Registration for fall courses is now open. Register now.

The schedule for winter/spring courses will be posted on Wednesday, November 18. Online registration for winter/spring will begin on Thursday, December 3.

MoMA courses offer adults the rare opportunity to study modern and contemporary art with leading art specialists during and after public hours in the Museum's galleries and multimedia classrooms. These discussion-oriented classes are taught by university professors, artists, and Museum staff. Enrollment is limited to twenty per course (twelve for studio courses), so sign up today.

Prices for courses are listed below. Sign up for Museum membership starting at $75 and receive free admission to the Museum for a year and the discounted course prices. Additional discounts are available for educators and staff of other museums.

FM headsets and neck loops for sound amplification are available for all courses.

Course guidelines and frequently asked questions

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DAYTIME COURSES

The Gesture and the Painter’s Ethos

Five Wednesdays, 11:00 a.m.–12:50 p.m., 10/28, 11/4, 11/11, 11/18, 12/2 (no class on 11/25)
$260; $220 for members
Instructor: Evan Neely

Postwar American painting, commonly called Abstract Expressionism, is a style without consistency. The task artists faced was to create a form that would be recognizably unified in its novel development of modern artistic techniques while simultaneously allowing characteristic gestures to represent the ultimate individuality of each artist’s ethos. Critics were faced with the complementary task of making these idiosyncratic works intelligible in relation to earlier modernist art and, simultaneously, demonstrating the novelty of this art. This course explores the style’s representative artistic personae, both through direct examination of particular works and by reading diverse views critical stances on the subject. While the main purpose of the class is to give students an understanding of the various meanings that stylistic distinction had for the self-presentation of the artist, the class also focuses on the ways critics looked at this work, and transmitted its significance to its greater public.

Evan Neely (Ph.D. candidate, Columbia University) is a specialist in modern art in America and Germany and Northern European Renaissance Art. He is currently a teaching fellow at Columbia University.

Bauhaus Themes

SOLD OUT

Five Thursdays, 11:00 a.m.–12:50 p.m., 10/29, 11/5, 11/12, 11/19, 12/3 (no class on 11/26)
$260; $220 for members
Instructor: Marianne Eggler

Conceived in conjunction with the MoMA exhibition Bauhaus 1919–1933: Workshops for Modernity, this class considers a series of specific topics that were an integral part of the history and methodology of the Bauhaus: “influences on the Bauhaus aesthetic(s),” “Bauhaus graphic design,” “the Bauhaus weaving workshop,” “the Bauhaus metalworking workshop,” “the Bauhaus woodworking workshop,” “Bauhaus ceramics,” and “the ‘crafts’ vs. the ‘machine aesthetic’ at the Bauhaus.” Beginning with an overview of the history of the Bauhaus, the class considers significant Bauhaus artists, designers, and architects and their works, with a special focus on works in the MoMA exhibition. In addition to digital lectures, in-class visits to the exhibition provide students with the unparalleled opportunity to study original Bauhaus works in person.

Marianne Eggler (Ph.D. candidate, CUNY Graduate Center) is an art, architecture, and design historian and lecturer at MoMA.

EVENING COURSES

Contemporary Art

Five Mondays, 6:00–7:50 p.m.,11/9, 11/16, 11/23, 11/30, 12/7
$260; $220 for members
Instructor: Claire Gilman

This five-week course examines the art of the last twenty years. Students explore the proliferation of new art forms and trends as well as the impact of changing political and social dynamics. We consider the shifting relationship between art and its public through the rise of installation and performance techniques; photography and video’s growing dominance within mainstream artistic production; the reinvestment in narrative and documentary forms of communication; and the effects of identity politics and Globalization on artistic production and the art world in general.

Claire Gilman (Ph.D., Columbia University) is an independent curator and art historian. Her writing has appeared in October, Documents, CAA Reviews, and Frieze.

Frida Kahlo, Diego Rivera, and Mexican Modernism

SOLD OUT

Five Mondays, 6:00–7:50 p.m., 9/21, 10/5, 10/19, 10/26, 11/2 (no class on 9/28 or 10/12)
$260; $220 for members
Instructor: Veronica Roberts

Acclaimed author Octavio Paz characterized the Mexican Revolution (1910–20) as both a revolt and a revelation: “The Revolution revealed Mexico to us. Traditional songs and dances were taught to schoolchildren, popular art was extolled…and walls were assigned to one painter or another.” Through murals in particular, artists celebrated Mexico’s heritage—and in the process, captured the public imagination in the United States as well. This course examines the art that flourished in the wake of the Mexican Revolution—taking full advantage of the new fifth-floor Painting and Sculpture gallery featuring works by such important Mexican Modernists as Frida Kahlo, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. Among the questions this course seeks to address are: "What led MoMA to host a major Rivera retrospective in 1931—the second solo show of an artist ever held at the Museum?" "Why did Kahlo’s fame ultimately eclipse that of her husband?" "What led to the extraordinary popularity of Mexican art in the United States from the 1920s to the 1940s?" "Why did America’s leading capitalist titans (Rockefeller, Ford, etc.) embrace and sponsor the work of communist Mexican artists?

