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Features photographs of lovers and marriage and child-bearing; photographs concerned with man's dreams and aspirations and photographs of the flaming creative forces of love and truth and the corrosive evil inherent in the lie.

The first survey on the interdisciplinary biodesign genius of Neri Oxman, pioneer of "material ecology" Throughout her 20-year career, Neri Oxman has invented not only new ideas for materials, buildings and construction processes, but also new frameworks for interdisciplinary¿and interspecies¿collaborations. She coined the term ¿material ecology¿ to describe her process of producing techniques and objects informed by the structural, systemic and aesthetic wisdom of nature, from the shells of crustaceans to the flow of human breathing. Groundbreaking for its solid technological and scientific basis, its rigorous and daring experimentation, its visionary philosophy and its unquestionable attention to formal elegance, Oxman¿s work operates at the intersection of biology, engineering, architecture and artistic design, material science and computer science. This book¿designed by Irma Boom and published to accompany a midcareer retrospective of Oxman¿s work¿highlights the interdisciplinary nature of the designer¿s practice. It demonstrates how Oxman¿s contributions allow us to question and redefine the idea of modernism¿a concept in constant evolution¿and of organic design. Some of the projects featured in the book and exhibition include the Silk Pavilion, which harnesses silkworms' ability to generate a 3-D cocoon out of a single thread silk in order to create architectural constructions; Aguahoja, a water-based fabrication platform that prints structures made out of different biopolymers; and Glass, an additive manufacturing technology for 3-D printing optically transparent glass structures at architectural dimensions.

A facsimile edition.

"A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, sensitive portraits to architectural studies, ecstatic images of nightlife to cameraless abstractions, astronomical observations to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with ways to make new pictures and deepen the viewer's experience. Published in conjunction with a major exhibition of Tillmans's work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist's career. An outstanding group of writers offer diverse essays addressing key aspects of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs."--

This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew. Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

The authors are all curators at The Museum of Modern Art, New York.

Shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality.

Design and Violence.

Having trained with modern masters from the late 1940s to mid-1950s, Lygia Clark was at the forefront of Constructivist and Neo-Concretist movements in Brazil. This title examines Clarks output from her early abstract compositions to the biological architectures and relational objects she created late in her career.

Published to accompany a major career retrospective at The Museum of Modern Art, this volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, from his earliest childhood drawings through his mature oeuvre.

Offers a generational perspective on the 20th century's most influential experiment in artistic education. This book brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture.

During the 1920s, Georgia O'Keeffe became widely-known for her paintings of enlarged flowers, and these canvases arguably remain her most iconic today. But she regularly returned to abstraction?the language of her breakthrough drawings from the 1910s. Executed in 1927, Abstraction Blue retains the glowing color, careful modulation, and zoomed-in view of the artist's contemporaneous blooms, while foregoing any obligation toward representation. In this volume of the MoMA One on One series, curator Samantha Friedman considers how these and other factors converged in the creation of this composition.

In 2022, The Museum of Modern Art and the Statens Museum for Kunst will present an ambitious dossier exhibition focusing on Henri Matisse's Red Studio from 1911. The large painting depicts the artist's work environment in Issy-les-Moulineaux, crowded with his own canvases, sculptures, furniture and decorative objects. Matisse's radical decision to saturate the work's surface with red has continued to fascinate generations of scholars and artists. Yet much remains to be explored in terms of the painting's genesis and history. This show presents a unique opportunity to assess Matisse's painting anew. The first gallery of the exhibition will reunite The Red Studio - in MoMA's collection since 1949 - with the works depicted in it (three of them belong to the Statens Museum for Kunst). Ranging from 1898 to 1911, they span the artist's career up to that date and combine both familiar and lesser-known pieces. The second gallery of the exhibition will retrace the painting's complex history, from the artist's studio in the Parisian suburb to its subsequent international travels and reception. We will explore, for example, how The Red Studio was originally conceived for the Muscovite collector Sergei Shchukin; how it was later included in the famous 1913 Armory Show; how it was on display for fifteen years on the walls of a London social club; and its eventual acquisition by MoMA. A rich selection of archival materials such as photographs, catalogues, letters, and press clippings will join artworks by Matisse and others on display.

Conceived in conjunction with an exhibition opening at The Museum of Modern Art in 2022, this publication focuses on an exceptional gift of 108 photographs by women artists from the collection of Helen Kornblum, distinguished member of MoMA's Committee onPhotography. The publication will highlight this significant acquisition, which contributes to the Museum's continuous effort to research and rethink twentieth century art history narratives by amplifying the presence of women artists. Like the exhibition, the book will be structured around thematic groupings, arranged chronologically, and each prefaced by a short text. Special attention will be devoted to topics such as: pictorialist portraiture, surrealist explorations, portraits of artists, the social documentary, advertising, photography and language, photojournalism, gender and the media, still life and domesticity, performance for the camera, and to the camera as a means of personal artistic expression.From modernists such as Claude Cahun and Yva to contemporary photographer Catherine Opie, many of the works in this volume elicit conversations about queer subjectivity. Themes related to colonial history and indigeneity are addressed in photographic projects by both Native artists such as Cara Romero and Hulleah Tsinhnahjinnie, and non-Native practitioners including Graciela Iturbide, Sharon Lockhart, Meridel Rubenstein, Tatiana Parcero, and Tracey Moffatt. Lorna Simpson and Carrie Mae Weems offer uniquely feminist African-diasporic viewpoints on the relationship of race and gender. Our Selves presents a series of new perspectives that rise to our current moment, addressing the urgent need for more intersectional conversations in the arts.

