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This new edition of MoMA Highlights presents 375 works from the Museum of Modern Art's unparalleled collection of modern and contemporary art. Featuring 170 new selections--a greater representation of women, artists of color and artists from around the world--this updated volume reflects the inclusionary ethos of the newly expanded museum. MoMA Highlights presents a rich chronological overview of the art of the past 150 years, beginning with a photograph made around 1867 and concluding in 2017, with an Oscar-nominated documentary film. In between, readers will encounter some of the most beloved artworks in the museum's collection--iconic works by Claude Monet, Vincent van Gogh, Frida Kahlo and Andy Warhol, among many others--and discover lesser-known but equally fascinating and significant objects of art, architecture and design from around the world. Each work is represented by a vibrant image and a short, lively and informative text, many of which have been newly written or significantly revised for this edition. Published to accompany the opening of the museum's new and expanded collection galleries in 2019, MoMA Highlights is an indispensable survey of one of the world's premier collections of "the art of our time."

Structured Lineages: Learning from Japanese Structural Design presents a selection of essays and roundtable discussions by internationally prominent structural engineers on the intertwined traditions of architecture and engineering in postwar Japan. Originally delivered as talks at a symposium held at the Museum of Modern Art in 2016, on the occasion of the exhibition A Japanese Constellation: Toyo Ito, SANAA, and Beyond, the ten essays gathered in this volume offer insight into the collaborations between architects and structural engineers that engendered many of the most important buildings erected in Japan after 1945, with special focus on the work of Tange Kenzo, Kawaguchi Mamoru, Kimura Toshihiko, Matsui Gengo, Saitoh Masao, Sasaki Mutsuro and Tsuboi Yoshikatsu. Charting a largely unexplored history in a manner at once scholarly and accessible, these conversations and essays--each accompanied by an expansive array of archival and contemporary photographs--illustrate how intimately the innovations of this collaborative tradition passed from one generation to the next. Some of Japan's most recognizable, globally influential designs are traced to their origins in a mentor's earlier experiments. The diverse backgrounds of the scholars and engineers who contributed to Structured Lineages inform the book's uniquely international perspective on the spirit of creativity and cooperation that arose in Japan in the latter half of the 20th century and persists in Japanese architectural practices to this day.

On the unique synthesis of word and image in Dorothea Lange's boldly political photography, which defined the iconography of WPA and Depression-era America Toward the end of her life, Dorothea Lange reflected, "All photographs--not only those that are so-called 'documentary'... can be fortified by words." Though Lange's career is widely heralded, this connection between words and pictures has received scant attention. A committed social observer, Lange paid sharp attention to the human condition, conveying stories of everyday life through her photographs and the voices they drew in. Published in conjunction with the first major MoMA exhibition of Lange's in 50 years, Dorothea Lange: Words & Pictures brings fresh attention to iconic works from the collection together with lesser-known photographs--from early street photography to projects on the criminal justice system. The work's complex relationships to words show Lange's interest in art's power to deliver public awareness and to connect to intimate narratives in the world. Presenting Lange's work in its diverse contexts--photobooks, Depression-era government reports, newspapers, magazines, poems--along with the voices of contemporary artists, writers and thinkers, the book offers a nuanced understanding of Lange's career, and new means for considering words and pictures today. An introductory essay by curator Sarah Hermanson Meister is followed by sections organized according to "words" from a range of historical contexts: Lange's landmark photobook An American Exodus, Life and Aperture magazines, an illustrated guide to minimize racism in jury trials, and many more. These contexts are punctuated with original contributions from a distinguished group of contemporary writers, artists and critical thinkers, including Julie Ault, Kimberly Juanita Brown, River Encalada Bullock, Sam Contis, Jennifer Greenhill, Lauren Kroiz, Sally Mann, Sandra Phillips, Wendy Red Star, Christina Sharpe, Rebecca Solnit, Robert Slifkin and Tess Taylor. Dorothea Lange (1895-1965) operated a successful San Francisco portrait studio in the 1920s before going on to work with the Resettlement Administration (and later the Farm Security Administration) documenting the hardships of the Great Depression and Dust Bowl migration. During World War II, Lange worked for the US government photographing the Japanese American internment camps, and California's wartime economy. Lange's photographs were published widely during her lifetime. Lange worked closely with curator John Szarkowski on a retrospective that opened posthumously in 1966 at the Museum of Modern Art. --Charles Caesar "Galerie"

