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. 

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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 28, 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 presents her new multipart commission Promise Machine. 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 advance of her June performances, Jemison will bring together members of Harlem-based community organizations as well as artists, writers, activists, and others for a Utopia Club reading group at MoMA, where they will discuss black American experimental communities in the 19th and 20th centuries. 

The new musical performances in the Museum galleries will be inspired by conversations with Harlem-based community organizations, and will address specific works on view in MoMA’s collection, including selections from Jacob Lawrence’s Migration Series. The performances feature an original libretto by the artist and a score composed collaboratively by the artist and a composer.  Beginning in the 5th Floor Painting and Sculpture Permanent Collection galleries, the performers will move in a processional down through the 4th floor galleries and into the Jacob Lawrence exhibition itself.

Thursday, June 25, 2015, 1:00 p.m.
Thursday, June 25, 2015, 4:00 p.m.
Saturday, June 27, 2015, 1:00 p.m.
Saturday, June 27, 2015, 4:00 p.m.
Sunday, June 28, 2015, 1:00 p.m.
Sunday, June 28, 2015, 4:00 p.m.

 

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

Raimund Abraham. The House without Rooms. Project, 1974. Elevation and plan. Colored pencil, graphite, and cut-and-pasted printed paper on paper, 34 5/8 x 38 1/8" (87.9 x 96.8 cm). The Museum of Modern Art, New York. Gift of The Howard Gilman Foundation. © 2015 Raimund Abraham

Endless House: Intersections of Art and Architecture

June 27, 2015–March 06, 2016

The Robert Menschel Architecture and Design Gallery, third floor

Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways.

The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines.

Organized by Pedro Gadanho, Curator, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design, MoMA

Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America.

Warm Up 2014 Photo: Charles Roussel

Warm Up 2015

June 27, 2015–September 05, 2015

 

MoMA PS1 presents Warm Up 2015, beginning June 27 and taking place every Saturday this summer through September 5. A New York summer staple now in its 18th year, MoMA PS1’s highly anticipated Warm Up outdoor music series continues its tradition of introducing audiences to the best in experimental live music, sound, and DJs—both local and international—across a range of genres. Warm Up supports both established and emerging artists by creating a platform that allows for experimentation and providing a space for collaboration, new material, and side projects.

Warm Up is held in MoMA PS1’s courtyard, which this year will feature an installation by New York/Madrid architecture firm Andrés Jaque, Office for Political Innovation, COSMO, the winning design of the 16th annual Young Architects Program (YAP). M. Wells Dinette will be open for cocktails and will be serving grab-and-go summer fare in the courtyard for Warm Up Saturdays.

The series is programmed by a curatorial committee selected by the museum to represent a wide spectrum of expertise and experience in music, sound, and the performing arts, resulting in a unique lineup of artists that explore, interpret, and combine genres. Performers are selected by Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art; and organized by Margaret Knowles, Curatorial Assistant and Warm Up Producer, MoMA PS1. The Warm Up 2015 curatorial committee includes Dean Bein, Head of True Panther Sounds; Jonathan Galkin, Co-Founder of DFA Records; Eliza Ryan; Brandon Stosuy, Senior Editor for Pitchfork; Imogene Strauss, of Cool Managers; Matt Werth, Label Head of RVNG Intl.

Warm Up will feature rotating stage environments by young, emerging design talent —including 69, Chen Chen & Kai Williams, Fort Makers, Fort Standard, The Principals, and Sit and Read—organized by Jocelyn Miller, Curatorial Associate, MoMA PS1.

Special thanks to Union Beer Distributors/Great Brewers and Ace Hotel New York.

La Noche Avanza (Night Falls). 1952. Mexico. Directed by Roberto Gavaldón. Courtesy Filmoteca UNAM

Mexico at Midnight: Film Noir from Mexican Cinema’s Golden Age

July 23, 2015–July 29, 2015

The Roy and Niuta Titus Theaters

Of all the great national, popular cinemas that prospered in the 20th century, the one that remains least well known to American audiences is, paradoxically, the one that originated closest to Hollywood. The Mexican cinema’s época de oro extended from the mid-1930s to the early 1960s, when Mexican films dominated Latin America and made significant inroads into Spanish-speaking communities in the U.S.

At its height, in the decade during and following World War II, Mexican popular filmmaking achieved a level of quality fully comparable to Hollywood, with a robust star system (with such magnetic performers as Dolores de Rio, Pedro Armendáriz, Maria Felix, and Arturo de Cordova), world-class directors like Roberto Gavaldón, Julio Bracho, and Emilio Fernandez, cinematographers such as Gabriel Figueroa and Alex Phillips, and the superb technical facilities of the Churubusco Studios.

