Advance Schedule of Exhibitions for MoMA & MoMA PS1

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Charles Gaines: Manifestos 2

September 27, 2014–September 27, 2014

The Roy and Niuta Titus 1 Theater

7:00 p.m.

MoMA is pleased to premiere the live performance of Charles Gaines’s Manifestos 2 (2013), in collaboration with The Studio Museum in Harlem. A pioneer of Conceptual art, the Los Angeles–based artist has worked with composer Sean Griffin to translate language from four influential speeches or manifestos into musical notation: Malcolm X’s last public speech, made in 1965 in Detroit’s Ford Auditorium; Peace, Power, Righteousness: An Indigenous Manifesto (1999), by Canadian Mohawk scholar and activist Taiaiake Alfred; “Indocumentalismo Manifesto—an Emerging Socio-Political Ideological Identity” (2010), by Raúl Alcaraz and Daniel Carrillo; and the Declaration of the Rights of Woman and the Female Citizen, written by French activist and writer Olympe De Gouges in 1791. Using an arbitrary rule-based system translating each letter into its corresponding musical note (C, D, E, F, G, A, B) and treating each letter without a correlating note as a silent musical rest, Gaines has established a relationship between the structures of language and music; Manifestos 2 explores how the emotive properties of music affect the content of the manifestos and their interpretation.

For the performance, Griffin will conduct a nine-piece ensemble, bringing the scores to life. The performance is followed by a conversation with Gaines and Griffin; Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art; and Naima J. Keith, Assistant Curator, The Studio Museum in Harlem.

In conjunction with the exhibition Sites of Reason: A Selection of Recent Acquisitions, on view at MoMA through September 28. Sites of Reason: A Selection of Recent Acquisitions is supported in part by The Junior Associates of The Museum of Modern Art and by the MoMA Annual Exhibition Fund.

The performance also coincides with the exhibition Charles Gaines: Gridwork 1974–1989, on view at The Studio Museum in Harlem through October 26.

Retrospective by Xavier Le_Roy. Photography by Lluís Bover. © Fundació Antoni Tàpies.

Retrospective by Xavier Le Roy

October 02, 2014–December 01, 2014

3rd Floor Galleries, MoMA PS1

MoMA PS1 presents Retrospective, the inaugural American museum survey of French artist and choreographer Xavier Le Roy (b. 1963). Realized in the galleries by a team of performers who continuously recycle and transform Le Roy’s solo work, conceived between 1994 and 2010, the exhibition opens up expanded opportunities for interaction within the museum. In his reconfiguration of the conventionally linear form of the retrospective as an accumulative mid-career survey, Le Roy brings his past works to life by consolidating and reimagining them into a new whole. In the process the exhibition unfolds across several different time axes that introduce temporal complexity to the galleries. The result is a groundbreaking hybrid of choreography and visual art that transforms the traditional exhibition format into a creative medium.

“In Retrospective, Le Roy uses the tools he has as a choreographer to create possibilities for new experiences in the galleries. The exhibition is the natural evolution of our extensive initiatives bringing live art to the forefront of MoMA PS1’s diverse programming,” notes Jenny Schlenzka, Associate Curator, MoMA PS1.

Retrospective is organized at MoMA PS1 by Jenny Schlenzka, Associate Curator and Alex Sloane, Curatorial Assistant.

The exhibition was originally organized by the Fundació Antoni Tàpies, Barcelona at the invitation of Laurence Rassel, Artistic Director, Fundació Antoni Tàpies.

Retrospective is presented at MoMA PS1 as part of Crossing the Line 2014, a festival created and organized by the French Institute Alliance Française. 

Crossing the Line is the French Institute Alliance Française (FIAF)’s annual fall festival presenting interdisciplinary works and performances created by artists from around the world in New York. The festival provides opportunities for New Yorkers to explore the dialogue between artist and participant, examine how artists help re-imagine the world, and engage in the vital role artists play as critical thinkers and catalysts for social evolution. Crossing the Line is initiated and produced by FIAF in partnership with leading cultural institutions and takes place this year from September 8–October 18, 2014. 

