MoMA
View allAll Photos Tagged www.moma.org
American, 1887-1986
About the work:
www.moma.org/interactives/exhibitions/2012/inventingabstr...
A pivotal figure in the history of modern American art, Georgia O’Keeffe first gained widespread recognition in the 1920s for her flower paintings. Although these repre-sentational canvases remain some of her most iconic works, abstraction—then a revolutionary new form of expression—was central to O’Keeffe’s art. Influenced by predecessors including the painter Vasily Kandinsky and the progressive arts edu-cator Arthur Wesley Dow, O’Keeffe held a sophisticated view of the relationship between abstraction and representation, often challenging the boundary between the two. “Objective painting is not good painting unless it is good in the abstract sense,” she declared. Created in 1927, Abstraction Blue illustrates that belief, echoing the vivid color, careful modulation, and zoomed-in view of the artist’s contempora-neous blooms while forgoing any strict adherence to representation.
@ the GBTH project.
maps.secondlife.com/secondlife/the%20GBTH%20project/224/7...
This made me think about one of my all time favorite pantings; "Hide and Seek" by Pavel Tchelitchew.
James Rosenquist (1933-2017)
Marilyn Monroe (1962)
-oil and spray enamel on canvas
I don't wanna bore you with a whole lot of writing,but you can read this short link below if you want to know more about the pop culture artist (who recently passed away) and the work.
I like the Coca Cola sign in it.Interesting also is that Marilyn Monroe's teeth looks like a squinted eye,and the bottom lip an eyebrow.
www.moma.org/learn/moma_learning/james-rosenquist-marilyn...
Locked in a hotel room recovering from COVID. Bored. Photograph inspired by Imogen Cunningham's Unmade Bed: www.moma.org/collection/works/53557
Soulis: Les Mademoiselles à la Plage 1. It somehow humbly reminds me of the Picasso masterpiece: Les Demoiselles d'Avignon.
I've always wanted to make an image that paid tribute to 'Christina's World' www.moma.org/collection/works/78455 and when I came upon this scene near Ballina, Co. Mayo I asked my friend Sean the Sheep to pose, as I lacked a more appropriate model....
For my best shots of 2023, go here: www.flickr.com/photos/191087541@N02/albums/72177720308859...
One of Paul Gauguin's most treasured possessions was a painting by Cezanne,Still Life with Fruit Dish,which he emulates in this picture.Within a similarly compressed space,Gauguin substituted mangoes for Cezanne's apples and a Tahitian styled print cloth for a French floral wallpaper design.One significant departure is the human figure in the upper right glimpsed through a door or window.The year after he completed this work Gauguin's finances were so dire that he arranged for the sale of his prized Cézanne.
Detail of Paul Signac's 'Setting Sun. Sardine Fishing. Adagio. Opus 221' - which belongs at Moma and is online here: www.moma.org/collection/works/80023 but currently in London's National Gallery as part of 'After Impressionism' - and much more exciting in the flesh than in reproduction, imo...
Zagreb - Tomislav Gotovac: Showing "Elle" Magazine / Pokazivanje časopisa Elle
zir.nsk.hr/islandora/object/ffst:3164/datastream/PDF/view
Rue Mouffetard is one of Paris's oldest and liveliest streets. Henri Cartier-Bresson once photographed a small young boy carrying two large magnums of wine and called it "Rue Mouffetard." That's the spirit!
olafur eliasson
take your time
april 20-june 30, 2008
museum of modern art
www.moma.org/interactives/exhibitions/2008/olafureliasson...
No ps tricks or alterations other than colour and cropping.
To answer questions below: How did I not appear in the photo? I was viewing the vessels through a 2-way mirror.
More information:
Searching on the web and tips from comments led me to this:
"Josiah McElheny's Modernity Mirrored and Reflected Infinitely is simply mesmerising. Stoppered bottles made of mirrored blown glass are set in a aluminium metal display case with lighting and two-way mirrors, such that they are endlessly reflected — in the bottles, in the mirrors, row upon row, extending, well, infinitely. Innovative and stunning."
