Advance Schedule of Exhibitions for MoMA and MoMA PS1

Modern Mondays

Ongoing

The Roy and Niuta Titus Theater 2

Building upon the Museum’s eight-decade tradition of fostering cinematic innovation and experimentation, Modern Mondays invites artists working in the expanded field of film, video, performance, and sound to present their work in an intimate setting. A platform for both emerging artists and pioneering figures who have changed the way we think about the moving image, this series premieres new projects and rediscovers landmark works. Considering avant-garde narratives from the 21st century, the program also celebrates legacies of influential historical figures in a contemporary context. Each evening presents a unique opportunity for audiences to engage in dialogue with artists, along with curators and other guests.

Organized by the Department of Film and the Department of Media and Performance Art. 

 

Mon, May 7, 6:30 p.m., Theater 2

Tiona Nekkia McClodden is a visual artist, filmmaker, and curator whose work, rooted in “narrative biomythography” (the weaving of the personal, historical and mythic), examines collective histories of black and queer cultural production and life.

Marking the premiere of McClodden’s short film Dom Drop(2017), this program pairs the film with a selection of recent video projects that explore themes of identity, power, rage, queerness, and BDSM through meditations on the legacy of two black, gay poets, Brad Johnson and Essex Hemphill, who died of AIDS-related complications nearly 20 years apart. The screening is followed by a discussion with Tiona Nekkia McClodden and Vivian Crockett, centering on McClodden’s recent personal and biographical projects and highlighting a new turn toward the examination and activation of social spaces.

An Evening with Camille Henrot
Mon, May 14, 7:00 p.m., Theater 2

Featuring references that range from Japanese flower arrangements and Baptist traditions in the South Pacific to James Joyce’s Ulysses, Camille Henrot’s work aims to destabilize the anthropological and historical systems that help structure the density of human knowledge in the connected age of the Internet. In her most recent solo presentation at Palais de Tokyo, she investigated social and historical constructions around the temporal units of the week. Saturday, a new 3-D film produced for the occasion, follows the activities of the Seventh-Day Adventist Church, an evangelical Christian denomination that observes the Sabbath on Saturdays. Shot in New York, Washington, DC, Tahiti, and Tonga, the film situates the pursuit of hope for a better life within a broader investigation of religion and human ritual. This event marks the New York premiere of Saturday. Following the screening, Camille Henrot will be joined in conversation by Stuart Comer, chief curator of MoMA’s Department of Media and Performance Art.

Mon, May 21, 7:00 p.m., Theater 2
 
Artist Omar Mismar will show recent works that address the promises and pitfalls of translation—linguistic, technological, political, and philosophical—in conversation with writer and translator Omar Berrada and art historian Anneka Lenssen.
 
An Evening with Anand Patwardhan
Mon, Jun 4, 7:00 p.m., Theater 2
 
In conjunction with a weeklong MoMA run of his most recent film, Jai Bhim Comrade (2011), award-winning Indian filmmaker Anand Patwardhan presents clips and discusses the peculiar challenges confronting documentary cinema today.
 
An Evening with Frances Stark
Mon, Jun 18, 7:00 p.m., Theater 2
 
Best known for videos, drawings, and installations rooted in conceptual wordplay and linguistic investigations, the artist Frances Stark joins us to present the New York City premiere of a new work, The Magic Flute (2017), her most ambitious film to date. The Magic Flute is a collaborative, experimental adaptation of Mozart’s 1791 opera, featuring an updated version of the composition performed by an orchestra of young musicians between the ages of 10 and 19. Utilizing animated text in conjunction with the music, Stark creates what she has called a “pedagogical opera” that makes the form and content of Mozart’s opera accessible to a broader contemporary audience. Following the screening, the artist will take part in a conversation with Stuart Comer, chief curator in MoMA’s Department of Media and Performance Art.
 
An Evening with Karimah Ashadu
Mon, Jun 25, 7:00 p.m., Theater 2
 
In conjunction with the Robert Flaherty Film Seminar, British-Nigerian artist Karimah Ashadu presents recent moving-image work about the intricate relationships between identity, place, and the construction of selfhood.
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Restoration Premiere: Ernst Lubitsch’s Rosita

May 25, 2018

Rosita is a costume romance set in a mythical Spain, where a lecherous King (Holbrook Blinn) has his eye on a popular but provocative street singer (Mary Pickford). She, in turn, yearns for the handsome young nobleman (George Walsh) who rescued her from the angry king’s guards—and has been condemned to a dungeon for his troubles. The Queen (Irene Rich) wisely bides her time, waiting for the right moment to intervene.

Following the American success of his German historical epics (Madame DuBarry, Anna Boleyn), Ernst Lubitsch was invited to Hollywood by Mary Pickford to direct her in what would become her first adult role. The result is this thoroughly enchanting blend of the “cast of thousands” period films that Lubitsch had been making in Germany and his emerging interest in bittersweet romantic comedy.

“It was a charming and wonderful experience. Miss Pickford was very sympathetic. In spite of her fame and predominant position, she followed my direction with the eager sympathy of a child. At the same time, her alert and intelligent mind worked like forked lightning. Miss Pickford is a very remarkable woman. She is not only of the highest personal character, but she is an artiste of real genius. It was a pleasure to work with her.” – Ernst Lubitsch, “My Two Years in America,” in Motion Picture Magazine, 1925.

The film was, by all accounts, a major critical and commercial success on its first release, but in later years Pickford turned against it, for reasons that still remain mysterious, and decided to allow the film to decay (she did, however, preserve reel four, for reasons no less mysterious). Rosita vanished from circulation until a nitrate print was discovered in the Russian archives and repatriated by The Museum of Modern Art in the 1960s. A safety preservation negative was made from the nitrate print, but no further work was done on the film, until recent breakthroughs in digital restoration made it possible to reclaim much of the severely damaged image. Because the original English-language intertitles do not survive, it was necessary to recreate them on the basis of an early draft screenplay in the collection of the Academy of Motion Picture Arts and Sciences, the Russian intertitles, the Swedish and German censorship records, a handful of lines quoted in contemporary reviews, and a music cue sheet from the collection of the George Eastman Museum. Using the titles in Pickford’s preserved fourth reel as a template, new intertitles have been created to match the original graphics as closely as possible.

Musicologist Gillian Anderson has reconstructed and arranged the original 1923 score, which will be performed live for this premiere presentation by the Cinemusica Viva NYU ensemble under Ms. Anderson’s direction.

Organized by Dave Kehr, Curator, Department of Film.

