The Met Breuer

The Met Breuer The Met Breuer explores modern and contemporary art through the lens of history.
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In recent decades, Vija Celmins’s work has returned to earlier motifs, such as the ocean and stones, and has created new...
01/11/2020

In recent decades, Vija Celmins’s work has returned to earlier motifs, such as the ocean and stones, and has created new paintings based on found objects. Depictions of objects in her studio—close-ups of a shell fragment or a piece of porcelain—recall her early still lifes, but now the images extend to the edges of her canvases, like her ocean and night-sky compositions, filling the frames to bring objects and painting together.
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Artwork: Vija Celmins, (American, b. 1938, Riga, Latvia) | Shell | 2009–10 | Oil on canvas | © Vija Celmins. Photo: courtesy Matthew Marks Gallery. #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

Don’t miss you final weekend to see “Vija Celmins: To Fix the Image in Memory,” on view on our fourth and fifth floors t...
01/10/2020

Don’t miss you final weekend to see “Vija Celmins: To Fix the Image in Memory,” on view on our fourth and fifth floors through Sunday, January 12! #Repost @metmuseum
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I love lamp💡⁣

One could say Vija Celmins loved her Venice Beach studio lamp, too—she painted it three times over the course of a few days in 1964. Noticing how the lamp's lightbulbs resembled eyes, Celmins said: “I’m a great fan of looking, so that’s a great place to start.” 👀⁣

See 120 works by the artist in "Vija Celmins: To Fix the Image in Memory" at the @metbreuer but hurry! It closes this Sunday, January 12. ⁣

🎨 Vija Celmins, (American, b. 1938, Riga, Latvia) Lamp #1, 1964. Oil on canvas. © Vija Celmins, courtesy the artist and Matthew Marks Gallery Photo: Sarah Wells. #TheMet #MetVijaCelmins #5WomenArtists

“For a while the subject was the photograph,” Celmins has noted. “So whatever the photograph told me, I did. I found a g...
01/09/2020

“For a while the subject was the photograph,” Celmins has noted. “So whatever the photograph told me, I did. I found a great freedom in this.” Later, the photograph became more of a starting point, and Celmins sometimes complicated her sources by placing pictures on top of one another or by doubling or enlarging details. Her shifts emphasize the constructed nature of the images and their distance from directly observed reality.
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Clouds | 1968 | Graphite on paper | © Vija Celmins, courtesy the artist and Matthew Marks Gallery. Photo: courtesy Matthew Marks Gallery #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

This group of blackboards includes three found objects and seven produced in wood by sculptor Edward Finnegan that were ...
01/08/2020

This group of blackboards includes three found objects and seven produced in wood by sculptor Edward Finnegan that were based on vintage tablets. Vija Celmins painted each side of the facsimiles, inscribing traces of wear, cracks, and splinters—details “already made by school kids and time.” Her inclusion of a meticulously stained tag further extends the work’s optical illusionism. She was delighted by the consistency between the handmade replicas and the originals, which she once described as “a way of engaging somebody in what you have done. Because when you look close, of course, you see one of the tablets has been painted.”
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Blackboard Tableau #1 | 2007–10 | Three found tablets and seven made objects | © Vija Celmins, courtesy the artist and Matthew Marks Gallery. #MetVijaCelmins #MetModern #VijaCelmins #metbreuer

Don’t miss your last chance to see “Vija Celmins: To Fix the Image in Memory,” on view through Sunday. Throughout an acc...
01/07/2020

Don’t miss your last chance to see “Vija Celmins: To Fix the Image in Memory,” on view through Sunday. Throughout an accomplished career that spans more than fifty years, Celmins has sustained a practice of deep focus and extraordinary skill in a wide range of media. This retrospective provides a comprehensive view of the artist’s career through a selection of approximately 120 works—from her earliest paintings made in Los Angeles in the 1960s to objects completed in New York in the last five years.
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Web #1 | 1998 | Charcoal on paper | © Vija Celmins, courtesy the artist and Matthew Marks Gallery. Photo courtesy Matthew Marks Gallery #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

“Vija Celmins: To Fix the Image in Memory” has been included in @nytimes Best Art of 2019 roundup! “This ravishing retro...
12/06/2019