This link to MoMA's site has a photo of what the box of bottles looks like on the wall. I am not sure if the exhibit in Milwaukee is on loan or permanent.
...by the Cuban artist Wilfredo Lam (1902-1982). Photographed at MoMA, The Museum of Modern Art, NYC.
www.moma.org/learn/moma_learning/wifredo-lam-the-jungle-1...
Perhaps, the most interesting live installation I found at the Museum of Modern Art, NYC. The darkest line shows the average height of people visited MoMA!
I have an exhibition opening, today, at the Kultivate Summer Sensuality Show. This is one image from the series of Lois and Colleen. You can see the exhibit and lots of great artists, here:
maps.secondlife.com/secondlife/Poconos/102/85/21
other artists in the show:
Belua Broadfoot
Christian Ayden
Freedom Voix
GlitterPrincess Destiny
Jamee Sandalwood
John Brianna
Kapaan
Kody Meyers
Meishagirl Resident
MorrianaDarkstar
Myra Wildmist
roxaane Fyanucci
Veruca Tammas
Zeta Vandyke
More info:
kultivatemagazine.com/2019/08/22/kultivate-presents-the-s...
This image is also a virtual homage to Nan Goldin's "The Hug ".
The Happy End of Franz Kafka’s “Amerika”
Martin Kippenberger: The Problem Perspective
Museum of Modern Art, New York
In this photo:
Marcel Duchamp. Bicycle Wheel. New York 1951 (third version, after lost original of 1913)
Metal wheel mounted on painted wood stool, 51 x 25 x 16 1/2" (129.5 x 63.5 x 41.9 cm). The Sidney and Harriet Janis Collection. © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp
www.moma.org/explore/multimedia/audios/3/51
I suggest to look at my stream on Fluidr .
After I posted the photos of my copy, I decided to search for the title. Lo and behold, I was linked to a page on MoMA's website. They even have a .pdf copy that you can download. I am floored.
But, the copy they scanned doesn't have the beautiful, hand tooled leather cover that encloses mine.
the often reproduced but always unique "breakfast photo"
Breakfast, Trail's End Restaurant, Kanab, Utah by Stephen Shore
Henri Rousseau "The Sleeping Gypsy", 1897
www.moma.org/collection/works/80172
© Copyright 2017, All rights reserved. Do not copy or otherwise reuse my photos.
[Enlarge to read the text from the book.]
As I transition from one set of photographs to another I have decided to provide some more photo notes on photographers and artists who have made an impression on me. In doing so I hope to introduce people to some more sources of inspiration. Since mastering the technical details of a camera in the digital age is really quite simple, It strikes me that the greatest resource we have to improving our photography is to study other visual artists and their composition.
In this case I want to introduce possibly Launceston's most distinguished artist, Bea Maddock (1934-2016). This book, the title of which those philosophers among you will recognise instantly, was borrowed from the famous existentialist work by Jean-Paul Sartre (1905-1980). It is a retrospective look at Bea's work over 30 years from 1961-1992, from an exhibition staged by the Queensland Art Gallery and the National Gallery of Australia.
I will provide some valuable links below for you to explore if you're interested. Bea Maddock is seen primarily as a printmaker, although she used a camera extensively (as did Warhol in making his screen prints from photographs). Her work can be found in major galleries around Australia and the world, including MoMA in New York and the British Museum.
She was born in Hobart, Tasmania and educated at the University of Tasmania. She moved into teaching art and design in Launceston, but from 1959-61 she spent time studying in Europe, notably the Slade School in London and Academi de Bell Arti in Perugia, Italy. Throughout the 60s she influenced a generation of art students at Launceston Teachers' College, and in 1970 accepted a prestigious position at the Gallery of Victoria Art School in Melbourne. She also taught for a year in Canberra during this decade.
Bea remained in Victoria until her house and studio at Mount Macedon was destroyed in the Ash Wednesday bushfires in 1983 (an event I remember well as just a handful of kilometres from my home the Dandenong Ranges were ablaze as 47 people perished. The sky remained aglow during the night and the air thick with smoke.). Returning to Launceston as head of the School of Art, Tasmanian College of Advanced Education (eventually absorbed into UTAS), Bea's studio became a magnet to budding artists.
