MoMA

MoMA CLASSES

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The People’s Art Center

A central part of MoMA’s program from 1948 to 1961, The People’s Art Center was conceived as an incubator for critical thinking, art making, and creativity. It’s this mission that drives what we do today, and that inspired our new series of programs.

Immerse yourself in ideas and opportunities to see your world in new ways through art. Classes, artist-led immersions, and experiences can help you develop new perspectives and become a part of a community of learners unlike any other. In our studios and galleries, you can co-create artworks with MoMA’s artists; on the streets of Midtown, explore the neighborhood with our experts; and dive deep into new concepts and new conversations with innovators and visionaries.

If you can’t make it to MoMA, we also offer both instructor-led and self-guided MoMA Courses Online. Learn more about MoMA Courses Online.


Evening Classes

“Stop thinking about art works as objects, and start thinking about them as triggers for experiences.”—Brian Eno

Explore various periods of modern and contemporary art through programs led by MoMA curators and other prominent experts, both inside and outside MoMA’s galleries.


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Looking at Modern Art: Lessons from the Avant-Garde

Starts October 6
4 Thursdays
Instructor: Jennifer Katanic

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This class focuses on the act of looking at art. It may seem like a simple premise, but our experience seeing works of art reproduced in other contexts and our shared awareness of their status can complicate the process. We’ll turn critical attention to masterworks in the collection—including Vincent van Gogh’s The Starry Night, Pablo Picasso’s Les Desmoiselles d’Avignon, Henri Matisse’s The Red Studio, and Claude Monet’s Water Lilies—to discover meaning in the structures, gestures, and spaces of the works themselves. Take some time to rediscover the impact of avant-garde experimentation and technique by taking a closer look at favorite works in our collection.

Jennifer Katanic (PhD candidate, The Graduate Center, City University of New York) is a specialist in postwar Central European art and culture. She is a lecturer in MoMA’s Department of Education and works with International Art Guides as a contemporary art educator at Art Basel Miami Beach. She has taught art history at Rutgers University and City College, New York.

Register Online
Day

Thursday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
10/6, 10/20, 10/27, 11/3 (no class 10/13)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Modes of Modern Portraiture

Starts October 6
4 Thursdays
Instructor: Petra Pankow

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Taking Gustav Klimt’s famous portrait of Adele Bloch-Bauer as a point of departure, this class invites participants to explore highlights of MoMA’s collection— from symbolism and Post-Impressionism to Surrealism and Pop art—through the lens of portraiture. Among the most-transformed genres of the modern era, portraiture underwent radical changes throughout the 19th century, moving from the province of those who could afford painting commissions to the ease and accessibility of snapshots. Liberated by photography’s potential to capture realistic likenesses, modern painters, including Vincent van Gogh, Henri Matisse, Pablo Picasso, Frida Kahlo, and Andy Warhol, set out to move beyond simply realistic rendering and focus more keenly on capturing an emotional essence and using the genre as a playground for redefining the very building blocks of painting.

For over 13 years, Petra Pankow has developed educational materials and programs for school, family, and adult audiences at many arts institutions, including the Museum of Art and Design, the Guggenheim Museum, and The Museum of Modern Art, where she still teaches regularly. She is Director of Education at the Montclair Art Museum, where she oversees gallery interpretation and programming, creates participatory initiatives in and around exhibitions, and builds partnerships with local schools and community organizations.

Register Online
Day

Thursday

Sessions

4

Time

8:00–9:50 p.m.

Schedule
10/6, 10/20, 10/27, 11/3 (no class 10/13)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Transits: Architecture, Art, and Displacement

Starts October 11
3 Tuesdays
Instructor: Sean Anderson

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For the over 60 million individuals currently considered refugees, shelter can represent consignment to an in-between; they slip through geographic and architectural imaginaries because, for them, dwelling is defined by constant movement or escape. In this course we will draw on the exhibition Insecurities: Tracing Displacement and Shelter to observe how transnational art and architecture must now move beyond a conventional understanding of buildings to include concepts of mobility, impermanence, and less tangible forms of habitation. We will consider how, in so doing, artists and architects can define a new ethics of space.

Sean Anderson is Associate Curator, Department of Architecture and Design, The Museum of Modern Art, and curator of Insecurities: Tracing Displacement and Shelter. He has practiced as an architect and taught in Afghanistan, India, Italy, Morocco, Sri Lanka and the UAE. His book Modern Architecture and Its Representation in Colonial Eritrea was published in 2015.

Register Online
Day

Tuesday

Sessions

3

Time

6:00–7:50 p.m.

