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MoMA to showcase over 200 works from its collection at the FLV in Paris this autumn

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Date
30 August 2017
Two artworks by Andy Warhol. On the left, a comic-style illustration of a crying person in water with a speech bubble that reads “I DON’T CARE! I’D RATHER SINK THAN CALL BRAD FOR HELP!”. On the right, a grainy, black and white screen print of Elvis Presley repeated twice.

The Museum of Modern Art, New York will share more than 200 works to go on display at the Frank Gehry-designed Fondation Louis Vuitton in Paris this autumn. The show titled Being Modern: MoMA in Paris will open on 11 October and will highlight “the pivotal role that MoMA, its curators and its exhibition program have played in the history of art in the 20th and 21st Centuries.”

The exhibition will display artworks that MoMA has acquired since it was founded in 1929 and will include masterworks “ranging from the birth of modern art through trends and styles such as American abstraction, pop art and minimalism.”

The works are drawn from all six of MoMA’s curatorial departments and those presented will include Paul Cézanne, Gustav Klimt, Paul Signac, Ernst Ludwig Kirchner, Pablo Picasso, Henri Matisse, Giorgio de Chirico, Edward Hopper, Max Beckmann, Ludwig Mies van der Rohe, Marcel Duchamp, Francis Picabia, Alexander Calder, René Magritte, Walker Evans, Yayoi Kusama, Willem de Kooning, Jasper Johns, Yvonne Rainer and Frank Stella. Other works such as Andy Warhol’s Campbell’s Soup Cans, Diane Arbus’s Identical Twins, Roselle, New Jersey, and Constantin Brancusi’s bronze Bird in Space will be shown in France for the first time.


“I wanted Being Modern: MoMA in Paris to fall within the tradition of our previous major exhibitions such as Keys to a Passion, 2015, and Icons of Modern Art, The Shchukin Collection, 2016,” says Bernard Arnault, president of Fondation Louis Vuitton. “All three have been organised in close collaboration with some of the world’s most prestigious international modern art museums. This exhibition marks, once again, our desire to provide the widest possible audience with the opportunity to engage with some of the world’s most remarkable works of art.”


“This exhibition has two objectives: to show in Paris works that represent pivotal moments in the history of modern art, while eliciting the impact that the expanded and renovated MoMA will have on the international landscape,” added Suzanne Pagé, artistic director of Fondation Louis Vuitton and overall curator of the exhibition.

Being Modern: MoMA in Paris opens on 11 October and runs until 5 March 2018.

A painting of a person in a yellow coat and top hat, holding a single white flower. They stand against a vibrant, psychedelic background of swirling colourful bands and a starry blue sky.
Above

Paul Signac (French, 1863–1935) Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 1890 Oil on canvas 29 × 36 1/2" (73.5 × 92.5 cm) The Museum of Modern Art, New York Fractional gift of Mr. and Mrs. David Rockefeller.

A polished gold sculpture with a slender, tapered form that curves gently at the top. It stands on a small cylindrical stone base atop a plain white plinth.
Above

Constantin Brancusi (French, born Romania. 1876–1957) Bird in Space 1928 Bronze 54 × 8 1/2 × 6 1/2" (137.2 × 21.6 × 16.5 cm) The Museum of Modern Art, New York Given anonymously, 1934. © Succession Brancusi – All rights reserved (Adagp, 2017)

An illustration of a futuristic architectural complex with tall, slender towers in pale green and pink. The structures sit on a dark, tiered platform beside a body of water, connected by a sleek white bridge.
Above

OMA (Office for Metropolitan Architecture) Welfare Palace Hotel Project, Roosevelt Island, New York, New York 1976 Gouache on paper 51 × 40 1/2" (129.5 × 102.9 cm) The Museum of Modern Art, New York Gift of The Howard Gilman Foundation, 2000. © 2017 Rem Koolhaas

A painting of a grid of 64 squares in various colours. The palette includes shades of blue, red, yellow, green, purple and black, interspersed with white squares.
Above

Ellsworth Kelly (American, 1923–2015) Colors for a Large Wall 1951 Oil on canvas, sixty-four panels 7’ 10 1/2″ × 7′ 10 1/2" (240 × 240 cm) The Museum of Modern Art, New York Gift of the artist, 1969. © 2017 Ellsworth Kelly

A person wearing a small, brimless hat and a dark jacket with a white collar looks off to the side. They are positioned against a backdrop of towering city buildings in a black and white photograph.
Above

Cindy Sherman (American, born 1954) Untitled Film Still #21 1978 Gelatin silver print 7 1/2 × 9 1/2" (19.1 × 24.1 cm) The Museum of Modern Art, New York Horace W. Goldsmith Fund through Robert B. Menschel, 1995 © 2017 Cindy Sherman

A grid of small, colourful pixel art icons on a white background. The symbols include weather signs, zodiac signs, transport, food, and various everyday objects.
Above

Shigetaka Kurita (Japanese, born 1972) for NTT DOCOMO, Inc., Japan, est. 1991 Emoji 1998-1999 Digital image dimensions variable The Museum of Modern Art, New York Gift of NTT DOCOMO, Inc., 2016. © 2017 NTT DOCOMO

A pop art illustration of a person with blue hair sinking into swirling black and white water. A speech bubble above them reads “I DON’T CARE! I’D RATHER SINK – THAN CALL BRAD FOR HELP!”.
Above

Roy Lichtenstein. Drowning Girl. 1963 © Estate of Roy Lichtenstein New York / Adagp, Paris, 2017

A high-contrast black and white image of Elvis Presley, layered to create a double exposure effect. The two figures stand side by side, wearing open-collared shirts and belted trousers.
Above

Andy Warhol. Double Elvis. 1963 © The Andy Warhol Foundation for the Visual Arts, Inc. / Adagp, Paris 2017

A painting of a person wearing white briefs, standing with their hands on their hips and looking down. They stand on a sandy shore against a muted, cloudy sky.
Above

Paul Cézanne. Le baigneur. Vers 1885. 127 × 69,8 cm. Huile sur toile. Collection Lillie P. Bli

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About the Author

Owen Pritchard

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Owen joined It’s Nice That as Editor in November of 2015 leading and overseeing all editorial content across online, print and the events programme, before leaving in early 2018.

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