A-|A+

MoMA

MoMA CLASSES

Img_1295

The People’s Art Center

A central part of MoMA's program from 1948 to 1961, The People’s Art Center was conceived as an incubator for critical thinking, art making, and creativity. It's this mission that drives what we do today, and that inspired our new fall series of programs.

Immerse yourself in ideas and opportunities to see your world in new ways through art. Classes, artist-led immersions, and experiences can help you develop new perspectives and become a part of a community of learners unlike any other. In our studios and galleries, you can co-create artworks with MoMA’s artists; on the streets of Midtown, explore the neighborhood with our experts; and dive deep into new concepts and new conversations with innovators and visionaries.

If you can’t make it to MoMA, we also offer both instructor-led and self-guided MoMA Courses Online. Learn more about MoMA Courses Online.


Modern Art and Ideas

“Stop thinking about art works as objects, and start thinking about them as triggers for experiences.”—Brian Eno

Explore various periods of modern and contemporary art through programs led by MoMA curators and other prominent experts, both inside and outside MoMA’s galleries.


Lygiaclarkpingpong-s

Lygia Clark: Objects, Bodies, and Other Matters

Starts June 17
3 Tuesdays
Instructors: Eleonora Fabião and André Lepecki

View detail
Close
Lygiaclarkpingpong

Lygia Clark’s work touched the fields of drawing, painting, sculpture, architecture, participatory art, pedagogy, therapeutic practices, and even film. Clark’s work—among the most important of the latter half of the 20th century—remains challenging today, confronting definitions of objecthood, spectatorship, authorship, and even art itself. Eleonora Fabião and André Lepecki lead a three-week MoMA Class focusing on Clark’s “relational practice” and legacy. In this class we will explore, from theoretical, historical, and experiential standpoints, the unfolding of Clark’s concepts, visions, and propositions. The class will be conducted in MoMA's galleries, allowing close proximity to Clark’s works. We will also experiment with some of her key participatory propositions.

Eleonora Fabião (PhD, New York University) is a performer and theorist working at the intersection of performance art, visual arts, and experimental performance. She is an associate professor at the Federal University of Rio de Janeiro and adjunct professor at NYU. Since 2008 Fabião has performed in the streets of urban centers, and in 2011 she received the Arts in the Streets Award from the Brazilian National Foundation of the Arts.

André Lepecki (PhD, New York University) is associate professor in the Department of Performance Studies, New York University. He is the editor of several books on dance and performance theory, including Dance (Whitechapel/MIT 2012), and the author of Exhausting Dance: Performance and the Politics of Movement (Routledge 2006). He has collaborated with Eleonora Fabião since 2003.

Register Online
Day

Tuesdays

Sessions

3

Time

6:30–8:45 p.m.

Schedule
6/17, 6/24, 7/1
Non Member

$240

Member and Corporate Member employees

$200

Student/Educator:

$180

Sound Amplification Available
El-lissitzky-s

Space, Time, and Architecture, 1900–1970

Starts June 10
4 Tuesdays
Instructor: Jennifer Gray

View detail
Close
El-lissitzky

This is the first in a two-part course examining the relationships between space, time, and the built environment. We explore the emerging architectural concept of “space-time”—an idea that informed the transparent, interpenetrating planes of modern architecture and the fragmented experience of the modern metropolis that paralleled concurrent experiments in film and abstract painting. Designers explored an abstract visual language that considered architecture as a function of space and time rather than as a static entity. This process was accelerated as the automobile transformed spaces from a three-dimensional experience into a system of signs readable from vast distances in short periods of time (i.e. from the highway). This course explores these and other space-time themes relating to modern architecture through classroom discussions and gallery visits through MoMA’s collection of Cubist, Constructivist, and de Stijl artworks, as well as the exhibition Designing Modern Women 1890–1990.

Jennifer Gray (PhD, Columbia University) is a historian of modern art and architecture, specializing in the relationships between social politics and the built environment. Her work has been published in Future Anterior, Il Giornale Dell 'Architettura, and SmartPlanet. She is an adjunct assistant professor at Columbia University and a lecturer at MoMA.

Register Online
Day

Tuesdays

Sessions

4

Time

6:30–8:45 p.m.