Schedule
10/11, 10/18, 11/1 (no class 10/25)
Capacity
25
Non Member

$270

Member and Corporate Member employees

$245

Student/Educator

$190

Sound Amplification Available
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Crossing Borders, Shaping Modernism

Starts October 17
4 Mondays
Instructor: Lauren Kaplan

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Over the last 150 years, artists and architects have crossed national borders—or entire oceans—to launch, bolster, or save their careers. This course investigates how lengthy trips, and sometimes permanent migrations, have affected the output of many creative minds, and how these transplanted trailblazers have acted as conduits for cultural exchange. The class focuses on three specific instances of border crossing: artists moving within Europe in the wake of World War I, North and South Americans traveling to European capitals for training, and European artists escaping to the Americas to avoid Nazi persecution. Among the modern masters under consideration are Paul Gauguin, Pablo Picasso, Henri Matisse, Vasily Kandinsky, Giorgio de Chirico, Diego Rivera, Le Corbusier, and Ludwig Mies van der Rohe.

Lauren A. Kaplan (PhD Candidate, The Graduate Center, CUNY) specializes in art and architecture of the 20th century, with a unique focus on cross-cultural exchange between Europe and Latin America. In addition to working on her dissertation, she teaches art history at Hunter College and works as an educator at The Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Morgan Library & Museum.

Register Online
Day

Monday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
10/17, 10/31, 11/7, 11/14 (no class 10/24)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Art since 1960

Starts October 17
4 Mondays
Instructor: Ágnes Berecz

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This course provides an analytical overview of a wide range of practices that have shaped contemporary art since 1960. Based on close readings of works currently on view at the Museum—including the exhibition From the Collection: 1960–1969 and installations of work by Kai Althoff, Teiji Furuhashi, Nan Goldin, and Tony Oursler—this course explores manifestations of political activism, film and performance, works that explore archives and collective memory, and the rise of experimental and multimedia practices. With an eye on how the current profusion of artistic forms, materials, and experiences came together over the past six-plus decades, we will examine the radically changing place art occupies in our everyday lives.

Ágnes Berecz (PhD, Université Paris I, Panthéon-Sorbonne) is an associate professor at Christie’s Education New York, and she teaches modern and contemporary art history at the Pratt Institute and The Museum of Modern Art. Berecz specializes in postwar and contemporary art, with a particular focus on transnational modernism and the cultural politics of painting, and her writings have appeared in Art Journal, Art in America, Artmargins, and the Yale University Art Gallery Bulletin, as well as in European and US exhibition catalogues.

Register Online
Day

Monday

Sessions

4

Time

8:00–9:50 p.m.

Schedule
10/17, 10/31, 11/7, 11/14 (no class 10/24)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Cubism: A Seismic Shift

Starts October 19
4 Wednesdays
Instructor: Elisabeth Bardt-Pellerin

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Cubism, invented by Georges Braque and Pablo Picasso, challenged Western traditions of art-making going back to the Renaissance. It did away with realistic representation, introducing abstraction and geometry as structures for compositional forms. Over four weeks, class participants will be introduced to aspects of Cubism through lectures and visits to the galleries for discussion and close looking at masterpieces in MoMA’s collection. We will explore the origins and development of the style, as well as its impact on other early-20th-century movements such as Futurism, Orphism, Suprematism, Constructivism, and De Stijl.

Elisabeth Bardt-Pellerin (MA in art education, Concordia University, Montreal) is a frequent lecturer at The Museum of Modern Art and the Guggenheim Museum.

Register Online
Day

Wednesday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
10/19, 10/26, 11/2, 11/9
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Function, Form, and Reform in the Modern Home

Starts October 19
4 Wednesdays
Instructor: Marianne Eggler

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Interior design is part of our everyday lives. How often do we pause to consider the spaces we inhabit, how they look, how we live in them, and how they came to be designed in a certain way? Presented in conjunction with the exhibition How Should We Live? Propositions for the Modern Interior, this course examines the history of modern design in the home, and the ways in which meaning has been ascribed to domestic interior design as it evolved from the early days of industrialization to the present day. The course will begin with the development of mass-produced furnishings and the craft revival that followed, move to “high” modernism in the 1920s and 1930s, and end with the development of contemporary “lifestyle” marketing. A thematic, interdisciplinary approach will integrate a range of critical discourses.

Along with the works of individual designers, we'll study modern interior collaborations, including works co-designed by Aino and Alvar Aalto; Ray and Charles Eames; and Josef Hoffmann and the Wiener Werkstätte; among others. Modern women architect-designers, including Eileen Gray and Margarete (“Grete”) Schütte-Lihotzky, whose work has recently been acquired by MoMA, will also be highlighted.