Restoration funding provided by The Louis B. Mayer Foundation, RT Features, The Film Foundation and the Celeste Bartos Preservation Fund. Special thanks to the Mary Pickford Foundation and Filmmuseum München.

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MoMA Announces Major Gift from the Colección Patricia Phelps de Cisneros

October 17, 2016

The Museum of Modern Art announced that it has received a major gift from the Colección Patricia Phelps de Cisneros, which will add more than 100 works of modern art by major artists from Latin America to the Museum’s collection, and establish the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America. The Cisneros Institute will be dedicated to an expansive approach to the study and interpretation of modern and contemporary art from Latin America.

The gift includes 102 paintings, sculptures, and works on paper, made between the 1940s and the 1990s by 37 artists working in Brazil, Venezuela, and the Río de la Plata region of Argentina and Uruguay, including Lygia Clark, Hélio Oiticica, Lygia Pape, Jesús Rafael Soto, Alejandro Otero, and Tomás Maldonado. They join 40 works previously given by Patricia and Gustavo Cisneros over the last 16 years; Mrs. Cisneros is a longtime MoMA Trustee and a member of several acquisitions and funding committees, including the Latin American and Caribbean Fund, of which she is chairman and founder.

The Cisneros Institute, to be located on MoMA’s Midtown Manhattan campus, will offer opportunities for curatorial research and travel, host visiting scholars and artists, convene an annual international conference, and produce research publications on art from Latin America. It is poised to become the preeminent research center in the field, building on MoMA’s history of collecting, exhibiting, and studying the art and artists of the region, dating back to 1931. Today, MoMA’s collection includes more than 5,000 works by artists from Latin America.

The breadth of this gift is unprecedented, and the accompanying research initiative devoted to the study of the works and their integration into the overall narrative of modern art will greatly enrich MoMA’s collection and scholarly activities. As an integral program of The Museum of Modern Art, the Cisneros Institute represents a singular commitment to the region, and will foster intensive research on and engagement with the region’s art and artists.

For more information and a full list of works, please visit: www.moma.org/collection/works/groups/cisneros

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Warm Up 2018 Capsule Collection

6/22/18

In celebration of the 21st season of Warm Up, MoMA PS1 has created a capsule collection of custom merchandise to coincide with the celebrated music series. The collection features three items: a beach towel designed by Come Tees, a short-sleeve T-shirt designed by Andrew Kuo, and a long-sleeve T-shirt designed by Hassan Rahim. Each was produced by EVERYBODY.WORLD, and made in the United States.

Bringing together voices from a range of art and music communities, the collection is designed to commemorate Warm Up 2018, and celebrate the network of creatives that surrounds it.  The collection is priced from $35 to $75, and available in limited quantities. The collection will be available at the MoMA Design Store, Soho, online at store.moma.org, and on site at MoMA PS1 during Warm Up events.

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If Everything Is Sculpture Why Make Sculpture? Artist’s Choice: Peter Fischli

Ongoing from June 11

This summer, Snowman, a sculpture composed of an actual snowman encased in a glass-door freezer, by Peter Fischli (Swiss, b. 1952) and his longtime collaborator David Weiss (Swiss, 1946–2012), comes to the Museum’s Abby Aldrich Rockefeller Sculpture Garden as part of Fischli’s Artist’s Choice presentation. Here, Fischli borrows a question inscribed on a painting presented outdoors by artist Ben Vautier (French, b. 1935): “If everything is sculpture why make sculpture?” Along with Snowman, nearly 20 objects selected by Fischli offer answers to this question.

Initiated in 1989, the Artist’s Choice series invites contemporary artists to organize exhibitions drawn from MoMA’s collection. Fischli is the 13th artist to participate in the series, and the first to do so in the Sculpture Garden.

Snowman (2016) is an updated version of a 1987 site-specific work by Fischli and Weiss that was commissioned by a German thermic power plant whose energy—in the form of heat, paradoxically—was used to keep the snowman perpetually frozen. Though a snowman is, as Fischli observes, a “sculpture that almost anyone can make” simply by rolling three spheres of snow and setting them atop one another, Fischli and Weiss’s Snowman is dependent on a technically complex apparatus for its year-round subsistence. Over the course of three decades of collaboration, Fischli and Weiss shared an interest in exploring inherent contradictions and the extraordinary potential of everyday objects and situations.

Snowman takes on new associations in the setting of MoMA’s Sculpture Garden and in the company of works that span the last century, by artists from Henri Matisse and Aristide Maillol to Tony Smith and Katharina Fritsch. Together, Snowman and its companions testify to the expansive possibilities for sculpture today, and to the role of museums in nurturing and preserving their collections.

Organized by Peter Fischli and Cara Manes, Assistant Curator, Department of Painting and Sculpture.

The Artist’s Choice exhibition series is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.

Generous funding is provided by The International Council of The Museum of Modern Art.

Additional support is provided by the Annual Exhibition Fund.

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MoMA PS1 Building Images

Ongoing

Images of MoMA PS1’s building are located through Press Access.

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Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures

February 1–15 and August 9–23, 2018

The Roy and Niuta Titus Theaters

The Museum of Modern Art announces Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures, a two-part series organized by MoMA in association with The Film Foundation and Paramount Pictures. The 30-film program begins on February 1 at 7:00 p.m. with Alfred Santell’s seldom-seen masterwork That Brennan Girl (1946), and continues through February 15; part two of the series will begin August 9 and run through August 23. Curated by Scorsese, the program celebrates a new beginning for the Republic library, which is currently being restored and returned to wide distribution by Paramount. 

“From the ’30s through the ’50s, the different studio logos at the head of every picture carried their own associations and expectations,” said Martin Scorsese. “And for me, the name Republic over the eagle on the mountain peak meant something special. Republic Pictures was what was known as a ‘poverty row’ studio, but what their pictures lacked in resources and prestige they made up for in inventiveness, surprise, and, in certain cases, true innovation. Among the many ‘B’ pictures produced at Republic in the studio’s heyday, there are so many titles that have been overlooked or forgotten; waiting for decades to be seen again. I’m truly excited that MoMA will be presenting 30 of these films, some in newly restored versions courtesy of Paramount Pictures and The Film Foundation. For two weeks this February and two weeks in August, you need to go to MoMA. I can promise you that you have some discoveries in store.” 

Organized by Dave Kehr, Curator, Department of Film, The Museum of Modern Art

The exhibition is supported by the Annual Film Fund.