Veronica Roberts (M.A., University of California, Santa Barbara) is a curatorial assistant in the Department of Painting and Sculpture. Her most recent projects include the fifth-floor Mexican Modernism gallery, The Erotic Object: Surrealist Sculpture from the Collection, Focus: Sol LeWitt, and Focus: Alexander Calder.

In Conversation: Modern Design/Postmodern Design

Five Mondays, 6:00–7:50 p.m., 9/21, 10/5, 10/19, 10/26, 11/2 (no class on 9/28 and 10/12)
$260; $220 for members
Instructor: Jennifer Gray

Many designers and critics argue that we are living in a post-industrial, postmodern, digital age, and that architecture and industrial design have changed in response, precipitating the “death” of Modernism. While modern designers allegorized machines like the automobile and emphasized assembly line production, postmodern designers make use of technologies like LCD screens, digital video, and CNC laser cutting. Modern architecture was epitomized by reductive glass and steel boxes, an industrial aesthetic mirrored in its tubular steel furniture; postmodern architecture destroys the box through warping and bending, and designers explore unconventional materials like cardboard and paper. This course explores the shifting, sometimes contentious meanings of modernism and postmodernism in architecture and industrial design through critical readings, class discussion, exploration of exhibits at MoMA (including In Situ: Architecture and Landscape and Ron Arad: No Discipline), and visits to significant buildings in New York such as Mies van der Rohe's Seagram Building.

Jennifer Gray (Ph.D., candidate, Columbia University) is a specialist in American and German art, architectural history, and nineteenth- and twentieth-century theory. She is a lecturer at MoMA.

Pablo Picasso

SOLD OUT

Five Mondays, 8:10–10:00 p.m., 9/21, 10/5, 10/19, 10/26, 11/2 (no class on 9/28 and 10/12)
$260; $220 for members
Instructor: Ágnes Berecz

The course provides a short yet comprehensive survey of Pablo Picasso’s oeuvre and career. Special emphasis is given to paintings and sculptures currently on view at MoMA, including Les Demoiselles d‘Avignon, Ma Jolie, Guitar, Glass of Absinthe, Three Musicians and The Charnel House. The course explores Picasso’s cubism and the early twentieth-century Parisian avant-garde, the emergence of collage and assemblage, the artist’s Neoclassical period, and the critical reception of his work in both Europe and the U.S.

Ágnes Berecz (Ph.D., Université Paris/Panthéon-Sorbonne, Paris) teaches at the Fashion Institute of Technology and is a lecturer at MoMA.

Modern and Contemporary Art, 1945–Today

SOLD OUT

Eight Mondays, 8:10–10:00 p.m., 9/21, 10/5, 10/19, 10/26, 11/2, 11/9, 11/16, 11/23 (no class on 9/28 and 10/12)
$415; $355 for members
Instructor: Claudia Calirman

This course examines major artists, artworks, and movements after World War II. Students explore the emergence of the New York School and its links to a new global economy centered in New York, Dada's revival and Pop's flowering in mass consumer society, Minimalism's formal refinement and emphasis on spatial context, Conceptual art's fundamental questioning of art, the development of multimedia artistic practices, and works made since the 1970s that are still being debated and defined.

Claudia Calirman (Ph.D., The Graduate Center, City University of New York) is adjunct professor at Parsons School of Design and a lecturer at MoMA and the Solomon R. Guggenheim Museum.

