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In honor of Memorial Day, here are some paintings from Jacob Lawrence’s War Series (1946–47), on view in Where We Are. Lawrence’s War Series describes firsthand the sense of regimentation, community, and displacement that the artist experienced during his service in the United States Coast Guard during World War II. Lawrence initially served in a racially segregated regiment where he was given the rank of steward’s mate, the only one available to Black Americans at the time. He befriended a commander who shared his interest in art, however, and went on to serve in an integrated regiment as Coast Guard artist. Lawrence said that he wanted the War Series “to capture the essence of war” by “portraying the feeling and emotions that are felt by the individual, both fighter and civilian.” Historically, paintings of war have most often emphasized the triumph of victory. But in these images, heroism cannot be separated from drudgery and suffering, and victory is not free from sorrow and loss.

Happy Valentine’s Day!

With a couple posed in a loving embrace, encircled by large pink hearts, a reference to the frivolity that characterizes French Rococo painting, Kerry James Marshall’s Study for Vignette meditates on beauty, love, romance, and harmony in the black experience. Learn more about the work. 

[Kerry James Marshall. Study for Vignette. 2004. Crayon, gouache, and pencil on paper. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. © 2017 Kerry James Marshall]

In the Studio: Postwar Abstract Painting

Ever wondered how Agnes Martin balanced perfection and imperfection in her gridded compositions, why Jackson Pollock was dubbed “Jack the Dripper,” how Mark Rothko sought to make viewers cry, or what a Willem de Kooning painting sounds like? Sign up for “In the Studio: Postwar Abstract Painting,” MoMA’s newest free online course—now open for enrollment at

This course welcomes anyone to tap into the processes, materials, and minds of seven New York School artists including Martin, Pollock, Rothko, de Kooning and Barnett Newman, Ad Reinhardt, and Yayoi Kusama. Combining studio techniques, visual analysis, and art historical insight, it offers an opportunity to experience postwar abstract painting from an artist’s point of view. 

Thanks to @vw​ for helping to bring MoMA Courses to learners all over world!

#DuchampScandal #AprilFoolsDay

“Fountain,” 1950 (replica of 1917 original), by Marcel Duchamp © Artists Rights Society (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp

Matsuo Hiromi マツオヒロミ‏

Mijikashi koiseyo otome 命短し恋せよ乙女 (Short life, miserable maiden) exhibition poster - Yayoi Art Museum 弥生美術館 - Japan - July 1st 2017

Source Twitter ‏@matuo