 

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The Alfred H. Barr Painting and Sculpture Galleries, Fifth Floor

Ongoing

Fifth floor

The Alfred H. Barr Painting and Sculpture Galleries feature on the fifth floor roughly span the years 1880 to 1940. Within an overall chronological flow, galleries highlight individual stylistic movements, artists, and themes, including Post-Impressionism, Cubism, the work of Henri Matisse, Claude Monet’s Water Lilies, and Surrealism, among other subjects. An ongoing program of periodic reinstallations allows the curators to present a wide range of artworks in various configurations, reflecting the view that there are countless ways to explore the history of modern art and the Museum’s rich collection. 

Browse selected works on view.

 

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Touring and Off-Site Exhibitions

Ongoing

BRUCE CONNER: IT’S ALL TRUE
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
February 21–May 22, 2017

Marcel Broodthaers: A Retrospective
Kunstsammlung Nordrhein-Westfalen (KNW), Düsseldorf, Germany
March 4–June 11, 2017

The Paris of Toulouse-Lautrec: Prints and Posters from the Museum of Modern Art
Chrysler Museum of Art, Norfolk, Virgina
March 10–June 18, 2017

Currier Museum of Art, Manchester, New Hampshire
September 30–April 9, 2017

Robert Rauschenberg
Tate Modern, London, England
November 30, 2016–April 9, 2017

The San Francisco Museum of Modern Art, San Francisco, California
November 4, 2017–March 25, 2018

Masterworks from MoMA
National Gallery of Victoria, Melbourne, Australia
June 8–October 7, 2018

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Young Architects Program International

Ongoing

With its international partnerships, Young Architects Program (YAP) offers selected young designers and architects across the globe the opportunity to create designs that promote diverse uses such as rest, play, and relaxation as well as hosting a series of live events such as shows, music, dance, exhibitions, and performances. In addition architects are encouraged to address environmental issues, including sustainability and recycling, to create highly innovative projects that provide shade, seating, and water. To achieve these goals, MoMA and MoMA PS1 are currently partnering with the National Museum of XXI Century Arts (MAXXI) in Rome, CONSTRUCTO in Chile, and Istanbul Modern in Turkey (on a biennial cycle).

In May 2014, The Museum of Modern Art, MoMA PS1, and the National Museum of Modern and Contemporary Art (MMCA) in Seoul announced a new partnership that further expands the international YAP to South Korea. YAP Korea provides opportunities for emerging architects in South Korea to create temporary exterior installations for summer programming at the MMCA.

A dedicated YAP International website, MoMA.org/yap, features the selected proposals and designs from the winner of YAP International. The website also includes an archive of past MoMA/MoMA PS1 YAP finalists and winning proposals, interviews with the curators, and installation videos.

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Carolee Schneemann: Kinetic Painting

October 22, 2017–March 11, 2018

MoMA PS1

MoMA PS1 will present the first comprehensive retrospective of the work of Carolee Schneemann (American, b. 1939) in the United States, bringing together over 300 works spanning her prolific six-decade career. As one of the most groundbreaking artists of the second half of the twentieth century, Schneemann’s pioneering investigations into the social construction of the female body and the sexual and cultural biases implicit in traditional art historical narratives have had an indelible impact on subsequent generations of artists.

Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings from the 1950s, charting their evolution into assemblages made in the 1960s—which integrated found objects, mechanical elements, and painterly interventions. A central protagonist of New York City’s downtown avant-garde community, Schneemann explored hybrid art forms that culminated in experimental theater events. She was a co-founder of the innovative Judson Dance Theater and the first visual artist to choreograph for the ensemble. During this period, Schneemann began to position her own body in her work with the intent of performing the roles of “both image-maker and image.” Responding to representations of sexuality made predominantly from the perspective of male artists, Schneemann’s provocative pieces foregrounded her body in ways that challenged prevailing attitudes about female sexuality. In parallel, Schneemann’s outrage over the atrocities of the Vietnam War are starkly reflected in several of her works from the mid-1960s.

The exhibition grounds Schneemann’s oeuvre within the context of her lifelong commitment to painting and action, tracing the early developments that would lead to her iconic performances and films from the 1960s and 1970s, through to her multimedia installations from the 1980s, 1990s, and 2000s exploring feminist iconography, intimacy, and personal loss, as well as political disasters, captivity, and the destruction of war.

Carolee Schneemann: Kinetic Painting is organized by the Museum der Moderne Salzburg. The exhibition is curated by Sabine Breitwieser, Director, Museum der Moderne Salzburg; and consulting curator Branden W. Joseph, Frank Gallipolli Professor of Modern and Contemporary Art, Columbia University, New York; and organized at MoMA PS1 by Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Major support is provided by Lonti Ebers and The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Junior Associates of The Museum of Modern Art.
 
Additional support is provided by the MoMA PS1 Annual Exhibition Fund.

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Cathy Wilkes

October 22, 2017–March 11, 2018

MoMA PS1

MoMA PS1 presents the first monographic exhibition of Cathy Wilkes (Irish, b. 1966) in New York. The largest exhibition of the artist’s work to date, Cathy Wilkes features approximately 50 works from public and private collections throughout Europe and North America as well as new pieces created for the show, offering a broad view of Wilkes’s work since 2004. On view from October 22, 2017 through March 11, 2018, the exhibition is organized in conjunction with Wilkes’s receipt of the first Maria Lassnig Prize, awarded by the Maria Lassnig Foundation in 2016.

Over more than two decades, Cathy Wilkes has created a body of work that engages with the rituals of life, combining paintings, drawings, sculptures, and objects both found and altered. Regularly employing quotidian products and residual materials drawn from her domestic life and environment in Glasgow, Wilkes’s installations connect the banalities of daily existence to larger archetypes of birth, marriage, child rearing, and death. This combination of the personal and universal parallels a meditation at the heart of her work, exposing deeply felt subjective experiences while also insisting upon the fundamentally private nature of artmaking.

Organized by Peter Eleey, Chief Curator, MoMA PS1, with Margaret Aldredge Diamond, Curatorial and Exhibitions Associate, MoMA PS1.

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Naeem Mohaiemen: There Is No Last Man

October 22, 2017–March 11, 2018

In his films, installations, and essays, Naeem Mohaiemen (b. London, 1969) researches memories of leftist political utopias, and the contemporary legacies of decolonization. Bringing together two distinct works, Naeem Mohaiemen: There Is No Last Man imagines a relationship between two lonely narrators, each trapped at the edge of history.

