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In the 1980s, Mrinalini Mukherjee embarked on a group of sculptures that were daring and monumental, marking the most ambitious phase in her use of fiber. Leaving behind a conventional approach to display, Mukherjee rejected pedestals and put her sculptures in contact with the floor. Standing upright, these works are imposing yet do not resist gravity. They achieve her desire to convey “the feeling of awe [you get] when you walk into the small sanctum of a temple and look up to be held by an iconic presence.” #MrinaliniMukherjee #MetModern #MetBreuer

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“Vessel Orchestra” features containers from ancient to modern, including this storage jar that is over 5000 years old! One of the earliest examples of figurative art from ancient Iran, this large jar features the stylized image of an ibex. Intended for storage, this vessel was likely meant to be displayed, given its decoration and ring foot, which allows it to stand on a flat surface. _____ Artwork: Storage jar decorated with mountain goats | ca. 3800–3700 B.C. | Central Iran #VesselOrchestra #MetModern #MetBreuer

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Anwar Jalal Shemza’s long exploration of abstraction through shape, pattern, and language arose from his engagement with both Islamic art and Western modernism. Once noting that an infinite number of images can be made with just a circle and a square, Shemza created flexible geometric forms that often morph into textual motifs derived from the Roman and Arabic alphabets. In “Love Letter I” the letters “B” and “D” stack and repeat, and in their curved interlacing produce a latticed calligraphic composition. This combination of cultural elements creates a tension that may also parallel Shemza’s own experiences as an artist from Pakistan living in Britain. _____ Artwork: Anwar Jalal Shemza (Pakistani, 1928–1985) | Love Letter I | 1969 | © Estate of Anwar Jalal Shemza #HomeIsaForeignPlace #MetModern #MetBreuer

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Using an intuitive, laborious process of working with her hands, Mrinalini Mukherjee created unusual, mysterious, sexual, and, at times, grotesque and unsettling forms. These are commanding in presence and scale and resist realism; through their artifice they draw attention to the marvels of growth and fruition in the natural world. _____ Artwork: Mrinalini Mukherjee (Indian, 1948–2015) | Van Raja (detail) | 1981 #MrinaliniMukherjee #MetModern #MetBreuer

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Every Friday evening, “Vessel Orchestra” will be activated by a diverse group of guest artists who will perform new compositions and improvisations on this radical musical instrument. Tomorrow’s performance features @brooklynragamassive with artists Roopa Mahadevan, Trina Basu, Amali Premawardhana, and Roshni Samlal. Performances are free with Museum admission, though seating is limited. Tickets will be given on a first come first served basis at The Met Breuer on the day of the performance. Visit metmuseum.org/VesselOrchestra for more information. _____ Photo: Adrien Tillman #VesselOrchestra #MetBreuer #MetModern

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We mourn the recent passing of extraordinary artist Marisa Merz (1926–2019). Working in postwar Italy, Merz was the sole female protagonist of the Arte Povera movement and one of the most radical participants in postwar Italian art. She was revolutionary in her use of unconventional elements, such as aluminum sheeting, copper wire, nylon thread, and unfired clay, as well as in her definitive resistance to titling and dating her work.  The Met was honored to present her first American solo exhibition @metbreuer in 2017 in a presentation organized with @hammer_museum. _____ 📸: Installation view of Marisa Merz: The Sky Is a Great Space at The Met Breuer, 2017. #MarisaMerz #MetModern #MetBreuer

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Like wine glasses, seashells, and architectural spaces, every vessel contains its own innate, unchanging frequency, which the ear perceives as a specific tone. Determined by an object’s interior volume and geometry, its pitch represents a kind of sonic signature. For “Vessel Orchestra,” Oliver Beer devised a method of amplifying these distinctive resonances without touching the works of art: a tiny, hypersensitive microphone picks up each individual frequency and connects it to its corresponding note on a keyboard. When that key is pressed, the microphone engages and the tone becomes audible. Hear each vessels for yourself through August 11 on our fifth floor. #VesselOrchestra #MetModern #MetBreuer

