@themuseumofmodernart

Indigenous Peoples’ Day recognizes the first Americans, and an opportunity for renewed commitment to our country's promise of equality and justice for all. Hock E Aye Vi Edgar Heap of Birds reflected on his work “Surviving Active Shooter Custer,” a recent addition to the , with curators @rubakatrib and @estherdoraadler in 2019. The artist discusses the violence of history as well as ongoing acts of oppression against Native communities, and how his poetic process of wordplay and printmaking pays homage to “the ghosts of a whole culture.”

Sunday mornings at MoMA 😎

As a Surrealist, ’s works are fantastical and otherworldly, but more than that, they give us a window into her inner world. On , engage in a guided visualization of Carrington’s “And Then We Saw the Daughter of the Minotaur,” led by Jackie Armstrong on our Education team, for our Artful Practices for Well-Being audio playlist. Visualization and mindfulness can be powerful tools for reducing anxiety, increasing awareness, and healing distress; the artist understood that mental wellbeing is inextricably linked to physical health, and that balance is important. Throughout her life, Carrington struggled with her mental health, at one point being involuntarily committed to an asylum as grief over her lover Max Ernst’s internment at a prison camp caused a severe decline in both her mental and physical health. Carrington was ultimately able to use her art to process and heal. As she writes in her memoir, “There are things that are not sayable. That’s why we have art.” Start listening at the link in our bio. --- [Leonora Carrington. “And Then We Saw the Daughter of the Minotaur.” 1953. Oil on canvas. © 2020 Leonora Carrington / Artists Rights Society (ARS), New York]

A bombyx mori silk moth emerges from its cocoon. Time is running out to explore Neri Oxman’s collaborative, interspecies approach to design in , on view through October 18. "Neri Oxman: Material Ecology" presents cutting-edge projects like Silk Pavilion II —a "co-fabrication," as the designer calls it, between human and silkworms. ​Can’t make it to MoMA? We’re bringing our galleries to you with . Explore the exhibition from wherever you are at mo.ma/nerioxman --- Video courtesy of and The Mediated Matter Group @oxmanofficial

Useful tools --- [Philippe Starck. "Dr. Scud Fly Swatter." 1998]

“All of us have a stake in Beirut’s future, for it is much more than just a city, it is one of the oldest centers of civilization in the world, an enduring symbol of the power of culture and civic enterprise to overcome the harsh realities of the world, a place where dreams are nurtured and art is created.” Our director Glenn D. Lowry introduces our latest , Beirut at a Crossroads, with a particular urgency. Today at 12pm EST, join Lowry and @chris_tohme, director of @ashkal_alwan, and @zeinaarida, director of @sursockmuseum, for a live conversation about what is happening in Beirut today and how artists and cultural institutions are coping with the aftermath of the August 4 explosions that have crippled the city. At the link in our bio, explore ways you can help with our resource list, hear from Lebanese artists, screen a film by @ghassansalhab, and more. --- [Damage to the “For a Humanist Art” section of “Ten Stories from the Sursock Museum Collection,” August 5, 2020. Photo: Rowina BouHarb; the same installation in 2018. Photo: Christopher Baaklini. Images courtesy Sursock Museum, Beirut]

A taut net of slants and diagonals, in “Painterly Architectonic,” arranged areas of white, red, black, gray, and pink to suggest planes laid one on top of the other over a white ground, like papers in a collage. Popova helped introduce into Russian art the Cubist and Futurist ideas she encountered on trips to western Europe. In 1916, she became a Suprematist, a term coined by to describe an art that rejected representation in painting, focusing instead on pure artistic feeling. In the wake of the Russian Revolution, in 1917, many artists took up Malevich’s aim, believing that a revolutionary society demanded a radically new artistic language. Discover how artists including Popova, Malevich, Aleksandr Rodchenko, and more envisioned a new visual language in stride with a changed world in the gallery Abstraction and Utopia. Explore the gallery in our Stories and at the link in our bio. --- [Liubov Popova. “Painterly Architectonic.” 1917. Oil on canvas]

Get your best stamps out and mail your ballot! 📮 We're sharing a few artist-designed stamps in our collection to inspire you to . New Yorkers: the deadline to register to vote is October 9, and you can request a mail-in ballot through October 27. Make sure you have the information you need to make your voice heard this election with @WhenWeAllVote. --- . "Saturn Stamps." 1995. © 2020 Vija Celmins . "Non-Negotiable Eights." 1971 . "Dutch Butterfly Postage Stamps." 1993. © 2020 Irma Boom . "AIDS (Stamps)." 1988. © 2020 General Idea . "Zeropost." 1970

We're taking to the seas for our final post to hangout with two golden treasures. Let's dive right in with Chris Ofili watercolor, "Nymph Dive," a jewel-toned mermaid with real gold leaf in her tailfin, who lives in our collection. On the left is an opulent, 170-year-old merman pendant from @vamuseum. 💎 We've had so much fun finding similarities between our collections and we hope you've enjoyed it, too! Head over to our Story where we battle it out and vote over who does it best—New York vs. London. 🧜 The Canning Jewel, 1850-60. Victoria & Albert Museum, London 🧜‍♀️ Chris Ofili. "Nymph Dive (Rainbow)." 2019. The Museum of Modern Art, New York. © 2020 Chris Ofili

Two delicate orchids, one in silks and the other in pastels. Georgia O'Keeffe takes a sensual, close-up view of the flower in her pastel portrait. Influential milliner Philip Treacy's first "orchid" hat was inspired by a visit to the Singapore National Orchid Gardens. "In many ways the orchid's anatomy revolutionised my perception of beauty," he has said, "and therefore has had a profound effect on my designs." Learn more about Philip Treacy's "orchid" hat at the link in our bio, and continue following along as we find new points of connection with our friends across the pond at the @vandamuseum for . 👒 Philip Treacy, Hat, 2011 (c) Victoria and Albert Museum, London 🌸 Georgia O'Keeffe. An Orchid. 1941. © 2020 The Museum of Modern Art / Artists Rights Society (ARS), New York

We found loads in common with our friends at @vamuseum for . But it was no easy feat finding points of connection between our collections—the art and design museum in London has 2.3 million objects spanning over 5,000 years! We're kicking things off with two of the fiercest objects in our collections. "Tipu's Tiger" is one of the V&A’s most famous and intriguing objects. The almost life-sized wooden semi-automaton, which dates from South India between 1782 to 1799, shows a tiger mauling a European soldier (learn more about it at the link in our bio!). Self-taught painter Henri Rousseau's "The Sleeping Gypsy" is one of most mysterious works in our collection. Does the painting represent a dream or reality? Is the lion friend or foe? We've had so much fun finding similarities between our museums, but there's one thing we can't agree on—head to our Story and see us battle it out and vote over who does it best: New York vs. London. 🐯 Tipu's Tiger, 1780s or 1790s, Mysore, India. © Victoria and Albert Museum, London 🦁 Henri Rousseau. "The Sleeping Gypsy" (detail). 1897. The Museum of Modern Art

Turns out we have a lot in common with our friends in London at @vamuseum 👀 We’ve partnered with them for happening here on Instagram tomorrow. Watch this space! 💎 Eye miniature. Early 19th century. © V&A Museum, London 👁 René Magritte. “The False Mirror.” 1929 © 2020 C. Herscovici, Brussels / Artists Rights Society (ARS), New York