Tripoli Cancelled (2017), a fiction film loosely inspired by the artist’s father, follows the daily rituals of a man stranded in an abandoned airport. The film follows him through his daily routine of walking, smoking, writing letters to his wife, staging scenes with mannequins in flight attendant uniforms, and reading from the dark British children’s book Watership Down (1972). Mohaiemen shot the film in Ellinikon Airport in Athens, Greece, loosely inspired by his father’s experience of being stuck in this same airport for nine days in 1977 after losing his passport. Designed by architect Eero Saarinen in the 1960s, Ellinikon was abandoned in 2001 and was recently used to house refugees entering Greece, and then proposed as a site for luxury real estate development during European Union negotiations over Greek debt.

Volume Eleven (flaw in the algorithm of cosmopolitanism) (2016) comprises diptychs that investigate six problematic essays by Mohaiemen’s great uncle, the Bengali writer Syed Mujtaba Ali, who mistakenly embraced German military might as an antidote to British colonial rule in India. When the artist began translating Ali’s short stories of the late 1930s, he was dismayed to discover several writings in which Ali expressed a hope that Nazi Germany would defeat Britain and liberate India from colonial rule. Volume Elevenexplores the intellectual underpinnings of this short-lived fascination with German political thought among a wide range of Indian intellectuals of the period.

The exhibition title responds to Francis Fukuyama’s book The End of History and the Last Man (1992), which proposed that Western liberal democracy and capitalism would be the final shared fate of humanity. Mohaiemen’s work suggests that there will be no “last man” or “end of history” in an era marked by the growing prominence of non-Western histories that acknowledge multiple viewpoints and perspectives on the development of modernity. The artist often works through the literature generated in the aftermath of political defeats, bringing the traumas of history into conversation with his own family narratives. Here, two men struggle at the margins of larger events, telling themselves fables and fictions to keep living.

Naeem Mohaiemen: There Is No Last Man is organized by Peter Eleey, Chief Curator, MoMA PS1, with Jocelyn Miller, Assistant Curator.

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Club 57: Film, Performance, and Art in the East Village, 1978–1983

October 31, 2017–April 08, 2018

The Roy and Niuta Titus Theater Galleries

Press Preview: Tuesday, October 31, with remarks to follow.

Remarks were livestreamed.

The East Village of the 1970s and 1980s continues to thrive in the public’s imagination around the world. Located in the basement of a Polish Church at 57 St. Marks Place, Club 57 (1978–83) began as a no-budget venue for music and film exhibitions, and quickly took pride of place in a constellation of countercultural venues in downtown New York fueled by low rents, the Reagan presidency, and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.

Club 57: Film, Performance, and Art in the East Village, 1978–1983 is the first major exhibition examining the scene-changing, interdisciplinary life of downtown New York’s seminal alternative space in full. The exhibition will tap into the legacy of Club 57’s founding curatorial staff—film programmers Susan Hannaford and Tom Scully, exhibition organizer Keith Haring, and performance curator Ann Magnuson—to examine how the convergence of film, video, performance, art, and curatorship in the club environment of New York in the 1970s and 1980s became a model for a new spirit of interdisciplinary endeavor. Responding to the broad range of programming at Club 57, the exhibition will present their accomplishments across a range of disciplines—from film, video, performance, and theater to photography, painting, drawing, printmaking, collage, zines, fashion design, and curating. Building on extensive research and oral history, the exhibition features many works that have not been exhibited publicly since the 1980s.

Club 57 is accompanied by three film series: You Are Now One Of Us: Film at Club 57, co-organized with guest curator and defining Club 57 artist John “Lypsinka” Epperson (October 29, 2017–February 2018); New York Film and Video: No Wave–Transgressive (December 1, 2017–April 2018), and This Is Now: Film and Video After Punk 1978–1985 (March 15, 2018–March 25,2018), presented in spring 2018 in partnership with LUX and British Film Institute.

Organized by Ron Magliozzi, Curator, and Sophie Cavoulacos, Assistant Curator, Department of Film; with Ann Magnuson, guest curator.

Major support for the exhibition is provided by the Keith Haring Foundation.

Generous funding is provided by mediaThe foundation inc.

Additional support is provided by the Annual Film Fund.

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The Long Run

November 11, 2017–November 04, 2018

Floor Four, The David Geffen Galleries

Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows.  “The Long Run” provides an alternate view: by chronicling the continued experimentation of artists long after their breakthrough moments, it suggests that invention results from sustained critical thinking, persistent observation, and countless hours in the studio.  Each work in this presentation exemplifies an artist’s distinct evolution.  For some, this results from continually testing the boundaries of a given medium, for others it reflects the pressures of social, economic, and political circumstances.  Often, it is a combination of both.  “The Long Run” includes monographic galleries and rooms that bring together artists broad ranging in background and approach, drawn from MoMA’s collection.  All the artists in this presentation are united by a ceaseless desire to make meaningful work, year after year, across decades.  They include Lee Bontecou, Louise Bourgeois, Melvin Edwards, Gego, Philip Guston, David Hammons, Joan Jonas, Ellsworth Kelly, Helen Levitt, Joan Mitchell, Elizabeth Murray, Georgia O’Keeffe, Frank Stella, and many others.

Organized by Paulina Pobocha, Associate Curator, and Cara Manes, Assistant Curator, Department of Painting and Sculpture.

Leadership support for the exhibition is provided by the Kate W. Cassidy Foundation.

Major support is provided by Denise Littlefield Sobel.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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Thinking Machines: Art and Design in the Computer Age, 1959–1989

November 13, 2017–April 08, 2018

Floor Three, The Philip Johnson Galleries

Drawn primarily from MoMA’s collection, Thinking Machines: Art and Design in the Computer Age, 1959–1989 brings artworks produced using computers and computational thinking together with notable examples of computer and component design. The exhibition reveals how artists, architects, and designers operating at the vanguard of art and technology deployed computing as a means to reconsider artistic production. The artists featured in Thinking Machines exploited the potential of emerging technologies by inventing systems wholesale or by partnering with institutions and corporations that provided access to cutting-edge machines. They channeled the promise of computing into kinetic sculpture, plotter drawing, computer animation, and video installation. Photographers and architects likewise recognized these technologies’ capacity to reconfigure human communities and the built environment.

Thinking Machines includes works by John Cage and Lejaren Hiller, Waldemar Cordeiro, Charles Csuri, Richard Hamilton, Alison Knowles, Beryl Korot, Vera Molnár, Cedric Price, and Stan VanDerBeek, alongside computers designed by Tamiko Thiel and others at Thinking Machines Corporation, IBM, Olivetti, and Apple Computer. The exhibition combines artworks, design objects, and architectural proposals to trace how computers transformed aesthetics and hierarchies, revealing how these thinking machines reshaped art making, working life, and social connections.

