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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Modern Matinees: Delmer Daves and H. C. Potter in Resonance

March 01, 2018–April 27, 2018

The Roy and Niuta Titus Theaters

Delmer Daves and H. C. Potter were contemporaries and friends who, while not necessarily household names, were essential contract directors during the Golden Age of the Hollywood studio system. This brief survey, which includes prints from MoMA’s collection, captures both in top form.

Delmer Daves (1904–1977) studied law at Stanford University but became intrigued by the industry emerging in his backyard and ended up working as a prop boy on Westerns while completing his degree. In 1929 his script So This Is College was produced for MGM, and he went on to write screenplays for The Petrified Forest (1936) and Love Affair (1939), among others. In 1943 Daves made his directorial debut with Destination Tokyo, starring Cary Grant, though he truly found his niche when he returned to Westerns. In films like Broken Arrow (1950) and 3:10 to Yuma(1957), introspective, conflicted men must confront both nature and human violence. Late in his career, in 1963, Daves adapted Earl Hamner, Jr.’s novel Spencer’s Mountain, a starring vehicle for Henry Fonda and Maureen O’Hara that went on to become the basis for the popular television series The Waltons.

Henry Codman “Hank” Potter (1904–1977), born into a prominent New York family, graduated from Yale University and, in 1927, cofounded the Hampton Players, one America’s first summer theater groups. He soon advanced to Broadway, where his success eventually led to his first Hollywood feature, Beloved Enemy (1936), a romantic drama obsessed by the seemingly eternal British/Irish divide. However, Potter’s true strength was the comedy film—the more hysteria and doubletalk between characters, the better! Best known for quick-witted classics such as Hellzapoppin’ (1941), Mr. Lucky (1943), and the iconic Mr. Blandings Builds His Dream House (1948), Potter hit his directorial stride inveigling comical and sometimes tart performances from his actors (including Cary Grant, who shines as both Mr. Blandings and Mr. Lucky). In 1949, while under contract at RKO during Howard Hughes’s ownership of the studio, Potter ran into some difficulties with the eccentric Texan. Just days before photography commenced on a film tentatively titled The High Frontier, which would involve use of the United States Air Force’s massive B-36, Potter received a telegram saying the production was cancelled. There was no further communication from Hughes, and Potter’s notable career lost momentum.

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

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El Indio: The Films of Emilio Fernández

March 01, 2018–March 13, 2018

The Roy and Niuta Titus Theaters

The son of a Kickapoo Indian and a revolutionary general, Emilio Fernández—known to generations of Mexican filmgoers as “El Indio”—was the most celebrated filmmaker to emerge from the Golden Age of Mexican cinema. Influenced equally by Hollywood narrative and Soviet montage techniques, Fernández brought an image of an eternal, elemental Mexico to the international festival circuit of the 1940s and ’50s, winning awards in Cannes (María Candelaria), Venice (La perla), and Karolvy Vary (Río Escondido). With a creative team that regularly included cinematographer Gabriel Figueroa, writer Mauricio Magdaleno, and stars such as Dolores del Río, Pedro Armendáriz, María Félix, Arturo de Córdova, and Ninón Sevilla, Fernández created an authentic Latino voice that continues to enchant and amaze, now returned to its full force and timbre in magnificent new restorations from the Mexican archives.

Organized by Dave Kehr, Curator, Department of Film. Presented with the generous assistance of the Morelia International Film Festival, Cineteca Nacional de Mexico, Filmoteca de la UNAM, and Televisa Foundation. Special thanks to Daniela Michel and Chloë Roddick (Morelia International Film Festival) and Mauricio Maillé (Televisa Foundation).

Electronic subtitling provided by Sub-Ti Ltd.

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Persona (Person). Cuba-Panama. 2014. Directed by Eliécer Jiménez Almeida. Courtesy Eliécer Jiménez Almeida

Cuban Cinema under Censorship

March 09, 2018–March 11, 2018

The Roy and Niuta Titus Theaters

This exhibition aims to review more than half a century of censorship in Cuban cinema, which can be traced to a kind of foundational moment: Orlando Jiménez Leal and Sabá Cabrera Infante’s PM (1961). This short film’s censorship by the Institute of Cuban Film was among the first delimitations of cultural policy under the nascent socialist regime led by Fidel Castro. Likewise, Conducta Impropia (Improper Conduct) (1983, Orlando Jiménez Leal, Néstor Almendros), though not produced in Cuba, was also banned in the country: the film denounced the systematic persecution and repression of the gay community and an intelligentsia who “maladjusted” to the requirements put in place by the Cuban authorities. In the ensuing decades censorship by the Instituto Cubano de Arte e Industria Cinematográficos (Cuban Institute of Cinematographic Art and Industry), or ICAIC, was usually “aired out” within the institution. But in the new century, with the emergence of cinema that was independent from institutions and the editorial criteria of the state, the list of censored or repressed works increased rapidly. Manuel Zayas’s Odd People Out (2004) complements the investigation begun by Improper Conductfrom a documentary angle, while Carlos Lechuga’s Santa & Andrés (2016) does the same through fiction. The latter film was the subject of a public state veto, a rarity among recent productions. Also featured in this series, Eliécer Jiménez’s Persona (2014), Miguel Coyula’s Nadie (Nobody) (2016), Juan Carlos Cremata’s Crematorio (Crematorium) (2013), Ricardo Figueredo and Anthony Bubaire’s Despertar (Awakening) (2011), and Marcelo Martin’s El tren de la linea norte (The Train on the Northern Railway) (2015) represent just some of the films—mostly documentaries—that have been subject to state vetoes and suffered from political suppression in the last decade.