The first major exhibition and publication to present drawings from across Cézanne¿s entire career, tracing the development of his practice on paper rather than focusing on single genres or specific themes

Towards the end of her life, Dorothea Lange (American, 1895-1965) remarked that "all photographs-not only those that are so-called 'documentary,' and every photograph really is documentary and belongs in some place, has a place in history-can be fortified by words." Though Lange's career is widely heralded, this connection between words and pictures has received scant attention. Published in conjunction with an exhibition at The Museum of Modern Art, this catalogue provides a fresh approach to some of her best-known and beloved photographs, highlighting the ways in which these images first circulated in magazines, government reports, books, etc. An introductory text by curator Sarah Hermanson Meister will be followed by plates organized according to "words" from a variety of sources that expand our understanding of the photographs. The featured photographs will range from Lange's first engagement with documentary photography in San Francisco in the early-mid 1930s, including her iconic White Angel Breadline (1933), to landmark photographs she made for the Resettlement Administration (later the Farm Security Administration) such as Migrant Mother (1936), powerful photographs made during World War II in California's internment camps for Japanese-Americans, major photo-essays published in Life magazine on Mormon communities in Utah (in 1954) and County Clare, Ireland (in 1955), and quietly damning photographs made in the Berryessa Valley in 1956-57, before the region was flooded by the construction of a dam intended to address California's chronic water shortages. Exhibition opens December 2019.

"Each volume in the One on One series is a sustained meditaion on a single work from the collection of The Museum of Modern Art"--Front cover, inside flap.

Explores the remarkable relationship between Paul Gauguins rare and prints and transfer drawings, and his better-known paintings and sculptures in wood and ceramic. This title also explores the artists radically experimental approach to techniques and his pivotal place in the history of art.

Delves into various aspects of the artist Henri Rousseau's oeuvre and places the work in a broader social and art-historical context.

What is a print? This title intends to answer that question by exploring the four basic printmaking techniques - woodcut, intaglio, lithography and screenprint - that have been used to create some of the most iconic images in modern art, from Paul Gauguin's "Noa Noa" to Andy Warhol's "Marilyn Monroe".

Foreword by Arthur Drexler. Introduction by Vincent Scully.

This latest volume in the MoMA One on One series focuses on Kisho Kurokawa's Nakagin Capsule Tower in Tokyo, completed between 1970-72. One of the most iconic architectural marvels of the postwar period, the Nakagin Capsule Tower in Tokyo was designed by the office of Japanese architect Kisho Kurokawa and completed between 1970-72. The project comprised of two steel and concrete towers outfitted with 140 prefabricated living capsules; each capsule was intended for single occupancy and came outfitted with its own ensuite bathroom, a fold-out desk, a telephone, a reel-to-reel tape player, a Sony colour television, and a "porthole" window overlooking the city. In this volume of the MoMA One on One series, curator Evangelos Kotsioris delves into the groundbreaking design, construction, evolution, and ultimate need for the demolition of this remarkable structure in 2022.

This latest volume in the MoMA One on One series focuses on Pablo Picasso's Boy Leading a Horse (1905-06). Pablo Picasso developed Boy Leading a Horse (1905-06) from an unrealized mural during a pivotal period of evolution in his art. The youth in the painting exudes confidence, his clenched fist compelling the steed to follow him without any reins. The vigorous mark-making, relative lack of fine details, and varying hues of browns and grays are emblematic of a shift in Picasso's practice, which would soon be replaced by the artist's radical Cubist explorations in the ensuing years. In this volume of the One on One series, scholar Annemarie Iker offers a close examination of this composition, contextualizing it within the artist's larger oeuvre.

A limited-edition facsimile of the full portfolio of 46 botanical drawings by Hilma af Klint, each on its own sheet and encased in a deluxe clamshell case. Hilma af Klint's Nature Studies portfolio, dated 1919-20, has been virtually unknown until now. Envisioned by af Klint as a botanical atlas and rendered in pencil and jewel-toned watercolors, the 46 drawings detail the plants of Sweden's lower peninsula, alongside the abstract diagrams she developed to express the interconnectedness of the natural and spiritual realms. Inspired by scientific breakthroughs that proved the existence of things we cannot see-atoms, X-rays, soundwaves, and the like-af Klint used drawing as a method of investigation. Her portraits of plants are well studied and accurate, yet she intertwines the visible with the invisible, the abstract with the figurative. This deluxe facsimile of the rare portfolio is published in a limited edition of 500. Each of the 46 drawings is presented on its own sheet at full scale, and encased in a luxe clamshell case. A booklet with a contextualizing essay by curator Jodi Hauptman provides insight into this new side of af Klint's artistic output, and examines her strong connection to the natural world.

A close look at a portfolio of forty-six botanical drawings by Hilma af Klint, and the abstract diagrams the artist developed to express the interconnectedness of the natural and spiritual realms. > Published in conjunction with the first exhibition of the rare portfolio, Hilma af Klint: What Stands Behind the Flowers presents the 46 botanical drawings alongside contextualizing works, as well as translations of her notes and previously unpublished texts from her own journals. An overview essay by curator Jodi Hauptman examines af Klint's strong connection to the natural and spiritual realms; texts by Ewa Lajer-Burcharth, Lena Struwe, and Laura Neufeld unpack the inspiration, imagery, and beliefs behind these drawings.