Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

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Barren Lives. 1963. Brazil. Directed by Nelson Pereira dos Santos

Nelson Pereira dos Santos: Politics and Passion

April 09, 2015–April 17, 2015

The Roy and Niuta Titus Theaters

At the age of 27, Nelson Pereira dos Santos revolutionized the Brazilian cinema with his 1955 debut feature, Rio, 40 graus (Rio, 100 Degrees), a portrait of Rio de Janeiro that set a neorealist aesthetic to a loose and looping samba beat. Almost 60 years later, Pereira remains a vital creative force, still passionately engaged with the people, music, and politics of his country, as exemplified by his 2012 documentary A Música segundo Tom Jobim (The Music According to Antonio Carlos Jobim). In the interim, Pereira became, with Glauber Rocha and Ruy Guerra, one of the central figures in the Brazilian movement known as Cinema Novo, which combined the exuberant stylistics of the French New Wave with Brazilian popular culture and postcolonialist political thought.  From the spare and agonizing Vidas secas (Barren Lives) of 1963 through the swirling sensuality and black humor of 1973’s Como era gostoso o meu Francês (How Tasty Was My Little Frenchman), Pereira has explored a wide range of perspectives on his country’s troubled past and turbulent present, while his warm humanism points to a bright future. He stands today as the doyen of Latin American directors, and MoMA is pleased to welcome him to New York for this condensed overview of his remarkable career. All films are from Brazil, In Portuguese with English subtitles, and directed by Nelson Pereira dos Santos.

Organized by Dave Kehr, Adjunct Curator, and Ron Magliozzi, Associate Curator, Department of Film.

Special thanks to Richard Peña and Thomas Beard.

L.A. Zombie. 2010. USA, Germany. Directed by Bruce LaBruce. Courtesy the filmmaker.

Bruce LaBruce

April 23, 2015–May 02, 2015

The Roy and Niuta Titus Theaters

For over a quarter-century the auteur/provocateur known as Bruce LaBruce has been disrupting, dissecting, and disrobing in the name of cinema. Blasted into the demimonde of underground punk moviemaking with his feature debut, No Skin Off My Ass, LaBruce quickly established that, while he was certainkly game for exploring the messy, sticky zones of fringe film, he was actually the unholy product of arthouse auteurism. From Robert Altman to Federico Fellini and Werner Herzog, LaBruce mines the sacred texts of the canon and inserts his own revolutionary gay-sex-positive narratives. Layered with scathing wit and a fundamental rejection of capitalist control over the mind and body, his films take to task the mainstream porn industry as well as Hollywood. In this spirit, he has collaborated with actors—like Slava Mogutin, Tony Ward, and Francois Sagat—who swing between art and commerce, fashion and filth, the avant-garde and the boulevard. Bruce LaBruce’s particular brand of regal queer fecundity has spawned a generation of feral filmmakers (and ravenous audiences) willing to go a step beyond where Jack Smith, John Waters, and Andy Warhol brought us. All films are directed by Bruce LaBruce, unless otherwise noted.

Organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, with Thomas Beard.

Special thanks to Strand Releasing and Jurgen Bruning Filmproduktion.

Cut Piece (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965. Photograph by Minoru Niizuma. ©Minoru Niizuma. Courtesy Lenono Photo Archive, New York

Yoko Ono: One Woman Show, 1960–1971

May 17, 2015–September 07, 2015

The International Council of The Museum of Modern Art Gallery, sixth floor

The Museum of Modern Art presents its first exhibition dedicated exclusively to the work of Yoko Ono, taking as its point of departure the artist’s unofficial MoMA debut in late 1971. At that time, Ono advertised her “one woman show,” titled Museum of Modern [F]art. However, when visitors arrived at the Museum there was little evidence of her work. According to a sign outside the entrance, Ono had released flies on the Museum grounds, and the public was invited to track them as they dispersed across the city. Now, over 40 years later, Yoko Ono: One Woman Show, 1960–1971 surveys the decisive decade that led up to Ono’s unauthorized exhibition at MoMA, bringing together approximately 125 of her early objects, works on paper, installations, performances, audio recordings, and films, alongside rarely seen archival materials. A number of works invite interaction, including Painting to Be Stepped On (1960/1961) and Ono’s groundbreaking performance, Bag Piece (1964). The exhibition draws upon the 2008 acquisition of the Gilbert and Lila Silverman Fluxus Collection Gift, which added approximately 100 of Ono’s artworks and related ephemera to the Museum’s holdings. Yoko Ono: One Woman Show, 1960–1971 is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; and Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints; with Francesca Wilmott, Curatorial Assistant, Department of Drawings and Prints.

Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, BNP Paribas, and The Modern Women’s Fund.

Additional funding is provided by the MoMA Annual Exhibition Fund.

Grete Stern. Dreams No. 1. 1949. Gelatin silver print. 10 1/2 x 9" (26.6 x 22.9 cm). Latin American and Caribbean Fund through gift of Marie Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin. © 2014 Galería Jorge Mara-La Ruche

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola

May 17, 2015–October 04, 2015

The Edward Steichen Photography Galleries, third floor

Press Preview: Thursday, May 14, 2015, 9:30–11:30 a.m.

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola is the first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who established themselves on both sides of the Atlantic. In Berlin in 1927, Stern began taking private classes with Walter Peterhans, who was soon to become head of photography at the Bauhaus. A year later, in Peterhans’s studio, she met Ellen (Rosenberg) Auerbach, with whom she opened a pioneering studio specializing in portraiture and advertising. Named after their childhood nicknames, the studio ringl + pit embraced both commercial and avant-garde loyalties, creating proto-feminist works. In Buenos Aires during the same period, Coppola initiated his photographic experimentations, exploring his surroundings and contributing to the discourse on modernist practices across media in local cultural magazines. In 1929 he founded the Buenos Aires Film Club to introduce the most advanced foreign films to Argentine audiences. His early works show a burgeoning interest in new modes of photographic expression that led him to the Bauhaus in 1932, where he met Stern and they began their joint history.

Following the close of the Bauhaus and the rising threat of the Nazi powers in 1933, Stern and Coppola fled Germany. Stern arrived first in London, where her friends included activists affiliated with leftist circles and where she made her now iconic portraits of German exiles. After traveling through Europe, camera in hand, Coppola joined Stern in London, where he pursued a modernist idiom in his photographs of the fabric of the city, tinged alternately with social concern and surrealist strangeness.

In the summer of 1935, Stern and Coppola embarked for Buenos Aires where they mounted an exhibition in the offices of the avant-garde magazine Sur, announcing the arrival of modern photography in Argentina. The unique character of Buenos Aires was captured in Coppola’s photographic encounters from the city’s center to its outskirts and in Stern’s numerous portraits of the city’s intelligentsia. The exhibition ends in the early 1950s, with Stern’s forward-thinking Sueños (Dreams), a series of photomontages she contributed to the popular women’s magazine Idilio, portraying women’s dreams with urgency and surreal wit.

The exhibition is accompanied by a major publication edited by Roxana Marcoci and Sarah Meister with a selection of original texts by Stern and Coppola translated into English by Rachel Kaplan. The catalogue will consist of three essays on the artists written by the exhibition curators and scholar Jodi Roberts.

Organized by Roxana Marcoci, Senior Curator, and Sarah Meister, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Major support for the exhibition is provided by The Modern Women’s Fund and by The David Berg Foundation.

Additional funding is provided by the Consulate General of the Argentine Republic in New York and by the MoMA Annual Exhibition Fund.

Research and travel support was provided by The International Council of The Museum of Modern Art.

John Baldessari (American, born 1931). Hands Framing New York Harbor from Pier 18. 1971. Photograph by Shunk-Kender (Harry Shunk [German, 1924-2006] and János Kender [Hungarian, 1937-1983]). Gelatin silver print, 7 3/8 × 9 15/16" (18.8 × 25.2 cm). The Museum of Modern Art, New York. Gift of the Roy Lichtenstein Foundation in honor of Jennifer Winkworth and Kynaston McShine and in memory of Harry Shunk and János Kender. © 2014 John Baldessari. Photograph: Shunk-Kender © J. Paul Getty Trust. The Getty Research Institute, Los Angeles

Art on Camera: Photographs by Shunk-Kender, 1960–1971

May 17, 2015–October 04, 2015

The Robert and Joyce Menschel Photography Gallery, third floor

In 2013, The Museum of Modern Art acquired over 600 works from the Shunk-Kender Photography Collection as a gift of the Roy Lichtenstein Foundation. The donation established a consortium across five institutions—the Getty Research Institute, the National Gallery of Art, Centre Pompidou, Tate, and MoMA—that together received the full archive of photographic material by Harry Shunk (German, 1924–2006) and János Kender (Hungarian, 1937–2009), who worked collaboratively under the name Shunk-Kender from the late 1950s to the early 1970s.

