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.
Print-Friendly Schedule

Projects 105: Cinthia Marcelle

October 23, 2016–September 04, 2017

Duplex Gallery and Cinema, MoMA PS1

Projects 105 presents Education by Stone (2016), a new site-specific installation by Cinthia Marcelle (Belo Horizonte, Brazil, 1974) and the artist’s first solo exhibition in New York. Recently selected to represent Brazil at the 2017 Venice Biennale, Marcelle is known for her installations, performances, and videos, which stage forms of labor to produce poetic situations. Occupying MoMA PS1’s Duplex gallery, the installation will insert chalk, a pedagogical material to which she has re-turned throughout her career, in the building’s formerly scholastic space. Numerous rods of chalk will be lodged into the fissures and openings of the gallery’s brick walls from floor to ceiling, revealing the material’s inherent instability and fragility.

ABOUT THE ARTIST
Cinthia Marcelle has had solo exhibitions in South America and Europe. She recently participated in the 11th Sharjah Biennial (2015), and will represent Brazil in the 57th Venice Biennale (2017). In 2006, she was the recipient of the International Prize for Performance for her work Gray Demonstration (2006). In 2010, she was awarded the Future Generation Prize.

Organized by Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.

The Elaine Dannheisser Projects Series is made possible in part by The Elaine Dannheisser Foundation and The Junior Associates of The Museum of Modern Art.

Share

Sascha Braunig: Shivers

October 23, 2016–March 12, 2017

MoMA PS1

With more than twenty works made over the last five years, Shivers showcases Braunig’s unique approach to the studio portrait. Beginning with meticulously rendered paintings of fantastical sculptural constructions, the artist has deployed a range of pictorial techniques to depict bodies under duress. The figures in her work are compressed by their environments, stretched and twisted across armatures, and often overwhelmed by their surroundings. Some are irradiated by industrial light, sutured into uncomfortable hybrids, and hollowed out. Drawing inspiration from the distorted bodies that litter the histories of modern painting, Braunig adapts these legacies to the discomforts and instabilities of contemporary life. In more recent works, her figures seem to turn on themselves, testing their own limits and those of the settings that confine them. While evocatively dystopic, her paintings also subtly empower their vulnerable subjects, advocating a humanist art for an age in which individual experience seems threatened by forces beyond our control.

Sascha Braunig: Shivers is organized by Peter Eleey, Chief Curator, MoMA PS1.

The exhibition is supported by the Ava Olivia Knoll Fund and The Tom Slaughter Emerging Artists Endowment Fund.

Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

Share

Mark Leckey: Containers and Their Drivers

October 23, 2016–March 05, 2017

MoMA PS1

MoMA PS1 presents the first comprehensive survey of the pioneering British artist Mark Leckey in the United States, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, his dynamic and varied practice has helped give form to the transition from analog to digital culture, and powerfully influenced younger generations of artists. Occupying two floors of MoMA PS1, the exhibition will bring together major bodies of Leckey’s art, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights will be Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001-2012), functioning stacks of audio speakers that recall those used in street music parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that consider “smart” objects and our increasingly technological environment; a significant installation UniAddDumThs(2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before; and an expanded presentation of works relating to his recent autobiographical film Dream English Kid 1964–1999 AD (2015).

Mark Leckey: Containers and Their Drivers is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art.

Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions including Haus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London.

 

The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Major support is provided by The International Council of The Museum of Modern Art, The Contemporary Arts Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art and the Maurice Marciano Family Foundation.

Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

Share

The Shape of Things: Photographs from Robert B. Menschel

October 29, 2016–May 07, 2017

The Paul J. Sachs Galleries, second floor

The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art’s multifaceted collection of photography. Borrowing its title from the eponymous work by Carrie Mae Weems, the exhibition is drawn entirely from works acquired over the past 40 years with the support of Robert B. Menschel, telling the story of photography from its beginnings.

Covering more than 150 years of photography—from an 1843 view of Paris by William Henry Fox Talbot, the English father of photography, to An-My Lê’s depictions of US military exercises in preparation for war in Iraq and Afghanistan—the exhibition underscores an equal attention to the past and the present, and a strong belief that they complement each other; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977, over 500 works have entered the collection through his support, including 162 photographs he recently donated from his personal collection.
 

Organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

The exhibition is supported by the Annual Exhibition Fund.

Share

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

November 21, 2016–March 19, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Press Preview: Tuesday, November 15, 9:30-11:30 a.m.

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is the first major exhibition in the U.S. to encompass the full range of Picabia’s audacious, provocative, and profoundly influential career. MoMA’s first-ever monographic exhibition of the artist, Francis Picabia brings together some 200 works in multiple mediums to explore the artist’s critical place in the history of 20th-century art.

