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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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, 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 like Casablanca (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.

The retrospective is presented in conjunction with BAM’s The Ingrid Bergman Tribute and Ingrid Bergman, a film retrospective, running September 12—28.

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

Trouble in Paradise. 1932. USA. Directed by Ernst Lubitsch

Modern Matinees: Earliest Days

September 02, 2015–September 30, 2015

The Celeste Bartos Theater

In September 2015 we introduce 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.

The Department of Film—originally called the Film Library—was founded in July 1935. The incorporation documents were signed by Trustees John Hay Whitney, A. Conger Goodyear and Nelson A. Rockefeller, establishing a collection that, in “An Outline of a Project for Founding the Film Library of The Museum of Modern Art,” library director John Abbott and curator Iris Barry vowed would be “inclusive, yet selective.”

This inaugural edition of Modern Matinees celebrates the Department of Film’s 80th anniversary with a selection of films that broadly illustrate the scope of donations the motion picture industry made to MoMA following Iris Barry’s momentous 1935 visit to Hollywood.

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

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, Antonio Dias, 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.

Pablo Picasso (Spanish, 1881–1973) Bull. Cannes, c. 1958. Plywood, tree branch, nails, and screws. 46 1/8 x 56 3/4 x 4 1/8″ (117.2 x 144.1 x 10.5 cm). The Museum of Modern Art, New York. Gift of Jacqueline Picasso in honor of the Museum’s continuous commitment to Pablo Picasso’s art. © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Picasso Sculpture

September 14, 2015–February 07, 2016

The Alfred H. Barr, Jr. Painting and Sculpture Galleries, fourth floor

Picasso Sculpture is a sweeping survey of Pablo Picasso’s profoundly innovative and influential work in three dimensions. The largest museum exhibition of Picasso’s sculptures to take place in the United States in nearly half a century, the exhibition brings together around 150 sculptures from Picasso’s entire career via loans from major public and private collections in the U.S. and abroad, with the largest selection of works coming from the Musée national Picasso–Paris. With many works on view for the first time in the U.S., the exhibition provides an opportunity to explore a rarely seen aspect of Picasso’s large and prolific career. MoMA is the sole venue.

Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status in Picasso’s oeuvre. He approached the medium with the freedom of an autodidact, ready to break all rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished their company and enjoyed recreating them in a variety of materials and situations. Picasso kept the majority of them in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his oeuvre. Following that exhibition, in 1967 MoMA presented The Sculpture of Picasso, which remains the first and last exhibition on this continent to survey the artist’s sculptures.

Picasso Sculpture will be installed throughout the entire fourth floor of MoMA’s galleries, allowing sufficient space for the sculptures to be viewed fully in the round. The exhibition will include a selection of relevant works on paper and about 30 of the remarkable photographs of Picasso’s sculptures taken by Brassaï (French, born Transylvania, 1899–1984). Picasso Sculpture is organized in chapters corresponding to the distinct periods during which the artist devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. The exhibition focuses on the artist’s lifelong engagement with this genre from the point of view of materials and processes. The aim is to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention.

 

Organized by The Museum of Modern Art in collaboration with the Musée national Picasso–Paris.

The exhibition at MoMA is made possible by Hyundai Card.

Major support is provided by Monique M. Schoen Warshaw, Marie-Josée and Henry Kravis, Robert Menschel and Janet Wallach, and Sue and Edgar Wachenheim III.
 
Generous funding is provided by Judy and John M. Angelo and by Cornelia T. Bailey.
 
Additional support is provided by the MoMA Annual Exhibition Fund.
 
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
 
Support for the publication is provided by The International Council of The Museum of Modern Art and by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.
 
Education programs for this exhibition are made possible by a partnership with Volkswagen of America.
 
MoMA Audio+ is supported by Bloomberg Philanthropies.
 
Tired Moonlight. 2014. USA. Directed by Britni West. Courtesy the filmmaker

MoMA Presents: Britni West’s Tired Moonlight

September 17, 2015–September 23, 2015

The Roy and Niuta Titus Theaters

Britni West’s directorial debut, which won the Jury Award for Narrative Feature at this year’s Slamdance Film Festival, discovers homespun poetry among the good folk of the filmmaker’s native Kalispell, Montana. Kalispell is a small town populated by lonely hearts engaging in awkward one-night stands, children with starry eyes and bruised knees, stock-car drivers, junkyard treasure hunters, and bighorn sheep. Rarely has Big Sky Country cast such a sweetly comic and tender spell. Photographed in Super-16mm by Adam Ginsberg and featuring a mostly nonprofessional cast (with the exception of indie favorite Alex Karpovsky) in semi-fictionalized roles, Tired Moonlight is a sui generis slice of contemporary naturalism. (Text adapted from New Directors/New Films 2015 program notes.)

