MoMA The Museum of Modern Art

How does music influence—or dominate, even—our understanding of photography? Wolfgang Tillmans has long been deeply engaged with music as a musician and a documentarian, exploring its cultural significance and the listening experience, and creating images of raves, clubs, and dance parties (including a video of himself dancing). In his current exhibition, @wolfgang_tillmans presents his first full-length album, “Moon in Earthlight.” Produced primarily during the COVID-19 pandemic, when live music was rare, the album is centered on the performative nature of music and its role in bringing people together. Meditate on music and photography in Wolfgang Tillmans: #ToLookWithoutFear , now on view. — #WolfgangTillmans . “Moon in Earthlight” (excerpt). 2021. Video courtesy of the artist, David Zwirner, New York / Hong Kong, Galerie Buchholz, Berlin / Cologne, Maureen Paley, London

“I hope that Asian American artists will soon have their moment in the sun.” — Bruce Yonemoto Bruce and Norman Yonemoto were born in California’s Silicon Valley to a Japanese American mother shortly after her release from Tule Lake internment camp, and a Japanese American father who had recently completed a wartime tour of duty in the US Army. After moving to Los Angeles, Bruce and Norman forged a path in video art during the 1970s. Combining experimental approaches to the new medium without shying away from the visual codes of the film and television industries, they collaborated with a range of artists and counterculture luminaries. The Yonemotos addressed complex questions about the Asian American experience, unfixing rigid notions of race and identity within an approach as rooted in popular culture as it was in underground sensibilities. “Green Card: An American Romance” is the third and final installment in the Yonemotos’ Soap Opera Series. Satirizing 1980s Los Angeles and the city’s burgeoning art scene, the film betrays the Yonemotos’ fascination with the melodramatic clichés of American soap operas and the films of Douglas Sirk, drawing on the vernacular of Southern California’s entertainment industry. 📺 Stream Bruce and Norman Yonemoto’s “Green Card: An American Romance” from October 26 – November 9 in the latest installment of our Hyundai Card Video Views series featuring video works from the collection, link in bio. 📖 Read an interview between @byonemoto and Julie Ault on #MoMAMagazine . — Bruce Yonemoto, Norman Yonemoto. “Green Card: An American Romance” (excerpt). 1982. Video (color, sound), 79:15 min. The Museum of Modern Art, New York. Purchase. © 2022 Bruce Yonemoto. Courtesy Electronic Arts Intermix, New York

“I was trying to become a conduit for something else…losing the self and allowing this other spirit to come through.” — Senga Nengudi This clip is part of the performance “Air Propo” at Just Above Midtown in 1981. Created as part of a series of collaborations among artists working in different mediums, the musician Lawrence D. “Butch” Morris is seen playing a cornet before cutting to artist Senga Nengudi, who is seen standing in an installation of bamboo crosses covered in a gauzy fabric—exhaling short, sharp breaths. Later, Morris plays again and is joined by dancer and choreographer Cheryl Banks-Smith who performs an improvised dance.  See documentation of the full performance in #JustAboveMidtown , an exhibition presenting artists and artworks previously shown at the art gallery and self-described laboratory led by Linda Goode Bryant that foregrounded African American artists and artists of color.  — Excerpt of Senga Nengudi and Lawrence D. “Butch” Morris performing “Air Propo” at Just Above Midtown, 1981. Courtesy Senga Nengudi and Collection Linda Goode Bryant, New York.

“Nobody will give you freedom. You have to take it.” — Meret Oppenheim Best known for her celebrated fur-lined teacup, the full scope of #MeretOppenheim’s six-decade career has been largely unknown outside her native Switzerland. See nearly 200 works that offer a wide retrospective view of the artist’s lifelong innovation, remarkably open concept of art, and fierce originality and wit in Meret Oppenheim: My Exhibition, opening October 30. Member previews begin October 27. Learn more at mo.ma/oppenheim, link in bio. #MOMyExhibition

How can a region's past, present, and future be in conversation? This question animates the work of Carolina Caycedo and David de Rozas, which focuses on the struggles for territorial sovereignty, Indigenous rights, and the building of environmental memory. The artist’s multimedia installation grew out of their years-long research into an area that the Carrizo/Comecrudo tribe calls Somi Se’k, which includes parts of Southwest Texas, Northern Mexico, and the Rio Grande Valley. “The Teachings of the Hands (Las enseñanzas de las manos),” narrated by Juan Mancias (Chairman of the Carrizo/Comecrudo Tribe of Texas @estok_gna_somisek ), highlights the tribe’s values and knowledge through their enduring bond with the land. “Somi Se’k is what we call Texas,” Mancias explains. “Before it was Spain, it used to be nothing but Somi Se’k. Before it was Mexico, it was Somi Se’k.” Focusing on three locations across West Texas—the McDonald Observatory in Fort Davis, the Amistad Dam on the Rio Grande, and the Permian Basin oil fields—the film also addresses the region’s complex histories of colonization, extractive violence, and Indigenous struggle, weaving together scenes spanning the past four thousand years. → The artists sat down for a conversation with Juan Mancias and C. J. Alvarez to discuss how digging into the past can inspire movements that are fighting for environmental justice today, and the ways in which we can reframe our connection to the land by altering our understanding of time. Read the conversation on #MoMAMagazine , link in bio. → See @lacaycedo and De Rozas’s multimedia installation, on view now at MoMA. — Excerpt from “The Teachings of the Hands” (2020), a film by Carolina Caycedo and David de Rozas, narrated by Juan Mancias, Chairman of the Carrizo/Comecrudo Tribe of Texas. Courtesy the artists. Commissioned by Ballroom Marfa (@ballroommarfa ).

