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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Still the Water. 2014. Japan. Directed by Naomi Kawase

Naomi Kawase

June 25, 2016–July 14, 2016

The Roy and Niuta Titus Theaters

Naomi Kawase is among the most renowned contemporary Japanese filmmakers. She began making films in 1988, when she was 19 years old, and has been garnering awards for the intimate and timeless tenor of her work ever since. Her earliest films, shot in an experimental style on Super 8mm and 16mm film, had an autobiographical bent, focusing on her family life and abandonment by her birth father (Embracing, 1992), or the loving but charged interactions with the foster mother who raised her (Katatsumori, 1994). While she continued to explore nonfiction, Kawase began developing fiction films, and in 1997 she released her debut dramatic feature, Suzaku. Focusing on the trials of a family living in a rural area of Japan in economic decline, the film won the Cannes Film Festival’s Camera d’Or—making Kawase the award’s youngest recipient to date. Ten years later The Mourning Forest, her feature about the intertwined fates of a young woman and an older man, won the Cannes Grand Prix. Kawase’s films are often based in her native Nara Prefecture, the woodsy, rural area of one of the ancient capitals of Japan. Nature, the elements, and the seasons are important signposts in all of her films, signifying both permanence and the cycles of life. Japanese culture, traditional ritual, and music are also significant elements in her films, and she often works with a combination of professional and non-professional actors.

Kawase studied television and film at Visual Arts Osaka, graduating in 1989. She founded Kumie Inc. Production Company in 1996, and the Nara International Film Festival in 2010. Kawase received the Chevalier des Arts et des Letters of France in 2015.

This series was organized on the occasion of the 2016 Robert Flaherty Film Seminar, Play.

Organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, in collaboration with David Pendleton, Programmer, Harvard Film Archive, and Anita Reher, Executive Director, The Flaherty Seminars.
 
Generous funding for the exhibition is provided by Shiseido.
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Crossroads, 1976/2013. USA. Directed by Bruce Conner. Courtesy the Conner Family Trust © Conner Family Trust

BRUCE CONNER: IT’S ALL TRUE

July 03, 2016–October 02, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

BRUCE CONNER: IT’S ALL TRUE is the artist’s first monographic museum exhibition in New York, the first large survey of his work in 16 years, and the first complete retrospective of his 50-year career. It brings together over 250 objects, from film and video to painting, assemblage, drawing, prints, photography, photograms, and performance.

Bruce Conner (1933–2008) was one of the foremost American artists of the postwar era. Emerging from the California art scene, in which he worked for half a century, Conner’s work touches on various themes of postwar American society, from a rising consumer culture to the dread of nuclear apocalypse. Working simultaneously in a range of mediums, Conner created hybrids of painting and sculpture, film and performance, drawing and printing, including bodies of works on paper utilizing drawing and collage and two important photographic bodies of work, including a haunting group of black-and-white life-sized photograms called ANGELS. An early practitioner of found-object assemblage, his relief and free-standing sculptural objects, such as CHILD (1959) and LOOKING GLASS (1964), were widely recognized for their masterful compositions and daringly dark subject matter.

Equally a pioneer of avant-garde filmmaking, Conner developed a quick-cut method of editing that defined his oeuvre. Incorporating footage from a variety of sources—countdown leaders, training films, and newsreels—and adding later his own 16mm film footage, Conner’s films also focus on disturbing but utterly current themes. For their structural innovation and daring subject matter, films like A MOVIE (1958) and CROSSROADS (1976) have become landmarks of American experimental cinema.

The exhibition is organized by SFMOMA.

Co-curated by Stuart Comer, Chief Curator, Department of Media and Performance Art, MoMA; Laura Hoptman, Curator, Department of Painting and Sculpture, MoMA; Rudolf Frieling, Curator of Media Arts, San Francisco Museum of Modern Art; Gary Garrels, The Elise S. Haas Senior Curator of Painting and Sculpture, San Francisco Museum of Modern Art; with Rachel Federman, Assistant Curator, Painting and Sculpture, San Francisco Museum of Modern Art.

The organization of BRUCE CONNER: IT’S ALL TRUE at SFMOMA has been underwritten in part by the Henry Luce Foundation. 

The exhibition at MoMA is made possible by Hyundai Card.

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Born Yesterday. 1950. USA. Directed by George Cukor

Modern Matinees: Summer with Judy Holliday

July 08, 2016–August 31, 2016

The Celeste Bartos Theater

MoMA’s holdings of films starring the American actress Judy Holliday (1921–1965) are abundant, and this nine-film selection features some of the Academy Award–winning actress’ most beloved star-making roles.

