From MoMA
August Sander. Middle-class Couple. 1922. Gelatin silver print. 10 3/16 × 7 3/8" (25.8 × 18.7 cm). Acquired through the generosity of the family of August Sander. 472.2015.181. © 2025 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY. Portfolio. Photography
August Sander. Middle-class Child. 1926. Gelatin silver print. 10 3/16 × 7 3/8" (25.8 × 18.7 cm). Acquired through the generosity of the family of August Sander. 472.2015.194. © 2025 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY. Portfolio. Photography
August Sander. Village School Class. c. 1929. Gelatin silver print. 10 3/16 × 7 3/8" (25.8 × 18.7 cm). Acquired through the generosity of the family of August Sander. 472.2015.349. © 2025 Die Photographische Sammlung / SK Stiftung Kultur - August Sander Archiv, Cologne / ARS, NY. Portfolio. Photography
Marianne Brandt, Hin Bredendieck. Kandem Bedside Table Lamp. 1928. Körtig & Matthiesen, Leipzig, Germany. Lacquered steel. 9 1/4 x 7 1/4" (23.5 x 18.4 cm). Phyllis B. Lambert Fund. 191.1958. Architecture & Design
Even those who don’t know about art have most likely seen French Impressionist Claude Monet’s paintings somewhere, like in the 1997 movie Titanic, when Kate Winslet showed Leonardo DiCaprio the artwork she had just purchased, or perhaps printed on an umbrella, or maybe even in a book.
MoMA Exclusive: Designed by Nicholai Wiig Hansen, the Raawii Collection is distinguished by Hansen’s signature focus on shape being informed by function. The large-sized bowl is available from MoMA Design Store in blue.
This pencil case is crafted in Italy by master artisans using vegetable-tanned cowhide. The brass zipper closure with a cowhide pull adds a touch of sophistication. Bring class and elegance to your everyday essentials with this pencil case.
Exploring art galleries can at times be a sterile and overwhelming experience. Sprawling layouts, visitors' lack of knowledge, sleep-inducing audio...
Inscription: (in pencil, below image)c) 24/25 Home Zarina 99d) 24/25 Threshold Zarina 99e) 24/25 Door Zarina 99f) 24/25 Entrance Zarina 99g) 24/25 Courtyard Zarina 99h) 24/25 Wall Zarina 99i) 24/25 Sky Zarina 99j) 24/25 Earth Zarina 99k) 24/25 Sun Zarina 99l) 24/25 Moon Zarina 99m) 24/25 Stars Zarina 99n) 24/25 Axis Zarina 99o) 24/25 Morning Zarina 99p) 24/25 Dawn Zarina 99q) 24/25 Dew Zarina 99r) 24/25 Afternoon Zarina 99s) 24/25 Stillness Zarina 99t) 24/25 Hot-Breeze Zarina 99u) 24/25 Evening Zarina 99v) 24/25 Shadows Zarina 99w) 24/25 Urdu text Zarina 99x) 24/25 Urdu text Zarina 99y) 24/25 Rain Zarina 99z) 24/25 Fragrance Zarina 99aa) 24/25 Urdu text Zarina 99bb) 24/25 Urdu text Zarina 99cc) 24/25 Urdu text Zarina 99dd) 24/25 Country Zarina 99ee) 24/25 Dust Zarina 99ff) 24/25 Language Zarina 99gg) 24/25 Journey Zarina 99hh) 24/25 Road Zarina 99ii) 24/25 Destination Zarina 99jj) 24/25 Distance Zarina 99kk) 24/25 Time Zarina 99ll) 24/25 Border Zarina 99On verso (in pencil, lower center):c) 1d) 2e) 3f) 4g) 5h) 6i) 7j) 8k) 9l) 10m) 11n) 12o) 13p) 14q) 15r) 16s) 17t) 18u)19v) 20w) 21 / Cloudsx) 22 / Dust-Stormy) 23z) 24 aa) 25 / Nightbb) 26 / Darknesscc) 27 / Despairdd) 28ee) 29ff) 30gg) 31hh) 32ii) 33jj) 34kk) 35ll) 36
Any design job for the Museum of Modern Art is daunting, given the world-class art and design in MoMA's own collection. Designing MoMA's retail store has its own challenges—not just in how to make it aesthetically elevated, but in how to balance the artistic DNA of the museum with the commerce-driven purpose of the store.
MoMA is one of NYC's most impressive museums. Make the most of your visit to this world-class modern art museum with these top tips.
New York City is a world-class destination. Here are the top things to do in Midtown Manhattan from the MoMA to the Top of the Rock.
You could visit the MoMA and take in the museum’s world-class modern art, enjoy the Met's Egyptian artifacts, or, you can see 5 offbeat museums in NYC!
Pace Gallery has mounted a world class mini-museum show on the art of the Happening using its vast holdings as well as supplemental gleanings loaned from the Whitney, MOMA and Getty museums.
Class project to design a exhibition wall design for an upcoming show for the MOMA. We had to research and develop a design that incorporated the artists aesthetics and mood, while playing with the space it is in. Our project facilitator was a designer wh…
Exhibition. Nov 13, 2011–May 14, 2012. Diego Rivera was the subject of MoMA’s second monographic exhibition (the first was Henri Matisse), which set new attendance records in its five-week run from December 22, 1931, to January 27, 1932. MoMA brought Rivera to New York six weeks before the exhibition’s opening and gave him studio space within the Museum, a strategy intended to solve the problem of how to present the work of this famous muralist when murals were by definition made and fixed on site. Working around the clock with two assistants, Rivera 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 social stratification of the city during the Great Depression. All eight were on display for the rest of the show’s run. The first of these panels, Agrarian Leader Zapata, is an icon in the Museum’s collection. This exhibition will bring together key works made for Rivera’s 1931 exhibition, presenting them at MoMA for the first time in nearly 80 years. Along with mural panels, the show will include full-scale drawings, smaller working drawings, archival materials related to the commission and production of these works, and designs for Rivera’s famous Rockefeller Center mural, which he also produced while he was working at the Museum. Focused specifically on works created during the artist’s stay in New York, this exhibition will draw a succinct portrait of Rivera as a highly cosmopolitan figure who moved between Russia, Mexico, and the United States, and will offer a fresh look at the intersection of art making and radical politics in the 1930s. MoMA will be the exhibition’s sole venue.
Exhibition. Feb 26–Jun 11, 2012. Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite. Bringing together more than 170 photographs, this retrospective survey traces the artist’s career from the mid 1970s to the present. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series “Untitled Film Stills” (1977–80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films; her ornate history portraits (1989–90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings; and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA. In conjunction with the exhibition, Sherman has selected films from MoMA’s collection, which will be screened in MoMA’s theaters during the course of the exhibition. A major publication will accompany the exhibition.
MoMA | “I went to MoMA and…”: It’s Back!
