Museum of Modern Art (MoMA)

What does it mean for humans to leave their trace on the land, and how permanent is it? Ana Mendieta's powerful earth work "Nile Born" takes the form of a human silhouette covered in sand from the Nile. In this video, Eva Lavranou contemplates the work's fragility in the context of her upbringing in Greece, and the inevitable "collaboration" of the body and the earth. Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #anamendieta #earthwork #siluetas #art #museumofmodernart #moma #museum #modernart

Learn how to make a watercolor painting like Georgia O'Keeffe, Paul Cézanne, and other artists in this new episode of our tutorial series IN THE STUDIO. Artist Jia Sung teaches two different techniques: "wet on wet" for more improvisational work and a drier approach for still life painting and observational work. See how she uses tube and pan paints, different types of brushes, and looks at works in MoMA's collection for inspiration. Works referenced: Georgia O'Keeffe. "Evening Star No. III." 1917 Georgia O'Keeffe. "Train at Night in the Desert." 1916 Romare Bearden. "Untitled (Brenda)." 1984 Paul Cézanne. "Mont Sainte-Victoire." 1902–06 Marlene Dumas. "Chlorosis (Love sick)." 1994 0:00: Introduction 0:54: Tube paints 01:12: "Wet on wet" technique 01:49: Georgia O'Keeffe's watercolor 04:32: Pan paints 05:59: Still life with drier approach 07:49: Types of brushes 9:38: Cézanne watercolor 11:19: Incorporating "wet on wet" 11:53: Fine line work 12:25: Georgia O'Keeffe's watercolor 13:51: Finishing Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #watercolor #watercolortutorial #watercolorpainting #howtowatercolor #paintingtutorial #stilllife #art #museumofmodernart #moma #museum #modernart

We take a closer look at the history of Gilbert Baker’s original design of the "Rainbow Flag," and how it stands as an enduring symbol of hope. "One of the things that you can read from the flag is that it's from nature, and there's nothing unnatural about being queer," MoMA educator George Benson explains. "I always say to people that queer history is as old as human history because we've never not been here. And when you're feeling quite isolated and alone, this flag is a beacon." Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #rainbowflag #prideflag #pride #lgbtqia #queerhistory #pridemonth #art #museumofmodernart #moma #museum #modernart

Salon 42 is focused on good, a noun that is very hard to define. Common phrases such as “for the common good” or “towards the greater good” mean well, but fail to specify for whom and in what form such good is pursued. Good is perhaps best described through this ambiguity and multiplicity, with its only constant being the fact that across time and space, it has consistently meant different things to different people and groups. As we reflect on the past five years, which have brought to the fore with renewed sharpness the systemic issues that afflict our planet, the need to discuss the idea of good is impellent. These are some of the questions we will ask: Who decides what ”good” is? What does it mean to “do good”? How is it evaluated and measured? How have conceptions of good changed across time and place? What, if anything, has remained consistent? Who is in the position to do good? Who has the obligation to do it? To what degree is the sense of good innate versus learned? How much variation exists from person to person? Given the impossibility of a universal good, how encompassing can it get? Can there be an act of good that transcends class, race, age, species, or beyond? The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 42. MoMA Research & Development provides information and critical tools to identify and explore new directions and opportunities for MoMA and the broader museum field. Learn more: http://momarnd.moma.org/salons/. MoMA R&D is made possible by Allianz. Subscribe for our latest videos and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speakers alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist. #design #art #museumofmodernart #moma #museum #modernart

Ford Scholar Brent Hayes Edwards provides a deeper look into how Melvin Edwards’s welded sculpture "The Lifted X" captures the turbulence of the civil rights movement in 1965 and memorializes the Black nationalist leader. He asks, "What does it mean for a work this abstract, this opaque, to be a portrait, or to be a memorial?" Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #malcolmx #melvinedwards #welding #art #museumofmodernart #moma #museum #modernart

Watch a video about conservators and scientists trying to save an artwork from itself. Rosângela Rennó’s Wedding Landscape (1996) is made up of layers of large sheets of plexiglass, to which the artist glued strips of negatives she retrieved from a wedding photography studio in Havana in 1994. Before the work went on view in Chosen Memories, a survey of Latin American contemporary art currently on view at MoMA, our photography conservators made a routine assessment of the work’s condition. What they found—and the best way to treat it—turned out to be anything but routine. “Materials of film are generally held in an archive. So they’re typically not put on display,” explains Craig Kamrath, a photography conservation fellow, “But in this instance, the film is what you’re there to look at, these strips of negatives.” Photography conservator Lee Ann Daffner was baffled: “When I first saw this work, I didn’t know what to think, because we had so many questions.” For one, there was a white, powdery substance appearing throughout the layers of plexiglass. Was it mold, or the dreaded “plexi disease” that can occur when a piece of plexiglass abrades, or something else? Daffner and Kamrath worked with conservation scientist Catherine H. Stephens and conservation science fellow Kyna Biggs to take samples and analyze them. But then another problem presented itself: these negatives, made of cellulose acetate, have a limited shelf life before they begin degrading. Thorough detective work needed to be done to determine the age of the negatives and how much acetic acid they were off-gassing, a sign of their decay. And was the plexiglass helping or hurting their condition? “We’re right on the doorstep with this artwork,” Kamrath said. The discoveries are constantly unfolding in our latest episode of Conservation Stories. Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #photography #conservation #behindthescenes #latinamericanart #museumofmodernart #moma #museum #modernart