Marianne Eggler is an art, architecture, and design historian and a museum educator at The Museum of Modern Art, a position she has held since 1998. She also serves as an adjunct assistant professor at the Fashion Institute of Technology, S.U.N.Y. Eggler has lectured in the United States and abroad on modern art and design, and she has taught extensively at various institutions, including Parsons The New School, the Pratt Institute, Manhattan College, various CUNY colleges, and SUNY Buffalo State. A native New Yorker, she holds a BA cum laude in art history from the University of Rochester and did her doctoral studies at the CUNY Graduate Center, New York City, where she is completing her dissertation on Ludwig Mies van der Rohe and Lilly Reich’s modern domestic interiors.

Register Online
Day

Wednesday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
10/19, 10/26, 11/9, 11/16, (no class 11/2)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Abstract Expressionism to Pop

Starts October 20
4 Thursdays
Instructor: Joan Pachner

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This course traces the transition from the Abstract Expressionist painting style of the 1950s to the Pop art of the early 1960s by focusing on works by Jasper Johns, Robert Rauschenberg, and Cy Twombly. These artists drew from both the heritage of gestural abstraction and the quotidian world around them, and they were inspired by the emphasis on chance and irreverence in the work of John Cage, Marcel Duchamp, and Willem de Kooning. MoMA’s collection galleries offer a unique opportunity to view these extraordinary artists in the context of the formative effects of Abstract Expressionists Franz Kline, Barnett Newman, Jackson Pollock, and Mark Rothko, and to consider how their work relates to newly minted Pop art of the period by Jim Dine, Claes Oldenburg, and Andy Warhol.

Joan Pachner (PhD, New York University, Institute of Fine Arts) specializes in modern sculpture, and for the past 10 years she has lectured regularly at The Museum of Modern Art. She published a monograph on David Smith (Phaidon, 2013), was a curatorial consultant and catalogue coauthor on Tony Smith: Architect, Painter, Sculpture (MoMA, 1998), and is currently working on a catalogue raisonné of Tony Smith’s sculpture. In addition, she was a curatorial consultant at Storm King Art Center (1996–2005). Pachner has published and lectured on other important 20th-century sculptors, including Anthony Caro, Gaston Lachaise, Jose de Rivera, and George Segal.

Register Online
Day

Thursday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
10/20, 10/27, 11/3, 11/17 (no class 11/10)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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What Is Modernism?

Starts November 10
4 Thursdays
Instructor: Jennifer Gray

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What is modernism? What does it mean to be modern? More than a historical period or series of art movements, modernity is a mode of experience fueled by scientific discoveries, industrialization, urbanization, mass media, political revolution, and capitalist systems. Modern life is also contradictory, creating unimagined wealth and unspeakable poverty, utopian ambitions and total nihilism, freedom and oppression. To be modern is to embrace perpetual change and ambiguity. This cross-disciplinary course explores painting, sculpture, architecture, and design through four critical lenses that frame modern life and modern art: authenticity, rupture, utopia, and the avant-garde. The goal is to ask questions and grapple with complexities rather than seek definitive answers. These discussions will take place in the Museum’s collection galleries of Cubist, Dada, Abstract Expressionist, and Minimalist art, and in exhibitions including Insecurities: Tracing Displacement and Shelter, Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, and How Should We Live? Propositions for the Modern Interior.

Jennifer Gray (PhD, Columbia University) is a historian of modern art and architecture, specializing in the relationships between social politics and the built environment. Her work has been published in Future Anterior, Il Giornale Dell’Architettura, and SmartPlanet. She is an adjunct assistant professor at Columbia University and a lecturer at The Museum of Modern Art.

Register Online
Day

Thursday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
11/10, 11/17, 12/1, 12/8 (no class 11/24)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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Francis Picabia, Modern Master

Starts November 14
4 Mondays
Instructor: Heather Cotter

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Presented in conjunction with the exhibition Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, this course explores the artist’s immense influence on modernism. Ever the artistic chameleon, Picabia was associated with several important avant-garde movements, including Cubism, Dada, and Surrealism. Working in mediums including painting, performance, poetry, and publishing, Picabia expanded the field of early-modern isms, defying attempts to neatly categorize his work. Through class discussion and gallery visits, students will gain a deeper understanding of the artist and his enduring legacy.

Heather Cotter (MA, Boston University, and MEd with a specialization in art education, Harvard University) is a lecturer at The Museum of Modern Art.

Register Online
Day

Monday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
11/14, 11/21, 12/5, 12/12 (no class 11/28)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
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The Shape of Photography

Starts November 23
4 Wednesdays
Instructor: David Smucker

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This course uses MoMA’s collection and exhibitions to introduce students to the history of photography, with special attention to movements and artists who changed the way we think about the medium. A major focus of the class is The Shape of Things: Photographs from Robert B. Menschel, an exhibition that spans the history of photography, from its origin in the early 19th century up to our digital present. This comprehensive sweep will be complemented by exhibitions that highlight unique transitions in photography’s history across the globe, including Tony Oursler: Imponderable, A Revolutionary Impulse: The Rise of the Russian Avant-Garde, and Nan Goldin: The Ballad of Sexual Dependency. These exhibitions capture moments that reinvented photographic art, allowing us to see how photography shapes and is shaped by the world around it.