Presented in conjunction with Tania Burguera’s installation Untitled (Havana, 2000).

Organized by Dean Luis Reyes, Guest Curator.

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2018 VW Sunday Sessions Commission

March 11, 2018–March 11, 2018

 

For the 2018 VW Sunday Sessions commission, artist and performer Colin Self presents Siblings, the sixth and final part of The Elation Series, a sci-fi opera encompassing performance, music, sculpture, and video that he has been developing since 2011. The performance will be presented at 2 p.m. and 5 p.m. on March 11, 2018, closing day of MoMA PS1’s winter exhibitions.

A playful examination of Donna J. Haraway’s recent book Staying with the Trouble: Making Kin in the Chthulucene, the performance offers new ways of re-configuring our relationship to the earth and its inhabitants in the wake of ecological devastation, foregrounding the necessity of new narrative structures to realize a better world. Structured like a game, Siblings functions as a participatory performance, assigning the audience roles and responsibilities. Divided into analysts, activists, archivists, and spies, these groups expand their subjective encounters of text, song, and dance into ruptures of narrative analysis.

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Point Counterpoint: Avant-Garde Film Scores, 1955–1973

March 14, 2018–March 22, 2018

The Roy and Niuta Titus Theaters

As part of Carnegie Hall’s citywide festival The ’60s: The Years that Changed America, The Museum of Modern Art presents a film series celebrating the use of avant-garde and modern classical music in international cinema between 1955 and 1973. A follow-up to MoMA’s 2008 exhibition Jazz Score, the series features the film work of Pierre Boulez, Daphne Oram, Yoko Ono, Arvo Pärt, Steve Reich, Tôru Takemitsu, Edgard Varèse, and other revolutionary composers of the 20th century. Avant-Garde Film Scoresculminates on March 19 with a special Modern Mondays evening with the artist Morgan Fisher, who premieres his latest film, Another Movie (2018), in dialogue with Bruce Conner’s A Movie (1958) and with Ottorino Respighi’s 1924 orchestral tone poem Pines of Rome, the music used in the scores of both.

Organized by Joshua Siegel, Curator, and Maddi Lopez de Arkaute, Intern, Department of Film. Special thanks to Olivia Priedite.

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This Is Now: Film and Video After Punk

March 15, 2018–March 25, 2018

The Roy and Niuta Titus Theaters

This touring program from LUX and British Film Institute explores the nexus of Britain’s post-punk and avant-garde film and video scenes through a wealth of newly preserved work from 1979 to 1985. The New York premiere of This Is Us is presented in conjunction with Club 57: Film, Performance, and Art in the East Village, 1978–1983, providing an evocative counterpoint to Club 57’s look back at the same period in New York City. Newly available as a mode of expression and experimentation for artists, filmmakers, and club kids alike, inexpensive and direct technologies, from Super8 to VHS, allowed them to explore such themes as the intertwining of performance and identity on screen and the subversion of mainstream Thatcherite society and its image systems. From John Maybury’s lyrical tableau of Siouxsie Sioux and assemblages from the Scratch Video collective to early work by Isaac Julien and Cerith Wyn Evans, this energetic mix represents a pioneering period from an alternative scene that still resonates three decades later.

Presented in in partnership with LUX and British Film Institute. Organized at MoMA by Sophie Cavoulacos, Assistant Curator and Ron Magliozzi, Curator, Department of Film.

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Irresistible Forces, Immovable Objects: The Films of Amir Naderi

March 16, 2018–March 27, 2018

The Roy and Niuta Titus Theaters

Amir Naderi’s journey as a filmmaker began in Iran, where he was born in the southern port city of Abadan in 1946. Orphaned as a child, he spent his formative years on the street (an existence dramatized in his 1984 feature The Runner). A job working in a movie theater led him to discover his true homeland—the cinema—and Naderi has remained a citizen of that refined world ever since, pursuing his passion for filmmaking around the globe with no regard for physical borders or language barriers.
 
Naderi made his first films in the 1970s at Iran’s famed Institute for the Intellectual Development of Children and Young Adults, working alongside Abbas Kiarostami. After The Runner and Water, Wind, Dust found critical favor on the international film festival circuit, Naderi relocated to New York. Themes of isolation and alienation, already present in his work, were amplified by his encounter with the city, and with Manhattan by Numbers (1993) Naderi began an extraordinary series of films—including A, B, C…Manhattan(1997), Marathon (2002), and Sound Barrier (2005)—in which characters map their desire for emotional connection onto the coldly rational structures of New York’s street grid and transportation systems.
 