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Throughout her career, Mrinalini Mukherjee created diverse forms that reverberate off one another. Her works highlight phenomenal forces of nature—lush, blooming, and fragrant—that eventually transform into a darker register linked to the natural life cycle's decay, deterioration, and death. Mukherjee’s sculptures challenge the imagination to go beyond logic and reason and enter into a world that is teeming and full of potential. _____ Artworks (left to right): Mrinalini Mukherjee (Indian, 1948–2015) | Van Raja, 1981 | Rudra, 1982, National Gallery of Modern Art, New Delhi| Devi, 1982, National Gallery of Modern Art, New Delhi #MrinaliniMukherjee #MetModern #MetBreuer

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Every Friday evening, #VesselOrchestra will feature a diverse group of guest artists who will perform new compositions and improvisations on this radical musical instrument in a series of intimate concerts. Tonight at 6:30pm, we kick off the series with Ekmeles and Bruce Brubaker performing music by John Cage, Alvin Lucier, Philip Glass, and early medieval monophony. All performances are free with Museum admission, though seating is limited and on a first come, first served basis. Visit metmuseum.org/VesselOrchestra for a full schedule of performances and more. #MetModern #MetBreuer

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Happy Fourth of July from The Met Breuer! We are open today until 5:30 pm. Enjoy newly opened exhibitions like #VesselOrchestra before watching fireworks tonight! 🎆 #MetBreuer

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Now on view! “Oliver Beer: Vessel Orchestra” employs microphones and speakers to amplify and shape the ambient tones resonating within each vessel, transforming them into an arresting and unexpectedly versatile musical instrument. With objects ranging in origin from ancient Persia to modern America, this exhibition links works of art across historical periods and cultures, creating an audible portrait of The Met collection. #VesselOrchestra #MetModern #MetBreuer

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"Vegetal, sexual, exquisite, and strange. . . . newly discovered objects of worship from some fecund alternate world" —@newyorkermag “Phenomenal Nature: Mrinalini Mukherjee” is on view through September 29. #MrinaliniMukherjee #MetBreuer #MetModern

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For her fiber sculptures, Mrinalini Mukherjee used natural as well as hand-dyed ropes sourced from a local market in New Delhi, where she lived and worked. The forms she fashioned are replete with sexual imagery, while some of her large anthropomorphic pieces—in which the vegetal, human, and animal coalesce—at times suggest the imagery of classical Indian sculpture. _____ Artworks: Mrinalini Mukherjee (Indian, 1948–2015) | Left: Woman on Peacock, 1991, FRAC | Right: Pushp, 1993, Private Collection, Delhi. #MrinaliniMukherjee #MetModern #MetBreuer

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The final stop on our tour of Neue Galerie New York gives you a look at “The Self-Portrait, from Schiele to Beckmann.” This unique and groundbreaking exhibition presents approximately 70 self-portraits by more than 30 artists. Be sure to stop by and see the show before it closes this Monday, June 24! _____ A huge thank you to @neuegalerieny for being such a wonderful partner and host today! And shout out to our friends at @intrepidmuseum for helping to organize #MuseumInstaSwap 2019. #NeueGalerie #NeueGaleireNY #MetBreuer #MetModern #MuseumInstaSwap2019 _____ Artworks: 1. Egon Schiele (1890–1918) | Self-Portrait in Brown Coat (detail) | 1910 | Watercolor, gouache, and black crayon on paper | Private Collection 2. Max Beckmann (1884–1950) | Self-Portrait with a Cigarette (detail) | 1923 | Oil on canvas | The Museum of Modern Art, Gift of Dr. and Mrs. F. H. Hirschland | Photo: © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY | © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn 3. Paula Modersohn-Becker (1876–1907) | Self-Portrait with Two Flowers in Her Raised Left Hand (detail) | 1907 | Oil on canvas | Jointly owned by The Museum of Modern Art, New York, Gift of Debra and Leon Black, and The Neue Galerie New York, Gift of Jo Carole and Ronald S. Lauder 4. Felix Nussbaum (1904–1944) | Self-Portrait with Jewish Identity Card | ca. 1943 | Oil on canvas | Felix-Nussbaum-Haus Osnabrück, loan from the Niedersächsische Sparkassenstiftung | Photo: Museumsquartier Osnabrück, Felix-Nussbaum-Haus Osnabrück | © 2019 Artists Rights Society (ARS), New York 5. Käthe Kollwitz (1867–1945) | Frontal Self-Portrait (detail) | ca. 1910 | Charcoal on gray-blue Ingres paper | Käthe Kollwitz Museum Cologne | © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn 6. Otto Dix (1891–1969) | Self-Portrait with Easel (detail) | 1926 | Tempera on panel | Leopold-Hoesch-Museum, Düren |Photo: Peter Hinschläger | © 2019 Artists Rights Sociey (ARS), New York / VG Bild-Kunst, Bonn