Among the great modern artists, Francis Picabia (French, 1879–1953) remains one of the most elusive; he vigorously avoided any one singular style or medium, and his work encompassed painting, performance, poetry, publishing, and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely—and wildly—from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to art informel. Picabia’s contributions to a diverse range of artistic mediums, along with his consistent inconsistencies, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of modernism.

Francis Picabia—conceived in partnership with the Kunsthaus Zürich, where its presentation is scheduled to coincide with the 100th anniversary of the founding of the Cabaret Voltaire, in 1916—assembles key selections and bodies of work, ranging in date from the first decade of the 20th century through the early 1950s. Picabia’s work as a painter—albeit one whose oeuvre consistently contests the term—will be represented, along with his activities as a publisher and contributor to vanguard journals, and his forays into screenwriting and theater. The core of the exhibition comprises some 125 paintings, along with approximately 45 key works on paper, one film, and a carefully chosen selection of printed matter.

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich.

Organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art, and Cathérine Hug, Curator, Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, Department of Painting and Sculpture, MoMA.

Major support for the New York presentation is provided by The International Council of The Museum of Modern Art.

Generous funding is provided by Lawrence B. Benenson.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Paint provided by Farrow & Ball.

Additional support is provided by the Annual Exhibition Fund.

Share
Josef Albers (American, born Germany 1888-1976). Marli Heimann, All During an Hour. 1931/1932. Gelatin silver prints mounted to board, 11 11/16 x 16 7/16" (29.7 x 41.8 cm) overall. The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation. © 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York. Photo: John Wronn

One and One Is Four: The Bauhaus Photocollages of Josef Albers

November 23, 2016–April 02, 2017

Floor 5

Josef Albers (American, born Germany, 1888–1976) is a central figure in 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Best known for his iconic series Homages to the Square, Albers made paintings, drawings, and prints and designed furniture and typography. The least familiar aspect of his extraordinary career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.

The first serious exploration of Albers’s photographic practice occurred in a modest exhibition at MoMA in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired 10 photocollages by Albers—adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago—making its collection the most significant anywhere outside the Foundation. This installation celebrates both this landmark acquisition and the publication of One and One Is Four: The Bauhaus Photocollages of Josef Albers, which focuses exclusively on this deeply personal and inventive aspect of Albers’s work and makes many of these photocollages available for the first time.

Organized by Sarah Hermanson Meister, Curator, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Share

A Revolutionary Impulse: The Rise of the Russian Avant-Garde

December 03, 2016–March 12, 2017

South Gallery, third floor

The Museum of Modern Art presents A Revolutionary Impulse: The Rise of the Russian Avant-Garde, an exhibition that brings together 260 works from MoMA’s collection, tracing the arc of a period of artistic innovation between 1912 and 1935. Planned in anticipation of the centennial year of the 1917 Russian Revolution, the exhibition highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant-garde poetry, theater, photography, and film, by such figures as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.

The exhibition features a rich cross-section of works across several mediums—opening with displays of pioneering non-objective paintings, prints, and drawings from the years leading up to and immediately following the Revolution, followed by a suite of galleries featuring photography, film, graphic design, and utilitarian objects, a transition that reflects the shift of avant-garde production in the 1920s. Made in response to changing social and political conditions, these works probe and suggest the myriad ways that a revolution can manifest itself in an object.

Organized by Roxana Marcoci, Senior Curator, Department of Photography and Sarah Suzuki, Curator, Department of Drawings and Prints; with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.

The exhibition is supported by the Annual Exhibition Fund.

Share

Alexandra Bachzetsis’s Massacre: Variations on a Theme

January 17, 2017–January 31, 2017

Donald B. and Catherine C. Marron Atrium

The Museum of Modern Art presents Alexandra Bachzetsis’s Massacre: Variations on a Theme, a new performance commission consisting of a video installation on view during regular Museum hours, and four ticketed live performances on the evenings of January 24, 25, 27, and 28. Comprising choreography for three dancers and a musical composition for two pianos, Bachzetsis’s performance takes the form of a feverish interchange between violent physical movement and excessive mechanical repetition, with a physical and visual vocabulary drawn from a variety of sources, including Tarantism, classic Northern Soul dancing, and Surrealist imagery. Tickets for the performances are $12 and can be purchased on ShowClix beginning December 16. 

