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Thiard News@F4F
Thiard News@F4F
@newsen.bsky.social
3 hours ago
Preview
A New Beginning: 2026 Employee Orientation at the National Museum of Modern Art, Tokyo On April 1, 2026, Pacific Consultants Corp. welcomed 105 new employees at the National Museum of Modern Art, marking a new chapter for the company.

A New Beginning: 2026 Employee Orientation at the National Museum of Modern Art, Tokyo #Japan #Tokyo #Pacific_Consultants #MOMAT

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しばさき有二《DCTフリーク》
しばさき有二《DCTフリーク》
@dctfreak.bsky.social
1 day ago
「Poisson d' Avril（四月馬鹿）」福沢一郎 東京国立近代美術館、2026年4月1日

「Poisson d' Avril（四月馬鹿）」福沢一郎 東京国立近代美術館、2026年4月1日

「Poisson d' Avril（四月馬鹿）」福沢一郎解説 東京国立近代美術館、2026年4月1日

「Poisson d' Avril（四月馬鹿）」福沢一郎解説 東京国立近代美術館、2026年4月1日

〝四月馬鹿〟の日に、「Poisson d' Avril（四月馬鹿）」という絵画を観るとはね。
（苦笑い）

#美術館の春祭り
#東京国立近代美術館
#MOMAT

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しばさき有二《DCTフリーク》
しばさき有二《DCTフリーク》
@dctfreak.bsky.social
1 day ago
東京国立近代美術館にて 2026年4月1日

東京国立近代美術館にて 2026年4月1日

この並び、最高だわ。
（わかる奴だけ解ればいい）

#美術館の春祭り
#東京国立近代美術館
#MOMAT

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Michael
Michael
@mdstamper.bsky.social
1 month ago
A young woman sits at a table, angled left, her posture heavy with thought. Her skin is rendered in pale, chalky tones against a deep green, softly mottled background. She wears a fitted white short-sleeved top. Over her hair is a rust-red headscarf that frames her face under a pointed overhang with a dark floral ornament and ties under her chin. Her eyebrows knit faintly. Her eyes look down and away rather than meeting ours. One hand rests across her lap while the other lifts toward her mouth, holding a slender white cigarette between her fingers. In the foreground, a small stemmed wine glass with a dark amber drink sits on the table, its rim catching a little light. The table edge cuts diagonally across the lower frame, creating a quiet distance between us and the woman, as if we’ve arrived mid-thought. Japanese American artist Yasuo Kuniyoshi (國吉康雄) builds tension through restraint via a limited palette, softened edges, and a face partly shadowed, making emotion feel present but not fully readable. The title “Waiting” turns the scene into time made visible like an in-between moment where the body holds what the voice doesn’t say. The cigarette and drink could be small rituals of endurance or perhaps individuality, while the headscarf is both protective and enclosing so it intensifies the sense of interiority. Painted in 1938, the work also sits in a world darkening with political violence and uncertainty. Kuniyoshi’s figurative language often channels that unease through intimate, everyday subjects rather than grand events. The result is a portrait of suspended agency that’s not passive, but poised showing someone thinking, bracing, and staying with her own mind until whatever comes next finally arrives.

A young woman sits at a table, angled left, her posture heavy with thought. Her skin is rendered in pale, chalky tones against a deep green, softly mottled background. She wears a fitted white short-sleeved top. Over her hair is a rust-red headscarf that frames her face under a pointed overhang with a dark floral ornament and ties under her chin. Her eyebrows knit faintly. Her eyes look down and away rather than meeting ours. One hand rests across her lap while the other lifts toward her mouth, holding a slender white cigarette between her fingers. In the foreground, a small stemmed wine glass with a dark amber drink sits on the table, its rim catching a little light. The table edge cuts diagonally across the lower frame, creating a quiet distance between us and the woman, as if we’ve arrived mid-thought. Japanese American artist Yasuo Kuniyoshi (國吉康雄) builds tension through restraint via a limited palette, softened edges, and a face partly shadowed, making emotion feel present but not fully readable. The title “Waiting” turns the scene into time made visible like an in-between moment where the body holds what the voice doesn’t say. The cigarette and drink could be small rituals of endurance or perhaps individuality, while the headscarf is both protective and enclosing so it intensifies the sense of interiority. Painted in 1938, the work also sits in a world darkening with political violence and uncertainty. Kuniyoshi’s figurative language often channels that unease through intimate, everyday subjects rather than grand events. The result is a portrait of suspended agency that’s not passive, but poised showing someone thinking, bracing, and staying with her own mind until whatever comes next finally arrives.