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In addition to @neuegalerieny’s permanent collection, the museum has a robust rotation of special exhibitions. On view through September 2, “Eclipse of the Sun: Art of the Weimar Republic” demonstrates the artistic output that coincided with a moment of extreme political unrest in Germany. George Grosz’s monumental 1926 canvas “Eclipse of the Sun” is the centerpiece of the exhibition. The work vividly captures the rampant political and social corruption that characterized Germany in the mid-1920s. Set against the backdrop of a city in flames, Grosz’s work offers a microcosm of the Weimar Republic, alluding to the competing interests that struggled to control the fledgling democracy. The exhibition includes additional paintings and drawings by Grosz, along with a selection of art by Otto Dix, Max Beckmann, Otto Griebel, Christian Schad, Rudolf Schlichter, and Georg Scholz. _____ Installation images (Courtesy Neue Galeire New York; Photography by Hulya Kolabas) #MuseumInstaSwap #NeueGalerie #NeueGaleireNY #MetBreuer #MetModern #MuseumInstaSwap2019

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The first stop on our #MuseumInstaSwap tour of @neuegalerieny brings us to Gustav Klimt’s famed portrait, “Adele Bloch-Bauer I.” Commonly referred to as the #WomanInGold, this masterwork is arguably Klimt’s greatest portrait, and the Mona Lisa of Neue Galerie New York. _____ Klimt’s one of a kind painting was inspired by sources as diverse as Byzantine mosaics, Orthodox Christian icons, and ancient Egyptian motifs. The realism of the face and the hands is a bold contrast to the gleaming ornament that envelops the figure and the abstract background that spills across the picture. There is nothing like it in the canon of European portraiture. “Adele Bloch-Bauer I” is on permanent display alongside other works from the Neue Galerie collection. _____ Artwork: Gustav Klimt (1862–1918) | Adele Bloch-Bauer I | 1907 | Oil, silver, and gold on canvas | Neue Galerie New York. Acquired through the generosity of Ronald S. Lauder, the heirs of the Estates of Ferdinand and Adele Bloch-Bauer, and the Estée Lauder Fund #NeueGalerie #NeueGaleireNY #MetBreuer #MetModern #MuseumInstaSwap2019

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It’s #MuseumInstaSwap 2019! Today, nearly 50 major tri-state area institutions join forces to showcase the breadth and depth of arts and cultural institutions across the city and beyond. This year, we are so thrilled to collaborate with Neue Galerie New York (@neuegalerieny). — Neue Galerie New York is a museum devoted to early twentieth-century German and Austrian art and design. The museum was conceived by two men: art dealer and museum exhibition organizer Serge Sabarsky and businessman, philanthropist, and art collector Ronald S. Lauder. The collection features masterworks from artists including Gustav Klimt, Egon Schiele, Josef Hoffmann, Koloman Moser, Vasily Kandinsky, Paul Klee, and (our very own) Marcel Breuer! Be sure to follow along today as we take you inside. _____ Photo: Courtesy Neue Galeire New York; Photography by Hulya Kolabas #NeueGalerie #NeueGaleireNY #MetBreuer #MetModern #MuseumInstaSwap2019