Schedule
6/10, 6/17, 6/24, 7/1
Non Member

$325

Member and Corporate Member employees

$275

Student/Educator

$248

Sound Amplification Available
Garry_winogrand-s

Space, Time, and Architecture, 1970–Present

Starts July 8
4 Tuesdays
Instructor: Jennifer Gray

View detail
Close
Garry_winogrand

This is the second in a two-part course examining the relationships between space, time, and the built environment. Since the 1970s digital technologies, social media, and the infrastructure of airports, hotels, and planes designed to facilitate the global flow of capital have refashioned the relationships between space, time, and architecture. Contemporary designers use three-dimensional computer modeling and printing to imagine and build increasingly expressive, unconventional structures. These same technologies are used by the military and gaming industries to construct interactive, realistic virtual environments that allow users to occupy digital space as much as physical territories. Frequent flyers sleep, eat, work, and socialize while crossing multiple time zones in the hermetic environments of the jetliner and the modern airport, spaces designed to transcend place specificity and arrest time by transforming its passage into one of perpetual waiting. Protest movements like Occupy Wall Street and the Arab Spring demonstrated how social media and mobile technology shaped the use of public, urban space for political ends, while graphic designers employ new cartographic strategies to spatially map intangible and instantaneous exchanges made on Twitter or Facebook. This course explores these and other themes related to historic preservation, social space, memorials, and commemorative spaces through classroom discussions and gallery visits. Special attention will be paid to the installation A Collection of Ideas and the upcoming exhibition Conceptions of Space: Recent Acquisitions in Contemporary Architecture.

Jennifer Gray (PhD, Columbia University) is a historian of modern art and architecture, specializing in the relationships between social politics and the built environment. Her work has been published in Future Anterior, Il Giornale Dell 'Architettura, and SmartPlanet. She is an adjunct assistant professor at Columbia University and a lecturer at MoMA.

Register Online
Day

Tuesdays

Sessions

4

Time

6:30–8:30 p.m.

Schedule
7/8, 7/15, 7/22, 7/29
Non Member

$325

Member and Corporate Member employees

$275

Student/Educator

$248

Sound Amplification Available
Duchamp_bicycle_wheel-s

Five Themes in Modern and Contemporary Art

Starts June 9
6 Mondays
Instructor: Heather Cotter

View detail
Close
Duchamp_bicycle_wheel

Over the last 100 years, modern and contemporary artists have connected and reconnected with a number of salient themes. Themes addressing questions of beauty, originality, value, and the experiential and conceptual nature of art have continually borne fruit for artists, serving to highlight connections between what appear to be very divergent art forms while encouraging audiences to explore the work from new perspectives. This class will consider a new theme each week, considering how different artists have approached it over the years. We will look at artists such as Pablo Picasso, Marcel Duchamp, Robert Rauschenberg, Andy Warhol, and many others as we explore MoMA's collection of painting and sculpture through the lens of these themes.

Heather Cotter (MA, Boston University, and MEd with a specialization in art education, Harvard University) is a lecturer at The Museum of Modern Art.

Register Online
Day

Mondays

Sessions

6

Time

6:00–7:45 p.m.

Schedule
6/9, 6/16, 6/23, 6/30, 7/7, 7/14
Non Member

$475

Member and Corporate Member employees

$425

Student/Educator

$383

Sound Amplification Available
Picasso_sleepingwoman-s

The Infinite Mirror: Artists Inspiring Artists

Starts July 8
4 Tuesdays
Instructor: Larissa Bailiff

View detail
Close
Picasso_sleepingwoman

Throughout the modern period, artists have turned to the imagery of the past for source material, for inspiration, and as part of a referential avant-garde practice and an attempt to “one-up one another” and establish a historical trajectory. These artistic conversations are sometimes made explicit, striking, or comic. At other times they are much more subtle, synthesized, barely discernable. During this four week class, we contemplate the modernist strategies of reference, pastiche, and appropriation, as well as the concept of an artistic circle of influence, by considering the work of four groundbreaking artists—Edouard Manet, Paul Cézanne, Pablo Picasso, and Jasper Johns—who drew upon the past and upon one another’s legacies.