待つ (Waiting) by 國吉康雄 / Yasuo Kuniyoshi (Japanese American) - Oil on canvas / 1938 - National Museum of Modern Art, Tokyo (Japan) #WomenInArt #MOMAT #YasuoKuniyoshi #國吉康雄 #Kuniyoshi #東京国立近代美術館 #ModernArt #art #ArtText #JapaneseArt #JapaneseArtist #PortraitofaWoman #NationalMuseumOfModernArtTokyo

56 9 1 0
nannyama
nannyama
@marizo26.bsky.social
2 months ago
Post image

アンチ・アクション展、展示よかった‥性別云々抜きに絵の力、物質の力が60年経っても在る！！の驚き　作家ってすごい
ほんと今ここで目の前で対峙できたらすごくいい経験なる　美術館ていいなあ
#アンチ・アクション
#MOMAT
#国立近代美術館

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John
John
@johnsk.bsky.social
2 months ago
A walking pathway on the left, with grass to the right, with mostly bare trees. Leaves are on the ground.

A walking pathway on the left, with grass to the right, with mostly bare trees. Leaves are on the ground.

Light brown grass in the foreground, with a large tree with green leaves in the background.

Light brown grass in the foreground, with a large tree with green leaves in the background.

A pathway to the left, to the right is a stream with large rocks in. The sun is shining through a row of trees at the top of the photo.

A pathway to the left, to the right is a stream with large rocks in. The sun is shining through a row of trees at the top of the photo.

A picture of the outside of the Museum of Modern Art, Tokyo.

A picture of the outside of the Museum of Modern Art, Tokyo.

Nice walk round #KitanomaruPark this afternoon followed by a visit to the Museum of Modern Art, Tokyo #MOMAT

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Michael
Michael
@mdstamper.bsky.social
3 months ago
Painted in 1947, just after World War II, this work shows Japanese artist Toshi Maruki (丸木俊) at a turning point, soon to begin the anti-war collaborations with her husband Iri Maruki (丸木位里) that became the Hiroshima Panels (原爆の図 or Genbaku no zu). Trained in Western oil painting, she uses a plain pose to ask how an artist can speak about devastation. In this taut self-portrait, the Japanese woman painter appears cropped at the thighs before a storm of grey and black brushstrokes. She wears a flat black cap, a rust-orange smock over a white shirt, and looks straight toward us with steady, amber-brown eyes in a light-to-medium skin tone. Her right hand rises to cover her mouth, fingers pressed over parted lips as if holding back words. In her other hand (to our right), she grips a thin paintbrush, its pale tip catching the light beside her face. Thick, scraped paint makes the orange garment and background visibly rough, so she feels both solid and vulnerable, almost swallowed by the swirling dark around her. The hand over her mouth suggests censorship and the pressure to remain quiet, while the slim brush she lifts becomes a fragile tool of witness. The swirls of grey paint read as smoke, ash, or rough water, echoing the unsettled mood of occupied Japan. Later retrospectives treat this canvas as a starting point of a woman artist insisting that her own body, doubt, and determination belong inside the history she would help to expose.

Painted in 1947, just after World War II, this work shows Japanese artist Toshi Maruki (丸木俊) at a turning point, soon to begin the anti-war collaborations with her husband Iri Maruki (丸木位里) that became the Hiroshima Panels (原爆の図 or Genbaku no zu). Trained in Western oil painting, she uses a plain pose to ask how an artist can speak about devastation. In this taut self-portrait, the Japanese woman painter appears cropped at the thighs before a storm of grey and black brushstrokes. She wears a flat black cap, a rust-orange smock over a white shirt, and looks straight toward us with steady, amber-brown eyes in a light-to-medium skin tone. Her right hand rises to cover her mouth, fingers pressed over parted lips as if holding back words. In her other hand (to our right), she grips a thin paintbrush, its pale tip catching the light beside her face. Thick, scraped paint makes the orange garment and background visibly rough, so she feels both solid and vulnerable, almost swallowed by the swirling dark around her. The hand over her mouth suggests censorship and the pressure to remain quiet, while the slim brush she lifts becomes a fragile tool of witness. The swirls of grey paint read as smoke, ash, or rough water, echoing the unsettled mood of occupied Japan. Later retrospectives treat this canvas as a starting point of a woman artist insisting that her own body, doubt, and determination belong inside the history she would help to expose.