The presentation at MoMA PS1 is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Additional support is provided by the MoMA PS1 Annual Exhibition Fund, and the French Institute Alliance Française (FIAF).

Robert Gober (American, born 1954) Untitled. 1984 Plaster, wood, wire lath, aluminum, watercolor, semi-gloss enamel paint. 28 x 33 x 22 1/2″ (71.1 x 83.8 x 57.2 cm) Rubell Family Collection Courtesy the artist and Matthew Marks Gallery © 2014 Robert Gober

Robert Gober: The Heart Is Not a Metaphor

October 04, 2014–January 18, 2015

Contemporary Galleries, second floor; The Donald B. and Catherine C. Marron Atrium, second floor; The Yoshiko and Akio Morita Media Gallery, second floor; Projects Gallery, second floor

Robert Gober: The Heart Is Not a Metaphor is the first large-scale survey of Robert Gober’s career to take place in the United States. Robert Gober (American, b. 1954) rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career he made deceptively simple sculptures of everyday objects—beginning with sinks before moving on to domestic furniture such as playpens, beds, and doors. In the 1990s, his practice evolved from single works to theatrical room-sized environments. Featuring loans from institutions and private collections in North America and Europe as well as selections from the artist’s collection, the exhibition includes around 130 works across several mediums, including individual sculptures and immersive sculptural environments and a distinctive body of drawings, prints, and photographs. The loosely chronological presentation traces the development of this remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober’s work today. Robert Gober: The Heart Is Not a Metaphor is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator, and Paulina Pobocha, Assistant Curator, Department of Painting and Sculpture, MoMA, working in close collaboration with the artist.

The exhibition is made possible by Hyundai Card.

Major support is provided by the Henry Luce Foundation, Maja Oeri and Hans Bodenmann, and Marie-Josée and Henry Kravis.

Additional funding is provided by Chara Schreyer, The Junior Associates of The Museum of Modern Art, Mr. and Mrs. Joseph Vandermolen, Ann and Mel Schaffer, and the MoMA Annual Exhibition Fund.

Dara Birnbaum. Still from PM Magazine. 1982. Four-channel video (color, three channels of sound; 4:20 min.), black-and-white photographs. Dimensions variable. The Modern Women's Fund and the Contemporary Arts Council of The Museum of Modern Art. © 2014 Dara Birnbaum.

Cut to Swipe

October 11, 2014–March 22, 2015

Special Exhibitions Gallery, second floor

Cut to Swipe, comprised primarily of recent acquisitions by the Department of Media and Performance Art, features works that appropriate and manipulate images and footage drawn from electronic media like television, cinema, and the Internet. Ranging from Dara Birnbaum’s landmark installation PM Magazine (1982) to recent works by Ken Okiishi, Luther Price, James Richards, Hito Steyerl, and The Otolith Group in collaboration with Chris Marker, the exhibition highlights a range of responses to the quickly changing nature of images, and their proliferation through new imaging and distribution technologies. Carving out a space for personal and political reflection within pervasive electronic image streams, the works in the exhibition demonstrate the shift from analog to digital concerns, as artists grapple with defining new forms of materiality, and new critical approaches in a radically more virtual world. Cut to Swipe traces key works, produced since the early 1980s, which have pioneered innovative ways to rearticulate the moving image within the gallery. If the cut signifies collage and montage, foundational artistic strategies of the 20th century, the swipe suggests a 21st-century condition in which images have moved off the screen, dispersed at the flick of a finger into almost every corner of daily life.

Organized by Stuart Comer, Chief Curator, with Erica Papernik, Assistant Curator, and Leora Morinis, Curatorial Assistant, Department of Media and Performance Art.

The exhibition is supported by the MoMA Annual Exhibition Fund.