Organized by Sean Anderson, Associate Curator, Department of Architecture and Design, and Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.

The exhibition is supported by the Annual Exhibition Fund.

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Stephen Shore

November 19, 2017–May 28, 2018

Floor Three, The Robert B. Menschel Galleries

The Museum of Modern Art presents the most comprehensive exhibition ever organized of photographer Stephen Shore’s work, on view from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work chronologically, from the gelatin silver prints he made as a teenager to his current work with digital platforms. Stephen Shore establishes the artist’s full oeuvre in the context of his time—from his days at Andy Warhol’s Factory through the rise of American color photography and the transition to large-scale digital photography—and argues for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works along with additional materials including books, ephemera, and objects.

Born in 1947, Shore spearheaded the New Color Photography movement in the United States in the 1970s, and became a major catalyst in the renewal of documentary photography in the late 1990s, both in the US and Europe, blending the tradition of American photographers such as Walker Evans with influences from various artistic movements, including Pop, Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality, in both subject matter and approach. His approach cannot be reduced to a style but is best summed up with a few principles from which he has seldom deviated: the search for maximum clarity, the absence of retouching and reframing, and respect for natural light. Above all, he exercises discipline, limiting his shots as much as possible—one shot of a subject, and very little editing afterward.

Stephen Shore is organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

Allianz is a partner of contemporary art at MoMA.

Major support for Stephen Shore is provided by The William Randolph Hearst Endowment Fund, an anonymous donor, The International Council of The Museum of Modern Art, and by David Dechman and Michel Mercure.

Additional support is provided by the Annual Exhibition Fund.

Support for the publication is provided by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.

MoMA Audio is supported by Bloomberg Philanthropies.

 

 
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Winter/Spring 2018 VW Sunday Sessions

January 28, 2018–April 15, 2018

The sixth season of MoMA PS1’s VW Sunday Sessions continues on January 28, with twelve more weekly programs that address a range of current social and political issues, explore the life and legacy of alternative spaces, and foster cross-disciplinary collaboration. Encompassing performance, music, dance, conversation, and film, VW Sunday Sessions underscores how live art forms encourage engagement with our contemporary world. Featuring a wide range of artists, curators, collectives, and activist groups, the full schedule of programs follows below.

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Maria Lassnig: New York Films 1970–1980

February 01, 2018–June 18, 2018

MoMA PS1

MoMA PS1 presents the world premiere of a series of experimental films the artist Maria Lassnig made in New York City in the 1970s. This presentation focuses on a selection of newly discovered and restored films that examine ways of looking and seeing bound up in bodily sensation. Newly restored by the Maria Lassnig Foundation in close collaboration with the Austrian Film Museum, these films incorporate animation, sound, and poetic voiceovers that encourage entry into the artist’s internal world. The restoration was carried out in close collaboration with the Austrian Film Museum under the directorships of Alexander Horwath and Michael Loebenstein, who were indispensable to the restoration of these documents that attest to core principles of Lassnig’s thinking and practice across canvas and celluloid.

Maria Lassnig: New York Films 1970–1980 highlights both finished films and film fragments, all produced using 16mm, 8mm, and Super 8, comprised of live-action footage, animated drawings, animated paper cut-outs, and documentary footage of the artist’s studio and her surroundings in New York. These newly surfaced films enrich and complicate our understandings of Lassnig’s approach to figuration and self-portraiture, as well as other key themes that she investigated throughout her career, including the social roles assigned to women, the tension between public engagement and private seclusion, and questions of technological advancement, especially of imaging technologies and shifts in the way images circulate.

To kick off this exhibition, a world premiere screening accompanied by a comprehensive presentation detailing the restoration process will take place on January 29 at The Museum of Modern Art as part of the museum’s Modern Mondays series as well as To Save and Project: The 15th MoMA International Festival of Film Preservation.

Organized by Jocelyn Miller, Assistant Curator, MoMA PS1.

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Tania Bruguera: Untitled (Havana, 2000)

February 03, 2018–March 11, 2018

Floor two, Collection Galleries

The Museum of Modern Art presents a major performance installation by Tania Bruguera (Cuban, born 1968), Untitled (Havana, 2000), for the first time since acquiring it in 2015, from February 3 through March 11, 2018. Initially conceived for the 7th Havana Biennial, the work was first presented in the Cabaña Fortress, a military bunker used as a jail for prisoners of conscience during the Cuban Revolution. The Fortress was used from colonial times through the early years of the Revolution as a site where the counter-revolutionary opposition was submitted to torture and execution by firing squad. Combining milled sugarcane, video footage of Fidel Castro, and live performance presented in near-total darkness, the work suggests the contradictions of life following the Cuban Revolution. The work, which was on view for mere hours before being shut down by the Cuban government in 2000, signifies Bruguera’s complex relationship to authority.

Tania Bruguera: Untitled (Havana, 2000) is organized by Stuart Comer, Chief Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art, and performances produced by Lizzie Gorfaine, Performance Producer, with Kate Scherer, Assistant Performance Coordinator.

The exhibition is made possible by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.
 
Major support is provided by The Modern Women’s Fund.
 
Additional support is provided by the Annual Exhibition Fund.
 
Special thanks to Air Water & Earth and to International Flavors & Fragrances Inc.
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Tarsila do Amaral: Inventing Modern Art in Brazil

February 11, 2018–June 03, 2018

Floor Two, The Paul J. Sachs Galleries

Press Preview: Tuesday, February 6, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

Tarsila do Amaral (Brazilian, 1886–1973) is a foundational figure for the history of modernism in Latin America. The first exhibition in the United States exclusively devoted to the artist focuses on her pivotal production from the 1920s, from her earliest Parisian works, to the emblematic modernist paintings produced in Brazil, ending with her large-scale, socially driven works of the early 1930s. The exhibition features nearly 120 artworks, including paintings, drawings, sketchbooks, photographs, and other historical documents drawn from collections across Latin America, Europe, and the United States.

Born in São Paulo at the turn of the 19th century, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian. Throughout subsequent sojourns in Paris, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her “military service in Cubism,” ultimately arriving at her signature painterly style of synthetic lines and sensuous volumes depicting landscapes and vernacular scenes in a rich color palette. The exhibition follows her journeys between France and Brazil, through Rio de Janeiro and Minas Gerais, charting her involvement with an increasingly international artistic community, and her role in the emergence of modernism in Brazil; in 1928, Tarsila painted Abaporu, which quickly spawned the Anthropophagous Manifesto, and became the banner for this transformative artistic movement that sought to digest external influences and produce an art for and of Brazil itself.

