The Museum of Modern Art

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Yoko Ono: One Woman Show, 1960-1971 examines the beginnings of Ono's extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned "one woman show" at The Museum of Modern Art. Over forty years after Ono's unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artist's work. The publication evaluates the broader cultural context of Ono's early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

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The execution of Emperor Maximilian of Mexico, in 1867, was the subject of a quartet of paintings by the French Impressionist and early Modernist Edouard Manet. These works are rarely shown together, and in fact cannot be seen in their entirety, since one of them exists only in fragments, but the three intact paintings and the surviving elements of the fourth are reproduced in this publication, and will be shown at The Museum of Modern Art's exhibition in the fall of 2006. Maximilian's death was an event of great public interest in France, in part because French policies shared the responsibility for it. A European aristocrat of the Hapsburg family, Maximilian had been installed in 1864 after a trio of European powers, led by Napoleon III of France, mounted an invasion of Mexico to reclaim debts upon which the Mexican government had suspended payment. But Napoleon soon withdrew, abandoning Maximilian to his fate at the hands of a resurgent Mexican army. As news of the execution reached Paris, Manet reacted with a group of works synthesizing the information as it came to him and drawing heavily on an earlier painting inspired by violent political events, Goya's The Third of May. In addition to analyzing and documenting the creation of these works, John Elderfield, in his text, clarifies their historical importance in the context of modern art, and in so doing, offers a capsular history of the place of current events in art.

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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? During the 1920s in Russia, many authors, poets, and talented visual artists worked with fervent dedication and the support of the government to create a new type of childrens literature, one that drew on both the aesthetic innovations of the period and contemporary social and political philosophy to inspire and stimulate young minds. This whimsical childrens picture book was one of several collaborations between Vladimir Lebedev and Samuil Marshak, many of which are now in the collection of The Museum of Modern Art. This volume reproduces the original book in size, shape, and layout, with new English translations. The dynamic graphic compositions and playful rhyming texts remain as compelling today as they were nearly a century ago.

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In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it. ? John Szarkowski In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand. Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content. Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.

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The elegant and exquisitely shaped sculptures of Constantin Brancusi (1876-1957) are easily among the most iconic sculptures created in the twentieth century. "There are those idiots who define my work as abstract," he once said; "yet what they call abstract is what is most realistic. What is real is not the appearance but the idea, the essence of things." This volume includes 35 color images; a commentary by Carolyn Lanchner, a former curator of painting and sculpture at MoMA, accompanies each work, elucidating its significance and its context.

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Marcel Broodthaers’ extraordinary artistic output placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussel shells, eggshells and books of his own poetry, to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany Broodthaers’ first retrospective in New York, this volume examines the artist’s work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H.D. Buchloh, Jean François Chevrier, Thierry de Duve and Doris Krystof, provide historical and theoretical context for the artist’s work. The book also features new translations of many of Broodthaers’ texts. Marcel Broodthaers (1924–76) worked as a poet and critic until the age of 40, when he declared himself a visual artist. Over the next 12 years, he moved between Brussels, his birth city, and Düsseldorf and London. From 1968 to 1972 Broodthaers operated the Musée d’Art Moderne, Département des Aigles, an itinerant museum devoted to the exploration of the role of the institution itself and the function of art in society.

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In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World". The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.

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American Modern presents a fresh look at The Museum of Modern Arts holdings of American art made between 1915 and 1950, and considers the cultural preoccupations of a rapidly changing American society in the first half of the 20th century. Organized thematically and featuring paintings, drawings, prints, photographs, sculpture, and film, the publication brings together some of the Museums most celebrated masterworks, contextualizing them across mediums and amidst lesser-seen but revelatory works. The selection of works by artists such as Edward Hopper, Georgia OKeeffe, Charles Sheeler, Charles Burchfield and Stuart Davis include urban and rural landscapes, scenes of industry, still-life compositions and portraiture. Although varying in style and specifics, they share certain underlying visual and emotional tendencies. Cityscapes and factories are eerily emptied of the crush of residents that flocked to them, becoming both a celebration of clean modern form and technological advances, as in Sheelers paintings and photographs, and a reflection of anxiety about increasingly urban life-styles and their consequences for the American individual, as in Hoppers iconic Night Windows. Equally silent rural scenes are no less haunting, but perhaps reflect a nostalgia for seemingly simpler times, and a celebration of early American traditions and values. Rather than an encyclopedic view of American art of the period, this volume is a focused look at the strengths and surprises of MoMAs collection in an area that has played a rich and major role in the institutions history.