David Smucker is a PhD candidate in art history and criticism at Stony Brook University. His research focuses on contemporary art and the history of photography, and his in-progress dissertation examines photography’s relationship to car travel and the American road trip.

Register Online
Day

Wednesday

Sessions

4

Time

6:00–7:50 p.m.

Schedule
11/16, 11/30, 12/7, 12/14 (no class 11/23)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
Daytime Classes

“Stop thinking about art works as objects, and start thinking about them as triggers for experiences.”—Brian Eno

Explore various periods of modern and contemporary art through programs led by MoMA curators and other prominent experts, both inside and outside MoMA’s galleries.


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From Op to Pop: Abstraction and the Figure in the 1960s

Starts October 11
4 Tuesdays
Instructor: Deborah Goldberg

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This course explores the art of the 1960s through the exhibition From the Collection: 1960–1969 and sculpture installations in the Abby Aldrich Rockefeller Sculpture Garden. We will look at a spectrum of objects, from the figurative to the abstract, exploring how artists investigated politics, feminism, and other social concerns of the time. Sculptors of this era embraced multiple techniques and materials, played with kineticism, and experimented with methods of assemblage, welding, and casting. We’ll address examples from Op art, Pop art, Minimalism, and Post-Minimalism, by artists including Lee Bontecou, Alexander Calder, Ellsworth Kelly, François Morellet, Louise Nevelson, James Rosenquist, and Claes Oldenburg, among others.

Deborah A. Goldberg (PhD, the Institute of Fine Arts, New York University) teaches art history at the School of Visual Arts, lectures regularly at The Metropolitan Museum of Art and The Museum of Modern Art, and lectures on sculpture for the Christie’s Master’s Program. She designed an online art history course (Modern Art: 1880–1945) for MoMA, and has written audio tours for exhibitions at The Museum of Modern Art and the High Museum in Atlanta, and modern and contemporary audio stops for the collection of the Met. She wrote the catalogue for the exhibition Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, at the M. T. Geoffrey Yeh Art Gallery at St. John’s University (2015), and co-edited and contributed a chapter to the book Alexander Archipenko Revisited: An International Perspective (Archipenko Foundation, 2008).

Register Online
Day

Tuesday

Sessions

4

Time

11:00 a.m.–12:50 p.m.

Schedule
10/11, 10/18, 10/25, 11/1
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-472_1941_cccr_160x93

Looking at Modern Art: Lessons from the Avant-Garde

Starts October 11
4 Tuesdays
Instructor: Jennifer Katanic

View detail
Close
201608-472_1941_cccr_467x272

This class focuses on the act of looking at art. It may seem like a simple premise, but our experience seeing works of art reproduced in other contexts and our shared awareness of their status can complicate the process. We’ll turn critical attention to masterworks in the collection—including Vincent van Gogh’s The Starry Night, Pablo Picasso’s Les Desmoiselles d’Avignon, Henri Matisse’s The Red Studio, and Claude Monet’s Water Lilies—to discover meaning in the structures, gestures, and spaces of the works themselves. Take some time to rediscover the impact of avant-garde experimentation and technique by taking a closer look at favorite works in our collection.

Jennifer Katanic (PhD candidate, The Graduate Center, City University of New York) is a specialist in postwar Central European art and culture. She is a lecturer in MoMA’s Department of Education and works with International Art Guides as a contemporary art educator at Art Basel Miami Beach. She has taught art history at Rutgers University and City College, New York.

Register Online
Day

Tuesday

Sessions

4

Time

2:00–3:50 p.m.

Schedule
10/11, 10/18, 10/25, 11/1
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-796_1983_cr_160x93

Function, Form, and Reform in the Modern Home

Starts October 17
4 Mondays
Instructor: Marianne Eggler

View detail
Close
201608-796_1983_cr_467x272

Interior design is part of our everyday lives. How often do we pause to consider the spaces we inhabit, how they look, how we live in them, and how they came to be designed in a certain way? Presented in conjunction with the exhibition How Should We Live? Propositions for the Modern Interior, this course examines the history of modern design in the home, and the ways in which meaning has been ascribed to domestic interior design as it evolved from the early days of industrialization to the present day. The course will begin with the development of mass-produced furnishings and the craft revival that followed, move to “high” modernism in the 1920s and 1930s, and end with the development of contemporary “lifestyle” marketing. A thematic, interdisciplinary approach will integrate a range of critical discourses.