The exhibition is organized by The Museum of Modern Art and the Art Institute of Chicago.

Organized by Luis Pérez-Oramas, former Estrellita Brodsky Curator of Latin American Art, The Museum of Modern Art, and Stephanie D’Alessandro, former Gary C. and Frances Comer Curator of International Modern Art, The Art Institute of Chicago; with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

Major support for the New York presentation is provided by The International Council of The Museum of Modern Art, The Modern Women’s Fund, and by the Vicky and Joseph Safra Foundation.

Generous funding is provided by Clarice Oliveira Tavares, Yvonne Dadoo Ader, and by the Consulate General of Brazil in New York.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

 

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Modern Matinees: Delmer Daves and H. C. Potter in Resonance

March 01, 2018–April 27, 2018

The Roy and Niuta Titus Theaters

Delmer Daves and H. C. Potter were contemporaries and friends who, while not necessarily household names, were essential contract directors during the Golden Age of the Hollywood studio system. This brief survey, which includes prints from MoMA’s collection, captures both in top form.

Delmer Daves (1904–1977) studied law at Stanford University but became intrigued by the industry emerging in his backyard and ended up working as a prop boy on Westerns while completing his degree. In 1929 his script So This Is College was produced for MGM, and he went on to write screenplays for The Petrified Forest (1936) and Love Affair (1939), among others. In 1943 Daves made his directorial debut with Destination Tokyo, starring Cary Grant, though he truly found his niche when he returned to Westerns. In films like Broken Arrow (1950) and 3:10 to Yuma(1957), introspective, conflicted men must confront both nature and human violence. Late in his career, in 1963, Daves adapted Earl Hamner, Jr.’s novel Spencer’s Mountain, a starring vehicle for Henry Fonda and Maureen O’Hara that went on to become the basis for the popular television series The Waltons.

Henry Codman “Hank” Potter (1904–1977), born into a prominent New York family, graduated from Yale University and, in 1927, cofounded the Hampton Players, one America’s first summer theater groups. He soon advanced to Broadway, where his success eventually led to his first Hollywood feature, Beloved Enemy (1936), a romantic drama obsessed by the seemingly eternal British/Irish divide. However, Potter’s true strength was the comedy film—the more hysteria and doubletalk between characters, the better! Best known for quick-witted classics such as Hellzapoppin’ (1941), Mr. Lucky (1943), and the iconic Mr. Blandings Builds His Dream House (1948), Potter hit his directorial stride inveigling comical and sometimes tart performances from his actors (including Cary Grant, who shines as both Mr. Blandings and Mr. Lucky). In 1949, while under contract at RKO during Howard Hughes’s ownership of the studio, Potter ran into some difficulties with the eccentric Texan. Just days before photography commenced on a film tentatively titled The High Frontier, which would involve use of the United States Air Force’s massive B-36, Potter received a telegram saying the production was cancelled. There was no further communication from Hughes, and Potter’s notable career lost momentum.

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

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2018 VW Sunday Sessions Commission

March 11, 2018–March 11, 2018

For the 2018 VW Sunday Sessions commission, artist and performer Colin Self presents Siblings, the sixth and final part of The Elation Series, a sci-fi opera encompassing performance, music, sculpture, and video that he has been developing since 2011. The performance will be presented at 2 p.m. and 5 p.m. on March 11, 2018, closing day of MoMA PS1’s winter exhibitions.

A playful examination of Donna J. Haraway’s recent book Staying with the Trouble: Making Kin in the Chthulucene, the performance offers new ways of re-configuring our relationship to the earth and its inhabitants in the wake of ecological devastation, foregrounding the necessity of new narrative structures to realize a better world. Structured like a game, Siblings functions as a participatory performance, assigning the audience roles and responsibilities. Divided into analysts, activists, archivists, and spies, these groups expand their subjective encounters of text, song, and dance into ruptures of narrative analysis.

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Being: New Photography 2018

March 18, 2018–August 19, 2018

Floor Three, The Edward Steichen Galleries

Press Preview: Tuesday, March 13, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

The Museum of Modern Art presents Being: New Photography 2018, the latest presentation in MoMA’s celebrated New Photography exhibition series. Since its inception in 1985, New Photography has introduced more than 100 artists from around the globe, and it is a key component of the Museum’s contemporary program. Every two years, New Photography presents urgent and compelling ideas in recent photography and photo-based art. This year’s edition, Being, asks how photography can capture what it means to be human. On view from March 18 through August 19, 2018, the exhibition includes over 80 new and recent works by 17 artists from ten countries. While at various stages in their careers, all are presenting their work at the Museum for the first time.

At a time when questions about the rights, responsibilities, and dangers inherent in being represented—and in representing others—are being debated around the world, the works featured in Being call attention to assumptions about how individuals are depicted and perceived. Many challenge the conventions of photographic portraiture, or use tactics such as masking, cropping, or fragmenting to disorient the viewer. In others, snapshots or found images are taken from their original context and placed in a new one to reveal hidden stories. While some of the works might be considered straightforward representations of individuals, others do not include images of the human body at all. Together, they explore how personhood is expressed today, and offer timely perspectives on issues of privacy and exposure; the formation of communities; and gender, heritage, and psychology.

The artists included are:

Sofia Borges (Brazilian, born 1984)
Matthew Connors (American, born 1976)
Sam Contis (American, born 1982)
Shilpa Gupta (Indian, born 1976)
Adelita Husni-Bey (Italian, born 1985)
Yazan Khalili (Palestinian, born Syria, 1981)
Harold Mendez (American, born 1977)
Aïda Muluneh (Ethiopian, born 1974)
Hương Ngô and Hồng-Ân Trương (American, born Hong Kong, 1979; American, born 1976)
B. Ingrid Olson (American, born 1987)
Joanna Piotrowska (Polish, born 1985)
Em Rooney (American, born 1983)
Paul Mpagi Sepuya (American, born 1982)
Andrzej Steinbach (German, born Poland, 1983)
Stephanie Syjuco (American, born Philippines, 1974)
Carmen Winant (American, born 1983)

Being: New Photography 2018 is organized by Lucy Gallun, Assistant Curator, Department of Photography.

Major support for the exhibition is provided by The William Randolph Hearst Endowment Fund , David Dechman and Michel Mercure, and The Robert Mapplethorpe Foundation.