Henri Matisse (French, 1869-1954). The Swimming Pool (La Piscine), late summer 1952. Maquette for ceramic (realized 1999 and 2005). Gouache on paper, cut and pasted, on painted paper. Overall 73 x 647” (185.4 x 1653.3 cm). Installed as nine panels in two parts on burlap-covered walls 136” (345.4 cm) high. Frieze installed at a height of 65” (165 cm). The Museum of Modern Art, New York. Mrs Bernard F. Gimbel Fund, 1975 © 2014 Succession H. Matisse, Paris / Artists Rights Society (ARS), New York

Henri Matisse: The Cut-Outs

October 12, 2014–February 08, 2015

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

In the late 1940s, Henri Matisse turned increasingly to cut paper as his primary medium and scissors as his chief implement, introducing a radically new operation that came to be called a cut-out. Matisse would cut painted sheets into forms of varying shapes and sizes—from the vegetal to the abstract—which he then arranged into lively compositions, striking for their play with color and contrast, their exploitation of decorative strategies, and their economy of means. Initially, these compositions were of modest size but, over time, their scale grew along with Matisse’s ambitions for them, expanding into mural or room-size works. A brilliant final chapter in Matisse’s long career, the cut-outs reflect both a renewed commitment to form and color and an inventiveness directed to the status of the work of art, whether as a unique object, environment, ornament, or a hybrid of all of these.

Henri Matisse: The Cut-Outs is a groundbreaking reassessment of this important body of work. The largest and most extensive presentation of the cut-outs ever mounted, the exhibition includes approximately 100 cut-outs—borrowed from public and private collections around the globe—along with a selection of related drawings, illustrated books, stained glass, and textiles. The last time New York audiences were treated to an in-depth look at the cut-outs was in 1961.

This exhibition was sparked by an initiative to conserve The Museum of Modern Art’s monumental cut-out The Swimming Pool (1952), a favorite of visitors since its acquisition by MoMA in 1975. The Swimming Pool is the only cut-out composed for a specific room—the artist’s dining room in his apartment in Nice, France. The goals of the multiyear conservation effort have been to bring this magical environment back to its original color balance, height, and spatial configuration. Newly conserved, The Swimming Pool—off view at MoMA for more than 20 years—returns to MoMA’s galleries as a centerpiece of the exhibition.

With research on two fronts—conservation and curatorial—this exhibition offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist’s methods and materials and the role and function of the works in his practice; their environmental aspects; their sculptural and temporal presence as their painted surfaces exhibited texture and materiality, curled off the walls, and shifted in position over time; and their double lives, first as contingent and mutable in the studio and, ultimately, as permanent, a transformation accomplished via mounting and framing. The exhibition also mines the tensions that lurk in all the cut-outs, between finish and process, fine art and decoration, drawing and color.

The exhibition is accompanied by a fully illustrated catalogue, a children’s book, and education programs.

Henri Matisse: The Cutouts is organized by The Museum of Modern Art in collaboration with Tate Modern, London.

Organized at MoMA by Karl Buchberg, Senior Conservator, and Jodi Hauptman, Senior Curator, with Samantha Friedman, Assistant Curator, Department of Drawings and Prints.

Bank of America is the Global Sponsor of Henri Matisse: The Cut-Outs.
 
Major support for the MoMA presentation is provided by The Horace W. Goldsmith Foundation, Sue and Edgar Wachenheim III, and Marie-Josée and Henry Kravis.
 
Additional funding is provided by Dian Woodner, The Junior Associates of The Museum of Modern Art, and the MoMA Annual Exhibition Fund.
 
Park Hyatt New York is the hotel sponsor ofHenri Matisse: The Cut-Outs.
 
