1.2 Introduction to the New York School

1.3 In the Studio: How to Stretch a Canvas

1.4 In the Studio: How to Stretch a Large Canvas (Optional)

1.5 In the Studio: Priming the Canvas

1.6 In the Studio: Oil Paint

1.7 In the Studio: Acrylic Paint

1.1 Introduction to the Course

1.8 Supply List

1.9 Readings & Resources

1.10 Glossary

Tell Us About You

MoMA resources: podcasts art vocabulary Magazine and YouTube channel

Introduction

Artist communities

2.3 In the Studio: Materials & Techniques of Barnett Newman

2.4 In the Galleries: A Closer Look at Onement I 1948

2.5 In the Galleries: A Closer Look at The Wild 1950

2.6 In the Galleries: A Closer Look at Vir Heroicus Sublimis 1950-51

2.7 Collector Ben Heller on Vir Heroicus Sublimis 1950-51

2.1 Introduction to Barnett Newman

2.2 Slideshow: A Career in Eight Works

2.8 Readings & Resources

2.9 Glossary

Barnett Newman

Painting and affect

Barnett Newman studio exercise

3.3 In the Studio: Materials & Techniques of Willem de Kooning

3.4 In the Studio: Materials & Techniques of Willem de Kooning Part 2

3.5 In the Galleries: A Closer Look at Woman I 1950-52

3.6 Curator John Elderfield on Excavation 1950

3.7 Curator John Elderfield on Pirate (Untitled II) 1981

3.1 Introduction to Willem de Kooning

3.2 Slideshow: A Career in Eight Works

3.8 Readings & Resources

3.9 Glossary

Willem de Kooning

Abstraction and likeness

Willem de Kooning Studio Exercise

4.3 In the Studio: Materials & Techniques of Jackson Pollock

4.4 In the Galleries: A Closer Look at The She-Wolf 1943

4.5 In the Galleries: A Closer Look at Full Fathom Five 1947

4.6 In the Galleries: A Closer Look at One: Number 31 1950

4.7 In the Galleries: A Closer Look at Echo: Number 25 1951

4.8 In the Galleries: A Closer Look at Easter and the Totem 1953

4.9 In the Galleries: A Closer Look at White Light 1954

4.10 Curator Ann Temkin on The She-Wolf 1943

4.11 Collector Ben Heller on One: Number 31 1950

4.12 Curator Ann Temkin on Easter and the Totem 1953

4.1 Introduction to Jackson Pollock

4.2 Slideshow: A Career in Eight Works

4.13 Readings & Resources

4.14 Glossary

Mid-course survey

Jackson Pollock

Radical reinvention

Jackson Pollock Studio Exercise

5.3 In the Studio: Materials & Techniques of Mark Rothko

5.4 In the Galleries: A Closer Look at Slow Swirl at the Edge of the Sea 1944

5.5 In the Galleries: A Closer Look at No. 3/No. 13 1949

5.6 In the Galleries: A Closer Look at No. 10 1950

5.7 Curator Ann Temkin and the artist's son Christopher Rothko on Slow Swirl at the Edge of the Sea 1944

5.8 The artist's son Christopher Rothko on No. 10 1950

5.9 The artist's son Christopher Rothko on No. 16 (Red Brown and Black) 1958

5.1 Introduction to Mark Rothko

5.2 Slideshow: A Career in Eight Works

*Advanced Planning for Module 7: In the Studio: Materials & Techniques of Ad Reinhardt

5.9 Readings & Resources

5.10 Glossary

Mark Rothko

The power of color

Mark Rothko Studio Exercise

6.3 In the Studio: Materials & Techniques of Agnes Martin

6.4 A Closer Look at Friendship 1963

6.5 A Closer Look at Untitled No. 1 1981

6.6 Curator Leah Dickerman on The Tree 1964

6.1 Introduction to Agnes Martin

6.2 Slideshow: A Career in Eight Works

6.7 Readings & Resources

6.8 Glossary

Agnes Martin

Abstract Expressionism and Minimalism

Agnes Martin Studio Exercise

7.3 In the Studio: Materials & Techniques of Ad Reinhardt

7.4 In the Galleries: A Closer Look at Number 107 1950

7.5 In the Galleries: A Closer Look at Abstract Painting 1963

7.6 Curator Ann Temkin and Ad Reinhardt on Abstract Painting 1957

7.1 Introduction to Ad Reinhardt

7.2 Slideshow: A Career in Eight Works

7.7 Readings & Resources

7.8 Glossary

Ad Reinhardt

"Art is free"

Ad Reinhardt Studio Exercise

8.3 In the Studio: Materials & Techniques of Yayoi Kusama

8.4 A Closer Look at No. F 1959

8.5 A Closer Look at Violet Obsession 1994

8.6 Curator Laura Hoptman on Accumulation No. 1 1962

8.1 Introduction to Yayoi Kusama

8.2 Slideshow: A Career in Eight Works

8.6 Readings & Resources

8.7 Glossary

Funding & Credits

End-of-course survey

Yayoi Kusama

Working across mediums

Yayoi Kusama Studio Exercise

Final Project: Visual analysis essay

Final Project: Studio exercise and visual analysis essay