Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

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Math Bass
"Newz!"
2014
gouache on canvas
44 x 42 in / 111.8 x 106.7 cm

Math Bass

May 03, 2015–August 31, 2015

2nd Floor, Project Rooms

MoMA PS1 presents the inaugural solo museum exhibition of Los Angeles-based artist Math Bass (American, b. 1981). Off the Clock includes new paintings from the Newz! series alongside an array of recent sculptures, and also debuts Bass’s latest video. The 2nd Floor Project Rooms at MoMA PS1 will be architecturally transformed to reflect the artist’s ongoing interest in the way bodies move through space, probing the porousness of formalized structures.

Bass’s work deploys a simplified visual language— bright solid colors, basic geometric shapes, and recognizable symbols— to amplify the ongoing tension between movement and stasis. Wood and steel sculptures bend, lean, and slither across the floor and walls, implying potential movements or actions and corresponding bodily positions. Groupings of colorful gouache paintings extend the network of shifting relations, depicting alligators with mouths wide open, cigarettes emitting plumes of smoke, archways, staircases, and zigzagging forms that echo their sculptural counterparts.

Math Bass is organized by Mia Locks, Curatorial Associate, MoMA PS1.

The exhibition is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
 
Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

 

Gilbert & George The Red Sculpture Album, 1975. Artist's book of eleven chromogenic color prints with text. 15 3/16 x 19 7/8" (38.5 x 50.5 cm). Art & Project/Depot VBVR Gift. © 2015 Gilbert & George

Gilbert & George: The Early Years

May 09, 2015–October 25, 2015

The Paul J. Sachs Drawing Galleries, third floor

Since the beginning of their collaboration, in the late 1960s, British sculptors Gilbert & George have aimed to become the work of art—elevating their daily activities to expressions of creativity and casting themselves as “living sculptures.” The exhibition Gilbert & George: The Early Years builds upon MoMA’s extensive holdings of the artists’ dynamic work, focusing on their career from 1969 to 1980. The first American museum show in over 30 years dedicated to this defining decade in their production, the installation features two major, large-scale “Charcoal on Paper Sculptures”: To Be With Art Is All We Ask (1970), and The Tuileries (1974). The exhibition also incorporates ephemeral materials and video works drawn from the collections of multiple Museum departments. 

Organized by David Platzker, Curator, with Tessa Ferreyros, Curatorial Assistant, Department of Drawings and Prints.

The exhibition is supported by the MoMA Annual Exhibition Fund.

Cut Piece (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965. Photograph by Minoru Niizuma. ©Minoru Niizuma. Courtesy Lenono Photo Archive, New York

Yoko Ono: One Woman Show, 1960–1971

May 17, 2015–September 07, 2015

The International Council of The Museum of Modern Art Gallery, sixth floor

The Museum of Modern Art presents its first exhibition dedicated exclusively to the work of Yoko Ono, taking as its point of departure the artist’s unofficial MoMA debut in late 1971. At that time, Ono advertised her “one woman show,” titled Museum of Modern [F]art. However, when visitors arrived at the Museum there was little evidence of her work. According to a sign outside the entrance, Ono had released flies on the Museum grounds, and the public was invited to track them as they dispersed across the city. Now, over 40 years later, Yoko Ono: One Woman Show, 1960–1971 surveys the decisive decade that led up to Ono’s unauthorized exhibition at MoMA, bringing together approximately 125 of her early objects, works on paper, installations, performances, audio recordings, and films, alongside rarely seen archival materials. A number of works invite interaction, including Painting to Be Stepped On (1960/1961) and Ono’s groundbreaking performance, Bag Piece (1964). The exhibition draws upon the 2008 acquisition of the Gilbert and Lila Silverman Fluxus Collection Gift, which added approximately 100 of Ono’s artworks and related ephemera to the Museum’s holdings. Yoko Ono: One Woman Show, 1960–1971 is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; and Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints; with Francesca Wilmott, Curatorial Assistant, Department of Drawings and Prints.

Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, BNP Paribas, and The Modern Women’s Fund.

Additional funding is provided by the MoMA Annual Exhibition Fund.

Grete Stern. Dreams No. 1. 1949. Gelatin silver print. 10 1/2 x 9" (26.6 x 22.9 cm). Latin American and Caribbean Fund through gift of Marie Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin. © 2014 Galería Jorge Mara-La Ruche

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola

May 17, 2015–October 04, 2015

The Edward Steichen Photography Galleries, third floor

Press Preview: Thursday, May 14, 2015, 9:30–11:30 a.m.