Larissa Bailiff has worked as an educator at MoMA since 2003. She helped to develop and currently teaches a MoMA online survey course covering the period between 1880 and 1945, and she has taught over 20 MoMA in-person class sections (12 original classes) since 2005. She has also taught two dozen art history courses at FIT, Pratt, and Marymount Manhattan College. She currently serves as the coordinator for CCL/Mellon Foundation Seminar in Curatorial Practice.

Register Online
Day

Tuesdays

Sessions

4

Time

11:00 a.m.–12:45 p.m.

Schedule
7/8, 7/15, 7/22, 7/29
Non Member

$325

Member and Corporate Member employees

$275

Student/Educator

$248

Sound Amplification Available
Polke_ch2014-1987-s

Art in Our Time: New Art, New Artists on View at MoMA

Starts July 2
4 Wednesdays
Instructor: Jennifer Katanic

View detail
Close
Polke_ch2014-1987

Art in Our Time was the title of the Museum’s 10th-anniversary exhibition, which included works from all mediums in the collection. The exhibition and its title emphasized the Museum’s interest in the art of “today,” a focus that continues into the 21st century. In this class, we consider the concept, installation, and content of five current MoMA exhibitions, as an opportunity to investigate issues of identity, place, and artistic strategy. Join us for a series of gallery-based sessions in the exhibitions Alibis: Sigmar Polke 1963–2010; Robert Heinecken: Object Matter; Lygia Clark: The Abandonment of Art, 1948–1988; A World of Its Own: Photographic Practices in the Studio; and Jasper Johns: Regrets. These offerings are consistent with the Museum’s founding principles—to highlight artists working in the last 50 years and to provide both collection and loan exhibitions of paintings, sculpture, works on paper, and new media.

Jennifer Katanic (PhD candidate, The Graduate Center, City University of New York) is a specialist in postwar Central European art and culture. She is a lecturer in the MoMA's Department of Education and works with International Art Guides as a contemporary art educator at Art Basel Miami Beach. She has taught art history at Rutgers University and City College, New York.

Register Online
Day

Wednesdays

Sessions

4

Time

11:00 a.m.–12:45 p.m.

Schedule
7/2, 7/9, 7/16, 7/23
Non Member

$325

Member and Corporate Member employees

$275

Student/Educator

$248

Sound Amplification Available
Miro_moonbird-s

Summer in the Sculpture Garden

Starts June 9
4 Mondays
Instructor: Deborah Goldberg

View detail
Close
Miro_moonbird

The Abby Aldrich Rockefeller Sculpture Garden has a fascinating history, from its design by the architect Philip Johnson to many famous exhibitions and installations. In this context, we will study some of the classic sculptures in the Sculpture Garden’s history, including works by Henri Matisse, Pablo Picasso, and Alberto Giacometti; explore the current installation, The Modern Monument; and discuss new curatorial directions in the Sculpture Garden. Whenever possible, we will look at related works in MoMA’s collection galleries. We will also examine recently acquired contemporary sculpture dating up to the present day, including works by Rachel Whiteread, Katharina Fritsch, and Franz West.

Deborah A. Goldberg is an art historian and writer. She received a BA from Vassar College and an MA and PhD from the Institute of Fine Arts, New York University, with a dissertation entitled "Isamu Noguchi: The Artist as Engineer and Visionary Designer,1918–1939." She is an instructor at the School of Visual Arts, and lectures regularly at The Metropolitan Museum of Art and The Museum of Modern Art. She lectures on sculpture between 1930 and 1960 for the Christie’s Master Program. She designed an online art history course (Modern Art: 1880–1945) for MoMA, wrote the audio tour for the MoMA exhibition Gauguin: Metamorphoses (2014), wrote 16 of the modern and contemporary audio stops for the collection of The Metropolitan Museum of Art, and wrote the adult audio tour for the 2012–13 MoMA collection exhibition Fast Forward: Modern Moments 1913–2013, at the High Museum in Atlanta. She co-edited and contributed a chapter to the book Alexander Archipenko Revisited: An International Perspective (Archipenko Foundation, 2008) and is working on a book on Alexander Calder.

Register Online
Day

Mondays

Sessions

4

Time

11:00 a.m.–12:45 p.m.

