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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Ekstase (Ecstasy). 1933. Czechoslovakia. Directed by Gustav Machatý. Courtesy of NFA

Ecstasy and Irony: Czech Cinema, 1927–1943

April 11, 2017–April 23, 2017

 

Czech cinema is known today largely for the extraordinary creative flowering, known as the Czechoslovak New Wave, that took place during a relaxation of Soviet domination in the 1960s, producing such major artists as Milos Forman and Ivan Passer. But before (and even during) World War II, Czechoslovakia was home to a highly sophisticated and formally advanced film industry. Programmed in collaboration with the Czech National Film Archive (NFA), this program looks at the wide range of that prewar achievement, including pioneering modernist works like  Přemysl Pražský’s Battalion, Karl Anton’s Tonka of the Gallows, Carl Junghans’s Such Is Life and Vladislav Vančura’s On the Sunny Side; the pointed political comedies of Voskovec and Werich; and the brilliant avant-garde work of Gustav Machatý, including the boldly symbolist Erotikon and his early sound masterpiece From Saturday to Sunday, screening here in the world premiere of a new restoration from the NFA. A selection of rarely screened prints from MoMA’s archive adds a sense of the more popular cinema of the period, with major stars such as Oldřich Nový (in Martin Frič’s Lubitschian masterpiece Kristián) and Hugo Haas (in his film of Karel Čapek’s 1937 anti-Nazi allegory The White Disease).

Organized by Dave Kehr, Curator, Department of Film.

Special thanks to Michal Bregant, Executive Director, Národní filmový archive/National Film Archive of the Czech Republic.

The exhibition is supported by the Annual Film Fund.

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Making Space: Women Artists and Postwar Abstraction

April 15, 2017–August 13, 2017

Floor Three, Exhibition Galleries

Press Preview: Tuesday, April 11, 9:30-11:30 a.m.
Remarks will be livestreamed at approximately 11:30 a.m.

Making Space shines a spotlight on the stunning but still relatively under-recognized achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them. Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender.

Drawn entirely from the Museum’s collection, the exhibition features nearly 100 paintings, sculptures, photographs, drawings, prints, textiles, and ceramics by more than 50 artists. Within a trajectory that is at once loosely chronological and synchronous, it includes works that range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.

 

Organized by Starr Figura, Curator, Department of Drawings and Prints, and Sarah Hermanson Meister, Curator, Department of Photography, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.

Generous funding for the exhibition is provided by The Modern Women’s Fund.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio+ is supported by Bloomberg Philanthropies.

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Stormy Weather. 1943. USA. Directed by Andrew L. Stone. Film Study Center Special Collections

Making Faces on Film: A Collaboration with BFI Black Star

April 18, 2017–April 26, 2017

The Roy and Niuta Titus Theaters

The Museum of Modern Art, in collaboration with the British Film Institute, presents Making Faces on Film, which highlights visions of black representation, empowerment, and exploitation in cinema from the silent-film era through the 1970s. On view April 18 through 26 in the Roy and Niuta Titus Theaters, the series explores how images of blackness have been historically constructed and challenged both within and outside the mainstream film industry. Making Faces on Film, jointly inspired by the MoMA exhibition Making Faces: Images of Exploitation and Empowerment in Cinema and the recent BFI Black Star season, reflects the ethos of both—exploring representations of historical others in film, and the versatility and power of black actors.

Providing vital context for ongoing conversations about the complexities of representing race on screen, Making Faces on Film spotlights a range of iconic performances and forms of storytelling. The series includes the earliest known black-cast film, Lime Kiln Club Field Day (1913), starring Bert Williams (who is highlighted here as America’s first pop star); the debut of Sidney Poitier in the taut race-relations noir No Way Out (1950); and a celebration of black female empowerment in the larger-than-life blaxploitation persona of Cleopatra Jones (1973), contrasted with Bush Mama (1975), a vérité-style docudrama from the LA Rebellion movement. A double feature of the delightful musical Stormy Weather (1943), starring Lena Horne and Bill Robinson, and Julie Dash’s Illusions (1982) depicts hard-won opportunities for black performers in the Golden Age of Hollywood. The film series also juxtaposes the iconic with the contemporary, with newly commissioned jazz accompaniment by Braxton Cook for the Body and Soul (1925) screening, and by Braxton Cook with Taber Gable for Lime Kiln Club Field Day.