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola is the first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who established themselves on both sides of the Atlantic. In Berlin in 1927, Stern began taking private classes with Walter Peterhans, who was soon to become head of photography at the Bauhaus. A year later, in Peterhans’s studio, she met Ellen (Rosenberg) Auerbach, with whom she opened a pioneering studio specializing in portraiture and advertising. Named after their childhood nicknames, the studio ringl + pit embraced both commercial and avant-garde loyalties, creating proto-feminist works. In Buenos Aires during the same period, Coppola initiated his photographic experimentations, exploring his surroundings and contributing to the discourse on modernist practices across media in local cultural magazines. In 1929 he founded the Buenos Aires Film Club to introduce the most advanced foreign films to Argentine audiences. His early works show a burgeoning interest in new modes of photographic expression that led him to the Bauhaus in 1932, where he met Stern and they began their joint history.

Following the close of the Bauhaus and the rising threat of the Nazi powers in 1933, Stern and Coppola fled Germany. Stern arrived first in London, where her friends included activists affiliated with leftist circles and where she made her now iconic portraits of German exiles. After traveling through Europe, camera in hand, Coppola joined Stern in London, where he pursued a modernist idiom in his photographs of the fabric of the city, tinged alternately with social concern and surrealist strangeness.

In the summer of 1935, Stern and Coppola embarked for Buenos Aires where they mounted an exhibition in the offices of the avant-garde magazine Sur, announcing the arrival of modern photography in Argentina. The unique character of Buenos Aires was captured in Coppola’s photographic encounters from the city’s center to its outskirts and in Stern’s numerous portraits of the city’s intelligentsia. The exhibition ends in the early 1950s, with Stern’s forward-thinking Sueños (Dreams), a series of photomontages she contributed to the popular women’s magazine Idilio, portraying women’s dreams with urgency and surreal wit.

The exhibition is accompanied by a major publication edited by Roxana Marcoci and Sarah Meister with a selection of original texts by Stern and Coppola translated into English by Rachel Kaplan. The catalogue will consist of three essays on the artists written by the exhibition curators and scholar Jodi Roberts.

Organized by Roxana Marcoci, Senior Curator, and Sarah Meister, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art, The Modern Women’s Fund, and The David Berg Foundation.
 
Additional funding is provided by the Consulate General of the Argentine Republic in New York and by the MoMA Annual Exhibition Fund.
John Baldessari (American, born 1931). Hands Framing New York Harbor from Pier 18. 1971. Photograph by Shunk-Kender (Harry Shunk [German, 1924-2006] and János Kender [Hungarian, 1937-1983]). Gelatin silver print, 7 3/8 × 9 15/16" (18.8 × 25.2 cm). The Museum of Modern Art, New York. Gift of the Roy Lichtenstein Foundation in honor of Jennifer Winkworth and Kynaston McShine and in memory of Harry Shunk and János Kender. © 2014 John Baldessari. Photograph: Shunk-Kender © J. Paul Getty Trust. The Getty Research Institute, Los Angeles

Art on Camera: Photographs by Shunk-Kender, 1960–1971

May 17, 2015–October 04, 2015

The Robert and Joyce Menschel Photography Gallery, third floor

In 2013, The Museum of Modern Art acquired over 600 works from the Shunk-Kender Photography Collection as a gift of the Roy Lichtenstein Foundation. The donation established a consortium across five institutions—the Getty Research Institute, the National Gallery of Art, Centre Pompidou, Tate, and MoMA—that together received the full archive of photographic material by Harry Shunk (German, 1924–2006) and János Kender (Hungarian, 1937–2009), who worked collaboratively under the name Shunk-Kender from the late 1950s to the early 1970s.

This exhibition presents a selection of remarkable photographs by Shunk-Kender from the Museum’s collection, including five photographs of Yves Klein’s landmark work Leap into the Void (1960)—the iconic image that was published in Klein’s Dimanche-Le Journal d’un seul jour on November 27, 1960 (and distributed throughout Paris), along with four additional, and little-known, distinct views of the performance. Also featured are numerous photographs of Yayoi Kusama’s astonishing New York performances of 1968, including Mirror Performance—an ecstatic gathering of costumed, painted, and nude bodies within one of Kusama’s mirrored chambers—and multiple iterations of The Anatomic Explosion, in which dancers stripped and posed in front of the New York Stock Exchange and other Wall Street–area locations in an unconventional artistic protest against the Vietnam War.