With the support of Fundación Televisa, MoMA presents a sampling of one of Mexico’s richest genres, the ciné negro or film noir. As the critic Rafael Aviña has written, these films present the culture of the Miguel Alemán administration (1946–52), a time when Mexico was trying to trace a path to modernity by “favoring foreign investment, industrial development and the exploitation of natural resources, which led to a certain sense of civil disorder and an explosion of the senses.” Even seasoned noir fans will be startled and thrilled by these selections, which treat sexual passion and murderous jealousy with a vigor unimaginable in contemporary Hollywood productions.

Organized by Dave Kehr, Adjunct Curator, with Clay Farland, Department Assistant, Department of Film.

Special thanks to Mauricio Maillé, Fundación Televisa; Daniela Michel, Festival Internacional de Cine de Morelia; and Guadalupe Ferrer, José Manuel García, Filmoteca UNAM.

Gun Crazy. 1950. USA. Directed by Joseph H. Lewis. Courtesy The Museum of Modern Art Film Stills Archive

Scorsese Screens

August 05, 2015–September 06, 2015

The Roy and Niuta Titus Theaters

In tandem with the Scorsese Collects gallery exhibition, this series illuminates the conjunction of graphic and cinematic influences that shaped Martin Scorsese’s aesthetic. Thirty-three features from Britain, France, and the United States by his frequently acknowledged icons Michael Powell, Max Ophuls, and Jacques Tourneur are presented alongside noir, horror, comedy, adventure, and lesser-known B pictures by filmmakers such as Joseph H. Lewis, Stanley Kubrick, Jean Renoir, Preston Sturges, and Scorsese himself. All films are in 35mm unless otherwise indicated.

Organized by Dave Kehr, Adjunct Curator, and Ron Magliozzi, Associate Curator, with Sophie Cavoulacos, Curatorial Assistant, Department of Film.

Prints courtesy Twentieth Century Fox, Academy Film Archive, BFI, Cinématheque francaise, Institut Francaise, Janus Films, The Library of Congress, Martin Scorsese, NBCUniversal, Rialto Pictures, UCLA Film & Television Archive, and Warner Bros.

The Iron Ministry. 2014. USA/China. Directed by J.P. Sniadecki. Courtesy Icarus Films

MoMA Presents: J.P. Sniadecki’s The Iron Ministry

August 21, 2015–August 27, 2015

The Roy and Niuta Titus Theaters

J.P. Sniadecki filmed his evocative documentary The Iron Ministry over a period of three years while riding across China’s elaborate railway network. A veteran of Harvard’s Sensory Ethnography Lab, the filmmaker is attuned to the subtle audiovisual details of the train’s material environment—the squeals of locomotion, a power cable slicing across the sky—yet he also maintains a human scale. The movie’s agile, searching camera observes workers and passengers in the cramped economy cabins as they share a joke over cigarettes, discuss the promise and limits of the “Chinese Dream,” or sleep wherever space allows, sometimes in contorted angles of repose. The confines of the film’s setting may be narrow, but its implications—aesthetic, political, and otherwise—are expansive.

The Iron Ministry. 2014. USA/China. Directed by J.P. Sniadecki. Courtesy Icarus Films. In Mandarin; English subtitles. 82 min.
Friday, August 21, 7:00 p.m. (Introduction and Q&A with Sniadecki)
Saturday, August 22, 4:00 p.m.
Sunday, August 23, 2:00 p.m.
Monday, August 24, 7:00 p.m.
Tuesday, August 25, 7:00 p.m.
Wednesday, August 26, 7:00 p.m.
Thursday, August 27, 7:00 p.m.

Organized by Thomas Beard, independent curator.

Stromboli. 1950. Italy/USA. Directed by Roberto Rossellini. Courtesy The Museum of Modern Art Film Stills Archive

Ingrid Bergman: A Centennial Celebration

August 29, 2015–September 10, 2015

The Roy and Niuta Titus Theaters

August 29 marks the 100th anniversary of Ingrid Bergman’s birth, an occasion MoMA will observe with a selection of films from her 50-year career—as chosen and, where possible, introduced by her children Pia Lindström, Roberto Rossellini, Jr., Isabella Rossellini, and Ingrid Rossellini.

The emotional transparency of Bergman’s performing style blended with her great natural beauty to create a different kind of movie star. When she arrived in America, in 1939, to star in a remake of her 1936 Swedish film Intermezzo, the producer David O. Selznick recognized in the 24-year-old a new freshness and accessibility—a radical break with the artificially elaborate notions of “glamour” that had been synonymous with female stars in Hollywood since the late silent era. In films likeCasablanca (1942), Gaslight (1944) and Notorious (1946), Bergman seemed to speak directly to her public, cutting through melodramatic conventions.