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#Repost @metmuseum ・・・ Today is #WorldRefugeeDay, and artist Sopheap Pich shares his thoughts on his role as an artist and refugee: “I wonder where I would be or what would’ve become of me without the good graces of the many who enabled my family to take shelter in this land of knowledge and opportunity... to allow me the freedom to seek out visionaries and pioneers in a life’s occupation that was shunned upon when I was a child…opening up a world wider than I had ever imagined! How can I make enough works to show my gratitude in one lifetime?” ⁣ ⁣ Pich's 2012 work "Ratanakiri Valley Drip" (featured above, with him) is on view now at @themetbreuer in "Home Is a Foreign Place." ⁣⁣ ⁣⁣ We've partnered with @theIRC today on #WorldRefugeeDay to share artworks made by refugees and consider what would be lost from our walls without them. Join us in saying "Thank you, refugees" by sharing a work of art by a refugee that speaks to you and tagging @theIRC and @metmuseum. ⁣⁣ ⁣⁣ 🎨 Sopheap Pich (born Cambodia, 1971). Ratanakiri Valley Drip, 2012. Bamboo, rattan, wire, burlap, beeswax, damar, earth pigment, charcoal, plastics, oil paint. The Metropolitan Museum of Art, Purchase, Gift of the Leonore S. Gershwin 1987 Trust, by exchange, 2013 © Sopheap Pich. #HomeIsAForeignPlace #MetModern

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This work was made by a refugee. In honor of #WorldRefugeeDay this Thursday, June 20, we've partnered with @theirc to highlight works of art made by refugees and to consider what would be lost from The Met without their contributions. This work by Ibrahim El-Salahi is currently on view in #HomeIsaForeignPlace. Join us in saying "Thank you, refugees" by sharing a work of art made by a refugee that speaks to you and tagging @metmuseum and @theIRC. _____ Artwork: Ibrahim El Salahi (Sudanese, born 1930) | Alphabet No. 2, 1962; reworked 1968 | © 2019 Artists Rights Society (ARS), New York / DACS, London #MetBreuer #MetModern

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“Phenomenal Nature: Mrinalini Mukherjee” is now on view! This important exhibition invites viewers to revel in the commanding presence of Mukherjee’s mysterious and sensual objects, while appreciating the innovation and intuition she brought to her art. See it now through September 29. #MrinaliniMukherjee #MetBreuer #MetModern

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Mrinalini Mukherjee (1949–2015) was a committed sculptor who worked intensively with fiber. She was among a group of post-independence Indian artists who untethered their practice from the then-dominant tradition of figure painting. While nonrepresentational forms of fiber art emerged in the West in the 1960s and 1970s, Mukherjee was never part of that movement. She worked instead in near isolation in India, and chose to integrate craft techniques with a modernist visual vocabulary. #MrinaliniMukherjee #MetModern #MetBreuer

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Now on view! “Phenomenal Nature: Mrinalini Mukherjee” is the first retrospective of the artist in the United States. The exhibition brings together fifty-seven works by Mukherjee and explores the artist's longstanding engagement with fiber, along with her significant forays into ceramic and bronze towards the middle and latter half of her career. See the exhibition on our third floor through September 29. #MrinaliniMukherjee #MetModern #MetBreuer

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For more than six decades, Iranian-born artist Siah Armajani, who immigrated to the United States in 1960, has been captivated by the power of text and images to transform individuals' deepest held beliefs and understanding of their place in the world. Don’t miss your final days to see Armajani’s work at The Met Breuer. “Siah Armajani: Follow This Line” is on view through tomorrow, June 2. #SiahArmajani #MetModern #MetBreuer