A major portion of the exhibition is devoted to photographs from Pier 18. In 1971, a series of ephemeral artworks were executed at a derelict Hudson River pier in New York. Conceived and organized by Willoughby Sharp, the actions, instructions, and performances of Pier 18 were enacted in February and March of 1971 by 27 (all male) artists, including Vito Acconci, John Baldessari, Jan Dibbets, Gordon Matta-Clark, Mario Merz, and Allen Ruppersberg, among others. Sharp invited Shunk-Kender to collaborate with each artist to photograph the individual projects. From the start, Sharp conceived of the project as an installation, in which Shunk-Kender’s photographs would be the physical manifestation of the work experienced by an audience. Indeed, it was through Projects: Pier 18 (June 18–August 2, 1971)—an exhibition at MoMA that was part of the Museum’s experimental Projects series—that the public ultimately discovered and engaged with the Pier 18 artworks.

Without question, the roles played by the two photographers varied from one project to the next. On the pier, Baldessari used his hands to mimic the view of their camera, emphasizing the framing choices inherent in the composition. Merz, on the other hand, suggested to the photographers that they select and record images entirely of their own preference. The resulting Pier 18 pictures capture the chaotic energy, systematic processes, and playful wit of the era’s performance and Conceptual art in two-dimensional black and white.

Organized by Lucy Gallun, Assistant Curator, Department of Photography

The exhibition is supported by the MoMA Annual Exhibition Fund.

The Blood of Jesus. 1941. USA. Directed by Spencer Williams.

A Road Three Hundred Years Long: Cinema and the Great Migration

June 01, 2015–June 12, 2015

The Roy and Niuta Titus Theaters

The Department of Film’s companion series to the exhibition One-Way Ticket: Jacob Lawrence’s Great Migration Series and Other Visions of the Great Movement North features the world premiere of a new MoMA commission: Thom Andersen’s Juke: Passages from the Films of Spencer Williams (2015). In Juke, Andersen reconsiders the work of Williams, the pioneering African American writer-director whose central dramatic theme in such films as The Blood of Jesus (1941) and Go Down, Death! (1944) was the battle between the sacred and the profane, the church and the juke joint.

Accompanying the premiere of Juke is a concise selection of fiction films by independent African American writer-directors, including Eloyce and James Gist, Oscar Micheaux, and Spencer Williams; and nonfiction films of the 1920s-1940s, including newsreels, amateur films, ethnographic studies, home movies, and New Deal social documentaries by William D. Alexander, Zora Neale Hurston, Pare Lorentz, Edgar Ulmer and others. For black audiences during the Great Migration, these moving images stood in stark contrast to their lives in the South, offering the promise of deliverance from impoverishment, injustice, and violence—the promise, though perhaps not the fulfillment—and visions of a new black urban modernity.

The legacy of the Migration is reflected in more contemporary films like Charles Burnett’s To Sleep with Anger (1990), Julie Dash’s Daughters of the Dust (1991), and Kevin Jerome Everson’s Company Line (2009). Guest presenters include Hilton Als, Thom Andersen, Lynne Sachs, and Jacqueline Najuma Stewart.            

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art; and Thomas Beard, independent curator; with Candace Ming, research assistant. Special thanks to Martin L. Johnson and Dan Streible.

Yvonne Rainer. Assisted Living: Do you have any money? 2013. Performers, from left: Patricia Hoffbauer, Emmanuèlle Phuon, Yvonne Rainer, Pat Catterson, Keith Sabado, and Emily Coates. Photo by Ian Douglas

Yvonne Rainer: The Concept of Dust, or How do you look when there’s nothing left to move? (Moving On)

June 09, 2015–June 14, 2015

 

June 9–108:00 p.m. & June 13–148:00 p.m.

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s The Concept of Dust, or How do you look when there’s nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. Language—here running parallel to the music (Gavin Bryars’s “The Sinking of the Titanic”) and dance movements, at times interrupting the latter—continues to be an important coordinate in Rainer’s work. All three elements—language, music, and movement—combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

A founding member of New York’s pioneering Judson Dance Theater, Rainer is widely regarded as a foundational figure of American art and avant-garde dance since the 1960s. Her boundary-breaking choreography, such as Trio A from The Mind Is a Muscle (1966–68), has been performed in numerous forms and settings by both dancers and non-dancers. By the late 1960s, Rainer developed a form known as “performance demonstrations” or “composites,” which combine fragments of choreography with spoken monologues, projections, films, and sounds. In the 1970s, she turned her attention fully to filmmaking, directing Lives of Performers (1972), Journeys from Berlin/1971 (1980), and Privilege(1990). In 2000, Rainer returned to dance and choreography.

Organized by Ana Janevski, Associate Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.

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

Yvonne Rainer: The Concept of Dust, or How do you look when there’s nothing left to move? is co-commissioned by Performa, New York, and The Getty, Los Angeles. Organized by The Museum of Modern Art.

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 27, 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 arranged by composer, singer, and violinist Marques Toliver. 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.

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, Department of Architecture and Design, The Museum of Modern Art