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.
“But the speed and directness with which MoMA — not an institution usually thought of as nimble — has responded to Mr. Trump’s ban are especially impressive. Its particular force comes from the curators’ decision to present these works on the fifth floor, in the galleries most steeped in MoMA’s flowchart narrative of Modernist development. The Iranian, Iraqi and Sudanese art does not merely disrupt the old timeline of art history; it disrupts MoMA’s own institutional character. It says: Even the room in which Picasso’s ‘Les Demoiselles d'Avignon’ hangs is not irreproachable, but rather a particular story told by individuals, who at times must speak out.”
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 mo.ma/coursera.
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!
“Art is not made for anybody and is, at the same time, for everybody.”
Piet Mondrian was born on this day in 1872! Although he is best known for his De Stijl work, Mondrian created many Impressionist paintings as a young artist. The vibrant coloring and thickly applied lines of this 1909 work demonstrates the transitional moment in Mondrian’s career, from earlier naturalism to a period of formal experimentation.