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In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set new attendance records in its five-week run. The Museum brought Rivera to New York six weeks before the show's opening and gave him on-site studio space. There he produced five "portable murals" - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the city during the Great Depression. Published in conjunction with an exhibition that brings together key works made for Rivera's 1931 show, this catalogue casts the artist as a highly cosmopolitan figure who traveled between Russia, Mexico and the United States and examines the intersection of artmaking and radical politics in the 1930s. Illustrated with reproductions of each panel as well as related paintings, drawings, prints and documentary photographs, the book's essays investigate the international politics of muralism, Rivera's history with MoMA, the iconography of the portable murals and technical aspects of the artist's working process. Diego Rivera (1886-1957) was a central figure in the development of Mexican muralism, an ambitious public art initiative intended to relay Mexico's ideals after the Revolution (1910-1920). A highly cosmopolitan artist, Rivera had spent many years in Europe before returning to Mexico in 1921, and in 1927 he traveled to the Soviet Union where he met Alfred Barr, the soon-to-be founding director of The Museum of Modern Art, New York. Rivera's artistic celebrity benefitted from major commissions in the United States, including murals for the Pacific Stock Exchange, the California School of Fine Arts in San Francisco, MoMA and the Detroit Institute of Arts. By the 1930s, he enjoyed an unrivaled status at the center of international debates about public art and politics.

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At the forefront of Mexico's social revolution in the first half of the twentieth century were three artists whose murals resonated throughout the Americas and beyond: José Clemente Orozco, Diego Rivera and David Alfaro Siqueiros. This volume looks at ten important works by these artists from the collection of The Museum of Modern Art.

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Featuring artwork from The Museum of Modern Art's unparalleled collection, each volume in the MoMA Artist Series guides readers through one artist's most memorable achievements, explaining their significance and placing them in context among the groundbreaking innovations of their time. This series is an invaluable resource for exploring and interpreting some of the most beloved artworks by key artists who shaped the trajectory of modern art. Through his art, ideas and style, Andy Warhol made an indelible mark on the history of modern art and on popular culture. This book features ten paintings by Warhol selected from The Museum of Modern Art's collection of his work. His famous Gold Marilyn Monroe and Campbell's Soup Cans are here, along with other equally groundbreaking and iconic silkscreen paintings -from his early work of 1961 to The Last Supper, a painting in progress at the time of his death, in 1987. An insightful essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art and in the artist's own life.

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Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former Curator of Painting and Sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Picasso.

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Paul Cézanne died in 1906, only six years into the twentieth century, but he is widely considered the founding figure of modernist painting, the artist whom Pablo Picasso called "the father of us all". This new volume in the MoMA artist series guides readers through ten memorable works by Cézanne in the collection of The Museum of Modern Art. His iconic paintings %%The Bather%% and %%Boy in a Red Vest%% are featured, along with still lifes and landscapes from earlier and later years. Carolyn Lanchner, a former curator of painting and sculpture at the Museum, contributes essays that illuminate each work.

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Jackson Pollock, Roy Lichtenstein, Robert Rauschenberg and Jasper Johns each made a tremendous impact on modern art in the 20th century. As pioneers of revolutionary movements such as Abstract Expressionism and Pop art, they are key figures in the postwar transitions that brought American art to the forefront of the international scene. These latest volumes in the MoMA Artist Series, which explores important artists and favorite works in the collection of The Museum of Modern Art, guide readers through a dozen of each artists most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art and the artists own life. These books provide a unique overview of the individuals who shaped the development of American art since mid-century and are excellent resources for readers interested in the stories behind the masterpieces of the modern canon.

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Nearly 6 million riders use the New York City subway every day. How do you make a map that helps all of them get to where they are going? The Great New York Subway Map, written and illustrated by Emiliano Ponzi and published by The Museum of Modern Art, in association with the New York Transit Museum, tells the fascinating story of the map's creation in 1972 by the great Italian designer Massimo Vignelli and his team, and introduces young readers to the idea of graphic design as a way to solve problems and shape our world.