自画像 (Self-Portrait) by 丸木俊 / Toshi Maruki (Japanese) – Oil on canvas / 1947 – The National Museum of Modern Art, Tokyo (Japan) #WomenInArt #art #artText #BlueskyArt #ToshiMaruki #丸木俊 #Maruki #JapaneseArt #SelfPortrait #MOMAT #WomensArt #WomanArtist #WomenArtists #NationalMuseumofModernArt #東京国立近代美術館

46 4 1 0
もか
もか
@codepure.bsky.social
4 months ago

東京国立近代美術館 #MOMAT の賛助会に入ってみた．
会員カードが届いたので開封してみたら...
赤の他人のカード！！
※宛先とか書類の名前は私の名前で，カードだけ別の人
と，いうわけで．問い合わせメール投げたった

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Michael
Michael
@mdstamper.bsky.social
6 months ago
In "Umi" (海) aka "The Sea," Japanese artist Koga Harue (古賀春江) composes a vast, dreamlike tableau where machines, nature, and humans exist in uneasy harmony. The painting depicts a seaside scene, but closer inspection reveals a montage of unlikely companions: an airship floats above like a massive bird, while a submarine glides beneath the water, its inner workings exposed to view. Fish and sea creatures drift nearby, rendered in the same calm, measured style as industrial smokestacks that rise along the left edge. At the right, a woman in an old-school swimsuit raises one arm, her upright form echoed by the tower-like industrial plant across the canvas. According to MOMAT (the Museum of Modern Art, Tokyo), it's a contrast of things that fly (bird and airship) and things that swim (fish and submarine) as well as things that stand upright (the woman and the factory). We see multiple such pairs of "natural things" and "artificial things" that closely resemble each other. It's also interesting (to me) that the woman is reportedly based on a postcard of the famous Hollywood actress Gloria Swanson. Koga drew many of his motifs from mass media and scientific journals, including German popular-science magazines that circulated in Japan. Rather than narrating a linear story, he painted items like a collage, so meaning emerges through analogy and juxtaposition. The submarine’s cut-away transparency exemplifies what Koga described as his desire to “compensate for the incompleteness of reality and help direct reality toward a future that is complete.” Created in 1929, as Japan’s modernization accelerated, "Umi" has been read both as a poetic fascination with the romance of the machine and as a subtle premonition of the militarization to come. The painting resists fixed allegory. Its power lies in unsettling pairings of natural and artificial, human and industrial, visible and hidden for a vision of the modern world's dreams, contradictions, and fragile balances.

In "Umi" (海) aka "The Sea," Japanese artist Koga Harue (古賀春江) composes a vast, dreamlike tableau where machines, nature, and humans exist in uneasy harmony. The painting depicts a seaside scene, but closer inspection reveals a montage of unlikely companions: an airship floats above like a massive bird, while a submarine glides beneath the water, its inner workings exposed to view. Fish and sea creatures drift nearby, rendered in the same calm, measured style as industrial smokestacks that rise along the left edge. At the right, a woman in an old-school swimsuit raises one arm, her upright form echoed by the tower-like industrial plant across the canvas. According to MOMAT (the Museum of Modern Art, Tokyo), it's a contrast of things that fly (bird and airship) and things that swim (fish and submarine) as well as things that stand upright (the woman and the factory). We see multiple such pairs of "natural things" and "artificial things" that closely resemble each other. It's also interesting (to me) that the woman is reportedly based on a postcard of the famous Hollywood actress Gloria Swanson. Koga drew many of his motifs from mass media and scientific journals, including German popular-science magazines that circulated in Japan. Rather than narrating a linear story, he painted items like a collage, so meaning emerges through analogy and juxtaposition. The submarine’s cut-away transparency exemplifies what Koga described as his desire to “compensate for the incompleteness of reality and help direct reality toward a future that is complete.” Created in 1929, as Japan’s modernization accelerated, "Umi" has been read both as a poetic fascination with the romance of the machine and as a subtle premonition of the militarization to come. The painting resists fixed allegory. Its power lies in unsettling pairings of natural and artificial, human and industrial, visible and hidden for a vision of the modern world's dreams, contradictions, and fragile balances.