An Introduction to Contemporary Photography

SOLD OUT

Seven Mondays, 8:10–10:00 p.m., 9/21, 10/5, 10/19, 10/26, 11/2, 11/9, 11/16 (no class on 9/28 and 10/12)
$365; $315 for members
Instructor: Béatrice Gross

This course considers the growing importance of photography and photography-based art since the 1960s. Revisiting codes of representation, many contemporary photographers have been questioning the status and value of photography in society, producing and reproducing endless photographic images—family snapshots, advertising, and fashion, but also news and surveillance pictures—as well as images in the traditional hierarchies of fine arts. The course explores, in a comparative and contextualized manner, the various shapes the medium has taken, from the continuation of the straight photography and documentary style tradition (Lee Friedlander, Nan Goldin, Thomas Struth), through Conceptual photography (Bernd and Hilla Becher, Ed Ruscha, Dan Graham) and performance-based photography (Vito Acconci, Hannah Wilke, Robin Rhode), to the most recent developments of staged or constructed photography (Jeff Wall, Philip Lorca-diCorcia, Thomas Demand) and digital photography (Andreas Gursky, Thomas Ruff, Barry Frydlender).

Béatrice Gross is an independent curator and art critic based in New York. Formerly a curatorial assistant in MoMA's Department of Photography, she is currently a Ph.D. candidate at La Sorbonne, Paris.

Art in the 1960s

Five Wednesdays, 6:00–7:50 p.m., 9/23, 9/30, 10/7, 10/14, 10/21
$260; $220 for members
Instructor: Tom Williams

This course examines the development of art during the 1960s, focusing particularly on its intersections with contemporary social, political, and intellectual contexts. Discussion begins with the revival of interest in Marcel Duchamp and Dadaism in the 1950s, and concludes with a session on art and politics during the late 1960s. During the course of the term, we will look at the development of the Happenings, Pop art, Minimalism, Earth art, and Conceptualism, and we will address the complex ways in which artists within these movements took up questions raised by consumerism, technology, the sexual revolution, and the new social movements of the day. The artists discussed during this course include Eva Hesse, Douglas Huebler, Donald Judd, Allan Kaprow, Yayoi Kusama, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, Richard Serra, Robert Smithson, and Andy Warhol, among others.

Tom Williams (Ph.D., Stony Brook University) recently completed a dissertation on Claes Oldenburg, Eros, and the 1960s. He was also a 2008–09 Critical Studies Fellow at the Whitney Museum Independent Study Program.

Modern and Contemporary Art, 1945–1970*

SOLD OUT

Five Wednesdays, 6:00–7:50 p.m., 9/23, 9/30, 10/7, 10/14, 10/21
$260; $220 for members
Instructor: Roni Feinstein

This course examines major artists, artworks, and movements after World War II. Students explore the emergence of the New York School and its links to a new global economy centered in New York, Dada's revival and Pop's flowering in mass consumer society, and Minimalism's formal refinement and emphasis on spatial context. During the course, students learn about works by Jackson Pollock, Jean Dubuffet, Francis Bacon, Robert Rauschenberg, Jasper Johns, Andy Warhol, Donald Judd, Robert Morris, and others.

Roni Feinstein (Ph.D., Institute of Fine Arts, New York University) is a freelance art historian. She writes for Art in America and recently taught at the University of Miami, Coral Gables.

*Students interested in this course may also wish to enroll in Modern and Contemporary Art, 1970–Today.

Modern Art 1880–1915*

SOLD OUT

Five Wednesdays, 8:10–10:00 p.m., 9/23, 9/30, 10/7, 10/14, 10/21
$260; $220 for members
Instructor: Larissa Bailiff

This course introduces students to the key works and ideas of modern art, from late Impressionism to Cubism. Moving chronologically through the Museum's collection, students encounter an array of renowned and provocative objects, from paintings, sculptures, and collages that challenged the official Academy and revolutionized the conventions of representation to photographs that capture the dynamism of modern life. Artists covered include Paul Cézanne, Vincent van Gogh, Paul Gauguin, Henri Matisse, Ernst Kirchner, Gustav Klimt, Wassily Kandinsky, Pablo Picasso, and many others.

Larissa Bailiff (Ph.D., A.B.D., Institute of Fine Arts) is a specialist in nineteenth-century French art and social history. Formerly an associate educator at MoMA, she has also lectured at other New York museums and has taught graduate and undergraduate courses at both the Fashion Institute of Technology and the Pratt Institute.

*Students interested in this course may also wish to enroll in Modern Art 1915–1945.

Modern, Postmodern, Pluralist: Art after 1970

Five Wednesdays, 8:10–10:00 p.m., 9/23, 9/30, 10/7, 10/14, 10/21
$260; $220 for members
Instructor: Matthew Israel

This course provides an introduction to the wide variety of "art histories" that have occurred internationally from 1970 through the present. Accordingly, major American and international artists and movements in painting, sculpture, photography, and performance of the period are discussed in depth, and the extensive contemporary collection of The Museum of Modern Art serves as a constant reference point. Among the topics to be discussed in are Postminimalism, Feminism, photography of the 1970s, Neoexpressionism, art theory, media art, deconstructionist art, East Village art, and NeoGeo. Art since 1990 will also be discussed, primarily (though not exclusively) through case studies of prominent artists.

