#moma courses

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In the Studio: Postwar Abstract Painting

Ever wondered how Agnes Martin balanced perfection and imperfection in her gridded compositions, why Jackson Pollock was dubbed “Jack the Dripper,” how Mark Rothko sought to make viewers cry, or what a Willem de Kooning painting sounds like? Sign up for “In the Studio: Postwar Abstract Painting,” MoMA’s newest free online course—now open for enrollment at mo.ma/coursera.

This course welcomes anyone to tap into the processes, materials, and minds of seven New York School artists including Martin, Pollock, Rothko, de Kooning and Barnett Newman, Ad Reinhardt, and Yayoi Kusama. Combining studio techniques, visual analysis, and art historical insight, it offers an opportunity to experience postwar abstract painting from an artist’s point of view. 

Thanks to @vw​ for helping to bring MoMA Courses to learners all over world!

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Yayoi Kusama and more featured in “In the Studio: Postwar Abstract Painting” 

Yayoi Kusama explored the concept of infinite repetition across a broad range of mediums as she forged a path through the male-dominated Abstract Expressionist art world of 1950s New York. For this work, she photographed her Infinity Net paintings, then cut up the black-and-white prints and fit them into a grid. See this and more works by pioneering women abstract artists in the exhibition #MakingSpace, now on view at MoMA.

Learn about the materials, techniques, and approaches of Kusama and six other New York School artists in our newest free online course, “In the Studio: Postwar Abstract Painting.” The next session starts April 24— enroll today at mo.ma/coursera

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[Yayoi Kusama. “Accumulation of Nets (No. 7).” c. 1962. Collage of gelatin silver prints. Gift of Agnes Gund. © 2017 Yayoi Kusama]

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Happy Birthday Agnes Martin and Yayoi Kusama!

Both pioneering artists, both born on this day, and both featured in MoMA’s newest free online course, “In the Studio: Postwar Abstract Painting.” It wasn’t easy for these women to make a place for themselves in the male-dominated postwar New York art world. But they persisted—with Kusama claiming that she wanted nothing less than to “start a new art movement”—and became some of the foremost artists of their day. Enroll today to learn about the materials, techniques, and approaches of Martin, Kusama, and five other New York School artists. Sign up at mo.ma/coursera today!

[Agnes Martin. With My Back to the World. 1997. Synthetic polymer paint on canvas, six panels. Fractional and promised gift of Michael and Judy Ovitz. © 2017 Estate of Agnes Martin/Artists Rights Society (ARS), New York; Yayoi Kusama. Accumulation. 1952. Ink on paperboard. The Judith Rothschild Foundation Contemporary Drawings Collection Gift (purchase, and gift, in part, of The Eileen and Michael Cohen Collection). © 2017 Yayoi Kusama]

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Learn about Marcel Broodthaers in a new class led by the curatorial assistant for the current exhibition Marcel Broodthaers: A Retrospective. Reserve your spot today! The course begins April 11. 

[Marcel Broodthaers. Moi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose et réussir dans la vie . . . (I, too, wondered whether I could not sell something and succeed in life . . .). 1964. The Museum of Modern Art, New York. © 2016 Estate of Marcel Broodthaers / Artists Rights Society (ARS), New York / SABAM, Brussels]

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Find your inspiration this fall. Register now for MoMA classes. 

[The Making of Mail Art Workshop. February 2015. Photography by Manuel Martagon]

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Yesterday artist Jorge Colombo led a MoMA class called "Pocket Storytelling: Building a Photo Story out of a Smartphone." Colombo, a celebrated artist, has lately produced the majority of his output, both paintings and photographs, on an iPhone or iPad, several of which you may have seen on the cover of The New Yorker. Here, a sampling of student Ericka Fleming's work that she created during the workshop. Learn more about MoMA Classes. 

[Photos by Ericka Fleming]

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Explore the intersection of music and the visual arts in a new after-hours class. 

[Installation view of Making Music Modern: Design for Ear and Eye, The Museum of Modern Art, November 15, 2014–November 15, 2015. © 2014 The Museum of Modern Art. Photo: John Wronn]

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How can architecture respond to rising levels of poverty? Learn more in a new MoMA Class, "The Neoliberal City: Architectures of Resistance."

[Lagos Tomorrow. 2014. Water. Courtesy NLÉ and Zoohaus/Inteligencias Colectivas]