The first survey on the interdisciplinary biodesign genius of Neri Oxman, pioneer of "material ecology Throughout her 20-year career, Neri Oxman has invented not only new ideas for materials, buildings and construction processes, but also new frameworks for interdisciplinary--and interspecies--collaborations. She coined the term "material ecology" to describe her process of producing techniques and objects informed by the structural, systemic and aesthetic wisdom of nature, from the shells of crustaceans to the flow of human breathing. Groundbreaking for its solid technological and scientific basis, its rigorous and daring experimentation, its visionary philosophy and its unquestionable attention to formal elegance, Oxman's work operates at the intersection of biology, engineering, architecture and artistic design, material science and computer science. This book--designed by Irma Boom and published to accompany a midcareer retrospective of Oxman's work--highlights the interdisciplinary nature of the designer's practice. It demonstrates how Oxman's contributions allow us to question and redefine the idea of modernism--a concept in constant evolution--and of organic design. Some of the projects featured in the book and exhibition include the Silk Pavilion, which harnesses silkworms' ability to generate a 3-D cocoon out of a single thread silk in order to create architectural constructions; Aguahoja, a water-based fabrication platform that prints structures made out of different biopolymers; and Glass, an additive manufacturing technology for 3-D printing optically transparent glass structures at architectural dimensions. Israeli American architect, designer and inventor Neri Oxman (born 1976) is professor of media arts and sciences at the Massachusetts Institute of Technology's Media Lab. Her work is in the permanent collections of the Museum of Modern Art, New York, the Cooper Hewitt Design Museum, the San Francisco Museum of Modern Art and Boston's Museum of Fine Arts, among others.

"Forever Now "presents the work of 17 artists whose paintings reflect a singular approach that characterizes our cultural moment at the beginning of this new millennium--they refuse to allow us to define, or even meter our time by them. This phenomenon was first identified by the science fiction writer William Gibson, who used the term "atemporality" to describe a cultural product that paradoxically doesn't represent, through its style, its content or its medium, the time from which it comes. Atemporality, or timelessness, manifests itself in painting as an ahistorical free-for-all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. This profligate mixing of past styles and genres is a hallmark for our moment in painting, which artists achieve by reanimating historical styles or creating a contemporary version of them, incorporating motifs from throughout twentieth-century art into a single painting or a body of work, or radically paring their language down to the most archetypal forms. Published to accompany an exhibition at The Museum of Modern Art, this volume features work by an international roster of artists including Richard Aldrich, Joe Bradley, Kerstin Bratsch, Matt Connors, Michaela Eichwald, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, Rashid Johnson, Julie Mehretu, Dianna Molzan, Oscar Murillo, Laura Owens, Amy Sillman, Josh Smith, Mary Weatherford and Michael Williams.

Both a love letter to New York City and an introduction to graphic design, this is the story of how the designer Massimo Vignelli tackled the problem of creating a subway map that could be understood by all New Yorkers as well as out-of-towners. Filled with depictions of trains, subway stations, and the New York City skyline, the book follows Vignelli around the city as he tries to understand the system in order to translate it into a map. The book is produced in collaboration with the New York Transit Museum and features a section of historical and archival images and photographs. A groundbreaking work of information design, the subway map designed by Vignelli is an iconic work used by over a billion people every year. The Museum of Modern Art acquired the original 1972 diagram in 2004.