Matthew Israel (Ph.D. candidate, Institute of Fine Arts, New York University) is an adjunct instructor at NYU's undergraduate department of art history. His writing has appeared in Artnews, Artforum, and Art in America.

Modern Art 1880–1945

SOLD OUT

Eight Thursdays, 6:00–7:50 p.m., 9/24, 10/1, 10/8, 10/15, 10/22, 10/29, 11/5, 11/12
$415; $355 for members
Instructor: Heather Cotter

This course introduces students to the key works and ideas of modern art, from late Impressionism to the beginnings of the New York School. Moving chronologically through the Museum's collection, students encounter an array of renowned and provocative objects, from paintings that challenged the official Academy and revolutionized the conventions of representation, to photographs that capture the dynamism of modern life, to modernist buildings that fill city skylines. Artists covered include Paul Cézanne, Vincent van Gogh, Constantin Brancusi, Marcel Duchamp, Henri Matisse, Pablo Picasso, and many others.

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

Redefining Post-Impressionism

Five Thursdays, 7:00–8:50 p.m., 9/24, 10/1, 10/8, 10/15, 10/22
$260; $220 for members
Instructor: Jongwoo Jeremy Kim

This class re-examines the development of Post-Impressionism, analyzing the movement in the dynamic context of Impressionism, Neo-Impressionism, Symbolism, and Expressionism. Works by Claude Monet, Paul Cézanne, Vincent van Gogh, Paul Gauguin, Pierre Bonnard, and Edouard Vuillard are discussed in depth. Selected readings by influential art historians provide further context for students' exploration of critical issues concerning gender, race, desire, and power. Class discussions are often conducted in the galleries, analyzing specific objects in the Museum's collection.

Jongwoo Jeremy Kim (Ph.D., Institute of Fine Arts, New York University) taught modern art at the University of Vermont as a full-time faculty member for the last two years. He is a lecturer at The Museum of Modern Art.

What Is Now? Art of This Decade, 1999–2005, Part 1

SOLD OUT

Five Thursdays, 8:10–10:00 p.m., 9/24, 10/1, 10/8, 10/15, 10/22
$260; $220 for members
Instructor: Haley Mellin

This course examines the development of contemporary art during the past decade, looking at the current global artscape in a modern, historical, and social context. The course moves through the Museum's collection and exhibitions, acting as a guide to understanding the current art market and the dramatic shifts in visual production over the past decade. Artists considered include Francis Alys, Pierre Hughye, Olafur Eliasson, Thomas Hirschhorn, Cai Guo-Qiang, Rirkrit Tiravanija, Emily Jacir, The Atlas Group, Jeff Wall, Takashi Murakami, Jeff Koons, Prada Marfa, Rudolph Stingel, Luc Tuymans, and John Currin, with historical references to Felix Gonzalez-Torres, Robert Rauschenberg, Mark Rothko, Jackson Pollock, Andy Warhol, the Situationist International, and Dada.

Haley Mellin (Ph.D. candidate, Visual Culture, New York University) is an artist and an adjunct professor of contemporary art and critical theory at NYU.

DAYTIME COURSES

The Painting of Modern Life: Paul Cézanne, Pablo Picasso, Henri Matisse

SOLD OUT

Five Tuesdays, 11:00 a.m.–12:50 p.m., 9/22, 9/29, 10/6, 10/13, 10/20
$260; $220 for members
Instructor: Diana Bush

Indicating his interest in creating something enduring from Impressionism’s immediate and spontaneous visual engagement, Paul Cézanne once said, "There are two things in the painter, the eye and the mind; each of them should aid the other." Based in a close consideration of the paintings themselves, this course examines the influence of Cézanne’s exploration of the movement between sense and understanding on the two most innovative painters of the following generation: Pablo Picasso and Henri Matisse.

Diana Bush (M.Phil., Columbia University) is completing her dissertation on Weimar photomontage and is a lecturer on modern art, aesthetics, and criticism at Stevens Institute of Technology. She is also a lecturer at MoMA.

