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.
October 11, 2015–March 07, 2016
Greater New York is the fourth iteration of the renowned series, begun in 2000 as a collaboration between MoMA PS1 (then P.S.1 Contemporary Art Center) and The Museum of Modern Art, that showcases emerging artists living and working in the New York metropolitan area. This Greater New York arrives, however, in a city and art community that has changed dramatically since the first version of the survey. Against this backdrop, Greater New York will depart from the show’s primary focus on youth, instead examining key points of connection and intersection between emerging and more established artists across New York, while also exploring aspects of earlier histories of the city itself, and its changing political, social, and architectural fabric.
The 2015 exhibition is co-organized by a team, led by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1, that includes art historian Douglas Crimp, University of Rochester; Thomas J. Lax, Associate Curator, Department of Media and Performance Art, MoMA; and Mia Locks, Assistant Curator, MoMA PS1.
Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
Generous funding is provided by The Contemporary Arts Council of The Museum of Modern Art, The Friends of Education of The Museum of Modern Art, and The Junior Associates of The Museum of Modern Art.
Additional support is provided by the MoMA PS1 Annual Exhibition Fund.
Special thanks to Elham and Tony Salamé.
October 12, 2015–January 31, 2016
Special Exhibitions Gallery, third floor and The Donald B. and Catherine C. Marron Atrium, second floor
MoMA presents the first comprehensive American survey of the artist Walid Raad (b. 1967, Lebanon), whose work in the last 25 years investigates distinctions between fact and fiction, and the ways in which we represent, remember, and make sense of history. The exhibition brings together over 20 bodies of work across various mediums—including photography, video, sculpture, and performance—identifying Raad as a pivotal figure in contemporary art. Dedicated to exploring the veracity of archives and photographic documents in the public realm, the role of memory and narrative within discourses of conflict, and the construction of histories of art in the Arab world, Raad’s work is informed by his upbringing in Lebanon during the civil war (1975–90), and by the socioeconomic and military policies that have shaped the Middle East in the past few decades.
The exhibition focuses on two of the artist’s long-term projects: The Atlas Group (1989–2004) and Scratching on things I could disavow (2007–ongoing). Under the rubric of The Atlas Group, a 15-year project exploring the contemporary history of Lebanon, Raad produced fictionalized photographs, videotapes, notebooks, and lectures that related to real events and authentic research in audio, film, and photographic archives in Lebanon and elsewhere. Raad’s recent work has expanded to address the Middle East region at large. His current ongoing project, Scratching on things I could disavow, examines the recent emergence in the Arab world of new infrastructure for the visual arts—comprised of art fairs, biennials, museums, and galleries—alongside the geopolitical, economic, and military conflicts that have consumed the region in the past few decades. The exhibition also includes a series of lecture-performances; Raad will perform in MoMA’s Donald B. and Catherine C. Marron Atrium up to five times a week for the duration of the exhibition.
The exhibition will travel to the Institute of Contemporary Art/Boston, February 24–May 30, 2016, and to the Museo Jumex, Mexico City, October 13, 2016–January 14, 2017.
Organized by Eva Respini, Barbara Lee Chief Curator, The Institute of Contemporary Art/Boston, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.
The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts, The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions, MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, and The Contemporary Arts Council of The Museum of Modern Art.
Major support is provided by Oya Eczacıbaşı; A. Huda and Samia Farouki; and by Elham and Tony Salamé, Aïshti Foundation Beirut.
With generous funding from Basil and Raghida Rahim; Plurimi Foundation, Maya and Ramzy Rasamny; Rana Sadik and Samer Younis; and an anonymous donor.
Research and travel support was provided by The International Council of The Museum of Modern Art.
MoMA Audio+ is supported by Bloomberg Philanthropies.
