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.

High-resolution images for publication are available through our password-protected Press Access.
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Modern Matinees: Becoming Jennifer Jones

June 01, 2017–June 30, 2017

The Roy and Niuta Titus Theaters

Phylis Lee Isley was born in Tulsa, Oklahoma, in 1919 to parents who operated a traveling tent show. Isley’s education extended to Northwestern University and the American Academy for Dramatic Arts in New York City, where she met actor and future husband Robert Walker in 1939. Before Hollywood called, Isley and Walker returned to Tulsa to find steady work on radio programs. When the couple finally arrived in Hollywood, there was limited work, with stardom years away.

Ready to return to the theater, Isley auditioned at the New York offices of David O. Selznick for an out-of-town run of Rose Franken’s comedy Claudia. Insecure and inexperienced, she left the producer’s office distraught and unaware that Selznick—who had purchased the film rights to the play—had overheard her audition. In short order, he offered Isley a movie contract with his production company.

Ever the genius producer, Selznick took control of Isley’s nascent career, transforming her into “Jennifer Jones.” What Jones needed next was a prominent role in a high profile picture, and The Song of Bernadette (1943) could not have been a more ideal showcase for her metamorphosis. When Jones was cast as the peasant girl who has visions of the Virgin Mary, Selznick kept her away from the press, photographers, and, legend has it, the film’s premiere, in order to retain the illusion of her youth, chastity, and inscrutability. The newly minted Jennifer Jones walked away with that year’s Best Actress Oscar.

King Vidor’s Duel in the Sun (1946) was another defining moment. Cast as a Native American/Caucasian woman who enters the lives of two brothers living on a remote Arizona ranch, Jones was uneasy about her character’s brazen sexuality—as were the censors. Nonetheless, the film went on to great success and earned Jones another of her five Academy Award nominations.

Becoming Jennifer Jones, our glimpse at the evolution of a great American actress, features a selection of films drawn primarily from MoMA’s collection.

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

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Inbox: Charles Atlas: The Illusion of Democracy

June 03, 2017–August 13, 2017

Exhibition Galleries, Second Floor

Throughout his forty-year career, the groundbreaking filmmaker and video artist Charles Atlas (American, born 1949) has collaborated with key figures from a range of creative disciplines, expanding the relationships between visual art, dance, music, theater, and television. In the late 1970s, together with the choreographer Merce Cunningham, Atlas pioneered “media-dance,” in which dance works were created and performed specifically for the camera. Atlas’s experimental narrative works from the 1980s integrate fiction and documentary with vibrant, stylized portraits of urban subcultures.

With his trilogy The Illusion of Democracy (2008–12), Atlas has abandoned the presence of human bodies in favor of numerical figures, animating a constantly expanding and contracting universe based on six digits. Casting 1 through 6 as the protagonists of these intricately choreographed video installations, Atlas pushes the limits of their “numberness” and evokes the pervasiveness of mathematical algorithms in our increasingly technologized society. In Plato’s Alley (2008), pulsing vertical and horizontal white lines take shape as a grid populated by the ensemble, and in Painting by Numbers (2011), a sea of digits swells and subsides over six acts that culminate in a climactic finale. In 143652 (2012), bars of color slowly yet relentlessly scan back and forth, at once erasing and transforming each figure. With its methodical abstraction and politically suggestive title, the trilogy is an introspective study in order and chaos.    

Charles Atlas has collaborated on the design of the exhibition Robert Rauschenberg: Among Friends, currently on view in the fourth-floor Collection Galleries.

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Frank Lloyd Wright at 150: Unpacking the Archive

June 12, 2017–October 01, 2017

Floor Three, The Robert B. Menschel Galleries

Press Preview: Thursday, June 8, 9:30-11:30 a.m., with remarks to follow in theater. Watch video of the remarks.

Frank Lloyd Wright at 150: Unpacking the Archive is a major exhibition on Frank Lloyd Wright that critically engages his multifaceted practice. Wright was one of the most prolific and renowned architects of the 20th century, a radical designer and intellectual who embraced new technologies and materials, pioneered do-it-yourself construction systems as well as avant-garde experimentation, and advanced original theories with regards to nature, urban planning, and social politics. Marking the 150th anniversary of the American architect’s birth on June 8, 1867, the exhibition will comprise nearly 400 works made from the 1890s through the 1950s, including architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, and photographs, along with a number of works that have rarely or never been publicly exhibited. Structured as an anthology rather than a comprehensive, monographic presentation of Wright’s work, the exhibition is divided into 12 sections, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Foundation Archives, interpreting and contextualizing it, as well as juxtaposing it with other works from the Archives, from MoMA, or from outside collections. The exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect.