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Coming soon! “Phenomenal Nature: Mrinalini Mukherjee” opens next Tuesday, June 4. This exhibition will mark the first retrospective of the artist in the United States. It will bring together fifty-seven works by Mukherjee and explore the artist's longstanding engagement with fiber, along with her significant forays into ceramic and bronze towards the middle and latter half of her career. _____ Artwork: Mrinalini Mukherjee (Indian, 1949–2015) | Vriksh Nata (Arboreal Enactment), (3 pieces) | 1991–92 | Collection Kiran Nadar Museum of Art, New Delhi | © Mrinalini Mukherjee | Photo © Avinash Pasricha. #MrinaliniMukherjee #MetModern #MetBreuer

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The New York Times calls, “Siah Armajani: Follow This Line,” “exceptional . . . a portrait of the artist as citizen-exile, maker-philosopher, idealist-doubter and ethicist to the core . . .” Don’t miss your final days to see the exhibition, on view through June 2. _____ Artwork: Siah Armajani (Iranian-American, born 1939) | Dictionary for Building: House on Wheel | 1974–75. #SiahArmajani #MetModern #MetBreuer

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On July 16, 1969, Siah Armajani tuned in, along with 500 million people around the world, to watch the Apollo 11 moon landing on television. 🌙 He kept the portable TV on continuously as the event unfolded, switching it off only when the crew returned to Earth eight days later. He subsequently padlocked the television’s electric plug and threw away the key, thereby symbolically locking the historic moment in time. _____ Artwork: Siah Armajani (Iranian-American, born 1939) | Moon Landing | 1969. #SiahArmajani #MetModern #MetBreuer

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Happy Birthday, Marcel Breuer! The Hungarian-born architect and furniture designer was born on this day in 1902. Our iconic Madison Avenue building was Breuer’s first—and only—building in Manhattan. You can find his name carved into this dedication stone located in our sunken garden. Supported by a strong team during the construction process, he credits one other key player in the granite—his associate, Hamilton Smith. Visit the link in bio to learn more about the Breuer building and the man himself on our digital architecture tour. #MarcelBreuer #MetBreuer #MetModern

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Economic and political forces in the wake of globalization have wrought unprecedented changes to contemporary cultures. Marked by fragmentation, migration, and mutation, these characteristically postmodern conditions have been reflected in artistic production from the 1970s to the present day. Seeking new ways to probe physical limits and conceptual possibilities in their work, some artists turned with renewed interest to collage and assemblage and embraced multimedia and new media practices. #HomeIsaForeignPlace #MetModern #MetBreuer

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Spend some time outside this weekend at Public Art Fund’s re-staging of Siah Armajani’s seminal public art installation “Bridge Over Tree” (1970). This installation, which coincides with “Siah Armajani: Follow This Line” at The Met Breuer, is the first time that the work has been recreated by the artist since its debut in a Minneapolis public park nearly 50 years ago. Head to Brooklyn Bridge Park through September 29 to experience it for yourself! 📸: @publicartfund #SiahArmajani #PublicArtFund #MetBreuer

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Happy #InternationalMuseumDay from The Met Breuer! Stop by to see one of our current exhibitions including #SiahArmajani and #HomeIsaForeignPlace, enjoy a meal at @florabarnyc, or admire some architectural features of our Marcel Breuer designed building (like our lobby lights, shown here 💡). #MetBreuer #MetModern

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In these works, Siah Armajani identifies each house according to its position relative to a bridge. The bridge creates a specific site—a “neighborhood” or “home”—with its own particular spatial and temporal coordinates. “A bridge is something in-between,” Armajani explains. “What is before the bridge, after the bridge, above the bridge, and below the bridge brings [these positions] together and makes them one neighborhood.” _____ Artwork: Siah Armajani (Iranian-American, born 1939) | House before the Bridge | 1974–75. #SiahArmajani #MetModern #MetBreuer