Umi (海 / The Sea) by Koga Harue / 古賀春江 (Japanese) - Oil on canvas / 1929 - National Museum of Modern Art, Tokyo (Japan) #WomenInArt #art #BlueskyArt #ModernArt #JapaneseArt #KogaHarue #古賀春江 #MOMAT #東京国立近代美術館 #NationalMuseumofModernArtTokyo #Koga #artText #artwork #JapaneseArtist #surrealism #超現実主義

50 9 1 0
Michael
Michael
@mdstamper.bsky.social
8 months ago
This "western-style" or "Yōga" (洋画) oil painting by Japanese artist Fujishima Takeji (藤島武二) was first exhibited at the 9th Bunten Exhibition (9回文展) in 1915. It depicts a young woman, likely of Asian descent, seated at a table. Her expression is serious, almost melancholic, with averted gaze and a slightly pursed mouth. Her pose is relaxed yet refined; she rests her chin in her hand, her elbow gracefully on the table. She wears a long-sleeved pink robe with a subtle, dark patterned design throughout. A darker purple scarf or trim is draped loosely around her neck and shoulders. A small, dark gold-colored earring dangles from one ear. A large ring adorns one of her fingers. The table, upon which she rests her arm and hand, is covered with a richly colored cloth in shades of purple, maroon, and gold, showing various textures and patterns in the brushstrokes. A small, dark, almost black perfume bottle sits on the table in front of her. To the left of the woman, a tall, slender vase holds a bouquet of light pink and red carnations. The background is a soft, muted purple-grey, created with loose and expressive brushstrokes. The background is not sharply defined, lending an ethereal quality to the scene. The muted color palette, the woman's expression, and the soft, undefined background all contribute to this thoughtful and somewhat wistful feeling. Born in Kagoshima in 1867, Fujishima was noted for his work in spreading Romanticism and Impressionism within the late 19th- and early 20th-century Japanese art scene. Travelling to France in 1905, Fujishima studied historical painting at the École nationale supérieure des Beaux-Arts in Paris, and portraiture at the French Academy in Rome. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the "Order of Culture" of the Japanese government.

This "western-style" or "Yōga" (洋画) oil painting by Japanese artist Fujishima Takeji (藤島武二) was first exhibited at the 9th Bunten Exhibition (9回文展) in 1915. It depicts a young woman, likely of Asian descent, seated at a table. Her expression is serious, almost melancholic, with averted gaze and a slightly pursed mouth. Her pose is relaxed yet refined; she rests her chin in her hand, her elbow gracefully on the table. She wears a long-sleeved pink robe with a subtle, dark patterned design throughout. A darker purple scarf or trim is draped loosely around her neck and shoulders. A small, dark gold-colored earring dangles from one ear. A large ring adorns one of her fingers. The table, upon which she rests her arm and hand, is covered with a richly colored cloth in shades of purple, maroon, and gold, showing various textures and patterns in the brushstrokes. A small, dark, almost black perfume bottle sits on the table in front of her. To the left of the woman, a tall, slender vase holds a bouquet of light pink and red carnations. The background is a soft, muted purple-grey, created with loose and expressive brushstrokes. The background is not sharply defined, lending an ethereal quality to the scene. The muted color palette, the woman's expression, and the soft, undefined background all contribute to this thoughtful and somewhat wistful feeling. Born in Kagoshima in 1867, Fujishima was noted for his work in spreading Romanticism and Impressionism within the late 19th- and early 20th-century Japanese art scene. Travelling to France in 1905, Fujishima studied historical painting at the École nationale supérieure des Beaux-Arts in Paris, and portraiture at the French Academy in Rome. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the "Order of Culture" of the Japanese government.