With Vegas: Based on a True Story (2008) Naderi again expanded his territory, moving first to the American West, then to Japan (for the 2011 Cut), and back in time to medieval Italy for his most recent film, Monte (2016), the story of a poor farmer who picks a quarrel with no less a force than geography itself.
 
“Naderi’s cinema is honest like John Ford’s, poetic like Robert Flaherty’s, masculine like Howard Hawks’, mysterious as Alfred Hitchcock’s, powerful as Orson Welles’, humanistic like Jean Renoir’s, bitter and realistic like Vittorio De Sica’s and sometimes as dark and surrealistic as Luis Buñuel’s.” — Bahman Maghsoudlou

Organized by Dave Kehr, Curator, Department of Film.

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Being: New Photography 2018

March 18, 2018–August 19, 2018

Floor Three, The Edward Steichen Galleries

Press Preview: Tuesday, March 13, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

The Museum of Modern Art presents Being: New Photography 2018, the latest presentation in MoMA’s celebrated New Photography exhibition series. Since its inception in 1985, New Photography has introduced more than 100 artists from around the globe, and it is a key component of the Museum’s contemporary program. Every two years, New Photography presents urgent and compelling ideas in recent photography and photo-based art. This year’s edition, Being, asks how photography can capture what it means to be human. On view from March 18 through August 19, 2018, the exhibition includes over 80 new and recent works by 17 artists from ten countries. While at various stages in their careers, all are presenting their work at the Museum for the first time.

At a time when questions about the rights, responsibilities, and dangers inherent in being represented—and in representing others—are being debated around the world, the works featured in Being call attention to assumptions about how individuals are depicted and perceived. Many challenge the conventions of photographic portraiture, or use tactics such as masking, cropping, or fragmenting to disorient the viewer. In others, snapshots or found images are taken from their original context and placed in a new one to reveal hidden stories. While some of the works might be considered straightforward representations of individuals, others do not include images of the human body at all. Together, they explore how personhood is expressed today, and offer timely perspectives on issues of privacy and exposure; the formation of communities; and gender, heritage, and psychology.

The artists included are:

Sofia Borges (Brazilian, born 1984)
Matthew Connors (American, born 1976)
Sam Contis (American, born 1982)
Shilpa Gupta (Indian, born 1976)
Adelita Husni-Bey (Italian, born 1985)
Yazan Khalili (Palestinian, born Syria, 1981)
Harold Mendez (American, born 1977)
Aïda Muluneh (Ethiopian, born 1974)
Hương Ngô and Hồng-Ân Trương (American, born Hong Kong, 1979; American, born 1976)
B. Ingrid Olson (American, born 1987)
Joanna Piotrowska (Polish, born 1985)
Em Rooney (American, born 1983)
Paul Mpagi Sepuya (American, born 1982)
Andrzej Steinbach (German, born Poland, 1983)
Stephanie Syjuco (American, born Philippines, 1974)
Carmen Winant (American, born 1983)

Being: New Photography 2018 is organized by Lucy Gallun, Assistant Curator, Department of Photography.

Major support for the exhibition is provided by The William Randolph Hearst Endowment Fund , David Dechman and Michel Mercure, and The Robert Mapplethorpe Foundation.

Generous funding is provided by Courtney Finch Taylor and by James G. Niven.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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Come Together: Music Festival and Label Market

March 24, 2018–March 24, 2018

 

MoMA PS1 and iconic record shop Other Music have teamed up to present the second annual Come Together: Music Festival and Label Market on Saturday, March 24, offering live performances, films, workshops, and panels that celebrate the interactive ecosystem of local and international music communities, along with a label market featuring over 75 participants. Part of MoMA PS1’s VW Sunday Sessions, Come Together reasserts the central and essential role that communities play in both the creation and consumption of new sounds, recasting the fading record store experience for the current moment. This year features extended festival programming, with daytime programming and the label market from 12:00 through 6:00 p.m., and an expanded slate of performances from 6:00 to 9:00 p.m.

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New Directors/New Films 2018

March 28, 2018–April 08, 2018

The Roy and Niuta Titus Theaters

Now in its 47th year, the renowned New Directors/New Films festival, presented jointly by The Museum of Modern Art and the Film Society of Lincoln Center, introduces New York audiences to the work of emerging or not-yet-established filmmakers from around the world. The festival takes place at the Walter Reade Theater at Lincoln Center and at The Roy and Niuta Titus Theaters at MoMA.

New Directors/New Films is presented by the Film Society of Lincoln Center and The Museum of Modern Art.

The 2018 feature committee was comprised of Josh Siegel, Curator; La Frances Hui, Associate Curator; Sophie Cavoulacos, Assistant Curator and Brittany Shaw, Department Assistant, Department of Film, The Museum of Modern Art; and Dennis Lim, Director of Programming; Florenze Almozini, Associate Director of Programming; Dan Sullivan, Assistant Programmer, and Tyler Wilson, Programming Coordinator, the Film Society of Lincoln Center.

The exhibition is sponsored by LG Signature.

Additional support is provided by the Annual Film Fund of The Museum of Modern Art, Film Society’s New Wave, The New York Times, American Airlines, The Village Voice, Shutterstock, and Hudson Hotel.

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