The work of Alexandra Bachzetsis (b. 1974) frequently brings together the tropes and gestures of popular culture with ancient rituals and the choreographic language of landmark figures in dance such as Trisha Brown. In Massacre—literally a “ballet mécanique,” with nods to the brutalistic, industrial rhythms and Dada sensibility of Fernand Léger and Dudley Murphy’s landmark 1924 film—three female dancers perform to a live score for two pianos, one of which is an automatic player piano. The performance alternates between the spasmodic gestures of Tarantism, a dancing mania that appeared in medieval Europe and was believed at the time to be caused by the bite of a tarantula; the circular, up-tempo rhythms of Northern Soul dancing; and the tentative, instinctive cavorting typical of primates. Each sequence of movements is transmitted, almost virally, from one performer to the next.

The images, gestures, and sounds that form Massacre also draw on many precedents from Dada and Surrealism—notably representations of the female form within the work of Man Ray, Marcel Duchamp, and Hans Bellmer—as well as a fascination with the formation of gender and sexuality within a culture increasingly shaped by technology.

Massacre: Variations on a Theme is commissioned by The Museum of Modern Art, New York.

Organized at MoMA by Stuart Comer, Chief Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer, with Kate Scherer, Assistant Performance Coordinator.

Generous funding for the exhibition is provided by The Contemporary Arts Council of The Museum of Modern Art and by The Modern Women’s Fund.

Pianos provided by Yamaha Artist Services, New York.

Additional support is provided by the Annual Exhibition Fund.

Share

Unfinished Conversations: New Work from the Collection

March 19, 2017–July 30, 2017

Floor Six, The International Council of The Museum of Modern Art Gallery

Press Preview: Tuesday, March 14, 9:30-11:30 a.m.

Unfinished Conversations brings together works by more than a dozen artists, made in the past decade and recently acquired by The Museum of Modern Art. The artists that make up this intergenerational selection address current anxiety and unrest around the world and offer critical reflections on the present moment.

The exhibition considers the intertwining themes of social protest, the effect of history on the formation of identity, and how art juxtaposes fact and fiction. From Cairo to St. Petersburg, from The Hague to Recife, the artists in the exhibition observe and interpret acts of state violence and the resistance and activism they provoke. They reexamine historical moments, evoking images of the past and claiming their places within it. They take on contemporary struggles for power, intervening into debates about government surveillance and labor exploitation. Together, these artists look back to traditions both within and beyond the visual arts to imagine possibilities for an uncertain future.

The title of the exhibition is inspired by John Akomfrah’s three-channel video installation The Unfinished Conversation (2012), which chronicles the life and work of the Jamaican-born British cultural theorist Stuart Hall (1932–2014). Hall recognized the power that museum collections have to both shape and reflect culture and communities, contending that they are sources of inspiration “which create thought-provoking visions of our past. They provide testimony to the darkest and brightest of human history.”

Unfinished Conversations includes works by John Akomfrah, Jonathas de Andrade, Anna Boghiguian, Andrea Bowers, Paul Chan, Simon Denny, Samuel Fosso, Iman Issa, Erik van Lieshout, Cameron Rowland, Wolfgang Tillmans, Adrián Villar Rojas, Kara Walker, and Lynette Yiadom-Boakye.

Organized by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art and Director MoMA PS1; Lucy Gallun, Assistant Curator, Department of Photography; Thomas J. Lax, Associate Curator, Department of Media and Performance Art; Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints; and Yasmil Raymond, Associate Curator, Department of Painting and Sculpture, with Elizabeth Henderson, Department Coordinator, Office of the Chief Curator at Large. 

Allianz is a partner of contemporary art at MoMA.

Additional support for Unfinished Conversations: New Work from the Collection is provided by the Annual Exhibition Fund.

MoMA Audio+ is supported by Bloomberg Philanthropies.

Share

.com/.cn

March 21, 2017–April 30, 2017

K11 Art Foundation Pop-up Space, Sheung Wan, Hong Kong

The K11 Art Foundation (KAF) and MoMA PS1 co-present .com/.cn, the first project jointly presented by the two institutions as part of an ongoing research partnership. Co-curated by Klaus Biesenbach and Peter Eleey of MoMA PS1 in New York, com/.cn includes work by Darren Bader, Cao Fei, DIS, Aleksandra Domanovic, Greg Edwards, Li Ming, Liang Wei, Lin Ke, Liu Shiyuan, Miao Ying, Laura Owens, Oliver Payne, Sondra Perry, Wang Xin, and Anicka Yi.

.com/.cn showcases artistic practices in China and the West that respond to, or are affected by, our digital ecosystem. Frequently described as a “network” or a “cloud,” this system is often assumed to be universal, unencumbered by territory, language, law, or national culture. However, distinct regional internets have developed under varying forms of state control, each conditioning different social behaviors, economies, and modes of thought. These variations are particularly evident in comparing artistic responses to the available internets of China and the West, and their respective political and economic systems.

Share