Tired Moonlight. 2014. USA. Directed by Britni West. 76 min.
Thursday, September 17, 7:30 p.m. (Introduction and Q&A with Britni West)
Friday, September 18, 7:30 p.m.
Saturday, September 19, 5:00 p.m.
Sunday, September 20, 2:00 p.m.
Monday, September 21, 7:00 p.m.
Tuesday, September 22, 7:00 p.m.
Wednesday, September 23, 7:00 p.m.

Organized by Sophie Cavoulacos, Curatorial Assistant, Department of Film.

Nation Estate. 2013. Palestine/Denmark. Directed by Larissa Sansour.

Films from Here: Recent Views from the Arab World

September 24, 2015–September 29, 2015

The Roy and Niuta Titus Theaters

Films from Here provides a snapshot of contemporary filmmaking from the Middle East and North Africa through the lens of The Arab Fund for Arts and Culture (AFAC), an independent grant-making organization founded in 2007. While international coproductions are increasingly the norm in the industry, AFAC also posits itself as a champion of daring and impactful artistic expression in a time when limited production frameworks are exacerbated by turmoil throughout the Arab world.

The six features and two short films in this series, which were made between 2013 and 2015, emphasize a rich blend of narrative, documentary, and experimental traditions and act as a counterpoint to mass media images from the region. While these works often respond to the political and social conditions of their native countries—Lebanon, Egypt, Syria, Tunisia, Morocco, and Palestine—they approach their subjects through archival research, found footage, reenactment, satire, genre, and auteurist storytelling.

Most screenings are New York premieres, and most will feature conversations with filmmakers between September 24 and 26.

Twenty-Eight Nights and a Poem. 2015. Lebanon. Directed by Akram Zaatari.105 min.
The Valley. 2014. Lebanon. Directed by Ghassan Salhab. 135 min.
Out on the Street. 2015. Egypt. Directed by Philip Rizk and Jasmina Metwaly. 71 min. Preceded by And on Different Note. 2015. Egypt. Directed by Mohammad Shawky Hassan. 24 min.
Silvered Water, Syria Self-Portrait. 2014. Syria. Directed by Ossama Mohammed and Wiam Simav Bedirxan. 92 min.
Challat of Tunis. 2013. Tunisia. Directed by Kaouther Ben Hania. 89 min.
The Sea is Behind. 2014. Morocco. Directed by Hicham Lasri. 88 min. Preceded by Nation Estate. 2013.
Palestine. Directed by Larissa Sansour. 9 min.

Organized by Sophie Cavoulacos, Curatorial Assistant, Department of Film. Presented in association with The Arab Fund for Arts and Culture.

Support is provided by the Ford Foundation.

Back to the Future (1985)
Directed by Robert Zemeckis
Shown from left: Christopher Lloyd (as Dr. Emmett Brown), Michael J. Fox (as Marty McFly)

What Lies Beneath: The Films of Robert Zemeckis

September 29, 2015–October 18, 2015

The Roy and Niuta Titus Theaters

Robert Zemeckis, creator of some of the most iconic films of the last 40 years, including Romancing the Stone (1984), Back to the Future (1985), Forrest Gump (1994), and Cast Away (2000), will be honored with a major career retrospective at The Museum of Modern Art from September 29 through October 18, 2015. Opening on September 29 with a special screening of Zemeckis’ latest film, The Walk (2015), the retrospective will include all of Zemeckis’ feature films as well as a selection of his television work and student films. Zemeckis will participate in a post-screening Q&A on September 29 following the screening of The Walk, the PG-rated, all-audience 3D motion picture experience that retells Philippe Petit’s high wire walk between the World Trade Center towers. On October 3, MoMA will celebrate the 30th anniversary of the release of Back to the Future by screening all three Back to the Future films in succession, just in advance of October 21, 2015, the date that Marty McFly travels to the future in Back to the Future II (1989). 

Commenting on the announcement, Zemeckis said, “I am thrilled to be receiving this tremendous honor from MoMA.  It’s hard to believe that I’ve been making films for more than 30 years, leading up to now with ‘The Walk.’  I feel extraordinarily thankful that I have had the opportunity to make these films, and to have the chance to see them all, in a great theater, where audiences can enjoy them, is very gratifying.”