Pop Art: Its Precursors and Legacy

SOLD OUT

Five Wednesdays, 11:00 a.m.–12:50 p.m., 9/23, 9/30, 10/7, 10/14, 10/21
$260; $220 for members
Instructor: Deborah A. Goldberg

Pop artists of the 1960s responded to mass culture through imagery derived from sources including comic books, movies, commercial products, advertisements, and newspapers. This course focuses on the rise of this American movement and its continuing legacy. Discussions explore American and European antecedents, including the Independent Group in England; specific artists such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg; Capitalist Realism in Germany; Commodity Art of the 1980s; and Pop's lasting influence today. The seminar studies works in MoMA's collection, along with twenty-first century works included in the exhibition Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawing Collection. Readings include a number of primary sources, including artists' statements and interviews and early reviews of the movement.

Deborah A. Goldberg, (Ph.D., Institute of Fine Arts, New York University) is on the faculty of the School of Visual Arts and lectures regularly for The Metropolitan Museum of Art and The Museum of Modern Art.

STUDIO COURSES

Materials and Techniques of Postwar Abstract Painting, Part 3

SOLD OUT

Eight Wednesdays, 7:00–9:30 p.m., 9/16, 9/23, 9/30, 10/7, 10/14, 10/21, 10/28, 11/4
$570; $515 for members. Includes $50 fee for materials
Instructor: Corey D’Augustine

This is the third segment of a class that teaches students about postwar abstract painting from the perspective of the artist by examining the materials and techniques used in paintings of the period. Each class focuses on one artist who is well represented in MoMA's collection. After a brief slide lecture to introduce the artist, their materials and techniques are explained in the galleries while viewing their work first-hand, and each student paints a small canvas in the studio based on that artist’s work. At the conclusion of the class, students visit the conservation lab to share their insights into the roles of material and technique in abstract painting. Students should have enrolled in a previous segment of the class or should already have a basic understanding of painting technique. The artists considered include Arshile Gorky, Lucio Fontana, the "stain painters" (Morris Louis, Helen Frankenthaler, Larry Poons, etc.), Robert Rauschenberg, Piero Manzoni, and Sol LeWitt.

Corey D'Augustine is a painting conservator at The Museum of Modern Art and an artist. He exhibits in New York and internationally.

Interactions of Color & Design

SOLD OUT

Five Wednesdays, 6:30–9:00 p.m., 11/11, 11/18, 12/2, 12/9, 12/16 (no class on 11/25)
$355; $320 for members. Includes $30 fee for materials
Instructor: Richard Beenen

Discover the fundamental principles of color and their implications for artists and designers. This course is intended for students with minimal or limited knowledge of design who wish to increase their visual perception and color awareness. Students study the work of Joseph Albers and its relationship to color, rhythm, shape, and balance; consider the principles of two-dimensional space; and solve spatial problems of transparency, contrast, harmony, and the illusions of depth. Studio assignments reference specific examples from MoMA’s collection, including works in the exhibition Bauhaus 1919–1933: Workshops for Modernity and Claude Monet’s water lily triptych. Design exercises and creative assignments are enhanced by lectures, group discussions, critiques, individual instruction, and take-home assignments. Materials include, but are not limited to, gouache paint, photocollage, and Color-aid paper.

Richard Beenen (MA in Painting, California State University, Fullerton) is a New York–based artist/photographer. He is currently an adjunct professor at Parsons School of Design and a part-time instructor at Pratt Institute.

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BEGINNING IN LATE OCTOBER/NOVEMBER

EVENING COURSES

In Conversation

SOLD OUT

Five Mondays, 8:10–10:00 p.m., 11/9, 11/16, 11/23, 11/30, 12/7
$260; $220 for members
Instructor: Ágnes Berecz

Based on the close readings of works currently on view at The Museum of Modern Art, this course looks at ongoing artistic dialogues and relationships between such artists as Pablo Picasso and Francis Bacon, Henri Matisse and Mark Rothko, Jackson Pollock and Eva Hesse, Paul Gauguin and Chris Ofili, and others. Addressing how anxieties of influence, critical revisions, and appropriations operate in these artists' works, the classes consider histories of the readymade and the monochrome, the politics of gender, and the recent impact of globalism in contemporary art.

Ágnes Berecz (Ph.D., Université Paris/Panthéon-Sorbonne, Paris) teaches at the Fashion Institute of Technology and is a lecturer at MoMA.