October 14, 2015–October 24, 2015
The Roy and Niuta Titus Theaters
Organized in conjunction with Transmissions: Art in Eastern Europe and Latin America, 1960–1980, these screenings present an eclectic selection of rarities from MoMA’s film collection. Ranging from documents of live actions and “moving sculptures” originally acquired as a part of the landmark 1970 exhibition Information, to gems of Eastern European animation and an epic of Latin American militant cinema, these screenings indicate the varied politics and creativity of the Museum’s moving-image holdings.
Organized by Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.
October 16, 2015–November 29, 2015
The Agnes Gund Garden Lobby
A two-part presentation of works by Andrea Geyer (German and American, b. 1971) will be on view at The Museum of Modern Art this fall in The Agnes Gund Garden Lobby. The video projection Insistence (2013) (on view October 16–November 15, 2015) and the large-scale wall drawing Revolt, They Said (2012-ongoing) (on view October 16–November 29, 2015) challenge the lack of recognition of women’s work in the construction of the modernist movement during the 1920s and 1930s in New York City and beyond. These two works are the culmination of Geyer’s research on the three women who founded MoMA in 1929—Lillie P. Bliss, Abby Aldrich Rockefeller, and Mary Quinn Sullivan—conducted with the support of The Museum of Modern Art Archives. The display is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, MoMA.
October 20, 2015–October 27, 2015
The Roy and Niuta Titus Theaters
A fictionalized retelling of Oscar-winner Shirley Clarke’s 1967 film Portrait of Jason, Stephen Winter’s Jason and Shirley filets the meaty racial, social, and sexual issues raised by the original documentary encounter. Artist and filmmaker Jack Waters doesn’t so much play as channel Jason Holliday, the aging hustler, wannabe/has-been cabaret artist and lascivious lush that so fascinates and infuriates Clarke (incarnated here by renowned writer Sarah Schulman). A film within a film, shot on vintage-looking pixelated video and intimate to the point of invasiveness, Jason and Shirley ingeniously inverts the gaze of the original: now it’s a black, Jewish gay man probing and prodding the white, Jewish woman of privilege and power with his lens. The only constant in both films is the vicious strength and ultimate triumph of Jason, a screen icon if ever there was one.
Jason and Shirley. 2015. USA. Directed by Stephen Winter. Screenplay by Winter, Sarah Schulman, Jack Waters. With Waters, Schulman. 79 min.
Tuesday, October 20, 7:00 p.m.
Wednesday, October 21, 4:30 p.m.
Thursday, October 22, 4:30 p.m.
Friday, October 23, 7:00 p.m. Post-screening discussion with Stephen Winter and Jack Waters, moderated by Steven G. Fullwood, Assistant Curator, Schomburg Center for Research in Black Culture.
Saturday, October 24, 7:00 p.m.
Sunday, October 25, 5:00 p.m.
Monday, October 26, 4:00 p.m.
Tuesday, October 27, 7:00 p.m.
Modern Mondays: An Evening with Stephen Winter
In anticipation of the New York theatrical premiere run of his new film Jason and Shirley at MoMA, filmmaker-writer-producer Stephen Winter joins us to discuss the challenge of reinterpreting and fictionalizing a beloved work of nonfiction film (Shirley Clarke’s 1967 masterpiece Portrait of Jason). “Stephen Winter is a supernova. Every once in a while, in our often unscrupulous world of film, riddled with beautifully insane people, a person will come along, if one should be so lucky, that will share and shine their preternatural supereminence, brightly, in one’s life, cutting bone deep, through curious mélange of cinema-making” (Jonathan Caouette).
Monday, October 19, 7:00 p.m.
Organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film.
October 23, 2015–October 25, 2015
The Paul J. Sachs Prints and Illustrated Books Galleries, second floor
In one step are a thousand animals is Trajal Harrell’s (American, b. 1973) two-year Annenberg Research Commission Residency project at The Museum of Modern Art. During his residency, Harrell is exploring the work of the Japanese choreographer Tatsumi Hijikata (1928–86) and the aesthetic possibilities of butoh, a form of experimental dance that emerged in postwar Japan. Hijikata situated butoh as a literary and surrealist dance form, drawing on themes of death, abjection, and corporeality. Harrell’s residency began in September 2014 with The Practice, in which he offered insights into his working methods by inviting renowned musicians, composers, DJs, singers, and dancers to participate in an open rehearsal at the Museum over two days. In January 2015, Harrell took part in a conversation with Japanese choreographer and dancer Eiko Otake and the President of the Lower Manhattan Cultural Council Sam Miller.
