Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

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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.

Forty Shades of Blue. 2005. USA. Directed by Ira Sachs. Courtesy Charlie Guidance Productions.

Thank You for Being Honest: The Films of Ira Sachs

July 22, 2016–August 03, 2016

The Roy and Niuta Titus Theaters

This mid-career retrospective of New York–based filmmaker Ira Sachs showcases his seven feature films and five shorts. Sachs’s intimate work—ranging from experimental film to dramas and comedies—looks at relationships, love, sexuality, gay identity, family life, social issues, and city lifestyles with subtlety and nuance, depicting people’s day-to-day struggles with isolation, individuality, and learning how to communicate in wider circles.

The series opens and closes with a pair of Sachs’s Sundance entries. Forty Shades of Blue, which won the festival’s 2005 U.S. Dramatic Grand Jury Prize, is the emotionally gripping story of an ageing Memphis record producer, hard drinker, and cad and his complicated relationships with his Russian girlfriend and adult stepson Michael. His most recent film, Little Men (a line from which inspired the title of this series), depicts how the lives of two Brooklyn families are impacted when one inherits a brownstone containing  storefront rented by the other. Their two sons become fast friends, but when tensions erupt among the adults over a rent hike, the boys’ friendship also suffers. Writer Bilge Ebiri, in his review of Little Men, captured the essential qualities of Sachs’s filmmaking: “If Martin Scorsese was the quintessential auteur of New York in the 1970s and ’80s…and Spike Lee that of New York in the late ’80s and ’90s…then Ira Sachs is gradually becoming the quintessential auteur of today’s New York—the one of class inequality, and of relationships transformed by the changing city around them.”

Organized by the Department of Film.

Sans lendemain (There’s No Tomorrow). 1940. France. Directed by Max Ophuls

Gaumont: Cinéma pour tout le monde

July 27, 2016–September 07, 2016

The Roy and Niuta Titus Theaters


Organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, Dave Kehr, Adjunct Curator, Joshua Siegel, Curator, and Sally Berger, Assistant Curator, Department of Film.

Special thanks to Sidonie Dumas, Ariane Toscan du Plantier, and Nicolas Seydoux.

Teiji Furuhashi (Japanese, 1960–1995). Lovers. 1994. Computer controlled, five-channel laser disc/sound installation with five projectors, two sound systems, two slide projectors, and slides (color, sound). Overall 32' 10" x 32' 10" (1000 x 1000 cm). The Museum of Modern Art, New York. Gift of Canon Inc., 1998. © 2016 Dumb Type.

Teiji Furuhashi: Lovers

July 30, 2016–February 12, 2017

Contemporary Galleries, second floor

Beginning in June 2016, The Museum of Modern Art is reinstalling its second-floor contemporary galleries with three large-scale, single-work installations by contemporary artists Teiji Furuhashi, Nan Goldin, and Tony Oursler. Presented in distinct galleries, the featured works on view are Furuhashi’s Lovers (1994), Goldin’s The Ballad of Sexual Dependency (1979-2004), and Oursler’s Imponderable (2015–16). Immersive in their construction and generous in size, the three large-scale galleries provide MoMA’s visitors with a unique opportunity to have deep encounters with these monumental works.

Lovers is an immersive, room-sized multimedia installation by Japanese artist Teiji Furuhashi (1960–1995). Life-sized images of the artist and other members of the Kyoto-based artist collective Dumb Type are projected onto the walls of a darkened room from a tower of computer-controlled video and slide projectors at its center. The figures move like specters around the perimeter of the space, in a looped choreographic sequence made variable by a visitor-activated sensor, which intervenes to restart one of the projections when triggered. Confined to their autonomous projections, these eponymous “lovers” overlap at moments within the sequence, whether running past each other or pausing in a gesture of embrace, yet their bodies never make contact. Made just one year before Furuhashi’s death from an AIDS-related illness, Lovers speaks to what the artist has described as “the theme of contemporary love in an ultra-romantic way.” Presented for the first time since its inaugural exhibition at MoMA in 1995, the installation showcases the results of an extensive conservation effort recently completed by the Museum’s media conservators. The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Cara Manes, Assistant Curator, Department of Painting and Sculpture, MoMA. 

Allianz is a partner of contemporary art at MoMA.

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.


