Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

Click here for a list of our touring or off-site exhibitions. 

Check the Press Release Archives for past exhibitions.

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Items: Is Fashion Modern?

October 01, 2017–January 28, 2018

The Steven and Alexandra Cohen Center for Special Exhibitions, sixth floor

The Museum of Modern Art presents Items: Is Fashion Modern?, an investigation of 111 garments and accessories that have had a profound effect on the world over the last century, on view October 1, 2017, through January 28, 2018. Filling the entire sixth floor of the Museum, the exhibition explores fashion thematically, displaying 111 powerful and enduring manifestations of the ways in which fashion—a crucial field of design—touches everyone, everywhere. Like other forms of design, fashion exists within a complex system that involves politics and economics as much as it involves style, technology, and culture. The exhibition examines this complex system using each item as a lens. The 111 typologies are presented in the incarnation that made them significant in the last 100 years (the “stereotype”) alongside contextual materials—images or videos—that trace each item’s history and origins through to its archetypal form. Several concept items (the Little Black Dress, for instance) are represented by more than one example in order to fully underscore the breadth of the concept’s impact, bringing the actual total number of objects in the exhibition to around 350. About 30 items will be complemented by a new prototype—a commissioned or loaned piece inspired by advancements in technology, social dynamics, aesthetics, or political awareness.

The title of the exhibition reprises the question that architect and curator Bernard Rudofsky raised with his 1944 MoMA exhibition Are Clothes Modern?, which is the only other instance of MoMA fully addressing this field of design. In his exhibition, Rudofsky explored individual and collective relationships with mid-century clothing in the waning moments of WWII, when traditional attitudes still prevailed, women still poured their bodies into uncompromising silhouettes, and menswear still demanded superfluous pockets, buttons, cuffs, and collars. For the Items exhibition, Rudofsky’s question provides a springboard (and a foil) from which to consider the ways in which fashion is designed, manufactured, marketed, distributed, worn, and disposed of today.

An ongoing research archive reflecting on the exhibition’s broader processes is being published at medium.com/items. The live stream from a two-day gathering of key designers, curators, critics, scholars, activists, and entrepreneurs to address the question “Is fashion modern?”, organized by MoMA in May 2016, can be found at mo.ma/items. It includes over 35 presentations by, among others, legendary Nike designer Tinker Hatfield, model Hari Nef, activist DeRay Mckesson, designer Kerby Jean-Raymond, curator Harold Koda, and athlete Aimee Mullins.

Organized by Paola Antonelli, Senior Curator, and Michelle Millar Fisher, Curatorial Assistant, Department of Architecture and Design.

The exhibition is made possible by Hyundai Card.
 
Major support is provided by WGSN.
 
Sincere thanks to the members of Friends of Items, a special patron group generously supporting the Museum in celebration of the exhibition.
 
Paint provided by Farrow & Ball.
 
Additional support is provided by the Annual Exhibition Fund.
 
MoMA Audio is supported by Bloomberg Philanthropies.
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Charles White—Leonardo da Vinci. Curated by David Hammons

October 07, 2017–January 03, 2018

 

Charles White (1918–1979) taught drawing in Los Angeles from the mid-1960s until the end of his life, and mentored a generation of students. Among them is David Hammons (American, born 1943), who studied with White early in his career. This exhibition, curated by Hammons, includes White’s monumental work Black Pope (Sandwich Board Man)(1973), from The Museum of Modern Art’s collection, and a brush and ink drawing on blue prepared paper by the Renaissance artist Leonardo da Vinci, lent by Her Majesty Queen Elizabeth II from the British Royal Collection. Created over 450 years apart, the two works share surprising formal connections and reveal a devotion to drawing by both artists, linking their lasting influence on future generations. Appearing a year prior to the forthcoming MoMA exhibition Charles White: A Retrospective, this project begins the Museum’s consideration of White’s work and his legacy.

Charles White–Leonardo da Vinci. Curated by David Hammons is organized by Esther Adler, Associate Curator, Department of Drawings and Prints.

The exhibition is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.

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MoMA and the Fondation Louis Vuitton Announce the Co-Organized Exhibition Etre moderne: Le MoMA à Paris

October 11, 2017–March 05, 2018

Fondation Louis Vuitton, Paris, France

The Museum of Modern Art (MoMA) and Fondation Louis Vuitton announce the first comprehensive exhibition in France to present MoMA’s unparalleled collection: Etre moderne: Le MoMA à Paris, on view at Fondation Louis Vuitton from October 11, 2017, through March 5, 2018.