Along with the works of individual designers, we’ll study modern interior collaborations, including works co-designed by Aino and Alvar Aalto; Ray and Charles Eames; and Josef Hoffmann and the Wiener Werkstätte; among others. Modern women architect-designers, including Eileen Gray and Margarete (“Grete”) Schütte-Lihotzky, whose work has recently been acquired by MoMA, will also be highlighted.

Marianne Eggler is an art, architecture, and design historian and a museum educator at The Museum of Modern Art, a position she has held since 1998. She also serves as an adjunct assistant professor at the Fashion Institute of Technology, S.U.N.Y. Eggler has lectured in the United States and abroad on modern art and design, and she has taught extensively at various institutions, including Parsons The New School, the Pratt Institute, Manhattan College, various CUNY colleges, and SUNY Buffalo State. A native New Yorker, she holds a BA cum laude in art history from the University of Rochester and did her doctoral studies at the CUNY Graduate Center, New York City, where she is completing her dissertation on Ludwig Mies van der Rohe and Lilly Reich’s modern domestic interiors.

Register Online
Day

Monday

Sessions

4

Time

11:00 a.m.–12:50 p.m.

Schedule
10/17, 10/24, 10/31, 11/7
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-333_1939_cccr_160x93

Crossing Borders, Shaping Modernism

Starts October 17
4 Mondays
Instructor: Lauren Kaplan

View detail
Close
201608-333_1939_cccr_467x272

Over the last 150 years, artists and architects have crossed national borders—or entire oceans—to launch, bolster, or save their careers. This course investigates how lengthy trips, and sometimes permanent migrations, have affected the output of many creative minds, and how these transplanted trailblazers have acted as conduits for cultural exchange. The class focuses on three specific instances of border crossing: artists moving within Europe in the wake of World War I, North and South Americans traveling to European capitals for training, and European artists escaping to the Americas to avoid Nazi persecution. Among the modern masters under consideration are Paul Gauguin, Pablo Picasso, Henri Matisse, Vasily Kandinsky, Giorgio de Chirico, Diego Rivera, Le Corbusier, and Ludwig Mies van der Rohe.

Lauren A. Kaplan (PhD Candidate, The Graduate Center, CUNY) specializes in art and architecture of the 20th century, with a unique focus on cross-cultural exchange between Europe and Latin America. In addition to working on her dissertation, she teaches art history at Hunter College and works as an educator at The Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Morgan Library & Museum.

Register Online
Day

Monday

Sessions

4

Time

11:00 a.m.–12:50 p.m.

Schedule
10/17, 10/31, 11/7, 11/14 (no class 10/24)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-175_1945_cr_160x93

Cubism: A Seismic Shift

Starts October 20
4 Thursdays
Instructor: Elisabeth Bardt-Pellerin

View detail
Close
201608-175_1945_cr_467x272

Cubism, invented by Georges Braque and Pablo Picasso, challenged Western traditions of art-making going back to the Renaissance. It did away with realistic representation, introducing abstraction and geometry as structures for compositional forms. Over four weeks, class participants will be introduced to aspects of Cubism through lectures and visits to the galleries for discussion and close looking at masterpieces in MoMA’s collection. We will explore the origins and development of the style, as well as its impact on other early-20th-century movements such as Futurism, Orphism, Suprematism, Constructivism, and De Stijl.

Elisabeth Bardt-Pellerin (MA in art education, Concordia University, Montreal) is a frequent lecturer at The Museum of Modern Art and the Guggenheim Museum.

Register Online
Day

Thursday

Sessions

4

Time

11:00 a.m.–12:50 p.m.

Schedule
10/20, 10/27, 11/3, 11/10
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-ln2016_1169_160x93

Francis Picabia, Modern Master

Starts November 14
4 Mondays
Instructor: Heather Cotter

View detail
Close
201608-ln2016_1169_467x272

Presented in conjunction with the exhibition Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, this course explores the artist’s immense influence on modernism. Ever the artistic chameleon, Picabia was associated with several important avant-garde movements, including Cubism, Dada, and Surrealism. Working in mediums including painting, performance, poetry, and publishing, Picabia expanded the field of early-modern isms, defying attempts to neatly categorize his work. Through class discussion and gallery visits, students will gain a deeper understanding of the artist and his enduring legacy.

Heather Cotter (MA, Boston University, and MEd with a specialization in art education, Harvard University) is a lecturer at The Museum of Modern Art.

Register Online
Day

Monday

Sessions

4

Time

11:00 a.m.–12:50 p.m.

