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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Judson Dance Theater: The Work Is Never Done

September 16, 2018–February 03, 2019

Floor Two, Contemporary Galleries and the Donald B. and Catherine C. Marron Atrium

Press Preview: Wednesday, September 12, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present performances that Village Voice critic Jill Johnston declared the most exciting new developments in dance in a generation. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Together, the artists challenged traditional understandings of choreography, expanding dance in ways that reconsidered its place in the world. They employed new compositional methods to strip dance of its theatrical conventions, incorporating “ordinary” movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity.

Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn, and James Waring and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre. Through live performance and some 300 objects including film, photographic documentation, sculptural objects, scores, music, poetry, architectural drawings, and archival material, the exhibition celebrates the group’s multidisciplinary and collaborative ethos as well as the range of its participants. The Work Is Never Done includes a gallery exhibition, a print publication, and an ambitious performance program in the Museum’s Donald B. and Catherine C. Marron Atrium.

The exhibition is organized by Ana Janevski, Curator, and Thomas J. Lax, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art.

The exhibition is made possible by Hyundai Card.

Leadership support is provided by Monique M. Schoen Warshaw, The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions, and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Major support is provided by Jody and John Arnhold and by The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Harkness Foundation for Dance.

Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, and Oya and Bülent Eczacıbaşı.

MoMA Audio is supported by Bloomberg Philanthropies.

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Hammer Horror: A Frankenstein Septet

September 18, 2018–October 12, 2018

 

Mary Shelley’s Frankenstein; or, The Modern Prometheus, published in 1818, has inspired hundreds of films; in 1910 Thomas Edison produced the first cinematic version in his Bronx studio, starring Charles Stanton Ogle as the monster. Hollywood audiences fell in love with Frankenstein after the 1931 Universal Pictures version, featuring Boris Karloff’s iconic block-headed, neck-bolted creature and the hysterical doctor’s spectacular laboratory of tesla coils and steam-spewing equipment, all in glorious black and white.

In 1957, the British production company Hammer Films produced the first of its seven Frankenstein films, which focused more on the Gothic aspects of the book and the obsession, ambition, and guilt of the doctor (usually played by Peter Cushing). These films overflow with mournful music, overwrought Victorian décor and costumes, lusty characters, and decidedly more disfigured, wrathful monsters—all amplified by a highly artificial, gruesome color palette that makes even a glimpse of blood into a horrifying experience.

Hammer Horror: A Frankenstein Septet is presented in conjunction with It’s Alive! Frankenstein at 200, a visual history of Mary Shelley’s Frankenstein, at The Morgan Library and Museum October 12, 2018–January 27, 2019.

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

Support for the exhibition is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by the Kate W. Cassidy Foundation and Steven Tisch, with major contributions from Jo Carole and Ronald S. Lauder, Association of Independent Commercial Producers (AICP), Yuval Brisker Charitable Foundation, The Brown Foundation, Inc., of Houston, Marlene Hess and James D. Zirin, Karen and Gary Winnick, and The Junior Associates of The Museum of Modern Art.

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The Unknown Jerry: Home Movies and More from the Jerry Lewis Collection at the Library of Congress

October 02, 2018–October 11, 2018

The Roy and Niuta Titus Theaters

Although his official debut as a filmmaker wouldn’t occur until The Bellboy in 1960, Jerry Lewis actually began directing movies soon after his arrival in Hollywood in 1949. Working with a group of close industry friends, Lewis wrote, photographed, and directed a series of 16mm films that pushed the definition of “home movies” to its limits, featuring synchronized sound, professional acting, and fully developed storylines. Presented as “Gar-Ron Productions”—the name came from Jerry and Patti Lewis’s two oldest sons, Gary and Ron—these fledgling efforts featured the Lewis’s close friends Janet Leigh and Tony Curtis, Jerry’s screen partner Dean Martin, writers Harry Crane and Danny Arnold (later of Barney Miller fame), and a rotating cast of family members and Pacific Palisades neighbors. Made between 1951 and 1955, these neophyte works reveal an intuitive understanding of framing and cutting that would blossom with Lewis’s great feature films of the 1960s (a sampling of which are included here). Newly preserved by the Library of Congress, these films are being shown here for the first time in their entirety. This series is presented in conjunction with the exhibition Looking at Jerry Lewis: The Nutty Professor Storyboards, on view in The Roy and Niuta Titus Theater Galleries.

Organized by Dave Kehr, Curator, Department of Film. Special thanks to Rob Stone, Moving Image Curator, The Library of Congress; Chris Lewis, American Wheelchair Mission; and Jamie Lee Curtis.