Introductions by academics, including Michelle Materre, Brandon Harris, and Ed Guerrero, provide current perspectives, as does a night of recent short films by Ephraim Asili, Akosua Adoma Owusu, and Lauren Kelley on April 20, organized at The Studio Museum in Harlem. On April 17, in anticipation of the series, a special Modern Mondays evening with Ja’Tovia Gary presents a selection of screenings and a conversation with the Brooklyn-based filmmaker and documentarian, whose work centers on images of blackness, femininity, and nontraditional origins.

Organized by Dessane Cassell, Joint Fellow, Department of Film, MoMA, and The Studio Museum in Harlem; and Ashley Clark, Season Programmer, BFI Black Star in conjunction with the British Film Institute.

The exhibition is supported by the Annual Film Fund.

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Pętla (The Noose). 1958. Poland. Directed by Wojciech Has. Courtesy of Film Studio Kadr.

MoMA Presents: Wojciech Has’s The Noose and How to Be Loved

April 27, 2017–May 03, 2017

The Roy and Niuta Titus Theaters

Pawel Pawlikowski, director of the Academy Award–winning Ida, has called Wojciech Has (1925–2000) “a completely unrecognized genius, probably the most talented Polish director since the war, with his own sensibility and vision.”

Celebrating the publication of Annette Insdorf’s Intimations: The Cinema of Wojciech Has (Northwestern University Press, 2017), MoMA presents the New York premiere theatrical runs of Has’s feature debut, The Noose (1958), an expressionistic portrait of an alcoholic at the end of his rope; and How to Be Loved (1963), a chamber piece involving a famous radio actress haunted by her wartime past. Insdorf, a professor of film at Columbia University’s School of the Arts and moderator of the Reel Pieces series at Manhattan’s 92nd Street Y, will introduce the opening-night screenings on April 27, and will also sign copies of her book on May 3 at 6:00 p.m.     

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art. Presented in association with The Adam Mickiewicz Institute (Grzegorz Skorupski) and the KADR Studio, Warsaw. Special thanks to Hanna Hartowicz, New York Polish Film Festival; and Tomek Smolarski, Polish Cultural Institute New York. 

 

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Louise Lawler: WHY PICTURES NOW

April 30, 2017–July 30, 2017

Floor Six, The Joan and Preston Robert Tisch Exhibition Gallery, and The Abby Aldrich Rockefeller Sculpture Garden

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organized in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organized by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Major support for the exhibition is provided by The Andy Warhol Foundation for the Visual Arts and by The Modern Women’s Fund.

Generous funding is provided by the Walton Family Foundation, David Dechman and Michel Mercure, Fotene Demoulas and Tom Coté, Tracy and Gary Mezzatesta, Susan and Arthur Fleischer, Patrice and Louis Friedman, Mark Diker, and by Ann and Mel Schaffer. 

Additional support is provided by the Annual Exhibition Fund.

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Ladies Must Love. E.A. Dupont. 1933. USA

Son of Universal: More Rediscovered Gems from the Laemmle Years

May 05, 2017–May 16, 2017

The Roy and Niuta Titus Theaters

Following last summer’s monthlong series Universal Pictures: Restorations and Rediscoveries, MoMA presents another selection of extremely rare films produced during the risk-taking reign of studio head Carl Laemmle, Jr. Work to be screened includes Tod Browning’s ferocious 1930 gangster film Outside the Law, starring a pre–Little Cesar Edward G. Robinson; Tay Garnett’s stylistically audacious allegory Destination Unknown (1931); E. A. Dupont’s risqué Broadway romp Ladies Must Love (1933), and two programs of long-unseen, newly restored musical and comedy shorts, assembled by guest curator Ron Hutchinson of the Vitaphone Project. For individual film listings, visit moma.org/film.

