bio! --- [Installation views of the exhibition “Surrounds: 11 Installations,” October 21, 2019 - January 5, 2020. The Museum of Modern Art, New York. Digital Image © 2019 The Museum of Modern Art, New York. Photo by John Wronn; Dayanita Singh before "Museum of Chance,” 2013. Photo by Austin Donohue]」](https://www.instagram.com/p/B5lJWApjlQI/media?size=m)
ニューヨーク近代美術館をフォローしている有名人
-
StreetArtGlobe
-
ユビン
-
コ・アラ
-
yonfa0823
-
shoko inooka
-
横山勇也
-
クリスティーナ・ガオ
-
Aria Alexander
-
フェリシティブラウン
-
ダニ・ダニエルズ
-
フルーム
-
グレッグ・ジェームス
ニューヨーク近代美術館と一緒に登場した有名人
-
オノ・ヨーコ
-
クエストラブ
-
ジュリアン・ムーア
-
セサミストリート
-
ケレラ
-
セイント・ヴィンセント
-
The Weeknd
-
タヴィ・ゲヴィンソン
-
エズラ・クーニグ
-
Empire State Building
-
ローリン・ヒル
-
スウィズ・ビーツ
関連コンテンツ
ニューヨーク近代美術館の人気のインスタグラム
-
ニューヨーク近代美術館： "I'm thrilled to see Hilma af Klint's mystical and inventive abstraction on the walls of the new MoMA. This painting is over 100 years old, and to me it feels ancient, contemporary, and from-the-futur
-
ニューヨーク近代美術館： "If the sleeper is dreaming, what might the sleeper be dreaming of?" Poet Sharon Olds sends a message to the viewer of Henri Rousseau's "The Sleeping Gypsy" in the latest installment of #MoMAMagazine'
-
ニューヨーク近代美術館： On this snowy New York City evening, we're enjoying Gen Otsuka's 1953 photograph, "Snow Fantasy," on view in the fourth-floor collection galleries.Gallery 409: Abstract Lens features works by post-war
-
ニューヨーク近代美術館： Are you ready to take a spin? Shop collectible vinyl albums featured in the #MoMACollection at The Record Shop Pop-Up at the @momadesignstore in Soho and online. Plus, discover posters, turntables, bo
-
ニューヨーク近代美術館： In this month’s #DrawntoMoMA, cartoonist Anna Haifisch (@the.artist942) imagines her character, The Artist, on a visit to MoMA. Leipzig-based Haifisch created the frail, birdlike protagonist of her on
-
ニューヨーク近代美術館： How do artists critique forces of power and political and economic structures? How can they help create a better, more sustainable future?Designer #MassoudHassani’s Mine Kafon Wind-Powered Deminer, on
-
ニューヨーク近代美術館： “Many of the images are difficult and painful and they’re supposed to be. And it is important that you don’t look away—that you sit in that discomfort. There is a lot of productive work that happens i
-
ニューヨーク近代美術館： “It’s an effort to end the silence. And when you end silence and you can begin to speak truth.” Human rights lawyer #BryanStevenson, founder of @eji_org and author of "Just Mercy" (adapted into @justm
-
ニューヨーク近代美術館： We're saddened by the loss of artist Jason Polan, a very special MoMA member who sketched countless New Yorkers—and every piece of art at the Museum. This 2009 video captures Polan at work in the MoMA
-
ニューヨーク近代美術館： Is there anything that can’t be made into art? With no end in sight to their experimentation, contemporary artists have answered this question with a resounding “no.” Materials you might expect, like
-
ニューヨーク近代美術館： Mistakes welcome!Making art got messy in the mid-1950s and early 1960s, when sculptors, choreographers, composers, and painters blended their practices and challenged categorization by incorporating r
-
ニューヨーク近代美術館： We’re counting down to #TheArmoryParty! Kick off Armory Arts Week and the opening of @thearmoryshow on Wednesday, March 4 at MoMA with a live performance by @orvillepeck and DJ sets by @kittycash, @hq