Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

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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 stereo 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. Courtesy the artist and Marian Goodman Gallery, New York and Paris

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.
The Great Flood. 2013. USA. Directed by Bill Morrison. Courtesy of Bill Morrison.

Bill Morrison: Compositions

October 14, 2014–November 21, 2014

The Roy and Niuta Titus Theaters

Filmmaker Bill Morrison, who has spent more than two decades sourcing, and sometimes salvaging, archival footage in various states of decay and integrating them into his highly original film works, will have a mid-career retrospective at The Museum of Modern Art. Bill Morrison: Compositions, a comprehensive view of Morrison’s robust and diverse filmography, features more than two dozen shorts and feature films, including three special screenings with live musical performances: Spark of Being (2010), a retelling of the Frankenstein story, with composer Dave Douglas & Keystone; cellist Maya Beiser performing live with a program of Morrison’s short films, including Just Ancient Loops (2012) and All Vows (2013); and a closing-night presentation of Morrison’s epic retelling of the Mississippi River flood of 1927 in the feature-length film The Great Flood (2013), with a searing score composed by Bill Frisell, and featuring musicians Frisell, Ron Miles, Tony Scherr, and Kenny Wollesen. Morrison’s work–more than 30 projects to date–has been presented in museums, theaters, galleries, and concert halls around the world. The exhibition includes two world premieres: Back to the Soil (2014), which revisits footage shot by Morrison’s grandfather, James H. Becker, of Jewish farming colonies in Eastern Europe, and Beyond Zero: 1914-1918 (2014), a composite film. A monthly changing selection of single-channel work spanning Morrison’s career will be on view in the Museum’s Lauder Lobby from mid-September through March 2015. Bill Morrison: Compositions is organized by Anne Morra, Associate Curator, and Sally Berger, Assistant Curator, Department of Film.

Morrison uses the physical decomposition of 35mm nitrate film as the catalyst for his existential narratives, creating work that investigates the tension between archives and memory. His 1996 film The Film of Her, for example, while not his first to use found footage, was the first to concern itself with the direct metaphor of the fragility of motion picture film, using its inherent predisposition towards chemical decomposition to express the ephemeral nature of love. Morrison’s work is concerned with creating original narratives in abstract form as well as retelling “lost” narratives, such as his exploration of Britain’s former colliery culture in The Miner’s Hymns from 2011. 

Prints courtesy of Bill Morrison and Icarus Films. 

The Vanquishing of the Witch Baba Yaga. 2013. USA/Russia/ Ukraine/Poland. Directed by Jessica Oreck. Courtesy Argot Pictures

MoMA Presents: Jessica Oreck’s The Vanquishing of the Witch Baba Yaga

October 15, 2014–October 21, 2014

The Roy and Niuta Titus Theaters

Jessica Oreck’s strange and beguiling film, one of the highlights of MoMA’s New Directors/New Films 2014, combines Eastern European storybook animation with documentary and fiction elements to recount the Slavic fable of the Witch Baba Yaga, a frightful character living in a woodland hut perched on chicken legs. In Baba Yaga, as with her previous documentary hybrids, Aatsinki: The Story of Arctic Cowboys and Beetle Queen Conquers Tokyo, Oreck is fascinated by the rituals, superstitions, and fables of diverse subcultures. In the case of Baba Yaga, Oreck focuses especially on the contemporary relevance of childhood stories to war and social upheaval; memory and trauma; and our relationship with the natural world, the threat we pose to that world, and the threat that world poses to us.

Organized by Joshua Siegel, Curator, Department of Film.

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.

The Iron Mask. 1929. USA. Directed by Allan Dwan

To Save and Project: The 12th MoMA International Festival of Film Preservation

October 24, 2014–November 22, 2014

The Roy and Niuta Titus Theaters

Each fall, MoMA’s annual festival of newly preserved films, To Save and Project, brings together masterworks and rediscoveries from film archives, studios, and foundations from around the world. Many of the films in the festival will be receiving their first American screening since their original release; others will be shown in meticulously restored editions that more closely approximate the original experience of the film; a few will even be publicly screened for the first time ever in New York—including work by Orson Welles (sequences filmed but never used for the 1938 Mercury Theater production Too Much Johnson).

The opening-night film is the North American premiere of a new MoMA restoration: Allan Dwan’s 1929 masterpiece The Iron Mask, a rousingly entertaining swashbuckler starring Douglas Fairbanks that is often considered, as Dwan himself called it, “the last of the big silents.” MoMA’s version, however, contains the entire original Vitaphone soundtrack—with music, sound effects, and three spoken sequences—which will be heard here for the first time since the film’s original roadshow presentation.

These titles will join dozens of others from archives both public and private to create a four-week overview of the tremendously exciting work that is being done around the world to reclaim endangered films and rediscover forgotten treasures. For more information and a complete screening schedule, please visit MoMA.org/film.

Organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, Department of Film.

Winter Sleep.  2014. Turkey. Directed by Nuri Bilge Ceylan.

Filmmaker in Focus: Nuri Bilge Ceylan

October 29, 2014–November 05, 2014

The Roy and Niuta Titus Theaters

With only seven features and one short film to his credit, the Turkish filmmaker Nuri Bilge Ceylan has become one of the most respected names in world cinema, a contemporary master with an attentive, concentrated, slow-burn style all his own. Using a mix of professional and amateur performers (sometimes including his wife and writing partner, Ebru Ceylan), the filmmaker constructs a world of both breathtaking physical immediacy and philosophical distance. An accomplished photographer, Ceylan seems to coax his films organically from their settings, using mood, widescreen framing, and a contemplative pace to draw the viewer into his world—which can be as lonely as it is beautiful. All films are directed by Nuri Bilge Ceylan and in Turkish with English subtitles.

Organized by Jytte Jensen, Curator, and Dave Kehr, Adjunct Curator, Department of Film.

Prints courtesy of Adopt Films, Cinema Guild, and Zeitgeist Films.