In this next iteration of the residency, Harrell will perform The Return of La Argentina, inspired by Japanese dancer and choreographer Kazuo Ohno’s (1906–2010) renowned solo piece Admiring La Argentina. Dedicated to the famed Spanish dancer Antonia Mercé (1890–1936), who was known as “La Argentina,” Admiring La Argentina was directed by Hijikata when it premiered in Japan in 1979 and toured to La MaMa Theater in New York in 1981. Harrell does not aim to reconstruct Ohno’s original work. Instead, he refers to his working process as a “fictional archiving,” based on personal encounters with historical source material.
In addition to this new work, Harrell will once again present The Practice, together with his collaborators Thibault Lac and Ondrej Vidlar, to reveal new developments in his working process as it relates to theoretical juxtapositions between butoh and early modernism. The working process will be open to the public over two days in three multi-hour sessions.
As a contribution to scholarship on Harrell’s work, MoMA commissioned two essays—”Mother would like a cash award: Trajal Harrell at MoMA,” by Tavia Nyong’o, and “From Voodoo to Butoh: Katherine Dunham, Hijikata Tatsumi, and Trajal Harrell’s Trans-Pacific Explorations of ‘Blackness of Blackness’” by Michio Arimitsu—which can be viewed online at moma.org/trajalharrell.
Friday, October 23
11:00 a.m.–1:00 p.m. and 2:30–5:00 p.m.
Saturday, October 24
The Return of La Argentina
11:00 a.m. and 12:00 p.m.
Sunday, October 25
The Return of La Argentina
12:00, 3:00, and 4:00 p.m.
Organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art.
The project is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
October 24, 2015–March 20, 2016
The Paul J. Sachs Drawing Galleries, third floor
The years surrounding World War II posed a creative and existential crisis, as artists struggled to respond to human, social, and cultural conditions in the wake of the horrors of combat, images of concentration camps, and the aftermath of the atomic bomb. Drawn entirely from MoMA’s collection, Soldier, Spectre, Shaman presents a range of artistic responses focused on the human figure, with the body serving as subject and object, mirror and metaphor. The exhibition features work in a variety of mediums by more than 30 international artists, including prints by David Smith and Chimei Hamada that confront the visceral realities of the battlefield landscape; Alberto Giacometti’s and Louise Bourgeois’s sculptures of spectral, shadowed, or dissolving bodies; Shomei Tomatsu’s post-atomic bomb photographs; and visions of mystical, divine, or otherworldly forms by Henri Michaux, Henry Darger, and Jeanne Reynal.
Organized by Lucy Gallun, Assistant Curator, Department of Photography, and Sarah Suzuki, Associate Curator, Department of Drawings and Prints.
October 25, 2015–February 15, 2016
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
Press Preview: Tuesday, October 20, 9:30–11:30 a.m.
With Joaquín Torres-García: The Arcadian Modern, The Museum of Modern Art presents the first major U.S. retrospective devoted to the artist in 45 years. The exhibition spans the first half of the 20th century, surveying Joaquín Torres-García’s (Uruguay, 1874–1949) remarkable achievements in painting, sculpture, fresco, drawing, and collage through some 190 works.
Joaquín Torres-García: The Arcadian Modern stresses the radical individuality of an artist who eluded classification. A central figure in the history of modernism in the Americas and a key protagonist in the transatlantic cultural exchanges that have informed it, Torres-García has fascinated generations of artists on both sides of the Atlantic, but most notably in the Americas—including major North American artists from Barnett Newman to Louise Bourgeois, and countless Latin American artists. While assimilating and transforming the formal inventions of modern art, Torres-García stayed true to an understanding of time as a collision of different periods rather than a linear progression—a distinction that is particularly relevant to contemporary art.