Generous funding is provided by Courtney Finch Taylor and by James G. Niven.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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Come Together: Music Festival and Label Market

March 24, 2018–March 24, 2018

MoMA PS1 and iconic record shop Other Music have teamed up to present the second annual Come Together: Music Festival and Label Market on Saturday, March 24, offering live performances, films, workshops, and panels that celebrate the interactive ecosystem of local and international music communities, along with a label market featuring over 75 participants. Part of MoMA PS1’s VW Sunday Sessions, Come Together reasserts the central and essential role that communities play in both the creation and consumption of new sounds, recasting the fading record store experience for the current moment. This year features extended festival programming, with daytime programming and the label market from 12:00 through 6:00 p.m., and an expanded slate of performances from 6:00 to 9:00 p.m.

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New Directors/New Films 2018

March 28, 2018–April 08, 2018

The Roy and Niuta Titus Theaters

Now in its 47th year, the renowned New Directors/New Films festival, presented jointly by The Museum of Modern Art and the Film Society of Lincoln Center, introduces New York audiences to the work of emerging or not-yet-established filmmakers from around the world. The festival takes place at the Walter Reade Theater at Lincoln Center and at The Roy and Niuta Titus Theaters at MoMA.

New Directors/New Films is presented by the Film Society of Lincoln Center and The Museum of Modern Art.

The 2018 feature committee was comprised of Josh Siegel, Curator; La Frances Hui, Associate Curator; Sophie Cavoulacos, Assistant Curator and Brittany Shaw, Department Assistant, Department of Film, The Museum of Modern Art; and Dennis Lim, Director of Programming; Florenze Almozini, Associate Director of Programming; Dan Sullivan, Assistant Programmer, and Tyler Wilson, Programming Coordinator, the Film Society of Lincoln Center.

The exhibition is sponsored by LG Signature.

Additional support is provided by the Annual Film Fund of The Museum of Modern Art, Film Society’s New Wave, The New York Times, American Airlines, The Village Voice, Shutterstock, and Hudson Hotel.

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Adrian Piper: A Synthesis of Intuitions, 1965–2016

March 31, 2018–July 22, 2018

Floor Six, The Steven and Alexandra Cohen Center for Special Exhibitions, and Floor Two, The Donald B. and Catherine C. Marron Atrium

From March 27 to July 22, 2018, The Museum of Modern Art will present the most comprehensive exhibition to date of the work of Adrian Piper (American, born 1948), the result of four-year collaboration between Piper, The Museum of Modern Art’s Department of Drawings and Prints, and The Hammer Museum, Los Angeles. Comprising over 290 works gathered from public and private collections around the world, this inclusive retrospective, which will be seen in its entirety only at the Museum of Modern Art, will occupy the Museum’s entire sixth floor – the first time that entire level has been devoted to the work of a living artist. The exhibition will encompass the wide range of diverse mediums that Piper has explored for over 50 years: drawing, photography, works on paper, video, multimedia installation, performance, painting, sculpture, and sound. The exhibition will be Piper’s first American museum exhibition in over 10 years, and her first since receiving the Golden Lion Award for Best Artist in the 56th Venice Biennale of 2015 and Germany’s Käthe Kollwitz Prize for 2018.
 
“It has been a privilege for us all to work with Piper in mounting this uncompromising exhibition, which will vastly expand our understanding of the Conceptual and post-Conceptual movements and Piper’s pivotal position among both her peers and later generations of artists,” said Glenn D. Lowry, The Museum of Modern Art’s Director. 
 
“I have been deeply honored and very moved by the curators’ invitation to do this exhibition,” added Piper. “It is a pleasure to collaborate with them on it. The Museum of Modern Art is offering me a unique and invaluable opportunity to make a much larger selection of work available to a much larger and more global audience than has ever been possible before. It is a terrific adventure.”
 
Adrian Piper has consistently produced groundbreaking, transformative work that has profoundly shaped the form and content of Conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological, and spiritual potential of Conceptual art have had an incalculable influence on artists working today.
 
The exhibition is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, The Museum of Modern Art; Connie Butler, Chief Curator, Hammer Museum, Los Angeles; and David Platzker, former Curator, The Department of Drawings and Prints, The Museum of Modern Art; with Tessa Ferreyros, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
 

The exhibition is made possible by Hyundai Card.

Major support is provided by The Modern Women’s Fund and Lannan Foundation.

Generous funding is provided by The Friends of Education of The Museum of Modern Art, Marilyn and Larry Fields, and by Marieluise Hessel Artzt.

Additional support is provided by the Annual Exhibition Fund.

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Son of 3-D Funhouse

April 09, 2018–April 11, 2018

The Roy and Niuta Titus Theaters

Our ongoing series highlighting digital preservations and restorations of stereoscopic films from the analog era returns. It takes a great deal of dedication and detective work to reassemble these wonders of mid-20th-century technology, most of which were discarded by their producers once the 3-D fad of the early 1950s had passed. Presented here are two extremely rare, newly restored features, The Maze and Cease Fire, as reconstructed in digital 3-D by Greg Kintz and Robert Furmanek of the 3-D Film Archive, as well as one of the pinnacle achievements of the format, Roy Ward Baker’s desert noir Inferno, as restored by the late Daniel L. Symmes for Twentieth Century Fox.

Organized by Dave Kehr, Curator, Department of Film.

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Kazuo Miyagawa: Japan’s Greatest Cinematographer

April 12, 2018–April 29, 2018

The Roy and Niuta Titus Theaters

The most influential cinematographer of postwar Japanese cinema, Kazuo Miyagawa (1908–1999) worked intimately with Yasujirô Ozu, Akira Kurosawa, Kenji Mizoguchi, and Kon Ichikawa on some of their most important films. It was Miyagawa who, in his astonishing versatility, helped perfect Ozu’s exquisitely framed tatami-level compositions in Floating Weeds (1959); the long, choreographed tracking sequences of Mizoguchi’s Ugetsu (1953); the multiple perspectives and jump cuts of Kurosawa’s Rashomon (1950) and Yojimbo (1961); and the innovative use of cameras from different vantage points in Ichikawa’s Tokyo Olympiad (1965).

This first major US retrospective of Miyagawa’s work in more than 35 years opens with a rare screening of Hiroshi Inagaki’s 1943 version of The Rickshaw Man and the 4K restoration premiere of Ozu’s Floating Weeds (1959), a special event introduced by Miyagawa’s son Ichiro and Miyagawa’s camera assistant Masahiro Miyajima. A career-spanning survey of Miyagawa’s cinematography then continues both at MoMA and Japan Society throughout the month. Additionally, new 4K restorations of Kenji Mizoguchi’s A Story From Chikamatsu (1953) and Sansho the Bailiff (1954), both shot by Miyagawa, will run at Film Forum from April 6 through 12.