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Mark Bradford’s “Crack Between the Floorboards” was inspired in part by Gustave Caillebotte’s 1875 painting “Les raboteurs de parquet (The Floor Planers)” in which three shirtless laborers are seen from above stripping varnish from a bourgeois apartment’s floorboards. As an early depiction of the urban working class and the eroticized male nude, “Les raboteurs de parquet” shocked the art establishment. Bradford translates these themes into an abstract, kaleidoscopic work that alludes to contemporary issues of class, location, and space. _____ Artwork: Mark Bradford (American, born 1961) | Crack Between the Floorboards | 2014. #HomeIsaForeignPlace #MetModern #MetBreuer

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One of the earliest modern abstract artists in the Arab world, Saloua Raouda Choucair was interested in Islamic art, modernist art and architecture, science and mathematics, and Pan-Arabist politics that promoted the idea of unity across Arab nations. “Structure with One Thousand Pieces” is a prototype for an unrealized, large-scale installation and epitomizes Choucair’s vision of what contemporary Islamic or Arab art (she employed both terms) should accomplish. The work features an internal lamp that radiates light through the irregular wooden slats, simultaneously evoking mashrabiyya, or wooden latticework, and an illuminated office tower. See it now in #HomeIsaForeignPlace. _____ Artwork (from right to left): Saloua Raouda Choucair (Lebanese, 1916–2017), Structure with One Thousand Pieces, 1966–68. | Adolph Gottlieb (American, 1903–1974), T, 1950. | Mark Rothko, American (born Russia, now Latvia), 1903–1970, Untitled, ca. 1944–45. #MetModern #MetBreuer

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We’re open! Though normally closed on Mondays, we are open with special hours today, May 6, from 10 am to 5:30 pm. Start your week off with “Home Is a Foreign Place: Recent Acquisitions in Context” and “Siah Armajani: Follow This Line” before heading downstairs to enjoy lunch outside in our sunken garden with Flora Coffee. #HomeIsaForeignPlace #SiahArmajani #MetModern #MetBreuer

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Siah Armajani recalls a childhood game he played with his classmates as they walked home from school. Wandering through the streets of Tehran, they would trace their path along the city walls, enjoining their peers to "follow this line." Covering significant moments in the artist's life and career, “Follow This Line: An Illustrated Chronology” invites readers to dive into Armajani's reflections on democracy, anarchy, architecture, technology, and philosophy. Check it out by visiting metmuseum.org or clicking the link in our bio. _____ Artwork: Siah Armajani (Iranian-American, born 1939) | Dictionary for Building: Loading Dock #2 | 1974–1975. #SiahArmajani #MetModern #MetBreuer

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Rather than focus on those works that explicitly address exile and associated themes, “Siah Armajani: Follow This Line” identifies tactics that define this aesthetic across the trajectory of Armajani's practice. For the first time, the artist's sculptures, installations, and drawings are understood as props for public performances. Across the exhibition, props for official or institutionalized speech compete with props for performing magic spells, veiled calls for political activism, and poetry readings. #SiahArmajani #MetBreuer #MetModern

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During the 1950s and 1960s Jasper Johns frequently appropriated well-known images such as targets, maps, and flags—in his words, “things the mind already knows.” In “White Flag,” shown here at left, Johns drains this iconic subject of its characteristic red, white, and blue coloration, leaving it to loom, ghostlike. The painting’s bleached appearance and composite, layered form make the familiar image strange. By challenging our understanding of what constitutes a national symbol and complicating our relationship to this highly charged American image, it speaks powerfully, if ambiguously, to the issue of national identity. _____ Artwork: Jasper Johns (American, born 1930) | White Flag | 1955 | © Jasper Johns/Licensed by VAGA, New York, NY #HomeIsaForeignPlace #MetModern #MetBreuer #JasperJohns