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Jean Dubuffet (French, 1901–1985). Bird Perched on the Corner of the Wall (Angle de mur à l'oiseau perché) from the supplementary suite for the book Walls (Les Murs) by Eugène Guillevic. 1945. Lithograph, composition and sheet: 14 3/8 x 11" (36.5 x 27.9 cm). The Museum of Modern Art, New York. Gift of Mr. and Mrs. Ralph F. Colin, 1965. © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

Jean Dubuffet: Soul of the Underground

October 18, 2014–April 05, 2015

The Paul J. Sachs Drawings Galleries, third floor

Jean Dubuffet (French, 1901–1985), whose work was marked by a rebellious attitude toward prevailing notions of high culture, beauty, and good taste, is a significant figure in MoMA’s collection, with holdings numbering over 1,200 works. From the time Dubuffet committed himself to art-making in the early 1940s, he was a relentless innovator. Jean Dubuffet: Soul of the Underground illuminates Dubuffet’s radical experimentation with form and material by focusing on the artist’s work at a key span of his career, from the 1940s to the mid-1960s. Dubuffet mixed sand, gravel, and other materials into his pigments, applying them in layers with brushes and palette knives to create a thickened impasto, and then excavated images from them by scratching and scraping away with the pointed handle of his paintbrush. He revolutionized lithography, experimenting with textures by attacking lithographic stones with sandpaper, rags, and chemicals, and creating images with dirt, fruit peels, leaves, and other organic materials. Drawings in ink or gouache mimicked these feats of combination and re-combination, resulting in surfaces of decaying or ever-expanding membranes. Acknowledging the importance of materiality to his process, Dubuffet wrote, “Art must be born from the material and from the tool, and must preserve the trace of the tool or the tool’s battle with the material.”

This exhibition draws on MoMA’s unparalleled collection of Dubuffet’s paintings, sculptures, drawings, prints, and illustrated books, charting his move toward near-total abstraction with pictures comprised of allover compositions unanchored by horizons, topographies of layered sand and dirt, or patterned lithographs of droplets and granules. Central to this presentation is the monumental lithographic project the Phenomenaseries (1958–62), which manifests the artist’s fascination with surfaces of the earth and natural forces, and which became fodder for future works across mediums, as he cut up prints, collaged them, and reconstituted them. Jean Dubuffet: Soul of the Underground is the first monographic presentation on the artist at MoMA in over 25 years.  

Organized by Jodi Hauptman, Senior Curator, and Sarah Suzuki, Associate Curator, Department of Drawings and Prints

Drawings Collection Exhibitions are made possible by Hanjin Shipping

Jonathan Ive, Apple Industrial Design Group. iPod. 2001. Polycarbonate plastic and stainless steel, 4 x 2 1/2 x 7/8" (10.2 x 6.4 x 2.2 cm). Mfr.: Apple, Inc. The Museum of Modern Art, New York.  Gift of the manufacturer

Making Music Modern: Design for Eye and Ear

October 18, 2014–November 01, 2015

Philip Johnson Architecture and Design Galleries, third floor

Music and design­—art forms that share aesthetics of rhythm, tonality, harmony, interaction, and improvisation—have long had a close affinity, perhaps never more so than during the 20th century. Radical design and technological innovations, from the LP to the iPod and from the transistor radio to the Stratocaster, have profoundly altered our sense of how music can be performed, heard, distributed, and visualized. Avant-garde designers—among them Charles Rennie Mackintosh, Lilly Reich, Saul Bass, Jørn Utzon, and Daniel Libeskind—have pushed the boundaries of their design work in tandem with the music of their time. Drawn entirely from the Museum’s collection, Making Music Modern gathers designs for auditoriums, instruments, and equipment for listening to music, along with posters, record sleeves, sheet music, and animation. The exhibition examines alternative music cultures of the early 20th century, the rise of radio during the interwar period, how design shaped the “cool” aesthetic of midcentury jazz and hi-fidelity culture, and its role in countercultural music scenes from pop to punk, and later 20th-century design explorations at the intersection of art, technology, and perception.