A profoundly personal filmmaker, Zemeckis is one of the last of the generation of American studio directors who were instinctively able to combine popular appeal and individual expression, with no sense of compromise or condescension. Beneath the cheerful, lively surfaces of his films lies a consistent focus on the isolation of the individual in modern society, a pervasive loneliness that is sometimes a choice (Contact, 1997), sometimes an accident (Cast Away, 2000), and sometimes a consequence of character (Flight, 2012). His sense of America as a playground full of bright, cheap, ultimately disappointing toys (Back to the Future), businessmen indistinguishable from confidence hucksters (Used Cars, 1980), and a land ruled not so much by opportunity and ambition, but by blind luck and empty optimism (Forrest Gump) offers a darkly satirical vision in the guise of folk wisdom. Within American letters his closest relative is probably Mark Twain—and like Twain, Zemeckis has given us one of the great allegories of race relations in this country, Who Framed Roger Rabbit (1988), with its themes of segregation, suppression, and the projection of forbidden desires.

Beginning with Back to the Future and Who Framed Roger Rabbit, Zemeckis has also been a major force for technological change in American moviemaking. Moving from complex optical effects to a full embrace of digital technology, Zemeckis has literally altered the dimensions of American movies. His 2004 film The Polar Express (2004) pioneered motion capture technology and launched the modern, digital 3-D format, and he has continued to work with subtly altered digital images in live action films such as Flight.

What Lies Beneath: The Films of Robert Zemeckis is organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA.

Broken Blossoms. 1919. USA. Directed by D.W. Griffith.

Modern Matinees: In the Beginning

October 01, 2015–October 30, 2015

The Roy and Niuta Titus Theaters & The Celeste Bartos Theater

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.

This month, Modern Matinees continues celebrating the Department of Film’s 80th anniversary by focusing on the collecting efforts of its founding curator, Iris Barry, and founding library director, John Abbott, who maintained an informal list of directors whose work they felt was essential for the study of film—and for building the Film Library’s holdings. This “wish list,” which included René Clair, G. W. Pabst, D. W. Griffith, Vsevolod Pudovkin, and others, inspired Barry to declare that “the films which these and other men have made have had an immeasurably great influence on the life and thought of the present generation.” The films Barry and Abbott targeted for the Film Library began to trickle in during the 1930s and 1940s, and the 35mm prints now in the MoMA collection were made from those early nitrate materials, many of which were donated by the filmmakers themselves.

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

Taken by Storm: The Art of Storm Thorgerson and Hipgnosis. 2012. USA. Directed by Roddy Bogawa. Courtesy the artist.

MoMA Presents: Roddy Bogawa’s Taken by Storm: The Art of Storm Thorgerson and Hipgnosis

October 02, 2015–October 08, 2015

The Roy and Niuta Titus Theaters

One of the most prolific and well-known album cover designers, Storm Thorgerson (1944–2013) cofounded the design company Hipgnosis with Aubrey “Po” Powell straight out of the Royal College of Art, and at the height of 1960s Swinging London. Thorgerson’s youthful friendship with Roger Waters, Syd Barrett, and David Gilmour led to the first Hipgnosis album sleeve, for Pink Floyd’s A Saucerful of Secrets (1968). Collaborations with hundreds of musicians followed, as Thorgerson and Hipgnosis were sought after for unconventional graphics that acted as a gateway into the ideas and music within. As Thorgerson puts it in the film, “Covers are in a different galaxy for the brain.” After Hipgnosis dissolved in the mid-eighties, Thorgerson continued working as StormStudios until his untimely passing in 2013.

Roddy Bogawa, a filmmaker shaped by the punk scene he discovered as a teen in Los Angeles, fluidly responds to his subject, and he connects the history of album cover art to filmmaking. “My feeling is that not everyone deserves the importance of a movie, but Storm’s story is one that opens up to make one think about culture and technology as well as what makes up identity.”

Taken by Storm: The Art of Storm Thorgerson and Hipgnosis. 2012. USA. Directed by Roddy Bogawa. Courtesy the artist. 95 min.
Friday, October 2, 7:00 p.m. Introduction and Discussion with Roddy Bogawa.
Saturday, October 3, 7:30 p.m.
Sunday, October 4, 2:00 p.m.
Monday, October 5, 4:00 p.m.
Tuesday, October 6, 7:00 p.m.
Wednesday, October 7, 4:00 p.m.
Thursday, October 8, 7:00 p.m.

Organized by Sally Berger, Assistant Curator, Department of Film.