Frank Lloyd Wright at 150: Unpacking the Archive is organized by The Museum of Modern Art, New York, and Avery Architectural & Fine Arts Library, Columbia University.

Organized by Barry Bergdoll, Curator, Department of Architecture and Design, The Museum of Modern Art, and the Meyer Schapiro Professor of Art History and Archaeology, Columbia University; with Jennifer Gray, Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art.

The exhibition is made possible by Hyundai Card.

Generous funding is provided by Sue and Edgar Wachenheim III and by the Graham Foundation for Advanced Studies in the Fine Arts.

Paint provided by Farrow & Ball.

Additional support is provided by the Annual Exhibition Fund.

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Beyond the Frame: International Cinema by Magnum Photographers

June 24, 2017–July 01, 2017

The Roy and Niuta Titus Theaters

Magnum Photos, established in 1947 by Robert Capa, Henri Cartier-Bresson, and others as an independent cooperative of photographers, has produced some of the most iconic images of the 20th century. On the occasion of Magnum’s 70th anniversary, this program explores the agency’s rich relationship to cinema through the lens of travelogues and art films. The artists represented here used moving images as an extension or counterpart to their photographic work to develop personal and auteurist storytelling. Expanding on the agency’s transatlantic history, Beyond the Frame spotlights work centered on Africa, Latin America, the US, and Europe, from the 1960s to the present. Photojournalism, fiction, and avant-garde media are alternately at play in the diverse treatments of conflict, social issues, and everyday moments. With selections from the agency’s Magnum Eye (1991–93) and Magnum in Motion (2004–today) initiatives, the series also investigates the technological and artistic transition from narrative cinema to video, and finally, to contemporary creators operating in a hybrid and online media field. Born out of the Second World War, Magnum’s vibrant and independent platform is as essential as ever, allowing both the social role and transcendent artistic quality of images to flourish.

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film. Special thanks to Magnum Photos and Susan Meiselas.

The exhibition is supported by the Annual Film Fund.

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MoMA Presents: Filipa César’s Spell Reel

June 27, 2017–July 03, 2017

 

Spell Reel, the debut feature from Portuguese artist Filipa César, is a collaborative reflection on West African political history—and the role of moving images in the creation and legacy of that history. Based in Berlin for most of the last decade, César has worked closely with Arsenal – Institute for Film and Video Art in its initiative to preserve the history of revolutionary cinema in Guinea-Bissau through research, digitization, and dissemination of the holdings at the National Film Institute of Guinea-Bissau (INCA – Instituto Nacional de Cinema e Audiovisual). Filmmakers Sana Na N’Hada, Flora Gomes, José Bolama Cobumba, and Josefina Crato, who studied filmmaking in Cuba at the directive of revolutionary leader Amílcar Cabral, set out to document Guinea-Bissau’s war of independence from Portugal (1963–74) and the subsequent years of socialist rule. In 1979, Chris Marker would spend several months with these filmmakers, and he would later integrate carnival footage shot by N’Hada into his Sans Soleil. Following the 1980 military coup, much of the revolutionary films were lost; those that remained were little known and at risk of disappearing.

Throughout the film, César adeptly considers the notion archiving itself. Reflecting upon the fact that much of the footage from the period survives only as fragments, the film asks, What is restoration where there is no original to return to? In superbly vivid tableaux, the film juxtaposes the black-and-white 16mm footage with contemporary digital images, subtly manipulating scale, orientation, and text to alternatively create distance or achieve proximity between past and present. The film also documents the 2014 mobile cinema tour that introduced the digitized footage to Guinean audiences who were discovering a chapter in their history for the first time. N’Hada, Gomes, and others offered commentary during the screenings, positing that collective experience and oral history are intrinsic to the films’ renewed life.

Spell Reel celebrates education, in the form of the mobile cinema tour, as avant-garde work, and César’s ambition and finesse in recovering a fragile artistic and social history proves she is an inheritor to the tradition explored in her film: art that furthers intellectual and political ideals for all.  

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film.