This exhibition presents a selection of remarkable photographs by Shunk-Kender from the Museum’s collection, including five photographs of Yves Klein’s landmark work Leap into the Void (1960)—the iconic image that was published in Klein’s Dimanche-Le Journal d’un seul jour on November 27, 1960 (and distributed throughout Paris), along with four additional, and little-known, distinct views of the performance. Also featured are numerous photographs of Yayoi Kusama’s astonishing New York performances of 1968, including Mirror Performance—an ecstatic gathering of costumed, painted, and nude bodies within one of Kusama’s mirrored chambers—and multiple iterations of The Anatomic Explosion, in which dancers stripped and posed in front of the New York Stock Exchange and other Wall Street–area locations in an unconventional artistic protest against the Vietnam War.

A major portion of the exhibition is devoted to photographs from Pier 18. In 1971, a series of ephemeral artworks were executed at a derelict Hudson River pier in New York. Conceived and organized by Willoughby Sharp, the actions, instructions, and performances of Pier 18 were enacted in February and March of 1971 by 27 (all male) artists, including Vito Acconci, John Baldessari, Jan Dibbets, Gordon Matta-Clark, Mario Merz, and Allen Ruppersberg, among others. Sharp invited Shunk-Kender to collaborate with each artist to photograph the individual projects. From the start, Sharp conceived of the project as an installation, in which Shunk-Kender’s photographs would be the physical manifestation of the work experienced by an audience. Indeed, it was through Projects: Pier 18 (June 18–August 2, 1971)—an exhibition at MoMA that was part of the Museum’s experimental Projects series—that the public ultimately discovered and engaged with the Pier 18 artworks.

Without question, the roles played by the two photographers varied from one project to the next. On the pier, Baldessari used his hands to mimic the view of their camera, emphasizing the framing choices inherent in the composition. Merz, on the other hand, suggested to the photographers that they select and record images entirely of their own preference. The resulting Pier 18 pictures capture the chaotic energy, systematic processes, and playful wit of the era’s performance and Conceptual art in two-dimensional black and white.

Organized by Lucy Gallun, Assistant Curator, Department of Photography

The exhibition is supported by the MoMA Annual Exhibition Fund.

Photograph of members of The Utopia Neighborhood Club, New York City. As published in The Crisis, March 1923. Reference image for Steffani Jemison's Promise Machine, 2014–15

Steffani Jemison: Promise Machine

June 25, 2015–June 27, 2015

 

In conjunction with the exhibition One Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North, Brooklyn-based artist Steffani Jemison (American, b. 1981) presents her new multipart commission Promise Machine. In her work across media, Jemison explores ideas of improvisation, repetition, and the fugitive in black history and vernacular culture.

Inspired by the Utopia Neighborhood Club, a Harlem-based women’s social service organization that directly supported Jacob Lawrence, Promise Machine comprises a reading group and performance inspired by the notion of utopia. In April 2015 Jemison will bring together members of Harlem-based community organizations as well as artists, writers, activists, and others for a Utopia Club reading group in MoMA’s library, where they will discuss black American literary and political visions of an ideal society. In June 2015 Jemison will premiere a new musical performance in the Museum galleries, with original libretto by the artist and a score composed collaboratively by the artist and a composer. The work will incorporate text generated during the reading group, and will address specific works on view in MoMA’s collection, including selections from Jacob Lawrence’s Migration Series.

Organized by Stuart Comer, Chief Curator, and Thomas J. Lax, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art.

The program is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Zoe Leonard (American, born 1961)
Chapter twenty from Analogue. 1998 2007
Three chromogenic color prints and one gelatin silver print, each 11 x 11" (27.9 x 27.9 cm). 
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art, the Fund for the Twenty First Century, The Modern Women's Fund, and Carol Appel

Zoe Leonard: Analogue

June 27, 2015–August 30, 2015

The Donald B. and Catherine C. Marron Atrium, second floor

This exhibition presents Zoe Leonard’s Analogue—a landmark photographic project conceived over the course of a decade—which documents, in 412 color and black-and-white photographs, the eclipsed texture of 20th-century urban life as seen in little bodegas, mom-and-pop stores with decaying facades and quirky handwritten signs, and shop windows displaying a mixed assortment of products.