An integrated, cross-disciplinary selection of 200 works, drawn from all six of the Museum’s curatorial departments and reflecting the history of the institution and its collecting, will fill the entirety of the Fondation’s Frank Gehry–designed building. Curated jointly by the two institutions, the display brings together paintings, sculptures, drawings, prints, photographs, films, media works, performances, and architecture and design objects, tracing the evolution and multifaceted scope of MoMA’s collection. The exhibition was conceived in relation to the architecture and interior spaces of the Fondation Louis Vuitton building, allowing a compelling historical narrative across its four floors.

Etre moderne features masterworks by artists including Max Beckmann, Alexander Calder, Paul Cézanne, Marcel Duchamp, Walker Evans, Jasper Johns, Ernst Ludwig Kirchner, Gustav Klimt, Yayoi Kusama, René Magritte, Pablo Picasso, Ludwig Mies van der Rohe, Yvonne Rainer, Frank Stella, and Paul Signac. A selection of rarely shown documentary material from MoMA’s Archives will be incorporated in the galleries, tracing the history of the Museum and contextualizing the works.

Etre moderne: Le MoMA à Paris is co-organized by The Museum of Modern Art, New York, and Fondation Louis Vuitton, under the direction of Glenn Lowry (Director, The Museum of Modern Art) and Suzanne Pagé (Artistic Director, Fondation Louis Vuitton). The exhibition is curated by Quentin Bajac (The Joel and Anne Ehrenkranz Chief Curator of Photography, MoMA), assisted by Katerina Stathopoulou (Assistant Curator, MoMA), with Olivier Michelon (Curator, Fondation Louis Vuitton). The archival section is organized by Michelle Elligott (Chief of Archives, MoMA).

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Carolee Schneemann: Kinetic Painting

October 22, 2017–March 11, 2018

MoMA PS1

MoMA PS1 will present the first comprehensive retrospective of the work of Carolee Schneemann (American, b. 1939) in the United States, bringing together over 300 works spanning her prolific six-decade career. As one of the most groundbreaking artists of the second half of the twentieth century, Schneemann’s pioneering investigations into the social construction of the female body and the sexual and cultural biases implicit in traditional art historical narratives have had an indelible impact on subsequent generations of artists.

Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings from the 1950s, charting their evolution into assemblages made in the 1960s—which integrated found objects, mechanical elements, and painterly interventions. A central protagonist of New York City’s downtown avant-garde community, Schneemann explored hybrid art forms that culminated in experimental theater events. She was a co-founder of the innovative Judson Dance Theater and the first visual artist to choreograph for the ensemble. During this period, Schneemann began to position her own body in her work with the intent of performing the roles of “both image-maker and image.” Responding to representations of sexuality made predominantly from the perspective of male artists, Schneemann’s provocative pieces foregrounded her body in ways that challenged prevailing attitudes about female sexuality. In parallel, Schneemann’s outrage over the atrocities of the Vietnam War are starkly reflected in several of her works from the mid-1960s.

The exhibition grounds Schneemann’s oeuvre within the context of her lifelong commitment to painting and action, tracing the early developments that would lead to her iconic performances and films from the 1960s and 1970s, through to her multimedia installations from the 1980s, 1990s, and 2000s exploring feminist iconography, intimacy, and personal loss, as well as political disasters, captivity, and the destruction of war.

Carolee Schneemann: Kinetic Painting is organized by the Museum der Moderne Salzburg. The exhibition is curated by Sabine Breitwieser, Director, Museum der Moderne Salzburg; and consulting curator Branden W. Joseph, Frank Gallipolli Professor of Modern and Contemporary Art, Columbia University, New York; and organized at MoMA PS1 by Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Major support is provided by Lonti Ebers and The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Junior Associates of The Museum of Modern Art.
 
Additional support is provided by the MoMA PS1 Annual Exhibition Fund.