Spell Reel. 2017. Germany/Portugal/France/Guinea-Bissau. Directed by Filipa César. In Portuguese, Fula, Guinea-Bissau Creole, English, French; English subtitles. 96 min.

Tuesday, June 277:00 p.m., T2. Introduced by Filipa César and Sana Na N’Hada.
Wednesday, June 284:30 p.m., T2
Thursday, June 297:00 p.m., T2
Friday, June 307:30 p.m., T2
Saturday, July 17:00 p.m., T2
Sunday, July 22:00 p.m., T2
Monday, July 34:00 p.m., T2
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Young Architects Program 2017: Lumen by Jenny Sabin Studio

June 29, 2017–September 04, 2017

MoMA PS1

Lumen, an immersive, interactive installation by Jenny Sabin Studio, will be on view in MoMA PS1’s courtyard beginning June 29. Winner of The Museum of Modern Art and MoMA PS1’s annual Young Architects Program, this year’s structure evolves over the course of the day, with responsive textiles that display subtle color in sunlight and emit glowing light after sundown. Lumen serves as the setting for the 20th season of Warm Up, MoMA PS1’s pioneering outdoor music series, incorporating a custom lighting program to complement these vibrant, popular events. Lumen will remain on view through the summer.

Made of over 1,000,000 yards of digitally knitted and robotically woven fiber, Lumen features two large-scale cellular canopies with 250 hanging tubular structures that create opportunities for visitors to interact with the work. The design incorporates 100 robotically woven recycled spool stools and a misting system that responds to visitors’ proximity to produce a refreshing micro-climate. Socially and environmentally responsive, Lumen’s adaptive architecture is inspired by collective levity, play, and interaction as the structure transforms throughout the day and night, responding to the density of bodies, heat, and sunlight. The result of collaboration across disciplines, Lumen applies insights and theories from biology, materials science, mathematics, and engineering—integrating high-performing, formfitting, and adaptive materials into a structure where code, pattern, human interaction, environment, geometry, and matter operate together.

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MoMA Presents: Jules Dassin’s The Law

June 30, 2017–July 06, 2017

The Roy and Niuta Titus Theaters

In a Southern Italian fishing village, the locals settle into a tavern to play La Passatella, a drinking game dating back to ancient Roman times, in which the consumption of too much wine leads to the bullying and humiliation of one unlucky participant. The natives all know how to play, but Enrico Tosso (Marcello Mastroianni) a handsome engineer from the north who’s in town to study the effect of the marshes on the village water supply, fails to find the humor in the game. Meanwhile the earthy, gorgeous Marietta (Gina Lollobrigida) is reluctantly in service to the town boss, Pierre Braseur, but she’d rather cook and clean for Tosso. The ensemble cast keenly illustrates the social hierarchy of the small town, a pecking order that Tosso is eager to eradicate.

Director Jules Dassin (1911–2008) was born in Connecticut but spent the majority of his career working in Europe. In 1951 he was subpoenaed by the House Un-American Activities Committee but refused to testify. He departed for France in 1953 and remained in Europe to complete his myriad film projects, including Rififi (1955) and Never on Sunday (1960), for which he was nominated for a Best Director Oscar.

If you’re stuck in New York this summer, take a virtual trip to Italy with this wily film—in the enviable company of Gina Lollobrigida and Marcello Mastroianni.

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

La Loi (The Law). 1959. Italy/France. Directed by Jules Dassin. Screenplay by Dassin, Françoise Giroud. Based on the novel by Roger Vailland. With Gina Lollobrigida, Marcello Mastrianni, Melina Mercouri. Special thanks to Oscilloscope Films. 35mm. In French; English subtitles. 126 min.

Friday, June 305:00 p.m., T2
Saturday, July 1, 1:00 p.m., T1
Sunday, July 2, 5:00 p.m., T2
Monday, July 3, 6:30 p.m., T2
Tuesday, July 4, 6:30 p.m., T2 
Wednesday, July 56:30 p.m., T2
Thursday, July 65:00 p.m., T2
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Landmark 20th Season of Warm Up Begins July 1

July 01, 2017–September 02, 2017

 

MoMA PS1’s pioneering outdoor music series Warm Up celebrates its 20th season in 2017, with ten Saturdays presenting the best in live and electronic music—both local and global—across a range of genres. Warm Up 2017 begins on Saturday, July 1 and runs through Saturday, September 2, featuring a to-be-announced lineup of emerging and established artists as part of an ambitious and wide-ranging program.