The exhibition is a chronological display structured in a series of major chapters and embracing the artist’s entire oeuvre, from his early works in Barcelona at the end of the 19th century to his final works, made in Montevideo in 1949. Two key moments are emphasized: the period from 1923 to 1933, when Torres-García participated in various European early-modern avant-garde movements while establishing his own signature pictographic-constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.
Organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, MoMA.
October 28, 2015–November 03, 2015
The Roy and Niuta Titus Theaters
Passions run hot in the slums of Manila, where poverty, hunger, and lust lead to acts of desperate brutality. Following on a successful 2013 theatrical run of Lino Brocka’s Manila in the Claws of Light (1975), MoMA presents a weeklong run of Brocka’s Insiang (1976), another restored landmark of Filipino cinema that recently premiered at the 2015 Cannes Film Festival. Shot under extreme pressures of time (roughly 11 days), money, and government censorship, Insiang has lost none of its political urgency or vitality. Brocka, the Philippines’ most internationally celebrated filmmaker working within—and against—the Marcos dictatorship, masterfully fuses documentary realism with classic melodrama to chart the fate of one teenage girl, the beautiful and waifish Insiang (Hilda Koronel), who becomes hardened and vengeful after her boyfriend abandons her to the predatory sexual advances of her mother’s lover. The rivalry between the shrewish matriarch (1930s star Mona Lisa) and her impressionable, cunning daughter is chilling in its violent narcissism. Insiang was restored in 2015 by Cineteca di Bologna/L’Immagine Ritrovata, with funding provided by The Film Foundation’s World Cinema Project and the Film Development Council of the Philippines. This weeklong run is a prelude to the November opening of To Save and Project: The 13th MoMA International Festival of Film Preservation.
Insiang. 1976. Philippines. Directed by Lino Brocka. Screenplay by Mario O’Hara, Lamberto Antonio. With Hilda Koronel, Mona Lisa, Ruel Vernal, Rez Cortez. In Tagalog; English subtitles. 95 min.
Wednesday, October 28, 6:30 p.m.
Thursday, October 29, 6:30 p.m.
Friday, October 30, 4:00 p.m.
Saturday, October 31, 4:30 p.m.
Sunday, November 1, 2:00 p.m.
Monday, November 2, 4:00 p.m.
Tuesday, November 3, 6:30 p.m.
Organized by Joshua Siegel, Curator, Department of Film.
October 30, 2015–November 05, 2015
The Roy and Niuta Titus Theaters
The life of renowned British photojournalist Don McCullin is presented through contemporary interviews and archival photographs spanning his career from the late 1950s to the present. McCullin’s work covers a range of topics from around the world, including urban street gangs in London, life in the American south, and the hunger crisis in Africa, and he is widely recognized for his powerful war photographs of battlefields from Biafra and Beirut to Cambodia, Northern Ireland, and Vietnam. McCullin’s career was launched in 1959, when The Observer printed his photographs of a London street gang, and flourished at the Sunday Times Magazine, where he worked as a correspondent. The film provides a look at the stories behind the photographs, and why, after many years in the field and wide recognition for his artistry, McCullin continues to grapple with questions of conscience in recording the atrocities of war and human suffering.
McCullin. 2012. Great Britain. Directed by Jacqui Morris, David Morris. Courtesy the filmmakers. 90 min.
Friday, October 30, 7:00 p.m.
Saturday, October 31, 1:30 p.m.
Sunday, November 1, 5:00 p.m.
Monday, November 2, 7:00 p.m.
Tuesday, November 3, 4:00 p.m.
Wednesday, November 4, 7:00 p.m.
Thursday, November 5, 4:00 p.m.
Organized by Sally Berger, Assistant Curator, Department of Film.