Shooting with a vintage 1940s Rolleiflex camera, a tool “left over from the mechanical age,” as Leonard puts it, the artist took her own neighborhood of New York’s Lower East Side as a point of departure. She then followed the global trade of recycled merchandise—used T-shirts, old-fashioned shoes, discarded Coke advertisements, the old technology of Kodak camera shops—to far-flung places in Eastern Europe, Africa, Cuba, and Mexico. Tapping the traditions of documentary and conceptual photography, Leonard’s project is positioned within the genealogy of the grand visual archives that extend from Eugène Atget’s Paris “then and now,” to August Sander’s Face of Our Time, to Bernd and Hilla Becher’s typologies of vernacular architecture.

The exhibition is organized by Roxana Marcoci, Senior Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

The exhibition is made possible by The Modern Women’s Fund.

Pablo Picasso (Spanish, 1881–1973) Bull. Cannes, c. 1958. Plywood, tree branch, nails, and screws. 46 1/8 x 56 3/4 x 4 1/8″ (117.2 x 144.1 x 10.5 cm). The Museum of Modern Art, New York. Gift of Jacqueline Picasso in honor of the Museum’s continuous commitment to Pablo Picasso’s art. © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Picasso Sculpture

September 14, 2015–January 03, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Picasso Sculpture is a sweeping survey of Pablo Picasso’s profoundly innovative and influential work in three dimensions. This will be the first such museum exhibition to take place in the United States in nearly half a century.

Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status in Picasso’s oeuvre. He approached the medium with the freedom of an autodidact, ready to break all rules. This attitude led him to develop a deep fondness for his sculptures to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished their company and enjoyed recreating them in a variety of materials and situations. Picasso kept the majority of them in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his oeuvre. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which remains the first and last exhibition on this continent to display a large number of the artist’s sculptures.

Picasso Sculpture focuses on the artist’s life-long engagement with this genre from the point of view of materials and processes. It features more than 100 sculptures, complemented by selected works on paper and photographs. The aim is to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form.

Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris.

The exhibition is supported by the MoMA Annual Exhibition Fund.

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: A History of Art in the Arab World, 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 Museo Jumex in Mexico City and will be accompanied by a scholarly catalogue. Organized by Eva Respini, Curator, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography. The exhibition is supported by the MoMA Annual Exhibition Fund. Research and travel support was provided by The International Council of The Museum of Modern Art.

Walid Raad

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: A History of Art in the Arab World, 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 Museo Jumex in Mexico City and will be accompanied by a scholarly catalogue.

Organized by Eva Respini, Curator, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.

Major support for the exhibition is provided by The Andy Warhol Foundation for the Visual Arts.

Additional funding is provided by the MoMA Annual Exhibition Fund.

Research and travel support was provided by The International Council of The Museum of Modern Art.

Joaquín Torres-García (Uruguayan, 1874–1949). Construction in White and Black. 1938. Oil on paper mounted on wood. 31 3/4 x 40 1/8" (80.7 x 102 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of David Rockefeller. Photograph by Thomas Griesel © 2015 Joaquín Torres-García

Joaquín Torres-García

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.

The Museum of Modern Art presents a major retrospective devoted to the art of Joaquín Torres-García (Uruguayan, 1874–1949). The exhibition comprises works ranging from the late 19th century to the 1940s, and includes drawings, paintings, objects, sculptures, and original artist notebooks and rare publications. This retrospective unfolds as a survey combining a chronological display with a thematic approach, structured in a series of major chapters embracing the artist’s entire oeuvre with emphasis on two key moments: the period from 1923 to 1933, when Torres-García participated in various European early-modern avant-garde movements while establishing his own signature pictographic-constructivists style; and 1935 to 1943, when he produced one of the most striking repertoires of synthetic abstraction upon his return to Uruguay.

Torres-García is one of the most complex and emblematic modern masters from the first half of the 20th century, and his work laid out transformational paths for modern art on both sides of the Atlantic. Manifesting a profound impulse toward arcadic, primitive, and schematic forms alongside a permanent fascination with the notion of utopia, he participated in some of the most crucial intellectual and artistic discussions of the past century. His personal involvement with a significant number of early avant-garde movements, from Catalan Noucentismo to Cubism, Ultraism-Vibrationism, and Neo-Plasticism, make him an unparalleled figure deserving of a comprehensive critical reevaluation in the U.S.

Organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, with Geaninne Gutiérrez-Guimarães, Curatorial Assistant, Department of Drawings and Prints, MoMA.

The exhibition is supported by the MoMA Annual Exhibition Fund.