In 1987 she had the exciting opportunity to travel to Antarctica to produce work for the forthcoming Australian Bicentennial Exhibition the following year. Unfortunately she had a terrible fall on Heard Island, breaking her leg very badly. It left her with a limp for the rest of her life. But the creative genius that was her gift allowed her to produce a wonderful collection of Antarctic etchings that were published very matter-of-factly as, "Forty Pages from Antarctica". In 1991 she was awarded an Order of Australia.
Some of Maddock's final major work was, 'Terra Spiritus... With a Darker Shade of Pale', a 51 part inscribed etching of the entire coastline of Tasmania, each feature labelled with both the English and the aboriginal Tasmanian topographic names. The pigments used to make the drawing are locally occurring Tasmanian ochres. She did a similar thing in her 1987 work "We live in the meanings we are able to discern" (this is shown in the picture I've posted at the bottom right).
Working almost right to the end at her Invermay Studio, Bea Maddock remains an inspiration to artists around Australia and the world. She was 81 when she died in 2016. www.smh.com.au/entertainment/art-and-design/painting-with...
The self-portrait here is quite wonderful: www.canberra.edu.au/on-campus/art-collection/the-art-coll...
www.daao.org.au/bio/bea-maddock/biography/
art-museum.unimelb.edu.au/resources/video/bea-maddock-48-...
MoMA www.moma.org/artists/3678
British Museum Collection www.britishmuseum.org/collection/term/BIOG36797
* The cover and sample pages of the book were taken under natural light with the Nikon D850.
ID 1403
José Sabogal Peruvian 1888-1956
Cholita Ayacuchana (Young Girl from Ayacucho) , c. 1937
Oil on wood
A prominent artist, educator, and writer, Sabogal played a pivotal role in founding the artistic movement known as indigenism in Peru in the 1920s. In Cholita Ayacuchana (Young Girl from Ayacucho), an indigenous woman is set against a neutral tan background. Crowned by a wide-brimmed straw hat, her hair falls in two cascading braids on either side of her face. Her gaze is directed at the viewer. Sabogal’s portrayal of this young, self-possessed woman contrasted with most contemporaneous representations of the marginalized Indigenous peoples in the highlands of Peru.
Inter-American Fund, 1942
From the Placard: MoMA Museum of Modern Art, New York, NY
en.wikipedia.org/wiki/Jos%C3%A9_Sabogal
www.infobae.com/peru/2024/03/18/jose-sabogal-el-artista-q...
~ Cesar Cruz
E X P L O R E # 3 7 2
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan in New York City. It was established on November 7, 1929; 85 years ago and has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. Considered by many to have the best collection of modern Western masterpieces in the world, MoMA's holdings include more than 150,000 individual pieces in addition to approximately 22,000 films and 4 million film stills.
Shadow box that I created for the MoMA Design store. For my artist in residency there in 2014.
www.moma.org/explore/inside_out/2014/11/07/meet-artist-el...
"...but these floppy, squishy clocks are kind of fun."
- - - - -
Thanks, Salvador Dali, for The Persistence of Memory.
When I came to this spot on the Alanvale TAFE College Campus, the late Autumn sun was producing very long shadows. This shot is the first scene that I saw, and my mind immediately went to the surrealistic paintings of Giorgio de Chirico (1888-1978).
There're two reasons for this: (1) De Chirico's enigmatic surrealistic works are usually set on late afternoons in empty city plazas. There is often a long looming shadow that symbolises a presence; and (2) We have a painting in the style of de Chirico at home by the Australian modernist artist Ernest Smith dating from the 1960s. I bought it specifically because it reminded me of Giorgio de Chirico.
Although he was clearly a forerunner of surrealistic art (later made more famous by Dali, Ernst and Magritte, etc.) de Chirico called his early work Metaphysical Art. Now this is what connects it to the two previous photos in this series today.