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Cathy Wilkes

October 22, 2017–March 11, 2018

MoMA PS1

MoMA PS1 presents the first monographic exhibition of Cathy Wilkes (Irish, b. 1966) in New York. The largest exhibition of the artist’s work to date, Cathy Wilkes features approximately 50 works from public and private collections throughout Europe and North America as well as new pieces created for the show, offering a broad view of Wilkes’s work since 2004. On view from October 22, 2017 through March 11, 2018, the exhibition is organized in conjunction with Wilkes’s receipt of the first Maria Lassnig Prize, awarded by the Maria Lassnig Foundation in 2016.

Over more than two decades, Cathy Wilkes has created a body of work that engages with the rituals of life, combining paintings, drawings, sculptures, and objects both found and altered. Regularly employing quotidian products and residual materials drawn from her domestic life and environment in Glasgow, Wilkes’s installations connect the banalities of daily existence to larger archetypes of birth, marriage, child rearing, and death. This combination of the personal and universal parallels a meditation at the heart of her work, exposing deeply felt subjective experiences while also insisting upon the fundamentally private nature of artmaking.

Organized by Peter Eleey, Chief Curator, MoMA PS1, with Margaret Aldredge Diamond, Curatorial and Exhibitions Associate, MoMA PS1.

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Naeem Mohaiemen: There Is No Last Man

October 22, 2017–March 11, 2018

 

In his films, installations, and essays, Naeem Mohaiemen (b. London, 1969) researches memories of leftist political utopias, and the contemporary legacies of decolonization. Bringing together two distinct works, Naeem Mohaiemen: There Is No Last Man imagines a relationship between two lonely narrators, each trapped at the edge of history.

Tripoli Cancelled (2017), a fiction film loosely inspired by the artist’s father, follows the daily rituals of a man stranded in an abandoned airport. The film follows him through his daily routine of walking, smoking, writing letters to his wife, staging scenes with mannequins in flight attendant uniforms, and reading from the dark British children’s book Watership Down (1972). Mohaiemen shot the film in Ellinikon Airport in Athens, Greece, loosely inspired by his father’s experience of being stuck in this same airport for nine days in 1977 after losing his passport. Designed by architect Eero Saarinen in the 1960s, Ellinikon was abandoned in 2001 and was recently used to house refugees entering Greece, and then proposed as a site for luxury real estate development during European Union negotiations over Greek debt.

Volume Eleven (flaw in the algorithm of cosmopolitanism) (2016) comprises diptychs that investigate six problematic essays by Mohaiemen’s great uncle, the Bengali writer Syed Mujtaba Ali, who mistakenly embraced German military might as an antidote to British colonial rule in India. When the artist began translating Ali’s short stories of the late 1930s, he was dismayed to discover several writings in which Ali expressed a hope that Nazi Germany would defeat Britain and liberate India from colonial rule. Volume Elevenexplores the intellectual underpinnings of this short-lived fascination with German political thought among a wide range of Indian intellectuals of the period.

The exhibition title responds to Francis Fukuyama’s book The End of History and the Last Man (1992), which proposed that Western liberal democracy and capitalism would be the final shared fate of humanity. Mohaiemen’s work suggests that there will be no “last man” or “end of history” in an era marked by the growing prominence of non-Western histories that acknowledge multiple viewpoints and perspectives on the development of modernity. The artist often works through the literature generated in the aftermath of political defeats, bringing the traumas of history into conversation with his own family narratives. Here, two men struggle at the margins of larger events, telling themselves fables and fictions to keep living.

Naeem Mohaiemen: There Is No Last Man is organized by Peter Eleey, Chief Curator, MoMA PS1, with Jocelyn Miller, Assistant Curator.

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Alvaro Barrington

October 22, 2017–December 31, 2017

 

MoMA PS1 presents the first solo museum exhibition of the work of Alvaro Barrington (b. 1983, Caracas, Venezuela). Barrington’s multimedia work combines materials including textiles, paintings, drawings, photography, and prints. Born in Venezuela to Grenadian and Haitian migrant workers, and raised between the
Caribbean and Brooklyn, New York, Barrington began to sew as a way to connect with his Grenadian aunts who were masterful seamstresses. Barrington has explored the formal action of sewing with yarn as an entry into this long tradition of a gendered textile art practice, which was documented orally and passed down by the women in his family. His intimate compositions focus on single subjects in close-up, including faces, body parts, and tropical vegetation. Flamboyant tree and hibiscus flowers, in particular, have become personal motifs for the artist. In the series a different world, Barrington amends used postcards found while traveling through Europe illustrating lakes, rivers, and architectural icons with sewed interventions that fundamentally alter these landscapes, asserting an alternate narrative to those contained within stereotypical tourist images. The exhibition is installed with the same associative logic of the artist’s studio in London, where he has been based for the last two years.

