MoMA | Author: Amy Horschak

Posts by Amy Horschak

May 28, 2013 | Learning and Engagement

MoMA Online Courses: Creating Color

Posted by Amy Horschak, Assistant Director, Academic Programs

Johannes Itten. Color Sphere in 7 Light Values and 12 Tones (Farbenkugel in 7 Lichtstufen und 12 Tönen). 1921. Lithograph, composition (irreg): 17 3/16 x 11 7/16″ (43.7 x 29 cm); sheet: 18 5/8 x 12 9/16″ (47.3 x 31.9 cm). Committee on Prints and Illustrated Books Fund. © 2013 Johannes Itten/Artists Rights Society (ARS), New York/PROLITTERIS, Switzerland

“Color deceives continuously.” – Josef Albers

Take a deep breath…

Eugène Delacroix, Neo-Classicism, Romanticism, Claude Monet, Auguste Renoir, Camille Pissarro, Post-Impressionists

Learning Online: MoMA’s Courses Go Digital

Posted by Beth Harris, Director of Digital Learning, Education Amy Horschak, Assistant Director, Academic Programs

Independent Conservator and Instructor Corey D’Augustine demonstrates Jackson Pollock’s painting techniques in the online course Materials and Techniques of Postwar Abstract Painting.

MoMA’s Education Department prides itself on crafting personal experiences with works of art for our visitors. In exploring new ways to enhance these experiences, we were surprised to find that video has a remarkable ability to help us focus our gaze in a way that is often very difficult to do in the galleries. It might seem like a strange concept—that looking at a work of art on your computer screen would help you to look and think about art more deeply—but this is precisely what we discovered as we developed two online courses over the last year.

MoMA and the World: The International Program

Posted by Amy Horschak, Assistant Director, Academic Programs

Clement Greenberg speaking in New Delhi in 1967 at a presentation of the MoMA exhibition Two Decades of American Painting

An interview with Jay Levenson, Director, International Program, The Museum of Modern Art

In 1952, The Museum of Modern Art established the International Program of Circulating Exhibitions, which was supported by a grant from the Rockefeller Brothers Fund, with the aim of sending exhibitions to museums around the world. The following year, the International Council was organized to provide long-term financial support to the program.

Amy Horschak: In light of MoMA’s upcoming installation Abstract Expressionist New York and the exhibition of many of the “AbEx” artists abroad by the International Program (IP) in the 1950s, can you comment on the often-made claims that the IP was, at that time, part of a CIA project?