Bergman’s search for authenticity eventually led to Italy, where she made five features with the pioneering Neorealist director Roberto Rossellini, a body of work now recognized as one of the foundations of modern cinema. After her relationship with Rossellini ended, Bergman continued to work with some of the medium’s most creative filmmakers. Her last theatrical film, Ingmar Bergman’s Autumn Sonata (1978), brought her back to her native Sweden.

Organized by Dave Kehr, Adjunct Curator, and Sophie Cavoulacos, Curatorial Assistant, Department of Film, in memory of Jytte Jensen.

Mangelos (Dimitrije Bašicevic). Manifest de la relation. 1976. Synthetic polymer paint on globe made of plastic and metal. © 2015 Estate of Mangelos (Dimitrije Bašicevic).

Transmissions: Art in Eastern Europe and Latin America, 1960–1980

September 05, 2015–January 03, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Transmissions: Art in Eastern Europe and Latin America, 1960–1980 focuses on the parallels and connections among an international scene of artists working in—and in reference to—Latin America and Eastern Europe during the 1960s and 1970s. The radical experimentation, expansion, and dissemination of ideas that marked the cultural production of these decades (which flanked the widespread student protests of 1968) challenge established art-historical narratives in the West. Artists from Prague to Mexico City developed alternative and ever-expanding networks of distribution and organization, via Paris, Vienna, and Venice, to circumvent the borders established after World War II, local forms of state and military repression, and Western accounts of artistic mastery and individualism. One major transformation across Latin American and Eastern European art scenes was the embrace of institutional critique and an emphasis on the creation of art outside a market context.

The exhibition brings together landmark works from MoMA’s collection by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Dóra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz González, Lea Lublin, and Ana Mendieta. Particular attention is paid to the group of Argentine artists clustered around the influential Instituto Torcuato Di Tella, including Oscar Bony, David Lamelas, and Marta Minujín, who confronted the aesthetic and political implications of mass media communication—including film, television, and the telex—during a vibrant, experimental period of technological innovation and political tension.

Featuring series of works and major installations, several of which are on view for the first time, Transmissions: Art in Eastern Europe and Latin America, 1960–1980 highlights multiple points of contact, often initiated and sustained through collective actions and personal exchanges between artists. The exhibition suggests possible counter-geographies, realignments, alternative models of solidarity, and new ways of thinking about art produced internationally in relation to the frameworks dictated by the Cold War.

Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art; Roxana Marcoci, Senior Curator, Department of Photography; and Christian Rattemeyer, Associate Curator, Department of Drawings and Prints; with Giampaolo Bianconi and Martha Joseph, Curatorial Assistants, Department of Media and Performance Art.

Support for the exhibition is provided by the MoMA Annual Exhibition Fund.

Banketten (The Banquet). 1948. Sweden. Directed by Hasse Ekman. Courtesy Swedish Film Institute

Hasse Ekman: The Other Swede in the Room

September 09, 2015–September 18, 2015

The Roy and Niuta Titus Theaters

A director, writer, and actor of major gifts, Hasse Ekman would today be rightly remembered as one of Sweden’s greatest filmmakers were it not for the overshadowing presence in his life of Ingmar Bergman, Ekman’s contemporary, occasional collaborator, and constant competitor. The son of the legendary Swedish star Gösta Ekman (with whom he appears, opposite Ingrid Bergman, in Gustaf Molander’s 1936 Intermezzo), Hasse Ekman apprenticed with Ingmar Bergman at Lorens Marmstedt’s production company, Terrafilm, ably attacking a range of genres from war films to screwball comedies. After portraying a bitterly cynical director in Bergman’s 1949 Prison, Ekman offered an answer film of sorts in The Girl from the Third Row, countering Bergman’s hellish vision with a message of hope and humor. Yet Ekman was no cockeyed optimist: his best known film, the 1950 Girl with Hyacinths, is a strikingly modern psychological drama that Bergman himself recognized as “an absolute masterpiece.”

On this, the 100th anniversary of Ekman’s birth (September 10, 1915), MoMA presents a series aimed at bolstering this neglected master’s reputation in America. Programmed with the Swedish film scholar Fredrik Gustafsson, the series offers 10 films from Ekman’s long and diverse career, many of them being presented for the first time in the U.S. with English subtitles.

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA. Special thanks to Jon Wengstrom and Johan Ericsson, Svenska Filminstitutet; and Charlotta Bjuvman, Telepicture Marketing, Ltd.