Organized by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator at Large, The Museum of Modern Art.

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You Are Now One of Us: Film at Club 57

October 29, 2017–February 14, 2018

The Roy and Niuta Titus Theaters

In conjunction with the Club 57 gallery exhibition, this series explores the films that took a central role in defining the club’s programming. Selected from actual Club 57 screening schedules, it spans horror, science fiction, musicals, psychedelia, 1960s mod, European art cinema, TV programs, artist’s cinema, and more. At the club, this unruly mix of genres took on new meaning through collective experience and active spectatorship against the backdrop of post-punk New York.

Organized by Ron Magliozzi, Curator, and Sophie Cavoulacos, Assistant Curator, Department of Film; with John “Lypsinka” Epperson, guest curator.

The exhibition is supported by the Annual Film Fund.

 
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Club 57: Film, Performance, and Art in the East Village, 1978–1983

October 31, 2017–April 01, 2018

The Roy and Niuta Titus Theater Galleries

Press Preview: Tuesday, October 31, with remarks to follow.

Remarks will be livestreamed.

The East Village of the 1970s and 1980s continues to thrive in the public’s imagination around the world. Located in the basement of a Polish Church at 57 St. Marks Place, Club 57 (1978–83) began as a no-budget venue for music and film exhibitions, and quickly took pride of place in a constellation of countercultural venues in downtown New York fueled by low rents, the Reagan presidency, and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.

Club 57: Film, Performance, and Art in the East Village, 1978–1983 is the first major exhibition examining the scene-changing, interdisciplinary life of downtown New York’s seminal alternative space in full. The exhibition will tap into the legacy of Club 57’s founding curatorial staff—film programmers Susan Hannaford and Tom Scully, exhibition organizer Keith Haring, and performance curator Ann Magnuson—to examine how the convergence of film, video, performance, art, and curatorship in the club environment of New York in the 1970s and 1980s became a model for a new spirit of interdisciplinary endeavor. Responding to the broad range of programming at Club 57, the exhibition will present their accomplishments across a range of disciplines—from film, video, performance, and theater to photography, painting, drawing, printmaking, collage, zines, fashion design, and curating. Building on extensive research and oral history, the exhibition features many works that have not been exhibited publicly since the 1980s.

Club 57 is accompanied by three film series: You Are Now One Of Us: Film at Club 57, co-organized with guest curator and defining Club 57 artist John “Lypsinka” Epperson (October 29, 2017–February 2018); New York Film and Video: No Wave–Transgressive (December 1, 2017–April 2018), and This Is Now: Film and Video After Punk 1978–1985, presented in spring 2018 in partnership with LUX and British Film Institute.

Organized by Ron Magliozzi, Curator, and Sophie Cavoulacos, Assistant Curator, Department of Film; with Ann Magnuson, guest curator.

Major support for the exhibition is provided by the Keith Haring Foundation.

Generous funding is provided by mediaThe foundation inc.

Additional support is provided by the Annual Film Fund.

 

 

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Modern Matinees: The Coen Brothers

November 01, 2017–December 29, 2017

The Roy and Niuta Titus Theaters

Joel and Ethan Coen’s unexpected, often parodic twists on cinematic genres and historical events feature outrageous characters with offbeat regional accents and dubious work ethics. Which is ironic because the Coen brothers have worn many hats on set since their 1984 debut Blood Simple, which, like most of their subsequent films, was directed by Joel, produced by Ethan, and cowritten by the pair.

While their earlier films were twisted, injury-prone, identity-muddled capers in which characters are frequently mistaken for one another (see Raising Arizona, The Hudsucker Proxy,Fargo, and the ubiquitous The Big Lebowski), many later films, like The Man Who Wasn’t There, No Country for Old Men, and A Serious Man, have eschewed perverse comic ingredients in favor of melancholy character studies and examinations of human cruelty. This nimble dexterity across a range of genres has earned them legions of fans and plenty of award-season recognition, from Cannes to the Academy. All 35mm prints are drawn from MoMA’s collection.

Organized by Anne Morra, Associate Curator, Department of Film.

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