Modern and Contemporary Art, 1970–Today*

SOLD OUT

Five Wednesdays, 6:00–7:50 p.m., 10/28, 11/4, 11/11, 11/18, 12/2 (no class on 11/25)
$260; $220 for members
Instructor: Roni Feinstein

This course examines major artists, artworks, and movements from 1970 to the present. Students explore Conceptual art's fundamental questioning of art, the development of multimedia artistic practices, the revival of painting, the rise of a global art scene, and recent tendencies that are still being debated and defined. During this term, students learn about works by artists such as Joseph Beuys, Bruce Nauman, Robert Smithson, Gerhard Richter, Cindy Sherman, Felix Gonzalez-Torres, Matthew Barney, Damien Hirst, and others.

Roni Feinstein is a freelance art historian. She writes for Art in America and recently taught at the University of Miami, Coral Gables.

*Students interested in this course may also wish to enroll in Modern and Contemporary Art, 1945–1970.

Modern Art 1915–1945*

SOLD OUT

Five Wednesdays, 8:10–10:00 p.m., 10/28, 11/4, 11/11, 11/18, 12/2 (no class on 11/25)
$260; $220 for members
Instructor: Larissa Bailiff

This course introduces students to the key works and ideas of modern art, from Dada, de Stijl, and the Bauhaus to the beginnings of the New York School. Moving chronologically through the Museum's collection, students encounter an array of renowned and provocative objects, from paintings that challenged the official Academy and revolutionized the conventions of representation, to photographs that capture the dynamism of modern life, to modernist buildings that fill city skylines. Artists covered include Marcel Duchamp, Constantin Brancusi, Paul Klee, Marcel Breuer, Hannah Hoch, Kazimir Malevich, Piet Mondrian, Salvador Dalí, and many others.

Larissa Bailiff (Ph.D., A.B.D., Institute of Fine Arts) is a specialist in nineteenth-century French art and social history. She is a lecturer at MoMA.

*Students interested in this course may also wish to enroll in Modern Art 1880–1915.

From Bauhaus to Our House: Inception and Reception

SOLD OUT

Five Thursdays, 7:00–8:50 p.m., 11/5, 11/12, 11/19, 12/3, 12/10 (no class on 11/26)
$260; $220 for members
Instructor: Jennifer Gray

The Bauhaus has become synonymous with furniture and architecture designed in a minimalist, industrial aesthetic of glass and steel, alternatively deified by purveyors of modern culture (including MoMA) for being emblematic of a “machine age” and inveighed against by cultural critics (such as Tom Wolfe) for failing to express the messy vitality of human life. What is less known is that Bauhaus artists embraced a variety of mediums—including weaving, graphic design, photography, theater, and metalworking—and that while creating a modern aesthetic vocabulary was certainly important, the pedagogical contributions and leftist sociopolitical agenda of the school were perhaps more significant. This course investigates the shifting aesthetic, curricular, and sociopolitical positions of the Bauhaus, from its inception in 1919 until its closure by the National Socialists in 1933, through critical readings, class discussion, and exploration of the upcoming exhibit Bauhaus 1919–1933: Workshops for Modernity. Additional attention is paid to the reception, reinterpretation, and dissemination of Bauhaus ideas (and émigré protagonists) in postwar America, which often recast the school as a politically neutered but aesthetically progressive “style” representative of national and corporate values.

Jennifer Gray (Ph.D. candidate, Columbia University) is a specialist in American and German art, architectural history, and nineteenth- and twentieth-century theory. She is a lecturer at MoMA.

What Is Now? Art of This Decade, 2005–Today, Part 2

SOLD OUT

Five Thursdays, 8:00–10:00 p.m., 10/29, 11/5, 11/12, 11/19, 12/10 (no class on 11/26 or 12/3)
$260; $220 for members
Instructor: Haley Mellin

Part two of the course looks at the art of today, the impact of current economics on contemporary art, and the invention of the Altermodern movement. Major works in painting, photography, sculpture, and performance are examined; particularly in relationship to the New York art community. Artists considered include Peter Doig, Martin Creed, Richard Aldrich, Yoko Ono, Seth Price, Peter Coffin, Ry Rocklin, The Wrong Gallery, Claire Fontaine, Reena Spaulings, Guy Ben-Ner, Tania Bruguera, Doris Salcedo, Gabriel Orozco, Elmgreen and Dragset, Candida Hofer, Carsten Höller, Hiroshi Sugimoto, Paul Chen, and Maurizio Cattelan, with historical references to Gordon Matta-Clark, Robert Gober, René Magritte, Cady Noland, and Marcel Duchamp.

Haley Mellin (Ph.D. candidate, Visual Culture, New York University) is an artist and an adjunct professor of contemporary art and critical theory at NYU.