“Vija Celmins: To Fix the Image in Memory” has been included in @nytimes Best Art of 2019 roundup!
“This ravishing retrospective traces the changing expanses — waves, night skies, desert floors — over six decades, illuminating the artist’s penchant for revealing the infinite in the intimate (and vice versa) while pitting perception, philosophy and patient process against one another. An impressive argument for her greatness, the show also emphasized the strengths of Marcel Breuer’s landmark building in a rare collaboration of artist, curator and architecture.”
—The New York Times
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Artwork: Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Untitled (Big Sea #1) | 1969 | Graphite on acrylic ground on paper | © Vija Celmins, courtesy the artist and Matthew Marks Gallery. Photo © McKee Gallery, New York #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

Vija Celmins: To Fix the Image in MemorySeptember 24–January 12, 2019
12/04/2019

Vija Celmins: To Fix the Image in Memory
September 24–January 12, 2019

"Celmins' remarkable reproductions of ocean waves, starry nights, and utterly quotidian objects beg to be examined up cl...
12/04/2019

"Celmins' remarkable reproductions of ocean waves, starry nights, and utterly quotidian objects beg to be examined up close . . . she makes painstaking reproduction feel sexy.”
—@observer on “Vija Celmins: To Fix the Image in Memory”
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Night Sky #16 | 2000–01 | Oil on linen mounted on wood | © Vija Celmins; photo: courtesy Matthew Marks Gallery #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

New works, including these marionettes from Wael Shawky’s “The Secrets of Karbalaa,” are now on view in “Home Is a Forei...
11/27/2019

New works, including these marionettes from Wael Shawky’s “The Secrets of Karbalaa,” are now on view in “Home Is a Foreign Place: Recent Acquisitions in Context” on our second floor!
These glass marionettes are characters from “The Secrets of Karbalaa,” the third in Shawky’s film trilogy “Cabaret Crusades.” The film follows the military campaigner Salah El Din as power transferred from Shiite to Sunni hands in Egypt during the Crusades in the eleventh to thirteenth centuries. The fantastical designs of Shawky’s marionettes are conceived from a variety of sources, including masks and other figurative works from sub-Saharan Africa from The Met collection.
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Artwork: Wael Shawky (Egyptian, born 1971) | Cabaret Crusades: The Secrets of Karbalaa, Marionette no. 52, Marionette no. 114, Marionette no. 69, Marionette no. 94, and Marionette no. 112 | 2014 #HomeIsaForeignPlace #MetModern #MetBreuer 📸: @brinda.k

Celmins’s two paintings of the desert from the early 1990s followed a return visit from the East Coast to Death Valley, ...
10/30/2019

Celmins’s two paintings of the desert from the early 1990s followed a return visit from the East Coast to Death Valley, a place she frequented while still living in California in the 1970s. Instead of the desiccated landscape that had preoccupied her drawing practice decades earlier, here she aimed to detail the cracked, weathered surface of a piece of wood she had found there.
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Desert Surface #1 | 1991 | Oil on wood |© Vija Celmins; photo: courtesy Matthew Marks Gallery #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

For the sculpture “To Fix the Image in Memory I–XI” Vija Celmins made bronze casts of eleven rocks and painted them to r...
10/25/2019

For the sculpture “To Fix the Image in Memory I–XI” Vija Celmins made bronze casts of eleven rocks and painted them to resemble the original stones as closely as possible. In an interview, she recalled, “I got the idea for this piece while walking in northern New Mexico picking up rocks, as people do. . . . I noticed that I kept a lot that had galaxies on them. I lined them up. And, finally, they formed a set, a kind of constellation. I developed this desire to try and put them into an art context to affirm the act of making: the act of looking and making.” By having each rock installed with its duplicate, Celmins invites the viewer to examine them closely.
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | To Fix the Image in Memory I–XI | 1977–82 | Eleven stones and eleven made objects (bronze and acrylic paint) | © Vija Celmins; photo: courtesy Matthew Marks Gallery. #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

In 1968, Vija Celmins began taking photographs of the Pacific Ocean, a subject that would command her attention for the ...
10/18/2019