This exhibition is organized by Juliet Kinchin, Curator, and Luke Baker, Curatorial Assistant, Department of Architecture and Design, MoMA.

Sturtevant. Haring Tag July 15 1981. 1985. Sumi ink and acrylic on cloth. 9 13/16 × 12 13/16" (25 × 32.5 cm). Photo: Prallen Allsten. © Sturtevant

Sturtevant: Double Trouble

November 09, 2014–February 22, 2015

Special Exhibitions Gallery, third floor

Sturtevant (American, 1924 – 2014) has been “repeating” the works of her contemporaries since 1964, using some of the most iconic artworks of her generation as a source and catalyst for the exploration of originality, authorship, and the interior structures of art and image culture. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Yet her chameleon-like embrace of other artists’ art has also resulted in her being largely overlooked in the history of postwar American art. As a woman making versions of the work of better-known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism, at once absent from these histories while nevertheless articulating their structures.

Though her work of the 1960s and 1970s may appear to be simply mimetic exercises in proto-appropriation, Sturtevant is better understood as an artist who adopts style as her medium and takes the art of her time as a loose “score” to be enacted. Far more than copies, her versions of Johns’s flags, Warhol’s flowers, and Joseph Beuys’s fat chairs are studies in the action of art that expose aspects of its making, circulation, and canonization. Working primarily in video since 2000, the artist remains deeply engaged with the politics of image production and reception, using stock footage from Hollywood films, television, and advertising to point to the exhaustion built into much of postwar cultural production.

This exhibition is the first comprehensive survey in America of Sturtevant’s 50-year career, and the only institutional presentation of her work organized in the United States since her solo show at the Everson Museum of Art in 1973. Rather than taking the form of a traditional retrospective, the exhibition offers a historical overview of her work from a contemporary vantage point, interspersing more recent video pieces among key artworks from all periods of her career.

Organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1, with Ingrid Langston, Curatorial Assistant, Department of Drawings and Prints, MoMA.

The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Major support is provided by The Modern Women’s Fund, Lonti Ebers, Dorothy Lichtenstein and Virginia Dwan.

Additional funding is provided by The Contemporary Arts Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art, and the MoMA Annual Exhibition Fund.

 

MoMA_UnevenGrowth_HK1

Uneven Growth: Tactical Urbanisms for Expanding Megacities

November 22, 2014–May 10, 2015

Architecture and Design Galleries, third floor

In 2030, the world’s population will be a staggering eight billion people. Of these, two-thirds will live in cities. Most will be poor. With limited resources, this uneven growth will be one of the greatest challenges faced by societies across the globe. Over the next years, city authorities, urban planners and designers, economists, and many others will have to join forces to avoid major social and economical catastrophes, working together to ensure these expanding megacities will remain habitable.

To engage this international debate, Uneven Growth brings together six interdisciplinary teams of researchers and practitioners to examine new architectural possibilities for six global metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York, and Rio de Janeiro. Following on the same model of the MoMA exhibitions Rising Currents and Foreclosed, each team will develop proposals for a specific city in a series of workshops that occur over the course of a 14-month initiative.

Uneven Growth seeks to challenge current assumptions about the relationships between formal and informal, bottom-up and top-down urban development, and to address potential changes in the roles architects and urban designers might assume vis-à-vis the increasing inequality of current urban development. The resulting proposals, which will be presented at MoMA in November 2014, will consider how emergent forms of tactical urbanism can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions, and other major issues in near-future urban contexts.

 
Uneven Growth: Tactical Urbanisms for Expanding Megacities is organized by The Museum of Modern Art, New York, in collaboration with the Museum of Applied Arts (MAK), Vienna.
 
The exhibition at MoMA is organized by Pedro Gadanho, Curator, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.
 
This is the third exhibition in the series Issues in Contemporary Architecture, supported by Andre Singer.
 