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“Home is a Foreign Place: Recent Acquisitions in Context” is now on view! Taking its title from Zarina’s 1999 suite of thirty-six woodcuts, this collection display features art that explores the meanings of finding a “home” and “place” in our increasingly interwoven globe, whether by necessity or choice. _____ Artwork: Zarina (American, born Aligarh, India, 1937) | Home is a Foreign Place (detail) | 1999 | © Zarina Hashmi #HomeIsaForeignPlace #MetModern #MetBreuer

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To coincide with the exhibition “Siah Armajani: Follow This Line” at The Met Breuer, @publicartfund is presenting a re-staging of Armajani’s public art installation “Bridge Over Tree” at Brooklyn Bridge Park through September 29. Armajani constructed “Bridge over Tree” for the Walker Art Center in 1970. The structure ascends and descends steeply over a small pine tree, negating any practical function, but also producing a location, or site where one had existed before. The model shown here of this seminal work is on view at The Met Breuer through June 2. Swipe to see the full model ➡️ _____ Artwork: Siah Armajani (Iranian-American, born 1939) | Bridge over Tree | 1970 #SiahArmajani #MetModern #MetBreuer

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It's Roof Garden season! The Met’s 2019 Cantor Roof Garden Commission: Alicja Kwade, ParaPivot opens today! Berlin-based artist Alicja Kwade creates sculptures and installations that reflect on time, perception, and scientific inquiry. With equal parts poetry and critical acumen, she calls into question the systems designed to banish doubt from the world and make sense of an otherwise unfathomable universe. For The Met, Kwade has created two sculptures using steel and stone to evoke a miniature solar system, a piece of space that will settle temporarily on the Iris and B. Gerald Cantor Roof Garden. The exhibition is on view through October 27 at The Met Fifth Avenue. _____ Artwork: Alicja Kwade (b.1979, Poland) | Installation view of ParaPivot II (2019) for The Roof Garden Commission: Alicja Kwade, ParaPivot at The Metropolitan Museum of Art, 2019 | Courtesy of the artist; 303 Gallery, New York; KÖNIG GALERIE, Berlin/London; and kamel mennour, Paris/London. | Photograph by Hyla Skopitz. #CantorRoof # AlicjaKwade #MetModern #MetBreuer #TheMet

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Today is your final chance to see “Lucio Fontana: On the Threshold” at The Met Breuer! Fontana is widely known for his series of slashed paintings from 1958 known as the Cuts (Tagli). This exhibition presents extraordinary examples of this iconic series, while also exploring Fontana’s beginnings as a sculptor and his pioneering work with environments, contextualizing the radical nature of the Cuts within the artist’s broader practice. _____ Artwork: Lucio Fontana (Argentine-Italian, 1899–1968) | Spatial Concept, Expectations (Concetto Spaziale, Attese) | 1965 | © 2019 Fondazione Lucio Fontana/Artists Rights Society (ARS), New York/SIAE, Rome. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

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Don’t miss your final days to see “Lucio Fontana: On the Threshold,” on view through April 14. The first major survey of Lucio Fontana in the United States in more than forty years, this exhibition reexamines the career of one of the most innovative artists of the twentieth century. _____ Artwork: Lucio Fontana (Argentine-Italian, 1899–1968) | (Left) Spatial Concept, The End of God (Concetto Spaziale, La Fine di Dio), 1964 | (Right) Spatial Concept, The End of God (Concetto Spaziale, La Fine di Dio), 1963 | © 2019 Fondazione Lucio Fontana/Artists Rights Society (ARS), New York/SIAE, Rome. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

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“Home Is a Foreign Place: Recent Acquisitions in Context” is now on view on our second floor. This exhibition highlights recent acquisitions of modern and contemporary art from Latin America, the Middle East, North Africa, and South and Southeast Asia, alongside works by iconic modern American artists from The Met collection. Taking its title from Zarina's 1999 suite of thirty-six woodcuts, this exhibition will feature art that explores the meanings of "home" and "place" in our increasingly interwoven globe, whether by necessity or choice. Check out our story today for a preview! #HomeIsaForeignPlace #MetModern #MetBreuer