Giorgio de Chirico's most famous quote actually brings together very succinctly our theme today:
"There is much more mystery in the shadow of a man walking on a sunny day, than in all religions of the world. To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere."
One more thing: If you enlarge this photograph you will find somewhere (but not too well hidden) a copy of the actual de Chirico painting, "The Disquieting Muses". The title is NOT meant to be ironic either.
Just a sloppy smartphone snapshot! BUT: A still undiscovered artwork made by Meret Oppenheim discovered by our dog far away from civilization?
52 weeks of 2022
Week #33 ~ In the style of Cindy Sherman ~ Part III of IV
Inspired by this self portrait by Cindy Sherman "Untitled Film Still #56, dated 1980":
www.artic.edu/artworks/72442/untitled-film-still-56
You can see more about the great photography of Cindy Sherman :
www.theartstory.org/artist/sherman-cindy/
rebrand.ly/uyrok19
www.artic.edu/artists/23759/cindy-sherman
citygallery.org.nz/exhibitions/cindy-sherman/
www.theguardian.com/artanddesign/2016/jul/03/cindy-sherma...
All rights are reserved. Please contact me if you are interested in using one of my images for any reason
Les Demoiselles d'Avignon is a large oil painting created in 1907 by Pablo Picasso. The museum's web page offers a great explanation of the importance of this painting.
But standing there in a large room that is dedicated to this painting, a plaque on the wall tells it a little differently;
"Painted when Pablo Picasso was twenty-five Les Demoiselles d'Avignon seems to have no lesser goal than the complete reinvention of Western painting. In a composition that seems to be working itself out before our eyes, Picasso jettisoned idealized notions of beauty, banished conventions of perspective and introduced forms inspired by African and Iberian art. The title, which alludes to the prostituted of Barcelona's red-light district, fuels the painting's continued ability to shock."
That's a whole lot of Modern Art history.
Week 1 Portrait (4) (1401 – 1405) 1 /26 – 1/31/2025
ID 1403
[This photograph is Identify the artist (1403)]
This artist is not found in any Prior SET
This artist is Peruvian
This artist is Male
Date: 1937
This painting is found in The Museum of Modern Art, New York, NY
FROM AN ANALOGICAL PHOTO
For some informations about the sculpur,
you can follow this link:
www.moma.org/collection/artist.php?artist_id=4397
or this one:
en.wikipedia.org/wiki/Claes_Oldenburg
for Biennale of Venice
This incredible building by Yoshio Taniguchi, perhaps best known for his redesign of MOMA, is a two-story glass lookout in the seaside park next to a fantastic aquarium and is intended for simply enjoying the ocean view across Tokyo Bay from within. It's perfect in winter but becomes an unpleasant sauna over summer.
Kasai Rinkai Koen, Tokyo, 2000
Week 3 Crowd (1411 – 1415 ) 02/9 - 2/14/2025
ID 1411
Tarsila do Amaral Brazilian 1886-1973
Operários (Workers) , 1933
Oil on Canvas
Operários (Workers) marks the moment, at the beginning of the 1930s, when Tarsila abandoned the imaginative depiction of nature and fauna that had characterized her work for the past decade for a more socially committed form of representation. Possibly inspired by a contemporary photomontage by the Russian artist Valentina Kulagina—a reproduction of which Tarsila kept in her personal library—this carefully composed group portrait emphasizes the diversity of Brazilian society and includes depictions of real people, such as the architect Gregori Warchavchik, the first modernist architect in Brazil. Distancing herself from the poetic and utopian ideas of the Anthropophagic movement, Tarsila now focused on her country’s concrete political reality.
Acervo Artísico-Cultural dos Palácios do Governo do Estado de São Paulo
From the Placard: MoMA Museum of Modern Art, New York, NY
en.wikipedia.org/wiki/Tarsila_do_Amaral
5 Things You Need to Know about Tarsila The Art Institute of Chicago Oct 4, 2017
www.google.com/search?gs_ssp=eJzj4tTP1Tcwjq_Mizdg9BIsSSwq...