Support for the exhibition is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by the Kate W. Cassidy Foundation and Steven Tisch, with major contributions from Jo Carole and Ronald S. Lauder, Association of Independent Commercial Producers, Yuval Brisker Charitable Foundation, The Brown Foundation, Inc., of Houston, Marlene Hess and James D. Zirin, Karen and Gary Winnick, and The Junior Associates of The Museum of Modern Art.

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Looking at Jerry Lewis: The Nutty Professor Storyboards

October 6, 2018–March 3, 2019

The Roy and Niuta Titus Theater Galleries

Few stars from the golden age of the Hollywood studio system valued looking—and being looked at—more than Jerry Lewis (1926–2017) did. Having amassed years of stage experience before he emerged as a major film actor and director, he made acknowledging his audience an essential aspect of the “comedy of looks” that characterized his work. And in no other Lewis film is the experience of being seen so central as in The Nutty Professor (1963), in which he treats his audience as a main character. In this adaptation of the Dr. Jekyll and Mr. Hyde story, his dual performance as the self-effacing Professor Kelp and the narcissistic Buddy Love represents different sides of the Lewis persona, and the onscreen student and nightclub audiences who witness his behavior represent the gaze of the moviegoing public.

A recent gift to the Museum, John Lauris Jensen’s storyboards for The Nutty Professor are graphic interpretations of the script, suggesting elements of performance, staging, lighting effects, camera placement, and cutting continuity. The 11 storyboard sequences on display here anticipate the look and experience of the motion picture, skilfully expressing Lewis’s intentions as both director and performer.

Jensen began his film career as an illustrator at Paramount Pictures in the 1950s, creating scenic art and costume design for producer-director Cecil B. DeMille (The Ten Commandments, 1956; The Buccaneer, 1958). Though he is better known for his work on period action films and Westerns, Jensen’s collaborations with Jerry Lewis, which also included The Bellboy (1960) and The Family Jewels(1965), prove he was equally skilled at visualizing physical and dramatic comedy.

This exhibition compliments the film series The Unknown Jerry: Home Movies and More from the Jerry Lewis Collection at the Library of Congress.

Looking at Jerry Lewis: The Nutty Professor Storyboards is organized by Ron Magliozzi, Curator, Department of Film.

Support for the exhibition is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by the Kate W. Cassidy Foundation and Steven Tisch, with major contributions from Jo Carole and Ronald S. Lauder, Association of Independent Commercial Producers, Yuval Brisker Charitable Foundation, The Brown Foundation, Inc., of Houston, Marlene Hess and James D. Zirin, Karen and Gary Winnick, and The Junior Associates of The Museum of Modern Art.

 
 
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Charles White: A Retrospective

October 07, 2018–January 13, 2019

Floor Three, The Edward Steichen Galleries

Press Preview: Tuesday, October 2, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

With Charles White: A Retrospective, The Museum of Modern Art and The Art Institute of Chicago present the first major museum exhibition of Charles White’s oeuvre in over 30 years, on view at The Museum of Modern Art from October 7, 2018, through January 13, 2019. Covering the full breadth of his career with over 100 multidisciplinary works, the exhibition features drawings, paintings, prints, photographs, and contextual ephemera. Prior to its MoMA presentation, the exhibition will be on view at The Art Institute of Chicago from June 8 through September 3, 2018. Following its MoMA presentation, the exhibition will travel to the Los Angeles County Museum of Art (LACMA), where it will be on view in Spring 2019.

Beginning in the late 1930s and concluding with White’s premature death in 1979, the exhibition features a detailed overview of his work over a four-decade span of enormous change in the US that provided a constant wellspring of subject matter for the artist. The presentation reveals White as a responsive visual strategist who was open to exploring styles and techniques inspired by contemporary art and culture, and a savvy interpreter of an evolving political climate. White’s commitment to figuration, to directly addressing the social and political concerns of his time, and to mastering mediums that allowed for wide circulation of his art established him as a major figure, and one with significant influence on his peers and followers.

The exhibition is organized chronologically, with groupings centered on the cities and creative communities in which White lived and worked. Each section will be supported by relevant ephemera and supporting materials detailing White’s working process, political and social activities, and role as a teacher.

Charles White: A Retrospective is organized by Esther Adler, Associate Curator, Department of Drawings and Prints; and Sarah Kelly Oehler, Field-McCormick Chair and Curator of American Art, The Art Institute of Chicago.

The exhibition is supported at The Museum of Modern Art and at The Art Institute of Chicago by the Terra Foundation for American Art.

Major support for the New York presentation is provided by The Contemporary Arts Council of The Museum of Modern Art, Kathy and Richard S. Fuld, Jr., and by The Dian Woodner Exhibition Endowment Fund.

Generous funding is provided by The Friends of Education of The Museum of Modern Art.

Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, and Oya and Bülent Eczacıbaşı.

MoMA Audio is supported by Bloomberg Philanthropies.
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Karpo Godina

October 19, 2018–October 25, 2018

 

An essential figure of Yugoslav cinema, Karpo Godina infused the radical “Black Wave” of the 1960s with an irrepressible expressive freedom—squarely targeted against all forms of repression—and thrived long after the end of Titoism and the breakup of Yugoslavia in civil war. For more than 30 years, the half-Slovenian, half-Macedonian filmmaker has brought a playfully anarchical spirit to the poetics and politics of film, moving breathlessly between fiction and nonfiction in his avant-garde shorts of the 1960s and ’70s and his feature films of the 1980s and ’90s.

Godina was a frequent collaborator of Bahrudin “Bato” Čengić, Želimir Žilnik, Lordan Zafranović, and other pioneering members of the Black Wave, and he has since worked comfortably in the former Yugoslavian republics as a director, screenwriter, cinematographer, and editor.

Karpo Godina makes a rare appearance at MoMA to present his first career retrospective in the US, coinciding with the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980.

Organized by Jurij Meden, Curator, Austrian Filmmuseum; Joshua Siegel, Curator, Department of Film, The Museum of Modern Art; and Ana Janevski, Curator, Department of Media and Performance Art, The Museum of Modern Art.

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Bruce Nauman: Disappearing Acts

October 21, 2018–February 18, 2019

The Museum of Modern Art, The Steven and Alexandra Cohen Center for Special Exhibitions, sixth floor, and MoMA PS1

View press preview remarks

The exhibition is on view at The Museum of Modern Art October 21, 2018–February 18, 2019, and at MoMA PS1 October 21, 2018–February 25, 2019.

The Museum of Modern Art and MoMA PS1 present the first comprehensive retrospective in 25 years devoted to the work of American artist Bruce Nauman (b. 1941), on view at The Museum of Modern Art from October 21, 2018, through February 18, 2019, and at MoMA PS1 from October 21, 2018, through February 25, 2019. Co-organized by The Museum of Modern Art and Laurenz Foundation, Schaulager Basel, Bruce Nauman: Disappearing Acts draws upon the rich holdings of both institutions and nearly 70 lenders. Encompassing Nauman’s full career and featuring a total of 165 works, the exhibition occupies the Museum’s entire sixth floor and the whole of MoMA PS1. This joint presentation will provide an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to neon, performance, film and video, and architecturally scaled environments.

Since 1970, Nauman has frequently worked on a monumental scale, necessitating this expansive presentation across both of MoMA’s locations. Both venues include works in all mediums and from all phases of Nauman’s career, offering distinct but complementary perspectives on his wide-ranging practice. The characteristics of the two spaces have shaped the curatorial approach to each. The flexibility of The Museum of Modern Art’s sixth-floor galleries are uniquely suited to some of the artist’s largest works, and the 50 works in this portion of the exhibition move swiftly from Nauman’s early sculptures derived from his own body to room-size installations that directly involve the viewer. The suite of former classrooms in MoMA PS1’s historic building houses 115 works, organized thematically to chart the recurrence of key concepts across the decades. The presentation highlights the underlying consistencies in a seemingly disparate body of work, as the artist revisits his earlier motifs and concerns with new urgency.

Organized by The Museum of Modern Art, New York, and Laurenz Foundation, Schaulager Basel.

The exhibition is organized by Kathy Halbreich, Laurenz Foundation Curator and Advisor to the Director, The Museum of Modern Art; with Heidi Naef, Chief Curator, and Isabel Friedli, Curator, Schaulager Basel; and Magnus Schaefer, Assistant Curator, and Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

The exhibition is made possible by Laurenz Foundation, Schaulager Basel.

Leadership support is provided by The Sandra and Tony Tamer Exhibition Fund.

Major support is provided by The International Council of The Museum of Modern Art and by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Generous funding is provided by The Hayden Family Foundation, Sully Bonnelly and Robert R. Littman, Ellen and William Taubman, and by The Contemporary Arts Council of The Museum of Modern Art, and by LLWW Foundation.

Additional support is provided by the MoMA PS1 Annual Exhibition Fund and by The Museum of Modern Art’s Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, and Oya and Bülent Eczacıbaşı.

 

 

 

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Catalan Cinema’s Radical Years, 1968–1978

October 25, 2018–November 10, 2018

 

This series traces 10 revolutionary years in the history of Catalan cinema: the period between 1968 and 1978, when the fate of Spain—and Catalonia’s place in it—lay in the balance. The death of General Francisco Franco on November 20, 1975, and the ascension of Juan Carlos I to the throne made possible the nation’s transition from brutal dictatorship to fragile democracy. The Catalan language, after nearly a half-century of censorship, could once again be expressed freely in the streets and in the arts.