Schedule
11/14, 11/21, 12/5, 12/12 (no class 11/28)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
201608-tr15244_161_ricr_160x93

The Shape of Photography

Starts November 17
4 Thursdays
Instructor: David Smucker

View detail
Close
201608-tr15244_161_ricr_467x272

This course uses MoMA’s collection and exhibitions to introduce students to the history of photography, with special attention to movements and artists who changed the way we think about the medium. A major focus of the class is The Shape of Things: Photographs from Robert B. Menschel, an exhibition that spans the history of photography, from its origin in the early 19th century up to our digital present. This comprehensive sweep will be complemented by exhibitions that highlight unique transitions in photography’s history across the globe, including Tony Oursler: Imponderable, A Revolutionary Impulse: The Rise of the Russian Avant-Garde, and Nan Goldin: The Ballad of Sexual Dependency. These exhibitions capture moments that reinvented photographic art, allowing us to see how photography shapes and is shaped by the world around it.

David Smucker is a PhD candidate in art history and criticism at Stony Brook University. His research focuses on contemporary art and the history of photography, and his in-progress dissertation examines photography’s relationship to car travel and the American road trip.

Register Online
Day

Thursday

Sessions

4

Time

2:00–3:50 p.m.

Schedule
11/17, 12/1, 12/8, 12/15 (no class 11/24)
Capacity
25
Non Member

$355

Member and Corporate Member employees

$325

Student/Educator

$250

Sound Amplification Available
Studio Immersions

These four-week, studio-based classes develop students’ techniques and creative insights by exploring intersections between art history and artistic practice.


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The Power of Printmaking: Making Politics Visible

Starts October 5
4 Wednesdays
Instructor: Kerry Downey

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Drawing inspiration from the From the Collection: 1960–1969 installation, this four-part studio printmaking class explore the ways in which politics have been pictured—both as urgent responses and imagined possibilities, showing what the world is and what it could be. We will discuss how art functions politically: Under what conditions is an artwork made? How is it distributed? What visual strategies are being used? Participants will consider these questions through hands-on experiments with monotypes. Utilizing the Museum’s small printmaking press, we will combine both painterly and graphic strategies to produce a series of small works on paper. This class will be thinking expansively about what constitutes the “political,” and participants are encouraged to be playful, uncertain, curious, and poetic. No prior skills or knowledge necessary. We will explore the works of artists Ruth Asawa, Richard Avedon, Peter Blake, John Hamilton, David Hammons, Cathy Hill, Linda Marshall, and Victor Moscoso, among others.

Kerry Downey is a teaching artist with an MFA from Hunter College and a BA from Bard College. She has been teaching at The Museum of Modern Art for eight years and has recently taught at Parsons and Hunter College. Her art has been exhibited at The Drawing Center, The Center for Curatorial Studies at Bard College, Invisible Dog, A.I.R. gallery, Franklin Street Works, and REVERSE gallery, where her work was given a Critic’s Pick by ARTforum. She has been an artist-in-residence at The Vermont Studio Center, The Elizabeth Foundation for the Arts, and Real Time and Space.

Register Online
Day

Wednesday

Sessions

4

Time

6:00–8:50 p.m.

Schedule
10/5, 10/19, 10/26, 11/2 (no class 10/12)
Capacity
12
Non Member

$450

Member and Corporate Member employees

$415

Student/Educator

$360

Sound Amplification Available
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The Modern Studio: Collage and Assemblage

Starts November 9
4 Wednesdays
Instructor: Corey D’Augustine

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Collage and assemblage are two of the most important compositional strategies in modern and contemporary art. With their roots in Cubism, these approaches quickly became critical instigators of movements as diverse as Dada, Surrealism, Abstract Expressionism, and Pop art. Each class will combine short art history lectures, extended visits to the galleries, and studio sessions in which students explore aspects of collage and assemblage through hands-on studies and exercises. Artists discussed will include Pablo Picasso, Georges Braque, Kurt Schwitters, Hannah Höch, Jean (Hans) Arp, Willem de Kooning, Robert Rauschenberg, and Francis Picabia, among others. No previous painting experience is necessary.

Corey D’Augustine is a technical art historian and a conservator of modern and contemporary art. He regularly lectures at New York University, Pratt Institute, and Sotheby’s Institute of Art, and he is now the principal conservator at Corey D’Augustine Conservation after working at The Museum of Modern Art for many years.

Register Online
Day

Wednesday

Sessions

4

Time

6:00–8:50 p.m.

Schedule
11/9, 11/16, 11/30, 12/7 (no class 11/23)
Capacity
12
Non Member

$450

Member and Corporate Member employees

$415

Student/Educator

$360

Sound Amplification Available
Artist-Led

These intimate, artist-led workshops and seminars use contemporary art as a source of inspiration.