Schedule
6/9, 6/16, 6/23, 6/30
Non Member

$325

Member and Corporate Member employees

$275

Student/Educator

$248

Sound Amplification Available
Studio Immersions

Make art in collaboration with contemporary artists.


Rauschenberg_canyon-s

The Modern Studio: Rauschenberg, Johns, Cage

Starts Jun 9
6 Mondays
Instructor: Corey D’Augustine

View detail
Close
Rauschenberg_canyon

This interdisciplinary course explores the work of three artists who bridged Abstract Expressionism with the dominant movements of the 1960s: Pop art, Minimalism, and Conceptual art. The pivotal roles of Robert Rauschenberg, Jasper Johns, and John Cage will be explored through a combination of art history lectures in the classroom, hands-on painting sessions in the studio, and visual analysis in the MoMA galleries. Emphasis will be placed on works from the collection and from current exhibitions that highlight the influence of these artists, including Jasper Johns: Regrets; There Will Never Be Silence: Scoring John Cage’s 4'33"; and Alibis: Sigmar Polke 1963–2010. No previous painting experience is necessary.

Corey D'Augustine is a painting conservator, a professor of art history, and an artist.

Register Online
Day

Mondays

Sessions

6

Time

6:00–9:00 p.m.

Schedule
6/9, 6/16, 6/30, 7/7, 7/14, 7/21 (No Class June 23)
Non Member

$500

*Materials Included

Member and Corporate Member employees

$450

*Materials Included

Student/Educator:

$405

*Materials Included

Sound Amplification Available
Polke_moderne kunst-s

Weird Intelligence: Studio Experiments in Mixed Mediums

Starts Jun 9
4 Mondays
Instructor: Kerry Downey

View detail
Close
Polke_moderne_kunst

This hands-on studio class explores a range of creative processes, including collage, painting, and photography, inspired by the exhibition Alibis: Sigmar Polke 1963–2010. Polke, while quite a serious artist, was also witty, irreverent, and hard to pin down. This class draws from Polke’s own unconventional techniques and approach to explore process through discussion, gallery visits, and art making. No prior experience is required.

Kerry Downey is an interdisciplinary teaching artist with an MFA from Hunter College and a BA from Bard College. She currently teaches in the undergraduate Fine Arts department at Hunter College and in the Department of Education MoMA. Her own art has been exhibited at the Center for Curatorial Studies at Bard College, Invisible Dog, A.I.R. gallery, The Bronx River Arts Center, and REVERSE gallery, where her work was given a Critic’s Pick by ARTforum.

Register Online
Day

Mondays

Sessions

4

Time

6:00–9:00 p.m.

Schedule
6/9, 6/16, 6/23, 6/30
Non Member

$450

*Materials Included

Member and Corporate Member employees

$400

*Materials Included

Student/Educator:

$360

*Materials Included

Sound Amplification Available
Frequently Asked Questions


Payment

We accept all major credit cards. To register and pay visit the online registration system.

Discount

Students, educators (K–12, college, and university), and staff of other museums receive a 10% discount on the member rate. Student or staff identification must be presented upon check-in on the first day of class.

Refunds

In order to receive a full refund, notice of cancellation must be sent in writing via e-mail, letter, or fax at least one week before the first scheduled day of class. Payment will not be refunded after this time. Refund processing may take up to four weeks.


If I drop the class can I get a refund?
You will only receive a refund if you cancel your registration at least one week before the first day of class. You may do this by accessing your online registration and clicking the "Modify" tab. You will be able to unregister yourself from a class and receive a full refund. You may also cancel your registration by phone or e-mail. Refund processing may take up to four weeks.

Can I get a refund after the second or third class?
MoMA is unable to grant refunds after the refund period.

If I miss a class can I receive a refund or a make up classes with the instructor?
No. MoMA provides course schedules in advance to provide perspective students the opportunity to plan ahead and make necessary arrangements to attend classes. Students will receive a syllabus and course reader in advance to help themselves prepare for missing class.

Can I take a MoMA Class for credit?
No. MoMA Classes are not accredited. If you wish to receive credit for a MoMA Class, you must organize this with your institution.