From Adam’s Rib to Bells Are Ringing, Holliday remained an onscreen delight and audience favorite from the 1940s through the early 1960s. Generally known for her comedic work and distinctive, high-pitched, nasal voice, Holliday had hopes of attending Yale Drama School, but a fortuitous detour brought her to Orson Welles’s Mercury Theatre, where she worked as the switchboard operator. In the early 1940s, as a part of the cabaret act The Revuers, Holliday, using her given name Judith Tuvim, went to Hollywood and signed with Fox, but had minimal success. Returning to Broadway, Holliday fatefully stepped in one night for Jean Arthur in the Garson Kanin play Born Yesterday—in a role that would eventually earn her an Oscar for the 1950 film version.

No dumb blonde in reality, Holliday reportedly had an IQ in excess of 170. In 1950, when she was called before the House Un-American Activities Committee to explain her supposed association with communist activities, legend has it she was counseled to play dumb—effectively channeling her Born Yesterday role as an uncouth, uneducated woman. Her testimony so flummoxed the committee that Holliday was released without naming names or being blacklisted.

Holliday’s career was tragically cut short when she died from cancer, at the age of 44, in 1965.

About Modern Matinees:
In September 2015 we introduced Modern Matinees, a new series of afternoon screenings, drawn from MoMA’s collection, organized around themes from big names and personalities to major movements, time periods, genres, and more. These anthology programs may change on a monthly basis or emerge in longer arcs, and they will often be accompanied by posts on MoMA’s Inside/Out blog.

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

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Part-time wife. 1930. USA. Directed by Leo McCarey

Seriously Funny: The Films of Leo McCarey

July 15, 2016–July 31, 2016

The Roy and Niuta Titus Theaters

The son of a fight promoter, and a graduate of USC law school, Leo McCarey was nevertheless drawn to the rich new art form taking shape in his native Los Angeles. Starting as a humble gagman, he rose to head of production at the Hal Roach Studios in the 1920s, making a major contribution to the development of Roach’s distinctively realistic, slow-burn style of comedy. Mole hills became mountains as the quirks and peccadilloes of McCarey’s all too human characters bounced off each other and created an escalating chain of events. Using this “Particle Theory of Comedy,” McCarey’s always seriously funny outlook gave birth to some of the 1930s’ most memorable classic comedies, and later led to examinations of darker, more bittersweet aspects of the human condition.

Equally adept at working with character comics like Charlie Chase and Stan Laurel, or dramatic performers like Ingrid Bergman and Charles Boyer, McCarey straddled silent slapstick, screwball comedy, light romance, and sentimental melodrama, while working his way through the tangle of religion, politics, and sex otherwise known as American culture. McCarey spent 30 years creating a film universe that was not only successful, but made him one of Hollywood’s most unassumingly personal filmmakers. All films are from the U.S. and directed by Leo McCarey, unless otherwise noted.

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA, and Steve Massa, film historian and author.

Special thanks to Serge Bromberg and Lobster Films, Cineteca Bologna, Gian Luca Farinelli, Guy Borlee, Ron Hutchinson, Richard Bann, Rob Stone, Mike Mashon, Rick Scheckman, Bruce Lawton, Anastasia Antonopoulou, Vince Giordano, Mike Feinberg, Todd Wiener, and Marty DeGrazia.

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Happy Hour. 2015. Japan. Directed by Ryusuke Hamaguchi. Courtesy of the Filmmaker.

MoMA Presents: Ryusuke Hamaguchi’s Happy Hour

August 24, 2016–August 30, 2016

The Roy and Niuta Titus Theaters

MoMA presents a weeklong theatrical run of one of the great revelations of New Directors/New Films 2016. “Four thirtysomething female friends in the misty seaside city of Kobe navigate the unsteady currents of their work, domestic, and romantic lives. They speak solace in one another’s company, but a sudden revelation creates a rift, and rouses each woman to take stock. Ryusuke Hamaguchi’s wise, precisely observed, compulsively watchable drama of friendship and midlife awakening runs over five hours, yet the leisurely duration is not an indulgence but a careful strategy—to show what other films leave out, to create a space for everyday moments that is nonetheless charged with possibility, and to yield an emotional density rarely available to a feature-length movie. Developed through workshops with a cast of mostly newcomers (the extraordinary lead quartet shared the Best Actress award at the Locarno Film Festival), and filled with absorbing sequences that flow almost in real time, Happy Hour has a novelistic depth and texture. But it’s also the kind of immersive, intensely moving experience that remains unique to cinema” (New Directors/New Films 2016 screening notes).