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Activating Democracy: Making Manifestos

Starts October 8
1 Saturday
Instructor: Sheryl Oring

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Less than a month before the presidential election, artist Sheryl Oring will lead a manifesto-writing workshop that invites participants to identify the issues they value the most and express their demands. A gallery conversation around politically charged works on view in the installation From the Collection: 1960–1969 will link current and historical events to spark discussion and set priorities. Artist manifestos from the MoMA Archives will then serve as models for translating these discussions into powerful prose.

Sheryl Oring’s work examines social issues through projects that incorporate old and new media to tell stories, examine public opinion, and foster open exchange. Oring’s work has been shown at Bryant Park in New York City; the Berlin Wall Memorial; the Jewish Museum Berlin; the 01SJ Biennial in San Jose, CA; the San Diego Museum of Art; and in major festivals such as Encuentro in São Paulo, Brazil; the Art Prospect Festival in St. Petersburg, Russia; and Art in Odd Places in New York. She recently completed a large-scale public art installation at the San Diego International Airport, and she is working on a new project for the Tampa International Airport. Oring, who works as an assistant professor of art at the University of North Carolina at Greensboro, is the recipient of grants from Franklin Furnace, Creative Capital, and the New York Foundation for the Arts. She has typed thousands of postcards to the President from locations across the US since launching her “I Wish to Say” project in 2004. Her book Activating Democracy: The “I Wish to Say” Project will be published in October 2016.

Register Online
Day

Saturday

Sessions

1

Time

10:30 a.m.–3:00 p.m.

Schedule
10/8
Capacity
12
Non Member

$50

Member and Corporate Member employees

$40

Student/Educator

$30

Sound Amplification Available
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Design the Artist’s Life You Love

Starts October 15
1 Saturday
Instructor: Ayse Birsel

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An artist’s life, much like a design problem, is full of constraints like time, money, age, location, and circumstances. Join product designer Ayse Birsel to learn how to apply creative design processes to building the life you want. Birsel will lead participants through the deconstruction and reconstruction of the many elements of everyday life, with a particular focus on the pressures and possibilities that are unique to being an artist. An after-hours visit to the Museum galleries will provide inspiration.

Ayse Birsel has been designing award-winning products for over 20 years. She is the cofounder of Birsel + Seck, an innovative design studio in New York that partners with leading brands and Fortune 500 companies, including GE, Herman Miller, Hewlett Packard, Johnson & Johnson, Nissan, Target, Toyota, and TOTO. Ayse is also known for her acclaimed Design the Life You Love workshops. She lives in New York and Istanbul with her husband and partner Bibi Seck and their three kids, who continue to inspire her life design.

Register Online
Day

Saturday

Sessions

1

Time

4:00–7:00 p.m.

Schedule
10/15
Capacity
16
Non Member

$50

Member and Corporate Member employees

$40

Student/Educator

$30

Sound Amplification Available
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Pop and Provocation in the 1960s: Glass Art Workshop

Starts November 5
1 Saturday, 1 Sunday
Instructors: Michelle Fisher and Dorie Guthrie

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Developed in collaboration with UrbanGlass, this two-day studio workshop introduces students to glass silkscreening and painting techniques as a means for investigating the radical and experimental color, sound, and vision of the exciting decade highlighted in From the Collection: 1960–1969. Students will be introduced to interdisciplinary artistic experimentation in the galleries and then spend time developing ideas for their glass-based projects. Works explored will range from Andy Warhol’s iconic Gold Marilyn (1962) to psychedelic posters and music ephemera. The following day, students will spend time at UrbanGlass creating their own silkscreened and painted glass works in the studio. The workshop will feature a special tour of the exhibition with curatorial assistant Michelle Fisher on Saturday, and glass-making instruction at UrbanGlass with Dorie Guthrie on Sunday.

Saturday will take place at The Museum of Modern Art. Please arrive at the Research and Education Building entrance at 4 West 54 Street.

Sunday will take place at UrbanGlass studio, 647 Fulton St., Brooklyn. Please arrive at 10:00 a.m.

Michelle Millar Fisher is a curatorial assistant in the Department of Architecture and Design at The Museum of Modern Art and a doctoral candidate in art mistory at the CUNY Graduate Center. Previously, she worked at the Solomon. R. Guggenheim Museum and The Metropolitan Museum of Art. Most recently, she has co-organized the exhibitions Design and Violence, This Is for Everyone: Design Experiments for the Common Good, and From the Collection: 1960–1969. She also lectures at Parsons The New School for Design and The Frick Collection. She is currently at work co-editing a book on collaboration in the visual arts and architecture, to be published by Courtauld Books Online in 2016.