Modern Matinees: B Is for Bogart

September 01, 2016–October 28, 2016

The Roy and Niuta Titus Theaters

B Is for Bogart presents a selection of films from MoMA’s collection featuring the renowned American actor Humphrey Bogart (1899–1957). Wide ranging in theme and narrative, this chronological selection captures the evolution of the nascent Bogart and his rise to key performer in the Hollywood studio system. These films underscore the canny mutability of both Bogart’s acting style and his choices of starring vehicles and directors.

Primarily employed by Warner Bros., Bogart began his career in two short films, The Dancing Town (1928) and the Vitaphone short Broadway’s Like That (1929). At Fox, Bogart garnered his first key role in John Ford’s Up the River (1930), costarring with Spencer Tracy and Claire Luce. The next few years saw Bogart commuting coast to coast, trying to build a movie career while paying the bills with Broadway stage work. Bogart himself acknowledged that his acting persona and methodology changed following his 1935 Broadway performance in the Robert Sherwood drama The Petrified Forest (which he later reprised onscreen in Archie L. Mayo’s adaptation); he was so accomplished as the rough Duke Mantee that he spent many years at Warner Bros. playing second-billed tough guys, gangsters, and thieves. This narrow view of Bogart’s potential range by studio bosses caused no end of dissatisfaction for the ambitious actor. When High Sierra (1941) was in pre-production at Warner Bros., the role of Roy Earle was initially offered to first-stringers Paul Muni and George Raft, but both declined. Bogart’s friendship with John Huston, who wrote the High Sierra screenplay, put him in good stead with director Raoul Walsh, and Bogart landed the role. Though he was still playing a tough, his career shifted to an A-list trajectory. Bogart eventually won an Oscar for his portrayal of the brassy Charlie Allnut in The African Queen (1951), the culmination of his long-time professional relationship with John Huston.

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


From Doodles to Pixels

September 07, 2016–September 15, 2016

The Roy and Niuta Titus Theaters

This major retrospective of the little-known art and industry of Spanish animation comprises eight programs featuring historic work from 1908 through the end of the dictatorship, in 1975; commercial animation created in the shadow of Hollywood; Europe’s first animated color feature, Garbancito de la Mancha (1945); and internationally celebrated 21st-century work inspired by personal cinema, music videos, and the graphic novel. The program titles are Doodles; Under the Yoke; Modern Times; Macián, the Maestro; The Artist’s Trace; Humor and Carnage; Destino Hollywood; and Next Generation.

Organized by Ron Magliozzi, Associate Curator, Department of Film, this series is the result of new scholarship and restoration initiatives organized by the CCCB – Contemporary Culture Centre of Barcelona, with AC/E – Acción Cultual Española.

Berlin Alexanderplatz (1980 Germany)
Directed by Rainer Werner Fassbinder
Shown: Günter Lamprecht, Barbara Sukowa

MoMA Presents: Berlin Alexanderplatz

September 13, 2016–September 18, 2016

The Roy and Niuta Titus Theaters

This is a reprise presentation of MoMA’s restored 35mm print of Rainer Werner Fassbinder’s Berlin Alexanderplatz—called the “Mount Everest of modern cinema” by film critic Andrew Sarris—which was last screened at the Museum in 2006. Laurence Kardish, former senior curator in the Department of Film, described the film as “a breathtaking achievement in a career filled with remarkable works…shot, edited, and scored over six furious months with one hundred principal and supporting actors, resulting in a film more than 15 hours long, divided into 13 parts and an epilogue.” Produced for German television in 1980, the film was released theatrically in New York in 1983.

Based on Alfred Döblin’s epic novel about the declining days of the Weimar Republic, Berlin Alexanderplatz traces the fall of Franz Biberkopf, an urban Everyman, as he slogs through a debased society compromised by unemployment, violence, anomie, and promises of social order proclaimed by contradictory political parties. Fassbinder adapted Döblin’s complex narrative for the screen and also composed an original two-hour epilogue in which Biberkopf ventures through a tempestuous dreamscape, metaphorically emerging from his and Germany’s experiences.

Under the guidance of Xavier Schwarzenberger and Juliane Lorenz (Berlin Alexanderplatz‘s cameraman and editor, respectively), the original 16mm negative was digitally remastered and transferred to 35mm with a 1:1.37 aspect ratio and new English subtitles.

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

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.

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.