Museum of Modern Art (MoMA)

Upcoming Events

Crafting Modernity Design in Latin America, 1940–1980

“There is design in everything,” wrote Clara Porset, the innovative Cuban-Mexican designer. She believed that craft and industry could inspire each other, forging an alternative path for modern design. Not all of Porset’s colleagues agreed with her conviction. This exhibition presents these sometime... [ + ]s conflicting visions of modernity proposed by designers of home environments in Argentina, Brazil, Chile, Colombia, Mexico, and Venezuela between 1940 and 1980. For some, design was an evolution of local and Indigenous craft traditions, leading to an approach that combined centuries-old artisanal techniques with machine-based methods. For others, design responded to market conditions and local tastes, and was based on available technologies and industrial processes. In this exhibition, objects including furniture, appliances, posters, textiles, and ceramics, as well as a selection of photographs and paintings, will explore these tensions.The home became a site of experimentation for modern living during a period marked by dramatic political, economic, and social changes, which had broad repercussions for Latin American visual culture. For nearly half a century, the design of the domestic environment embodied ideas of national identity, models of production, and modern ways of living. The home also offered opportunities for a dialogue between art, architecture, and design. Highlights of the exhibition include Clara Porset’s Butaque chair; Lina Bo Bardi’s Bowl chair; Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy’s B.K.F. Chair; and Roberto Matta’s Malitte Lounge Furniture.

Joan Jonas: Good Night Good Morning

"I didn’t see a major difference between a poem, a sculpture, a film, or a dance,” Joan Jonas has said. For more than five decades, Jonas’s multidisciplinary work has bridged and redefined boundaries between performance, video, drawing, sculpture, and installation. The most comprehensive retrospecti... [ + ]ve of the artist’s work in the United States, Joan Jonas: Good Night Good Morning traces the full breadth of her career, from works that explore the encounter between performance and technology to recent installations about ecology and the landscape.Jonas began her decades-long career in New York’s vibrant Downtown art scene of the 1960s and ’70s, where she was one of the first artists to work in performance and video. Drawing influence from literature, Noh and Kabuki theater, and art history, her early experimental works probed how a given element—be it distance, mirrors, the camera, or even wind—could transform one’s perception.Joan Jonas: Good Night Good Morning presents drawings, photographs, notebooks, oral histories, film screenings, performances, and a selection of the artist’s installations. Jonas continues to produce her most urgent work through immersive multimedia installations that address climate change and kinship between species. “Despite my interest in history,” she has said, “my work always takes place in the present.”

Käthe Kollwitz

In the early decades of the 20th century, when many artists were experimenting with abstraction, Käthe Kollwitz remained committed to an art of social purpose. Focusing on themes of motherhood, grief, and resistance, she brought visibility to the working class and asserted the female point of view a... [ + ]s a necessary and powerful agent for change. “I have no right to withdraw from the responsibility of being an advocate,” she wrote. “It is my duty to voice the sufferings of men, the never-ending sufferings heaped mountain-high.” The first major retrospective devoted to Kollwitz at a New York museum, this is also the largest exhibition of her work in the US in more than 30 years.Born in the Prussian city of Königsberg (now Kaliningrad, Russia), Kollwitz was based in Berlin from the 1890s through the early 1940s, a period of turmoil in German history marked by the upheaval of industrialization and the traumas of two world wars. Though she had trained briefly as a painter, she quickly turned to drawing and printmaking as the most effective mediums for social criticism. This exhibition includes approximately 120 drawings, prints, and sculptures drawn from public and private collections in North America and Europe. Examples of the artist’s most iconic projects will showcase her political engagement, while preparatory studies and working proofs will highlight her intensive, ever-searching creative process.

Before Technicolor: Early Color on Film

The earliest color films were made around 1895, when new, synthetically produced dyes transformed the nature of color in mediums such as postcards, magic lantern slides, and fabrics. For moviegoers and critics of the period, color added to films shot in black and white was an attractive “special eff... [ + ]ect.” In the decades before Technicolor proved capable of reproducing a full spectrum of colors closer to those of the real world, colorists indulged in the imaginative possibilities of the techniques available to them. Far from a foregone conclusion, color in film was an accent, an opportunity for artistry and experimentation. Writing in 1931, the filmmaker and historian Paul Rotha went so far as to claim that color “is unnecessary in the dramatic theatrical film” and “definitely diminishes appeal.” Color, he continued, “must always remain a speculation from a commercial point of view…a white elephant to the cinematic medium.”Recalling this “forgotten history,” this gallery installation of nine cinema works from MoMA’s collection introduces a number of early systems that were used to reproduce color on celluloid. Focused on films produced in the United States and France from the mid-1890s through the mid-1930s, the exhibition features a suite of hand-colored Butterfly and Serpentine dance films from the 1890s; the stencil-colored L’Antre Infernal (1905) and La voix du rossignol (1923); experimental Technicolor tests (1933–35), including one with actress Katharine Hepburn as Joan of Arc; and Sunshine Gatherers (1921), an advertisement for canned fruit shot in Prizma color. Digitally restored by the Department of Film in 2019, these are among the most engaging works that were acquired by the Museum’s Film Library around the time of its founding in the 1930s.

Carolina Caycedo: Spiral for Shared Dreams

How can art draw our attention to models of resistance to environmental threats? For more than a decade, Carolina Caycedo has posed this question through video, performance, and sculpture, investigating the impact of hydroelectric dams and other infrastructure on rivers, lakes, and oceans throughout... [ + ] the Americas—and on the communities that depend on those waters.Spiral for Shared Dreams is made from 11 handmade atarrayas, or fishing nets, created by four fishing communities in Mexico—the Mujeres Pescadoras del Manglar in Oaxaca, Salvemos Temacapulín in Jalisco, Cooperativa Norte in Nayarit, and Sociedad Cooperativa Mujeres del Golfo in Baja California Sur—that face different environmental challenges.Natural and mythological figures appear on some of the nets: a shrimp; an eye representing Chalchiuhtlicue, an Aztec goddess associated with fresh water, childbirth, and sensuality; and the Aztec glyph atl, which, for Caycedo, “stands for a dignified rage, which inspires a lot of us who share dreams for change.” Histories of craft, resistance, and environmental activism converge in these delicate monuments to modes of living that exist in close relation to nature.