Filmmakers who during the last years of dictatorship had risked their lives by shooting clandestinely or by encoding their scripts with politically subversive ideas responded to a newfound freedom after 1976 with work that continues to excite and provoke. The exhibition, drawn entirely from the archives of the Filmoteca de Catalunya, spans the decade from the radicalism of 1968 to the first democratic elections in 1977 and the writing of the Constitution of Spain the following year. It includes films by Pere Portabella, Antoni Ribas, and others that explore the legacy of the Spanish Civil War, the surge of immigrants into Barcelona and other cities in Catalonia from other parts of Spain, Catalan national identity, the clash of dissident movements, feminist and class struggle, and sexual liberation.

Program descriptions are written by Esteve Riambau. All films courtesy of the Filmoteca de Catalunya.

Organized by Esteve Riambau, Director, Filmoteca de Catalunya, and Joshua Siegel, Curator, Department of Film, The Museum of Modern Art.

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Projects 195: Park McArthur

October 27, 2018–January 27, 2019

 

Park McArthur makes work that often responds to the institutional and architectural context of exhibition spaces. Projects 195: Park McArthur takes shape against the background of the Museum’s ongoing west-end expansion, which is scheduled for completion in 2019 and will add gallery space in an adjacent, newly developed tower with 145 private luxury apartments above the Museum.

McArthur worked with a fabricator to produce a modular, stainless steel structure which will be rearranged several times over the course of the exhibition. It doubles as an exploratory proposal for a mixed-use building with artist studios, a public gallery, and below-market apartments for disabled and non-disabled people who mutually receive and provide care. Also comprising works on paper, and visual descriptions available on MoMA Audio, Projects 195 focuses on the social realities behind the architectural facts of scale and site.

While this presentation is number 109 in the Projects series, the artist changed this count to 195, as MoMA held 86 Projects exhibitions before introducing the numbering system. A work in its own right, this alteration draws attention to the Museum’s standardized institutional language, which McArthur has compared to “a frame through which the exhibition arrives”—it contains the work and shapes how we view it.

Organized by Magnus Schaefer, Assistant Curator, Department of Drawings and Prints, with Tara Keny, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art, New York

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.

MoMA Audio is supported by Bloomberg Philanthropies.

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Modern Matinees: Douglas Fairbanks, Jr.

November 01, 2018–December 28, 2018

 

Douglas Fairbanks, Jr. (1909–2000), scion of swashbuckling silent-era megastar Douglas Fairbanks, was destined to become a movie star, but he had to get there on his own terms. Fairbanks, Jr. was born in New York City and made his first credited film appearance in 1923 in Joseph Henaberry’s Stephen Steps Out, now considered a lost film. An attempt to exploit his famous last name and connect the unsophisticated teenager with his father’s valiant screen image, it wasn’t a success. His early projects at Paramount were underwhelming as well, and the studio soon dropped him. Realizing he needed to forge his own path in Hollywood, Fairbanks got to work and accepted whatever roles came his way.

His dedication, not to mention elegant good looks and aristocratic comportment, Fairbanks eventually opened doors at at First National and Warner Bros., in films such as The Dawn Patrol (1930) and Little Caesar (1931). As the Great Depression caught hold in the United States, even the film studios were inclined to institute austerity policies; in 1934 Warner Bros. asked their stars to take a 50% pay cut. Fairbanks refused and, a lifelong Anglophile, decamped to Great Britain, where he found work. Returning to Hollywood in 1937, he costarred in hits like The Prisoner of ZendaThe Young in Heart (1938), and the iconic Gunga Din(1939).

During WWII, Fairbanks enlisted as a reserve officer in the United States Navy, and soon became interested in the then-unfamiliar wartime practice of “military deception”—deceiving the enemy by dissembling critical maneuvers. These tactics, undertaken by a force called the Beach Jumpers, were especially useful in amphibious battles in the South of France. Fairbanks was eventually awarded the Navy’s Legion of Merit award and became a Lieutenant Commander.

After returning from duty, Fairbanks remained active in film and television through 1989; his final feature film appearance was in Ghost Story (1981). This sweeping view of his career is drawn mainly from MoMA’s collection.

A full screening schedule can be found here.

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

Support for the exhibition is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by the Kate W. Cassidy Foundation and Steven Tisch, with major contributions from Jo Carole and Ronald S. Lauder, Association of Independent Commercial Producers (AICP), Yuval Brisker Charitable Foundation, The Brown Foundation, Inc., of Houston, Marlene Hess and James D. Zirin, Karen and Gary Winnick, and The Junior Associates of The Museum of Modern Art.

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