Born in 1982 in Moline, Illinois, Dorie Guthrie was first exposed to glasswork when she was 17. Since graduating from Illinois State University in 2008, Guthrie has continued her studies at Corning Museum of Glass, Penland School of Craft, Pittsburgh Glass Center, and Pilchuck. She was selected to demonstrate flameworking at the 2013 Glass Art Society Conference in Toledo, Ohio. Before moving to to Brooklyn, she worked at Bullseye Kiln Glass Resource Center in Cincinnati. She currently teaches kiln casting, glass blowing, flameworking, fusing, and imagery techniques at UrbanGlass.

Register Online
Day

Saturday

Sessions

1

Time

11/5 1:00–5:00 p.m. at MoMA, 11/6 10:00 a.m.–5:00 p.m. at Urban Glass

Schedule
11/5, 11/6
Capacity
16
Non Member

$80

Member and Corporate Member employees

$70

Student/Educator

$60

Sound Amplification Available
Frequently Asked Questions


Payment

We accept all major credit cards. To register and pay visit the online registration system.

Discount

Students, educators (K–12, college, and university), and staff of other museums receive a discount on the member rate. Student or staff identification must be presented upon check-in on the first day of class.

Refunds

In order to receive a full refund, notice of cancellation must be sent in writing via email, letter, or fax at least one week before the first scheduled day of class. Payment will not be refunded after this time. Refund processing may take up to four weeks.


If I drop the class can I get a refund?
You will only receive a refund if you cancel your registration at least one week before the first day of class. You may do this by accessing your online registration and clicking the "Modify" tab. You will be able to unregister yourself from a class and receive a full refund. You may also cancel your registration by phone or email. Refund processing may take up to four weeks.

Can I get a refund after the second or third class?
MoMA is unable to grant refunds after the refund period.

If I miss a class can I receive a refund or a make up classes with the instructor?
No. MoMA provides course schedules in advance to provide perspective students the opportunity to plan ahead and make necessary arrangements to attend classes. Students will receive a syllabus and course reader in advance to help themselves prepare for missing class.

Can I take a MoMA Class for credit?
No. MoMA Classes are not accredited. If you wish to receive credit for a MoMA Class, you must organize this with your institution.

How do I register?
To register for online courses, use the online registration system.

Do I have to register online?
Yes. If you have any difficulties using the online registration system, please call (212) 408-8441.

How do I know if a class is full?
If a class is full the website will indicate that the course is sold out. Please note that updates to class availability are made during business hours and courses may fill up overnight or over the weekend. You will know a course is sold out when you attempt to register and the only option you are given is to add your name to the waiting list.

Can I be put on a waiting list for a class that is filled?
Yes. The online registration form includes a waiting list option for sold-out classes. You must fill out the online registration form to be added to the waiting list. Once you complete the registration, you will receive an email confirming that you have been added to the waiting list.

What if I am a member of the Museum?
As a member at the individual level or higher you will receive the members rate. We honor a first-come, first-served policy for class registration regardless of your member status.

How do I sign up for a membership?
If you are not a member and would like to sign up for membership, simply visit the Membership page. If you have any questions about membership, please call Membership Services at (212) 708-9475.

Are Corporate Member employees eligible to receive the member discount?
Yes. A copy of your valid company ID must be faxed or emailed to the Corporate Membership Department in order to receive the discounted price.

Will the class have access to the galleries?
When possible, as determined by your instructor and MoMA, students will have the unique privilege to view MoMA's collection in the galleries after hours, during class time.

Will these specific courses be offered again?
Yes and no. There are some courses that will be offered regularly, for example Modern Art 1880–1945 and Modern and Contemporary Art 1945–Present. Some classes may be offered again depending on the instructor's availability, scheduling, and student interest. MoMA cannot guarantee if or when certain classes will be offered again.

If I miss a class and there is another section of the same class being offered on a different day, can I attend the other section of the same course?
No. Each course instructor utilizes a different syllabus. Although there are two sections of the same class offered, the material covered would not necessarily correspond.

Can I register my friend?
Yes. Once you have entered your personal information and selected a class in the online registration form, click the "Add Person" button. Fill out the registration form for this person and be sure to use a separate email address for him or her. Our registration system will not accept multiple registrants with the same email address. Your registration is complete after you have filled out all the required information for both you and your friend and submitted payment. Please note that you will each receive an email confirming your individual registration. Your confirmation email will NOT include a record of your friend's registration information.

Can I bring a friend or family member to attend one of my class sessions so they can experience the program?
No. Though we welcome interest in MoMA Classes, we cannot accommodate guests.


Policies

MoMA reserves the right to cancel or withdraw classes, to change class curricula and scheduling, and to withdraw and substitute instructors.

If an instructor needs to cancel an individual class, we will notify you via phone or email and that class will be made up at a later date.

Students accept full responsibility for personal injury and/or losses suffered during class hours and while on museum premises.

MoMA will not release course participants’ personal information to any persons or organizations outside of the Museum without prior written consent.