How do I register?
All registration is done online. Registration for Summer 2014 will open on May 7, 2014, at 9:30 a.m. To register for online courses, use the online registration system.

Do I have to register online?
Yes. If you have any difficulties using the online registration system, please call (212) 408-8441.

How do I know if a class is full?
If a class is full the website will indicate that the course is sold out. Please note that updates to class availability are made during business hours and courses may fill up overnight or over the weekend. You will know a course is sold out when you attempt to register and the only option you are given is to add your name to the waiting list.

Can I be put on a waiting list for a class that is filled?
Yes. The online registration form includes a waiting list option for sold-out classes. You must fill out the online registration form to be added to the waiting list. Once you complete the registration, you will receive an e-mail confirming that you have been added to the waiting list.

What if I am a member of the Museum?
As a member at the individual level or higher you will receive the members rate. We honor a first-come, first-served policy for class registration regardless of your member status.

How do I sign up for a membership?
If you are not a member and would like to sign up for membership, simply visit the Membership page. If you have any questions about membership, please call Membership Services at (212) 708-9475.

Are Corporate Member employees eligible to receive the member discount?
Yes. A copy of your valid company ID must be faxed or e-mailed to the Corporate Membership Department in order to receive the discounted price.

Will the class have access to the galleries?
When possible, as determined by your instructor and MoMA, students will have the unique privilege to view MoMA's collection in the galleries after hours, during class time.

Will these specific courses be offered again?
Yes and no. There are some courses that will be offered regularly, for example Modern Art 1880–1945 and Modern and Contemporary Art 1945–Present. Some classes may be offered again depending on the instructor's availability, scheduling, and student interest. MoMA cannot guarantee if or when certain classes will be offered again.

If I miss a class and there is another section of the same class being offered on a different day, can I attend the other section of the same course?
No. Each course instructor utilizes a different syllabus. Although there are two sections of the same class offered, the material covered would not necessarily correspond.

Can I register my friend?
Yes. Once you have entered your personal information and selected a class in the online registration form, click the "Add Person" button. Fill out the registration form for this person and be sure to use a separate e-mail address for him or her. Our registration system will not accept multiple registrants with the same e-mail address. Your registration is complete after you have filled out all the required information for both you and your friend and submitted payment. Please note that you will each receive an e-mail confirming your individual registration. Your confirmation e-mail will NOT include a record of your friend's registration information.

Can I bring a friend or family member to attend one of my class sessions so they can experience the program?
No. Though we welcome interest in MoMA Classes, we cannot accommodate guests.


Policies

MoMA reserves the right to cancel or withdraw classes, to change class curricula and scheduling, and to withdraw and substitute instructors.

If an instructor needs to cancel an individual class, we will notify you via phone or e-mail and that class will be made up at a later date.

Students accept full responsibility for personal injury and/or losses suffered during class hours and while on museum premises.

MoMA will not release course participants’ personal information to any persons or organizations outside of the Museum without prior written consent.

Past Classes

Moma_polke_ch2014_1371-s

Taking the Matter in Hand: Sigmar Polke, 1963–2010

Starts April 22
4 Tuesdays
Instructor: Ágnes Berecz

View detail
Close
Moma_polke

Was Sigmar Polke “just a little bit too much for everybody,” as John Baldessari stated a few years ago? How can we approach a body of work that has been routinely described as polyphonic, masterly, willfully pathetic, and alchemistic, and that defied all established boundaries of art in the late 20th century with momentous irreverence? By exploring MoMA's Polke retrospective, this short course provides a comprehensive examination of the artist’s paintings, drawings, prints, sculptures, films, performances, and photo works from the early 1960s to 2010.

Ágnes Berecz (PhD, Université Paris 1 Panthéon-Sorbonne) teaches modern and contemporary art history at the Pratt Institute and in the School of Graduate Studies of the Fashion Institute of Technology. Her writings have been published in Art in America, Artmargins, and Praesens, and in European and U.S. exhibition catalogues.

Register Online
Day

Tuesdays

Sessions

4

Time

7:30–9:30 p.m.

Schedule
4/22, 4/29, 5/6, 5/20 (No class 5/13)
Non Member

$350

Member and Corporate Member employees

$300

Sound Amplification Available