匂い (Perfume) by Fujishima Takeji / 藤島武二 (Japanese) - Oil on canvas / 1915 - National Museum of Modern Art (Tokyo, Japan) #WomenInArt #ArtText #art #artwork #JapaneseArt #洋画 #JapaneseArtist #東京国立近代美術館 #FujishimaTakeji #Fujishima #藤島武二 #womensart #PortraitofaWoman #perfume #1910s #MOMAT #ArtOfTheDay

47 7 1 1
Michael
Michael
@mdstamper.bsky.social
8 months ago
Japanese artist Motoko Morita (森田元子) was one of the most active female painters in Japan during the turbulent years of the early Showa period from the 1920s into World War II and post war eras. She studied under the Western-style (洋画) painter Saburōsuke Okada (岡田三郎助) in 1922. After graduation, she went to France to study the history and techniques of Western European painting. After returning to Japan, she exhibited her works mainly at the Kanten (now Nitten) and Kofukai exhibitions, and steadily established a reputation for herself. After the war, she became the first female juror for the Nitten and a professor at Joshibi University of Art and Design, while also continuing her activities in various art fields, including illustrations for newspapers, magazines, and novels. Many of her works were lost due to the war, but what remains shows that she consistently depicted women seated in chairs in a room. In the beginning, she painted women wearing brightly colored clothes in “modern” spaces, but she gradually developed into portraits with darker, heavier colors and lines, and in her later years, she expanded into a more figurative world using strong vermilion. In 想い (pronounced Omoi), Morita depicts a young Japanese woman seated in a light teal colored, wooden chair, her gaze directed inward, and her hands are clasped in front of her chin. This inward-focused posture, combined with the muted color palette, creates a sense of quiet contemplation. The background features a patterned tapestry. Flowers in a vase, a small wooden box on a table, and a white cat lying on the floor next to the chair further create a sense of an intimate, home-like atmosphere. She wears a dark, almost velvet, dress. Her expression is serene, and her gaze is directed somewhat downward. Her hair is simply pulled back and away from her face. She also wears a bracelet on her right wrist and a beaded necklace.

Japanese artist Motoko Morita (森田元子) was one of the most active female painters in Japan during the turbulent years of the early Showa period from the 1920s into World War II and post war eras. She studied under the Western-style (洋画) painter Saburōsuke Okada (岡田三郎助) in 1922. After graduation, she went to France to study the history and techniques of Western European painting. After returning to Japan, she exhibited her works mainly at the Kanten (now Nitten) and Kofukai exhibitions, and steadily established a reputation for herself. After the war, she became the first female juror for the Nitten and a professor at Joshibi University of Art and Design, while also continuing her activities in various art fields, including illustrations for newspapers, magazines, and novels. Many of her works were lost due to the war, but what remains shows that she consistently depicted women seated in chairs in a room. In the beginning, she painted women wearing brightly colored clothes in “modern” spaces, but she gradually developed into portraits with darker, heavier colors and lines, and in her later years, she expanded into a more figurative world using strong vermilion. In 想い (pronounced Omoi), Morita depicts a young Japanese woman seated in a light teal colored, wooden chair, her gaze directed inward, and her hands are clasped in front of her chin. This inward-focused posture, combined with the muted color palette, creates a sense of quiet contemplation. The background features a patterned tapestry. Flowers in a vase, a small wooden box on a table, and a white cat lying on the floor next to the chair further create a sense of an intimate, home-like atmosphere. She wears a dark, almost velvet, dress. Her expression is serene, and her gaze is directed somewhat downward. Her hair is simply pulled back and away from her face. She also wears a bracelet on her right wrist and a beaded necklace.

想い (Thinking) by 森田元子 / Motoko Morita (Japanese) - Oil on canvas / 1947 - National Museum of Modern Art (Tokyo, Japan) #WomenInArt #art #WomanArtist #ArtText #森田元子 #MotokoMorita #JapaneseArtist #WomenArtists #WomensArt #NationalMuseumofModernArt #東京国立近代美術館 #MoritaMotoko #JapaneseArt #thinking #MOMAT

53 7 0 0
o.y.minamimusashi
o.y.minamimusashi
@minamimusashi.bsky.social
9 months ago

🟥→🟦に塗り替わり後に観られ撮れたのは初めて、
イサム・ノグチ《門》
こちらも多田美波《Chiaroscuro》ともども実に9年弱ぶりの拝見
#東京国立近代美術館
#MOMAT

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o.y.minamimusashi
o.y.minamimusashi
@minamimusashi.bsky.social
9 months ago
設計： 谷口吉郎建築設計研究所 改修設計： 関東地方建設局営繕部、坂倉建築研究所　 《東京国立近代美術館》 （東京都千代田区・1969）