On Alexander Calder's fruitful, creative and enduring relationship with MoMA, from the early wire sculptures to late abstractions Alexander Calder's work first appeared in the Museum of Modern Art's galleries in 1930, in the exhibition Painting and Sculpture by Living Americans. Over the next decades the artist's connection with the Museum would be deep, productive and mutually beneficial. Calder cultivated friendships and working relationships with notable figures, including Alfred H. Barr Jr., the Museum's founding director, and James Johnson Sweeney, with whom he collaborated on his expansive retrospective exhibition in 1943. His work is imprinted on MoMA's early history, not only for its material and conceptual innovation but also for its presence at significant moments, such as a mobile made to hang over the lobby's grand staircase on the occasion of the new Goodwin and Stone building (Lobster Trap and Fish Tail, which hangs there to this day); an elaborate candelabra to adorn the tables at a celebratory anniversary event; and a sculpture to fly off a flagpole to advertise the landmark exhibition Cubism and Abstract Art. Alexander Calder: Modern from the Start celebrates this extraordinarily fertile relationship between an institution and an artist who was both an important creative partner and, with his magnificent gift of 19 works in 1966, a major donor. Through MoMA, Calder came to be known as a pioneer of modern sculpture, and through Calder, MoMA came to understand itself as an American museum of modern art. After studying engineering, Alexander Calder (1898-1976) moved to Paris in the late 1920s, where he found himself at the center of the city's artistic avant-garde. There, he developed his Cirque Calder, a performance artwork comprising dozens of miniature handmade objects, and a group of standalone figurative works in wire. Turning toward abstraction in 1930, Calder invented the mobile--an abstract sculpture made of independent parts that incorporate natural or mechanical movement. He would continue to explore the possibilities of this visual language for the rest of his career, eventually shifting to monumental constructions and public works.

Cézanne at his most modern: a major career-spanning appraisal of his extraordinarily experimental drawings Although he is most often celebrated as a painter, Paul Cézanne's extraordinary vision was fueled by his experiments on paper. In pencil and watercolor, on individual sheets and across the pages of sketchbooks, the artist described form through multiple probing lines; realized compositions through repetitions and transformations; and conjured kaleidoscopic color through layering of watercolor. It is in these material realities of drawing where we see Cézanne at his most modern: embracing the unfinished, making process visible and actively inviting the viewer to participate in the act of perception. Published to accompany a major exhibition at the Museum of Modern Art, this is the most significant effort to date to unite drawings from across Cézanne's entire career, tracing the development of his practice on paper, exploring working methods that transcend subject, and devoting both curatorial and conservation-based research to these remarkable works.

How motor vehicles reshaped the way people lived, worked and played in the 20th century, and their enduring influence on the built environment Drawing on the wealth of automobile-related design, art and architecture in the collection of the Museum of Modern Art, Automania takes an in-depth look at an industrial object that changed the world. From its first appearance as a plaything for the rich in the 1890s to its establishment as a utilitarian necessity of modern life, the car has transformed the ways in which we live, work and enjoy ourselves, inspiring countless designers and artists working in various mediums. Some have viewed the automobile as the ultimate expression of technological progress, capable of bringing about widespread economic growth and positive societal change. Others have seen it as the enemy of humanistic values, leading only to rising fatalities and the proliferation of hazardous waste and pollution. But all have recognized it as central to contemporary life, design and culture. Automania traces the rich cultural history of the car while giving pride of place to the ten vehicles in MoMA's collection, which mark pivotal moments in the history of automotive design. These include the Jeep M-38A1 Utility Truck, the Citroën DS 23 Sedan, the Volkswagen Type 1 Sedan, the Fiat 500f City Car, the Cisitalia 202 GT Car, the Ferrari Formula 1 Racing Car 641/2, the Porsche 911 Coupé, the Airstream Bambi Travel Trailer, the Jaguar E-Type Roadster and the Smart Car Coupé.