Organized by Dave Kehr, Curator, Department of Film.

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Kokoa. 1985. Niger. Directed by Moustapha Alassane.

Moustapha Alassane, Pioneer of the Golden Age of Nigerien Cinema

May 12, 2017–May 15, 2017

The Roy and Niuta Titus Theaters

This first North American retrospective of Moustapha Alassane (1942–2015), a pioneer of populist cinema in newly independent Niger in the 1960s and 1970s, is presented in association with La Cinematheque Afrique de l’Institut français. A fabulist who sheathed the sharp sting of his political satire within playful stories of water genies, pugilistic frogs, cowboys, and brave fishermen, Alassane parodied colonialist attitudes toward black Africans, the corrupt despotism of local officials, and the shallow materialism of Niger’s youth in a series of animated, fictional, and ethnographic films that remain beloved and influential even today. The lure of cinema, with its magical play of shadow and light, inspired Alassane to give up his career as a mechanic and turn toward making art for the masses. His earliest animated films were simple projections of cardboard cutouts, but his work quickly matured, leading to friendships and collaborations with Zalia Souley, the dean of Nigerien movie acting, and the French documentarian Jean Rouch and the Canadian animator Norman McLaren. Alassane’s films are vital and imaginative records of Nigerien traditions and rituals: his first feature, Aoure (1962), presents the married life of a young Zharma (ethnic Muslim) couple on the banks of the Niger River; his 1973 film Shaki documents the ascension of a Yoruban king and the syncretic intermingling of traditional customs and beliefs with those of Islam and Protestantism. All films are from Niger, directed by Moustapha Alassane, and in French and Hausa with English subtitles, unless otherwise noted. 

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art, with Amélie Garin-Davet, French Embassy in New York. Special thanks to Mathieu Fournet.

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MoMA Presents Lynn Hershman Leeson’s Tania Libre

May 18, 2017–May 24, 2017

The Roy and Niuta Titus Theaters

Following its successful premiere at the Berlin International Film Festival earlier this year, MoMA presents a weeklong theatrical run of Lynn Hershman Leeson’s Tania Libre (2017). Hershman Leeson’s documentary centers on the Cuban artist Tania Bruguera, who, in late 2014, in the weeks following Raul Castro’s and Barak Obama’s public commitments to renew diplomatic ties between Cuba and the US, was repeatedly questioned and placed under house arrest by the Castro government for staging a “treasonous” art performance in Havana’s Plaza of the Revolution. An international outpouring of support helped bring about Bruguera’s release, but other Cuban artists, dissidents, and journalists still remain in prison for subversive acts both real and imagined.

So much of Tania Bruguera’s art and activism has been a response to living under a repressive dictatorship. Tania Libre approaches this subject in a fascinating and novel way, following a therapy session in which Bruguera and Dr. Frank Ochberg, a pioneer in the study of post-traumatic stress, explore the psychological and physical effects of her interrogations and her family past. In Hershman Leeson—whose work is in MoMA’s collection and who was recently awarded the Golden Gate Persistence of Vision Award at the San Francisco Film Festival—Bruguera has found a portraitist who has dedicated more than four decades of radically innovative filmmaking and art to issues of identity, memory, surveillance, and censorship. On May 18 , Robyn Hullihan, Interim Executive Director of the Trust for Trauma Journalism, joins Hershman Leeson in introducing the opening-night screening of Tania Libre.

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art.

Tania Libre. 2017. USA. Produced, directed, and edited by Lynn Hershman Leeson. With Tania Bruguera, Dr. Frank Ochberg. Courtesy Hotwire Productions, San Francisco. In Spanish, English; English subtitles. 73 min.

Thursday, May 18, 4:30 (introduced by Hershman Leeson and Robyn Hullihan, Trust for Trauma Journalism); Friday, May 19, 6:30; Saturday, May 20, 3:00; Sunday, May 21, 5:00; Monday, May 22, 4:00; Tuesday, May 23, 4:00; Wednesday, May 24, 6:30. T2

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Robert Rauschenberg: Among Friends

May 21, 2017–September 17, 2017

Floor Four, Collection Galleries

Press Preview: Tuesday, May 16, 9:30-11:30 a.m. View a video of the remarks.