Happy Hour. 2015. Japan. Directed by Ryusuke Hamaguchi. In Japanese; English subtitles. 319 min., with a 10-min. intermission.
Wednesday, August 24, 4:30 p.m.
Thursday, August 25, 4:30 p.m.
Friday, August 26, 4:30 p.m.
Saturday, August 27, 4:30 p.m.
Sunday, August 28, 2:00 p.m.
Monday, August 29, 4:30 p.m.
Tuesday, August 30, 4:30 p.m.

Organized by Joshua Siegel, Curator, Department of Film.

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Kai Althoff. Untitled, 2011. Oil, synthetic polymer, tempera, and varnish on fabric and silk. 53 1/4 x 59 3/4 x 2 3/8 inches (135.3 x 151.8 x 6 cm). © Kai Althoff

Kai Althoff: and then leave me to the common swifts

September 18, 2016–January 22, 2017

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

Kai Althoff (b. 1966, Germany) is one of the most consummate—and unpredictable—artists of his generation. His works often mix crafts like weaving, and ceramic work with fine-art languages like painting, drawing, and sculpture. Their painstakingly handmade quality gives them an intimacy and a finely wrought beauty more common to religious objects than contemporary art. Each object Althoff makes is imbued with great personal significance that is reflected in his fervent attention to aesthetic detail; however, he is less interested in producing private talismans, than in making artworks that resonate with whoever may encounter them.

This desire to connect to people, places, and beliefs is made manifest in Althoff’s fascination with how passion and faith can create a sense of belonging. Themes of communal devotional activity are woven throughout his oeuvre, which includes admiring depictions of families, fraternities, soldiers, and religious adherents among other groups. For Althoff, artmaking is an expression of love, but it is also a means to being loved. It is this search for acceptance and longing for welcome that has produced a 25-year body of work that is polymathic, consummate in skill, deeply personal, and utterly unique.

This exhibition, the artist’s first major monographic exhibition at a U.S. institution in a decade, will feature more than 200 works from all periods in Althoff’s career, in a range of mediums including painting, drawing, collage, sculptural objects, video, and sound. Drawing from public and private collections worldwide, the selection of works will be displayed in an immersive environment designed by the artist that will serve as a framing narrative for the bodies of work in the show.

Organized by Laura Hoptman, Curator, and Margaret Ewing, Curatorial Assistant, Department of Painting and Sculpture.

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Interior of a Better Shelter prototype in Kawergosk Refugee Camp, Erbil, Iraq. Better Shelter. 2015.

Insecurities: Tracing Displacement and Shelter

October 01, 2016–January 22, 2017

Dunn Gallery, second floor

The ways in which architecture and design have addressed contemporary notions of shelter, as seen through migration and global refugee emergencies, will be explored in the exhibition Insecurities: Tracing Displacement and Shelter. Bringing together works by architects, designers, and artists in a range of mediums and scales that respond to the complex circumstances brought about by forced displacement, the exhibition focuses on conditions that disrupt conventional images of the built environment as an arbiter of modernity and globalization. The prevalence of shelters and refugee camps calls into question the “safety” that they represent. Insecurities is organized by Sean Anderson, Associate Curator, with Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Recent United Nations figures suggest that 67.2 million individuals worldwide are refugees, asylum seekers, and internally displaced persons. Where borders once marked the peripheries of nations, today, manifold territories on sea and land have blurred one’s potential confinement within spaces that are determined by external powers. Under these conditions, shelter has been redefined through constant movement or escape. By extension, refugee camps, while once considered to be temporary, are no longer so, and have become a locus through which to examine how human rights intersect with and complicate the making of cities.

Insecurities brings together a range of objects, including the jointly-designed IKEA Foundation-UNHCR-Better Shelter modular emergency structure, along with works by Estudio Teddy Cruz, Henk Wildschut, and Tiffany Chung, among others. Insecurities raises questions regarding how the design and representation of shelter as a source of security and stability ultimately reflects how refugees are living in permanent upheaval today.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art.

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Willi Baumeister. Wie Wohnen? Die Wohnung Werkbund Ausstellung. Lithograph, 44 3/4 x 32 3/8" (113.7 x 82.2 cm). The Museum of Modern Art, New York. Architecture & Design Purchase Fund

How Should We Live? Propositions for the Modern Interior

October 01, 2016–April 23, 2017

Third Floor Galleries

With How Should We Live? Propositions for the Modern Interior, The Museum of Modern Art examines a range of environments—domestic interiors, exhibition displays, and retail spaces—with the aim of exploring the complex collaborative partnerships, materials, and processes that have shaped the modernist interior. The exhibition focuses on specific interior spaces from the 1920s to the 1950s. Rather than concentrating on isolated masterworks, attention is given to the synthesis of design elements within each setting, and to the connection of external factors and attitudes—aesthetic, social, technological, and political—that these propositions express in material and spatial form.