The adventures, mysteries and many lives of a Matisse masterpiece Created in 1911, Henri Matisse's The Red Studio would go on to become one of the most influential works in the history of modern art. The painting, which has hung in MoMA's galleries since 1949, depicts the artist's studio in the Parisian suburb of Issy-les-Moulineaux, filled with his own artworks, furniture and decorative objects. Matisse's radical decision to saturate the work's surface with red has fascinated generations of scholars and artists, yet much remained to be discovered about the painting's genesis and history. Published in conjunction with an exhibition that reunites the artworks shown in The Red Studio for the first time since they left Matisse's work space, this copiously illustrated catalog examines the paintings and sculptures depicted in it, from familiar works such as Young Sailor II (1906) to lesser-known pieces whose locations have only recently been discovered. A narrative essay by Ann Temkin, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York, and Dorthe Aagesen, Chief Curator and Senior Researcher at Statens Museum for Kunst, Copenhagen, traces the life of The Red Studio, from the initial commissioning of the work in 1911 through its early history of exhibition and ownership to its arrival at MoMA after World War II. The book features a rich selection of archival materials, including photographs, letters and ephemera, many of which have never before been published or exhibited. With its groundbreaking research and close reading of the work, Matisse: The Red Studio transforms our understanding of this landmark of 20th-century art.

A revelatory new volume on the American modernist's lesser-known works on paper, reuniting many serial works for the first time Recalling a charcoal she made in 1916, Georgia O'Keeffe later wrote, "I have made this drawing several times--never remembering that I had made it before--and not knowing where the idea came from." These drawings, and the majority of O'Keeffe's works in charcoal, watercolor, pastel and graphite, belong to series in which she develops and transforms motifs that lie between observation and abstraction. In the formative years of 1915 to 1918, she made as many works on paper as she would in the next 40 years, producing sequences in watercolor of abstract lines, organic landscapes and nudes, along with charcoal drawings she would group according to the designation "specials." While her practice turned increasingly toward canvas in subsequent decades, important series on paper reappeared--including charcoal flowers of the 1930s, portraits of the 1940s and aerial views of the 1950s. Published in conjunction with an exhibition at the Museum of Modern Art, New York, this richly illustrated volume highlights the drawings of an artist better known as a painter, and reunites individual sheets with their contextual series to illuminate O'Keeffe's persistently sequential practice. Born in Sun Prairie, Wisconsin, Georgia O'Keeffe (1887-1986) first received critical attention when her breakthrough charcoal drawings were exhibited in New York in 1916. Two years later, she moved to the city to work full time on her art. Beginning in 1929, O'Keeffe spent summers in New Mexico, where she would relocate in 1949. The most famous female artist of her age, she thought of herself not as "the best woman painter" but as "one of the best painters."

Video within and beyond art: a survey of the medium’s political meanings Video is everywhere. Since its debut as a consumer medium in the 1960s, video has shaped our opinions, our politics and our societies. On our phones and computer screens, walls and streets, it defines new spaces and experiences?spreading memes, lies, fervor, fact and fiction. In other words, video has transformed the world. Featuring works from the collection of the Museum of Modern Art, New York, this illuminating exhibition catalog?MoMA’s first major publication on video art in nearly 30 years?explores the ways in which artists have both championed and questioned video’s promise, some hoping to create new networks of communication, democratic engagement and public participation, others protesting commercial and state control over information, vision and truth itself. Lavishly illustrated essays by esteemed scholars and artists?including Ina Blom, Aria Dean, David Joselit, Pamela M. Lee, Glenn Ligon and Ravi Sundaram?highlight video’s widely varied formats, contexts and global reach. Signals is a manual for understanding the present, an era in which video has pervaded all aspects of life. Artists include: Ant Farm, Gretchen Bender, Dara Birnbaum, Black Audio Film Collective, Tony Cokes, Harun Farocki and Andrei Ujica, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Mona Hatoum, Every Ocean Hughes, Mako Idemitsu, Emily Jacir, Amar Kanwar, Victor Masayesva Jr., Marta Minujín, Carlos Motta, Fujiko Nakaya, New Red Order, Nam June Paik, Sondra Perry, Howardena Pindell, Walid Raad and Souheil Bachar, Raindance Corporation, Marlon Riggs, Martha Rosler, Julia Scher, Richard Serra and Carlota Fay Schoolman, Tiffany Sia, Frances Stark, Martine Syms, TVTV, Stan VanDerBeek, Videofreex, Ming Wong, Nil Yalter and Artur Zmijewski.