“The film is very much about telling history through the senses; through muscle memory, sound, and taste.” — Jumana Manna Jumana Manna’s works dig into focused topics to produce narratives that expose how history and its accompanying value systems are constituted. “A Magical Substance Flows into Me” the artist and filmmaker explores a Jerusalem archive of music from different ethnic and religious groups. The film speaks to the myriad implications of the archive, including how it can fix knowledge around traditions—even as they transform. In the film, we see the role individuals play in keeping certain ways of life alive, and how simple gestures can maintain diversity and preserve complexity in the face of hegemonic forces. 📺 Stream “A Magical Substance Flows into Me” from September 28 – October 12 in the latest installment of our Hyundai Card Video Views series featuring video works from the collection, link in bio. 📖 Read an interview between @jumanamanna and @rubakatrib on #MoMAMagazine . 🍞 See Jumana Manna’s exhibition “Break, Take, Erase, Tally,” on view now at @MoMAPS1 .

“There’s this level of activation of the space that, just by entering it, you become part of it.” — Margarita Lizcano Hernandez In our latest UNIQLO ArtSpeaks, curatorial assistant Margarita Lizcano Hernandez takes a close look at Barbara Kruger’s “Thinking of Y̶o̶u̶. I Mean M̶e̶. I Mean You.” and describes the sometimes overwhelming feeling of being surrounded by the colossal installation.  See the artist’s large-scale commission “Thinking of Y̶o̶u̶. I Mean M̶e̶. I Mean You.” on view now. Link in bio to learn more and plan your visit.  @uniqlousa is MoMA’s proud partner of #ArtForAll .

Though best known as a photographer, Wolfgang Tillmans began experimenting with moving images in the 1980s, and he has been working in video consistently since the 2000s. We’ve added two more screenings of #WolfgangTillmans video work. 🎟 Join us on September 14 and 16, link in bio for tickets. — Wolfgang Tillmans. “Printing Press Heidelberg Speedmaster XL” (excerpt). 2011. HC Video. Image courtesy of the artist, David Zwirner, New York/Hong Kong, Galerie Buchholz, Berlin/Cologne, Maureen Paley, London

“It’s this ability to be able to live outside of time, but also able to make projections into the future, that I find quite fascinating about Bouabré.” In our latest UNIQLO ArtSpeaks, curator Ugochukwu-Smooth Nzewi (@smoothugochukwuc ) takes a close look at Frédéric Bruly Bouabré’s “Connaissance du monde (Knowledge of the World),” a series of drawings focused on gathering a common human story.  Last chance! Experience Bouabré’s “Connaissance du monde (Knowledge of the World)” through August 13. @uniqlousa is MoMA’s proud partner of #ArtForAll .

“I felt that the only way to address absurdity was with absurdity.” — American Artist Since legally changing their name in 2013, an act that made them both anonymous and ubiquitous, American Artist has been producing what they describe as “thought experiments.” These interdisciplinary artworks propose alternative realities that examine the implicit biases pervading contemporary culture and technology. In “I’m Blue (If I Was █████ I Would Die),” a body of work from 2019, the artist turned their attention to the American law enforcement system. The video “Blue Life Seminar” was shown in a constructed classroom environment prepped for a fictional police-training seminar. An otherworldly “talking head,” drawn from science fiction and recent historical events, addresses a room of imagined cadets from a digital void, invoking the one-way address of television and the instant engagement of social media. 📺 Stream “Blue Life Seminar” from July 20 – August 3 in the latest installment of our Hyundai Card Video Views series featuring video works from the collection, link in bio. 📖 Read an interview between @a_____rtist and Erica Papernik-Shimizu on #MoMAMagazine . American Artist’s video “2015” (2019) is currently on view in “Pervasive Light: Works from MoMA’s Media and Performance Collection,” the Museum’s partnership exhibition with Hyundai Card in Seoul. — American Artist. “Blue Life Seminar” (excerpt). 2019. © 2022 American Artist

“I really feel like they’re things that I would find in my drawers.”  MoMA educator Francis Estrada (@francisestrada1 ) finds connection to his Filipino culture in Alfonso Ossorio’s assemblage “Empty Chair or The Last Colonial,” and is inspired by the presence of familiar objects reminiscent of relics, altarpieces, and wards against evil. 🔎 An #ArtTerm explained! “Assemblage” is a term used to describe three-dimensional works made from combinations of materials including found objects or non-traditional art materials. Explore our collection work by work with #UNIQLOArtSpeaks and experience Ossorio’s “Empty Chair or The Last Colonial” in Gallery 415: Divided States of America. @uniqlousa is MoMA’s proud partner of #ArtForAll .

Watch days of installation happen in just a few seconds! 👀 Opening this Saturday! Barbara Kruger’s bold textual statements about truth, belief, and power envelop the Marron Family Atrium in a large-scale commission "Thinking of Y̶o̶u̶. I Mean M̶e̶. I Mean You." Combining provocatively concise language with images drawn from mass-media, artist #BarbaraKruger has been creating explorations of social relationships imbued with her distinctive sense of urgency and humor for more than 40 years. An incisive critic of popular culture, Kruger addresses the viewer directly as a way of exposing the power dynamics underlying identity, desire, and consumerism. The work explores the ways that relationships between spatial and political power invariably relate to considerations of inclusion and exclusion, dominance and agency. Link in bio to learn more and get 🎟️. — In-progress installation timelapse of "Barbara Kruger: Thinking of Y̶o̶u̶. I Mean M̶e̶. I Mean You." (detail). 2022. The Museum of Modern Art, New York