Fluxus currents flow throughout the exhibition Tokyo 1955-1970: A New Avant-Garde, not only in the graphic scores discussed in my last blog post, but also in a section devoted to the experimental art collective Hi Red Center.

These notes accompany screenings of Billy Wilder’s </em>Witness for the Prosecution</a> on January 30, 31, and February 1 in Theater 3.</p>

Samuel (Billy) Wilder (1906–2002) once expressed a wish that he could spend his 100th birthday at The Museum of Modern Art

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Provoke (Purovōku) was an experimental magazine founded by photographers Yutaka Takanashi and Takuma Nakahira, critic Koji Taki, and writer Takahiko Okada in 1968. The magazine’s subtitle read as: shisō no tame no chōhatsuteki shiryō (Provocative documents for the sake of thought). Photographer Daido Moriyama is most often associated with the publication, but Moriyama did not join the magazine until the second issue.

MoMA’s celebration of the landmark year 1913 continues with the third in a series of videos highlighting important works from 1913 in the Museum’s collection.

Back by popular demand, Children’s Author Events at the MoMA Design Store connect children with beloved authors whose imaginative stories come to life through readings and interactive workshops.

Among the groundbreaking artists included in the exhibition Inventing Abstraction, 1910–1925, currently on view in MoMA’s sixth-floor galleries, are František Kupka (Czech, 1871–1957) and Piet Mondrian (Dutch, 1872–1944). Like the other luminaries represented in the show, beginning in the second decade of the 20th century, Kupka and Mondrian jettisoned figuration and pioneered an art of pure form.

Door, window, table, basket, mirror, rug. These six simple elements—found in many a living room and throughout the glossy pages of any home furnishing catalogue—are the components of a series that Richard Artschwager began creating in 1974.

These notes accompany screenings of Douglas Sirk’s </em>The Tarnished Angels</a> on January 23, 24, and 25 in Theater 3.</p>

I’ve always considered Douglas Sirk (1900–1987) a bit problematic.

MoMA’s celebration of the landmark year 1913 continues with the second in a series of videos highlighting important works from 1913 in the Museum’s collection.

MoMA’s recently launched website, Louise Bourgeois: The Complete Prints & Books, seems to effortlessly reveal Bourgeois’s creative process. You might not suspect that a highly organized sea of intricate data lives behind that elegant design.