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Opening this Tuesday! “Home Is a Foreign Place: Recent Acquisitions in Context” will present a diverse group of paintings, sculptures, installations, and videos made between 1944 and 2016 that explore artistic engagements with language, architecture, space, seriality, politics, and media. Highlighting recent acquisitions from Latin America, South Asia, the Middle East, and North Africa, alongside existing icons of American art from The Met’s collection, this thematic installation asks viewers to reconsider what it means to make a home in the world, whether by chance, necessity, or choice. _____ Artwork: Donna Conlon (American, born 1966) | Coexistencia (Coexistence) (detail) | 2003 | Single-channel digital video | © 2003 Donna Conlon #HomeIsaForeignPlace #MetModern #MetBreuer

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Tonight! Join us at The Met Fifth Avenue at 6:30 pm for “MetFridays—Siah Armajani and Public Art.” Explore Armajani's work in the context of the history of public art from the 1980s to today as artist Liam Gillick and art historian David Hodge share their insights on the evolving significance of social space in contemporary artistic practice. This event is free with museum admission. _____ Artwork: Siah Armajani (Iranian, born 1939) | Details from Dictionary for Building | 1974–75. #SiahArmajani #MetBreuer #MetModern #TheMet

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Don’t miss your final weeks to see “Lucio Fontana: On the Threshold” at The Met Breuer. @wsj says, "In our current climate of huge retrospectives . . . ‘On the Threshold’ is a necessary—and for those who look closely, rewarding—addendum." On view through April 14. _____ Artwork: Lucio Fontana (Argentine-Italian, 1899–1968) | Spatial Concept, Expectation (Concetto Spaziale, Attesa) | 1959 | © 2019 Fondazione Lucio Fontana/Artists Rights Society (ARS), New York/SIAE, Rome. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

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Start your weekend at The Met Breuer! We are open until 9 pm every Friday and Saturday. Enjoy current exhibitions including “Lucio Fontana: On the Threshold” before heading downstairs for dinner at @florabarnyc. _____ Artwork: Lucio Fontana (Argentine-Italian, 1899–1968) | Olympic Champion (Waiting Athlete) (Campione Olimpionico [Atleta in Attesa] ) | 1932 | © 2019 Fondazione Lucio Fontana/Artists Rights Society (ARS), New York/SIAE, Rome. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

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Amid the Italian economic boom, the space race, and the growing Cold War nuclear threat, Lucio Fontana created his most iconic artworks: the Cuts. With the rupturing of the picture plane, the radical gesture of the Cuts was an act of sabotage to the discipline of painting. Fontana presented the viewer with a form—the void—that was literally made of space. _____ Artwork: Lucio Fontana (Argentine-Italian, 1899–1968) | Spatial Concept, Expectation (Concetto Spaziale, Attesa) | 1967 | © 2019 Fondazione Lucio Fontana/Artists Rights Society (ARS), New York/SIAE, Rome. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

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Working in a figurative style, Lucio Fontana favored a realist stance inspired by the ancient sculptures of Etruscan sarcophagi—exemplified in his female portraits, some of which are also painted with color or gold. But he was an eclectic artist, both absorbing traditions and assimilating avant-garde movements such as Futurism, which allowed him to maintain creative independence during the Italian Fascist regime. Working with clay, Fontana succeeded in unifying genres, themes, and historical references, while pushing the boundaries of sculptural practice. #MetLucioFontana #LucioFontana #MetModern #MetBreuer

metbreuer

Siah Armajani’s “Dictionary for Building” is composed of approximately 150 small-scale architectural maquettes made with cheap and ephemeral materials. In this key work, Armajani combines units of domestic architecture—doors, windows, gables, walls, chairs, and so on—to create improbable hybrid structures. These units abut one another in surprising and often nonsensical ways. In this manner, the artist renders the annexed elements useless in a conventional sense, while opening them up to new possibilities for meaning. #SiahArmajani #MetModern #MetBreuer