The exhibition and accompanying workshop at MoMA PS1 were made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
Nashville. 1975. USA. Directed by Robert Altman

Robert Altman Retrospective

December 03, 2014–January 15, 2015

The Roy and Niuta Titus Theaters

The Museum of Modern Art presents a complete career retrospective of the maverick film and television director Robert Altman (1925–2006), comprising 44 programs, including theatrical features, television films, cable series, and rarely seen music videos, industrial shorts, and documentary pieces. Altman’s work over four decades, beginning in the 1970s, came to define the spirit of American independent film. His essential films include the groundbreaking anti-war satire M*A*S*H (1970); the unorthodox Western McCabe and Mrs. Miller (1971); the disaffected portrait of Bicentennial America Nashville (1975); the film noir satire The Long Goodbye (1973); the avant-garde woman’s picture 3 Women (1977); the waggish Hollywood exposé The Player (1992); the adaptation of stories by Raymond Carver Short Cuts (1993); and his final work, A Prairie Home Companion (2006), a collaboration with radio personality Garrison Keiller. Distancing himself from mainstream Hollywood formulas, Altman produced films in what has been described as “anti-genres,” including revisionist takes on romantic comedy (A Perfect Couple, 1979), teen films (O.C. & Stiggs, 1984), psychological thrillers (Images, 1972), and historical dramas (Buffalo Bill and the Indians, or Sitting Bull’s History Lesson, 1976). His penchant for improvisation and the innovative use of natural, overlapping dialogue became directorial signatures, most elegantly realized in his later film Gosford Park (2001), which served as a model for writer Julian Fellowes’ successful ITV/PBS series Downton Abbey (2010–).

Altman’s passion for theater and the craft of acting is evident in the ensemble performance style that characterizes work like A Wedding (1978), the rarely screened Health (1980), and Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982), which he originated on stage. Other notable Altman films were adapted from such stage plays as David Rabe’s Streamers (1983), Sam Shepard’s Fool for Love (1985), Marsha Norman’s The Laundromat (1985), Christopher Durang’s Beyond Therapy (1987), and Harold Pinter’s The Dumb Waiter (1987). His films provided career highlights for performers such as Cher, Paul Newman, Carol Burnett, Tim Robbins, Shelley Duval, Elliott Gould, Sally Kellerman, Keith Carradine, Lindsay Lohan, Lilly Tomlin, Michael Murphy, Geraldine Chaplin, Sissy Spacek, James Caan, Susannah York, Karen Black, Robert Duval, Glenda Jackson, Rene Auberjonois, Helen Mirren, Cynthia Nixon.

Popular music, in particular jazz, folk, and country, also figure prominently in the director’s work. Among the musicians with whom he worked are Leonard Cohen, John Williams, Stomu Yamashta, Harry Nilsson and Van Dyke Parks, Joshua Redman, Johnny Mandel, Patrick Doyle, and Mark Isham.

The director’s major works for television, the pioneering cable mockumentary series Tanner ’88 (1988), created by Garry Trudeau for HBO, and its sequel Tanner on Tanner (2004), are genre-bending twists on cinéma vérité. Including cameo appearances by real-life politicians and media figures like Barack Obama, Bill Clinton, Bob Dole, Michael Dukakis, Tom Brokaw, Linda Ellerbee, Martin Scorsese, and Charlie Rose, they set new standards for broadcast humor with their riffs on U.S. presidential elections and the tropes of reality TV.

In addition to Altman’s theatrical and television films, the retrospective will be distinguished by the addition of little-known early work to a number of the programs along with the features. These include industrial films he made in Kansas City in the 1950s, and musical shorts produced for the pioneering film jukebox system ColorSonic in 1966. The series concludes with a screening of the authorized feature-length EPIX documentary on Altman by director Ron Mann and Sphinx Productions, which premieres at the Cannes Film Festival in May 2014. Finally, a number of Altman collaborators are being approached to appear at select screening events.

Organized by Ron Magliozzi, Associate Curator, Department of Film.