設計： 谷口吉郎建築設計研究所 改修設計： 関東地方建設局営繕部、坂倉建築研究所　 《東京国立近代美術館》 （東京都千代田区・1969）

設計： 谷口吉郎建築設計研究所 改修設計： 関東地方建設局営繕部、坂倉建築研究所　 《東京国立近代美術館》 （東京都千代田区・1969）

設計： 谷口吉郎建築設計研究所 改修設計： 関東地方建設局営繕部、坂倉建築研究所　 《東京国立近代美術館》 （東京都千代田区・1969）

吉生建築の前に行けた谷口吉郎建築に至っては、実に9年弱ぶりの入館でした…
夜間開館でも90分程度の滞在にとどまってしまったのがつらいところ
#東京国立近代美術館
#MOMAT

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Ania Malinowska
Ania Malinowska
@aniamalinowska.bsky.social
10 months ago
Post image

Hilma and I meet again. This time in Tokyo. We first met seven years ago in New York #hilmaafklint #momat

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イザベラ Izzy
イザベラ Izzy
@isabelass.bsky.social
1 year ago
Post image Post image

70年代・逗子のあまちゃん #MOMAT

1 0 0 0
nyaoyuki matsui
nyaoyuki matsui
@ngyonyao.bsky.social
1 year ago
Post image

竹橋の国立近代美術館でクリント展。呼び物の「10の最大物」は大部屋の四辺のベンチにゆっくり座って眺めるも良し、ぐるぐる回って楽しむも良し（私は4周しました）。ただその分、他の作品の展示空間がちと狭苦しいのが残念。
#ヒルマ・アフ・クリント展
#神智学
#MOMAT

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tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
Post image Post image Post image Post image

Just before opening the exhibition
Another photos

Hilma af Klint at MOMAT

#hilmaafklint #momat #tezzonishizawa

13 3 0 0
tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
checking illuminance

checking illuminance

art works are shining while people sitting are in the dark

art works are shining while people sitting are in the dark

Sara was interviewed by NHK

Sara was interviewed by NHK

SWAN

SWAN

Just before opening the exhibition

Hilma af Klint at MOMAT

art.nikkei.com/hilmaafklint/

#hilmaafklint #momat #tezzonishizawa

10 4 0 0
tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
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Preparations are underway for the Hilma af Klint exhibition

www.momat.go.jp/exhibitions/...

#HilmaafKlint
#momat
#tezzonishizawa

10 1 0 0
tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
Post image Post image Post image Post image

Preparations are underway for the Hilma af Klint exhibition

www.momat.go.jp/exhibitions/...

#HilmaafKlint
#momat
#tezzonishizawa

6 2 0 1
tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
Post image

Preparations are underway for the Hilma af Klint exhibition

www.momat.go.jp/exhibitions/...

#HilmaafKlint
#momat
#tezzonishizawa

6 2 0 0
tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
Post image Post image Post image Post image

#HilmaafKlint
#momat
#tezzonishizawa

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tezzonishizawa
tezzonishizawa
@tezzonishizawa.bsky.social
1 year ago
Preview
Hilma af Klint: The Beyond （展覧会）- 東京国立近代美術館 This exhibition is the first major retrospective in Asia of Hilma af Klint (1862–1944), a pioneer of abstract painting. The painter from Sweden has been reevaluated in recent years as a creator of abs...

Preparations are underway for the Hilma af Klint exhibition
#HilmaafKlint
#momat
#tezzonishizawa

www.momat.go.jp/en/exhibitio...

3 0 0 0
@ginourbano.bsky.social
1 year ago
Post image Post image Post image Post image

The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (6/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography #yoshitomonara

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@ginourbano.bsky.social
1 year ago
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The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (5/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography

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@ginourbano.bsky.social
1 year ago
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The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (4/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography

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@ginourbano.bsky.social
1 year ago
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The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (3/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography

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@ginourbano.bsky.social
1 year ago
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The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (2/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography

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@ginourbano.bsky.social
1 year ago
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The National Museum of Modern Art Tokyo (MOMAT) || 08/25/23 (1/6)

#MOMAT #museum #Tokyo #Japan #art #travel #photography #mobilephotography

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Brian Mills
Brian Mills
@brianmills.bsky.social
1 year ago
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New art by me
Brian Mills
#contemporaryart #art #digitalart #photography #illustration #painting #nft #digitalphotography #fineart #modernart #nyc #nycartist #gallery #artbasel #armoryshow #basel #outsiderart #popart #moma #moca #ps1 #sfmoca #louvre #metmuseum #Stedelijk #tatemodern #momat

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