In 1968, Vija Celmins began taking photographs of the Pacific Ocean, a subject that would command her attention for the next decade. The artist repeatedly returns to the same subjects: “I tend to do images over and over again, because each one has a different tone, slant, a different relationship to the plane, and so a different special experience.”
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Untitled (Ocean) | 1977 | Graphite on acrylic ground on paper | San Francisco Museum of Modern Art, bequest of Alfred M. Esberg | © Vija Celmins, courtesy Matthew Marks Gallery. Photo: Don Ross, courtesy the San Francisco Museum of Modern Art. #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

Following her graduation from the University of California in 1964, Vija Celmins painted a series of still lifes of obje...
10/07/2019

Following her graduation from the University of California in 1964, Vija Celmins painted a series of still lifes of objects in her studio, executed at life size. With these canvases she jettisoned her artistic training and earlier attempts at abstraction. “I thought I would sit down without all my theories and aesthetics,” she has recalled. “I was going to start in a more humble place with just my eyes and my hand.”
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Heater | 1964 | Whitney Museum of American Art, New York, purchase with funds from the Contemporary Painting and Sculpture Committee | © Vija Celmins, courtesy Matthew Marks Gallery. Photo: courtesy Matthew Marks Gallery. #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

Rediscover the world that surrounds us. See luminous paintings, sculpture, drawings, and prints in “Vija Celmins: To Fix...
09/25/2019

Rediscover the world that surrounds us. See luminous paintings, sculpture, drawings, and prints in “Vija Celmins: To Fix the Image in Memory,” now on view on our fourth and fifth floors. #MetVijaCelmins #MetModern #MetBreuer

Now on view! “Vija Celmins: To Fix the Image in Memory” opens today at The Met Breuer. This retrospective provides a com...
09/24/2019

Now on view! “Vija Celmins: To Fix the Image in Memory” opens today at The Met Breuer. This retrospective provides a comprehensive view of Celmins's career through a selection of approximately 120 works—from her earliest paintings made in Los Angeles in the 1960s to objects completed in New York in the last five years. Experience Celmins’s work for yourself through January 12.
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Artwork: Vija Celmins (American, b. 1938, Riga, Latvia) | Envelope | 1964 | © Vija Celmins, courtesy Matthew Marks Gallery. Photo © McKee Gallery, New York. #MetVijaCelmins #MetModern #VijaCelmins #MetBreuer

"A stupendous, spellbinding rapture. . . . an artist who transcends generational and cultural associations to stand in a...
09/12/2019

"A stupendous, spellbinding rapture. . . . an artist who transcends generational and cultural associations to stand in a class of her own."
—@hyperallergic on “Phenomenal Nature: Mrinalini Mukherjee,” on view at The Met Breuer ‪through September 29.‬
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Artwork: Mrinalini Mukherjee (Indian, 1949–2015) | Black Formation II (detail) | 1977 #MrinaliniMukherjee #MetModern #MetBreuer

“Palmscape,” Mukherjee’s final series, represents her apotheosis in bronze. She cast each of the sculptures from plant f...
09/06/2019

“Palmscape,” Mukherjee’s final series, represents her apotheosis in bronze. She cast each of the sculptures from plant fragments collected mostly around New Delhi. Although her paradoxically leafy scapes resemble palm fronds, they are, in fact, firmly an invented species. In a stunning reversal of the ponderous weight of her fiber sculptures, Mukherjee’s bronzes appear not to wrestle with gravity at all. Marvelously engineered, they are cast in arrested movement.
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Artworks: Mrinalini Mukherjee (Indian, 1949–2015) | Palmscape II | 2013 | #MrinaliniMukherjee #MetModern #MetBreuer

While Mrinalini Mukherjee belongs to a broad lineage of Western and non-Western artists for whom nature has served as in...
08/28/2019

While Mrinalini Mukherjee belongs to a broad lineage of Western and non-Western artists for whom nature has served as inspiration, her aesthetic exploration was never romantic, reactionary, or elegiac. Instead, she saw nature as alive, fertile, and eroticized. Stimulated by the wild, proliferating energy of plant life, Mukherjee engendered monoliths reminiscent of totems. Her extravagant and inventive iconography communicates irrepressible growth that is both fabulous and terrifying.
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Artwork: Mrinalini Mukherjee (Indian, 1949–2015) | Vriksh Nata (Arboreal Enactment) | 1991–92 | Kiran Nadar Museum of Art, New Delhi #MrinaliniMukherjee #MetModern #MetBreuer