In 1959, Robert Rauschenberg wrote, “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)” His work in this gap shaped artistic practice for decades to come.

The early 1950s, when Rauschenberg (1925–2008) launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition with an egalitarian approach to materials, bringing the stuff of the everyday world into his art. Working alone and in collaboration with artists, dancers, musicians, and writers, he invented new, interdisciplinary modes of artistic practice that set the course for art of the present day. The ethos that permeates Rauschenberg’s work—openness, commitment to dialogue and collaboration, and global curiosity—makes him, now more than ever, a touchstone for our troubled times.

Robert Rauschenberg: Among Friends, the first 21st-century retrospective of the artist, presents work from six decades of his widely celebrated career in fresh ways, bringing together over 250 paintings, sculptures, drawings, prints, photographs, and sound and video recordings. Acclaimed artist and filmmaker Charles Atlas is collaborating on the exhibition’s design to foreground Rauschenberg’s work with dance and performance. MoMA’s presentation is structured as an “open monograph”—as other artists came into Rauschenberg’s creative life, they come into the exhibition, mapping the exchange of ideas. These figures include Trisha Brown, John Cage, Merce Cunningham, Sari Dienes, Jasper Johns, Billy Klüver, Paul Taylor, David Tudor, Cy Twombly, Susan Weil, and many others.

The exhibition is organized by The Museum of Modern Art, New York, and Tate Modern, London.

Organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art, and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, Curatorial Assistants, Department of Painting and Sculpture, The Museum of Modern Art. The exhibition design was created in collaboration with the artist Charles Atlas.

Bank of America is the Global Sponsor of Robert Rauschenberg.

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

Major support for the New York presentation is provided by Glenn and Eva Dubin, The Dana Foundation, Donald B. Marron, the Lenore S. and Bernard A. Greenberg Fund, Monique M. Schoen Warshaw, Mrs. Ronnie F. Heyman, Helen and Charles Schwab, Sue and Edgar Wachenheim III, Sue and Edgar Wachenheim III in honor of Jerry I. Speyer, and by Tiffany & Co.

Generous funding is provided by west elm.

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

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio+ is supported by Bloomberg Philanthropies.

 

 

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Projects 106: Martine Syms

May 27, 2017–July 16, 2017

Floor Three, Collection Galleries

Projects 106: Martine Syms, the first US solo museum exhibition by Martine Syms (b. 1988, Los Angeles), is an immersive installation including photographs and staged objects, and centering around a new feature-length film, Incense Sweaters & Ice.

Shot on location in Chicago, Los Angeles, and Clarksdale, Mississippi, Incense Sweaters & Ice follows three protagonists—Mrs. Queen Esther Bernetta White, Girl, and WB (“whiteboy”)—as they navigate dramas of surveillance, moving between watching, being watched, and remaining unseen. Accompanying the film is a suite of photographs sized to standard American movie posters and a metal mesh structure inspired by the geographies of the Great Migration.

Using video and performance, Syms examines representations of blackness and its relationship to narrative, vernacular, feminist thought, and radical traditions. Her artwork has been exhibited and screened extensively, including presentations at the Berlin Biennale, Manifesta 11, ICA London, The Hammer Museum, the New Museum, The Studio Museum in Harlem, the Museum of Contemporary Art Los Angeles, and the Museum of Contemporary Art Chicago.

Initiated by MoMA in 1971 as a platform for new and experimental art, the Elaine Dannheisser Projects Series, now presented at both The Museum of Modern Art and MoMA PS1, provides a forum for the most urgent international voices in contemporary art. Projects 106: Martine Syms will be accompanied by an illustrated brochure. On the occasion of her exhibition, Syms will premiere a new lecture-performance as part of MoMA’s educational programming.

Projects 106: Martine Syms is organized by Jocelyn Miller, Curatorial Associate, MoMA PS1

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.

Special thanks to Brent Freaney at Special—Offer.

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