Bringing together a number of recent acquisitions by the Department of Architecture and Design of work by major women architect-designers, How Should We Live? looks at several designers’ own living spaces and at frequently neglected areas in the field of design, including textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Noted partnerships featured in the exhibition will include Lilly Reich and Mies van der Rohe, Grete Lihotzky and Ernst May, Eileen Gray and Jean Badovici, Aino and Alvar Aalto, Charles and Ray Eames, Florence Knoll and Herbert Matter, and Charlotte Perriand and Le Corbusier.

Divided into three chronological groupings—the late 1920s to the early 1930s, the late 1930s to the mid-1940s, and the late 1940s into the 1950s—the exhibition brings together over 200 objects in total, but highlights a number of large-scale interiors by the aforementioned designers, including Lihotzky’s Frankfurt Kitchen (1926–27), Reich and Mies’s Velvet and Silk Café (1927), and Perriand and Le Corbusier’s kitchen from the Unité d’Habitation (1954) and study bedroom from the Maison du Brésil (1959).

Organized by Juliet Kinchin, Curator, with Luke Baker, Curatorial Assistant, Department of Architecture and Design, MoMA

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Francis Picabia (French, 1879–1953). L'Œil cacodylate (The Cacodylic Eye). 1921. Oil, enamel paint, gelatin silver prints, postcard, and cut-and-pasted printed papers on canvas, 58 1/2 x 46 1/4" (148.6 x 117.4 cm). Centre Pompidou, Musée national d'art moderne – Centre de création industrielle, Paris. Purchase in honor of Au temps du Bœuf sur le Toit, 1967. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © CNAC/MNAM/Dist. RMN-Grand Palais/Art Resource, NY

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

November 20, 2016–March 19, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is the first major exhibition in the U.S. to encompass the full range of Picabia’s audacious, provocative, and profoundly influential career. MoMA’s first-ever monographic exhibition of the artist, Francis Picabia brings together some 200 works in multiple mediums to explore the artist’s critical place in the history of 20th-century art.

Among the great modern artists, Francis Picabia (French, 1879–1953) remains one of the most elusive; he vigorously avoided any one singular style or medium, and his work encompassed painting, performance, poetry, publishing, and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely—and wildly—from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to art informel. Picabia’s contributions to a diverse range of artistic mediums, along with his consistent inconsistencies, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of modernism.

Francis Picabia—conceived in partnership with the Kunsthaus Zürich, where its presentation is scheduled to coincide with the 100th anniversary of the founding of the Cabaret Voltaire, in 1916—assembles key selections and bodies of work, ranging in date from the first decade of the 20th century through the early 1950s. Picabia’s work as a painter—albeit one whose oeuvre consistently contests the term—will be represented, along with his activities as a publisher and contributor to vanguard journals, and his forays into screenwriting and theater. The core of the exhibition comprises some 125 paintings, along with approximately 45 key works on paper, one film, and a carefully chosen selection of printed matter.

Francis Picabia is organized by The Museum of Modern Art and the Kunsthaus Zürich. The curators are Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture at The Museum of Modern Art; and Cathérine Hug, Curator at the Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, MoMA.

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Anne Teresa De Keersmaeker’s Work/Travail/Arbeid March 25, 2017–April 02, 2017

Anne Teresa De Keersmaeker’s Work/Travail/Arbeid

March 25, 2017–April 02, 2017

 

The Museum of Modern Art will present Anne Teresa De Keersmaeker’s Work/Travail/Arbeid in 2017. De Keersmaeker’s starting point is the simple question: can a choreography be performed in the form of an exhibition? As an answer to that question, she reinterpreted her dance performance Vortex Temporum (2013) for the radically different temporal and special circumstances of a museum space. The original length of the choreography, fitted to the condensed duration of a performance, was expanded into cycles of nine hours and interpreted again according to the characteristics of the museum. The original version of the exhibition lasted nine weeks and was held from March 20 to May 17, 2015, in the WIELS centre for contemporary art (Brussels). The abridged travel version of the exhibition will be re-choreographed and recreated for the unique space of the specific museums that it will be on view.

The Centre Pompidou (Paris) will present the work from February 26 until March 6, 2016. The installation will then be on display at Tate Modern, London, between July 8 and 10, 2016, and at MoMA from March 25 until April 2, 2017.

Organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and  Performance Art.

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