Advance tickets are now available for all Warm Up 2017 dates. In celebration of Warm Up’s founding year, MoMA PS1 will offer a special “1998” ticket package providing access to all ten dates for only $98, available for a limited time only. Full ticketing information can be found within the full press release, in the press kit section of this page, or at mo.ma/warmup .

Over its 20 seasons, Warm Up has featured more than 750 artists, including pop artists Solange, Jamie XX, and Grimes, experimental musicians Arca, Black Dice, and Four Tet, and legendary DJs like DJ Premier, Ritchie Hawtin, and Derrick May. One of the longest-running music programs within a museum, Warm Up has a history of supporting seminal artists before they come to prominence and providing a platform for experimentation, unique collaborations, and new material. 

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Modern Matinees: The Impeccable Deborah Kerr

July 05, 2017–August 31, 2017

The Roy and Niuta Titus Theaters

As the proper Victorian school teacher Anna Leonowens in The King and I (1956) Scottish-born actress Deborah Kerr (1921–2007) polka’ed in a satin ball gown in the Siam heat, maintaining a resplendent, unruffled persona that remained fresh while her dancing partner, the king, looked positively frittered. Known for her cool nature, elegant visage, and a preference for female characters with great intelligence, Kerr always seemed naturally at ease on screen.

Kerr first turned heads in Major Barbara (1941) as Jenny Hill, a young woman as dedicated to the mission of the Salvation Army as the titular Major, before going on to work with iconic British directors Michael Powell and Emeric Pressburger in The Life and Times of Colonel Blimp (1943) and Black Narcissus (1947). The 1950s brought Kerr her most celebrated roles, as the jaded military wife Karen Holmes in From Here to Eternity (1953) and the proper Anna in The King and I. From Here to Eternity also hinted at Kerr’s versatility; a 1953 Variety review noted the role’s unanticipated sexuality: “Miss Kerr’s role and delivery of it is a far cry from the sweet, pure things she previously portrayed and may bring about a casting switch for her.”

This series, mainly drawn from MoMA’s collection, offers a glimpse into a career that included multiple Academy Award nominations, BAFTA distinctions, and a special Oscar for her extraordinary work as a leading lady.

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

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Preservation Premiere: It’s Great to Be Alive

July 06, 2017–July 12, 2017

The Roy and Niuta Titus Theaters

Newly preserved by The Museum of Modern Art from a unique nitrate print in the Museum’s collection, the Fox Film Corporation’s rollicking pre-Code musical comedy It’s Great to Be Alive (1933) is set in a near future when every man on Earth has succumbed to the fatal disease of “masculitis.” As Edna Mae Oliver leads a team of female scientists in a desperate attempt to create an artificial man, one lone male—an aviator, played by the Brazilian star Raúl Roulien—is discovered living on a tropical island. Returned to civilization, he becomes an object of hot contention, claimed by his fiancée (Gloria Stuart) but kidnapped by a gangster (Dorothy Burgess) who plans to auction him off to the highest bidder.

The original, silent version of this story, The Last Man on Earth (1924), is even more extreme in its gender-bending comedy than the 1933 sound remake. It’s 1954, and the dread disease masculitis has purged the world of men, except for one sad specimen, a rejected suitor (Earle Foxe) who has been living as a hermit since his childhood sweetheart (Derelys Perdue) through him over. He’s found by Gertie the Gangster (the serial star Grace Cunard) who sells him to the US government for $10 million—though just which state gets him will be decided by a boxing match on the floor of the US Senate.

Organized by Dave Kehr, Curator, Department of Film.

It’s Great to Be Alive. 1933. USA. Directed by Alfred Werker. Screenplay by Paul Perez and Arthur Kober. With Raúl Roulien, Gloria Stuart, Edna May Oliver. 35mm. 69 min.
Thursday, July 6,  7:00 p.m., T2
Saturday, July 8,  4:00 p.m., T2
Monday, July 10,  4:00 p.m., T2
Wednesday, July 12,  7:00 p.m., T2

The Last Man on Earth. 1924. USA. Directed by J. G. Blystone. Screenplay by Donald W. Lee, from a story by John D. Swain. With Earle Foxe, Grace Cunard, Derelys Perdue. 35mm. Silent. 70 min.
Friday, July 7,  7:00 p.m., T2
Sunday, July 9,  4:00 p.m., T2
Tuesday, July 11,  7:00 p.m., T2

 

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