Rachel Whiteread is best known for her sculptures and installations in which she casts the negative space of everyday it...
08/21/2019

Rachel Whiteread is best known for her sculptures and installations in which she casts the negative space of everyday items and spaces. “Untitled (Plaster Table),” resting directly on the gallery floor shown here, is composed of white plaster impressions of the underside of a long dining table. By transforming the area under a table into a material form, Whiteread makes tangible the missing object’s ghostly presence.
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Artwork: Rachel Whiteread (British, born 1963) | Untitled (Plaster Table) | 1995/96 #HomeIsaForeignPlace #MetModern #MetBreuer

By the end of the 1980s, Mukherjee fully liberated her forms from the wall and ceiling to make freestanding sculptures. ...
08/19/2019

By the end of the 1980s, Mukherjee fully liberated her forms from the wall and ceiling to make freestanding sculptures. Her solo show at the Museum of Modern Art, Oxford, in 1994 marked the culmination of her fiber practice. While the exhibition received critical notice in the British press, some reviews were culturally reductive and did not account for Mukherjee’s artistic agency in her interpretation of iconography. Mukherjee asserted in response, “my idea of the sacred is not rooted in any specific culture . . . my work is not . . . the iconic representation of any particular religious belief, rather it is the metamorphosed expression of varied sensory perceptions.” Her “anthropomorphic deities,” she clarified, “have no relationship to gods and goddesses in the traditional iconographic sense, but are parallel invocations in the realm of art.”
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Artwork: Mrinalini Mukherjee (Indian, 1948–2015) | Van Raja II (King of the Forest) | 1991–94 | Kiran Nadar Museum of Art, New Delhi #MrinaliniMukherjee #MetModern #MetBreuer

In the 1980s, Mrinalini Mukherjee embarked on a group of sculptures that were daring and monumental, marking the most am...
08/14/2019

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

08/09/2019

Closing soon! “Oliver Beer: Vessel Orchestra” is on view through this Sunday, August 11. 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. Don’t miss your final days to discover their unique sounds of over thirty sculptures from The Met Collection. #VesselOrchestra #MetBreuer #MetModern

“Vessel Orchestra” features containers from ancient to modern, including this storage jar that is over 5000 years old! O...
08/02/2019

“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.
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Artwork: Storage jar decorated with mountain goats | ca. 3800–3700 B.C. | Central Iran #VesselOrchestra #MetModern #MetBreuer

Using an intuitive, laborious process of working with her hands, Mrinalini Mukherjee created unusual, mysterious, sexual...
07/26/2019

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.
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Artwork: Mrinalini Mukherjee (Indian, 1948–2015) | Van Raja (detail) | 1981 #MrinaliniMukherjee #MetModern #MetBreuer

Every Friday evening, “Vessel Orchestra” will be activated by a diverse group of guest artists who will perform new comp...
07/25/2019

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.
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Photo: Adrien Tillman #VesselOrchestra #MetBreuer #MetModern

We mourn the recent passing of extraordinary artist Marisa Merz (1926–2019). Working in postwar Italy, Merz was the sole...
07/22/2019

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.
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📸: Installation view of Marisa Merz: The Sky Is a Great Space at The Met Breuer, 2017. #MarisaMerz #MetModern #MetBreuer

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Comments

A stunning exhibit...
9/11- Father Judge Painting by Michael Judge, filmed at the Alpine Fire Department, AZ Acrylic on steel
Any talk or public presentation by Julio Le Parc during this week?
Saw the show "LIKE LIFE sculpture, Color and the Body, yesterday. It was excellent and informative. Thank you for putting this show together, for including old works with unusual modern works, and for creating a theme that resonates throughout the show. All of the work was interesting and much of it unique and very beautiful.
This looks like a phenomenal show. Or is it the hypnotic photography (whoever the photographer is - wow..) And of course the curation, and the art itself - can't wait!
Spent a couple lovely hours here.