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More than any other artist, Walker Evans invented the images of essential America that we have long since accepted as fact, and his work has influenced not only modern photography but also literature, film and visual arts in other mediums. The original edition of "American Photographs" was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of "American Photographs" made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. "American Photographs" has fallen out of print for long periods of time since it was first published, and even subsequent editions - two of which altered the design and typography of the book in small but significant ways - are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies. Walker Evans (1903-1975) took up photography upon his return to New York in 1927, following a year in Paris when his aspiration to become a writer withered in the shadow of Fitzgerald, Hemingway and Joyce. In 1935, Evans was commissioned by the Farm Security Administration to photograph the effects of the Great Depression in the Southeast. During this time he took many of the photographs that appeared in his collaboration with James Agee, "Let Us Now Praise Famous Men (1941), a book which has become a defining document of that era. Evans joined the staff of "Time "magazine in 1945 and shortly thereafter became an editor at "Fortune" where he stayed for the next two decades. In 1964, he became a professor at the Yale University School of Art, where he taught until his death in 1975.

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In 1941, Jacob Lawrence, then just 23 years old, made a series of 60 small tempera paintings on the Great Migration, the decades-long mass movement of black Americans from the rural South to the urban North that began in 1915-16. The child of migrant parents, Lawrence worked partly from his own experience and partly from long research in his neighborhood library. The result was an epic narrative of the collective history of his people. Moving from scenes of terror and violence to images of great intimacy, and drawing on film, photography, political cartoons and other sources in popular culture, Lawrence created an innovative format of sequential panels, each image accompanied by a descriptive caption. Within months of its completion, the series entered the collections of The Museum of Modern Art, New York, and the Phillips Memorial Gallery (today The Phillips Collection), Washington, DC, each institution acquiring 30 panels. The Migration Series is now a landmark in the history of modern art. Jacob Lawrence: The Migration Series, now in paperback, grounds Lawrence's work in the cultural and political debates that shaped his art and demonstrates its relevance for artists and writers today. The series is reproduced in full; short texts accompanying each panel relate them to the history of the Migration and explore Lawrence's technique and approach. Alongside scholarly essays, the book also includes 11 newly commissioned poems, by Rita Dove, Nikky Finney, Terrance Hayes, Tyehimba Jess, Yusef Komunyakaa, Patricia Spears Jones, Natasha Trethewey, Lyrae Van Clief-Stefanon, Crystal Williams and Kevin Young, that respond directly to the series. The distinguished poet Elizabeth Alexander edited and introduces the section.

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Forever Now presents the work of 17 artists whose paintings reflect a singular approach that characterizes our cultural moment at the beginning of this new millennium they refuse to allow us to define, or even meter our time by them. This phenomenon was first identified by the science fiction writer William Gibson, who used the term atemporality to describe a cultural product that paradoxically doesn't represent, through it's style, it's content or it's medium, the time from which it comes. Atemporality, or timelessness, manifests itself in painting as an ahistorical free for all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. This profligate mixing of past styles and genres is a hallmark for our moment in painting, which artists achieve by reanimating historical styles or creating a contemporary version of them, incorporating motifs from throughout twentieth century art into a single painting or a body of work, or radically paring their language down to the most archetypal forms. Published to accompany an exhibition at The Museum of Modern Art, this volume features work by an international roster of artists including Richard Aldrich, Joe Bradley, Kerstin Bratsch, Matt Connors, Michaela Eichwald, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, Rashid Johnson, Julie Mehretu, Dianna Molzan, Oscar Murillo, Laura Owens, Amy Sillman, Josh Smith, Mary Weatherford and Michael Williams.

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Sturtevant has been repeating the works of her contemporaries since 1964, using some of the most iconic artworks of her generation as a source and catalyst to explore originality and authorship. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Yet her chameleonlike embrace of other artists work is also what has allowed her to be largely overlooked in the history of postwar American art. As a woman making versions of the work of better known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism, at once absent from these histories while nevertheless articulating their structures. Published to accompany the first retrospective of her work organized by a US museum, this publication presents Sturtevant as an artist who adopts style as her medium to expose aspects of art making, circulation and canonization. Featuring works drawn from all periods of her career and previously unpublished sketches from her archive, it links Sturtevant's earliest repetitions to the video works she has produced since 1998, providing a comprehensive overview of her practice while situating it firmly within postwar American culture. Sturtevant was born in Lakewood, Ohio, in 1924. She had her first solo show in 1965 at the Bianchini Gallery in New York. Solo exhibitions of her work have since been held at Deichtorhallen, Hamburg (1992), Museum für Moderne Kunst, Frankfurt (2004), Musée d'Art Moderne, Paris (2010) and Moderna Museet, Stockholm (2012). In 2011, Sturtevant received the Golden Lion for lifetime achievement at the 54th Venice Biennale.