Miyagawa admired the stark, high-contrast lighting of German Expressionist films of the 1920s, and when he began his career at the Nikkatsu studio in the 1930s, he elevated routine melodramas and musicals through his own stylized black-and-white photography, most notably in Masahiro Makino’s Singing Lovebirds (1939), using mirrors outdoors to create dappled sunlight, for example, or a telephoto lens to suggest emotional distance. But it was his later experimentation with color for which he became legendary. Miyagawa explored the painterly, dramatic, and symbolic qualities of color in films as varied as Mizoguchi’s New Tales of the Taira Clan (1955), Kazuo Ikehiro’s Zatoichi and the Chest of Gold (1964), and Masahira Shinoda’s Silence (1971), based on the same Shûsaku Endô’s novel as the later Martin Scorsese adaptation, as well as Shinoda’s Ballad of Orin (1977) and Gonza the Spearman (1986).

Miyagawa is credited with having invented a color technology, the “bleach bypass,” on Ichikawa’s Her Brother (1960), a process by which he gained greater control over saturation and tonality. The effect is to cast a silvery sheen over the color image, a look that has been used in countless films since then, from cinematographer Roger Deakins’s work on Michael Radford’s 1984 to Janusz Kamínski’s work on Steven Spielberg’s Saving Private Ryan (1998). Another of Miyagawa’s masterful achievements was on Kon Ichikawa’s Tokyo Olympiad (1965), where he supervised 164 cameramen, who used 234 different lenses to capture the dramatic intensity of competition in extreme close-up. The enduring influence of Miyagawa’s innovations and artistic sensibility is further reflected in rare 35mm screenings of Hiroshi Inagaki’s Children Hand in Hand (1948), Kozaburo Yoshimura’s Reminiscence (1953) and Bamboo Doll of Echizen (1963), and Yasuzo Masumura’s Irezumi (The Spider Tattoo) (1966).

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art; and Aiko Masubuchi and Kazu Watanabe, film programmers at Japan Society.

Special thanks to The National Film Archive of Tokyo, The Japan Foundation, Kadokawa, and Janus Films for the loan of prints and digital restorations.

The exhibition is made possible by MUFG.

Additional support is provided by the Annual Film Fund.

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Fernando Palma Rodríguez: In Ixtli in Yollotl, We the People

April 15, 2018–September 10, 2018

MoMA PS1 will present the first US solo museum exhibition of artist Fernando Palma Rodríguez (Mexican, b. 1957), on view from April 15 to September 10, 2018. Since the early 1990s, Palma Rodríguez has combined his training as an artist and mechanical engineer to create robotic sculptures that utilize custom software to perform complex, narrative choreographies. His works respond to issues facing indigenous communities in Mexico, addressing human and land rights, including the violent targeting of these communities, and urgent environmental crises. These concerns have particular significance to the district of Milpa Alta, an agricultural region outside of Mexico City where Palma Rodríguez lives and runs Calpulli Tecalco, a non-profit organization dedicated to the preservation of indigenous culture.

Fernando Palma Rodríguez: In Ixtli in Yollotl, We the People is organized by Ruba Katrib, Curator, MoMA PS1, with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Special thanks to Museo de Arte Contemporáneo de Oaxaca.

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Julia Phillips: Failure Detection

April 15, 2018–September 03, 2018

MoMA PS1

MoMA PS1 will present the first solo museum exhibition of New York-based artist Julia Phillips (German and American, b. 1985), featuring six newly commissioned major works alongside existing sculptures, on view from April 15 to September 3, 2018. Primarily working with ceramics, Phillips creates objects and scenes that are intimately connected to the body. Her sculptures mostly avoid direct figuration, instead proposing various support structures for the body and emphasizing its absence. Impressions of the human form are visible through casts of orifices, handprints, and other corporeal traces. While suggestive of particular functions and purposes that are overtly physical, these works also produce social and psychological resonances. For Phillips, the body is entangled in both the real and abstract spaces of politics, made evident through indications given in her arrangements as well as the works’ titles, which are often directives for specific actions.

Julia Phillips (b. 1985, Hamburg, Germany) lives and works in New York City. She has been included in group exhibitions at The Studio Museum in Harlem, New York; The Kitchen, New York; and Kunsthaus, Hamburg.

Julia Phillips: Failure Detection is organized by Ruba Katrib, Curator, MoMA PS1, with Josephine Graf, Curatorial Assistant, MoMA PS1.

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Projects 108: Gauri Gill

April 15, 2018–September 03, 2018

MoMA PS1

MoMA PS1 presents the US premiere of photographer Gauri Gill’s (Indian, born 1970) most recent body of work, Acts of Appearance. Working closely with members of an Adivasi community in Jawhar district, Maharashtra, India, Gill created a series of vivid color photographs that foreground the community’s renowned production of papier-mâché objects, including traditional sacred masks. Projects 108: Gauri Gill is on view from April 15 through September 3, 2018, featuring Acts of Appearance alongside work from Gill’s series Notes from the Desert.

While traveling in Maharashtra, Gill heard about the Bahoda festival, a ritual celebration of performance and dance observed by members of the Kokna tribe. Over several nights, members of the community enact well-known Hindu epics intermingled with tribal myths, performed with the aid of papier-mâché masks that depict Hindu gods, local tribal gods and demons, and other characters. After seeing the masks, and reflecting upon the possible distance between these traditions and the everyday realities of the Jawhar community, Gill commissioned community members to create a new set of masks that, instead of depicting gods and deities, would take the form of familiar people and animals or valued objects. Many of the masks incorporate common aspects of human existence such as various life stages, states of health, and emotions (or rasas).

Trained as a painter and applied artist, Gill (b. 1970, Chandigarh, India) received a BFA from the Delhi College of Art, and then turned to photography as her primary medium, earning a second BFA from Parsons School of Design in New York and an MFA from Stanford University. In 2011, Gill received the Grange Prize (now known as the Aimia/AGO Photography prize). Her work has been presented internationally and in India, including at documenta 14 in Athens and Kassel, the 7th Moscow Biennale, Prospect 4 in New Orleans, and Kochi Biennale, as well as at institutions including the Centre Pompidou, Paris; the Sackler Gallery at the Smithsonian Institution, Washington DC; the Philadelphia Museum of Art; the Yale University Art Gallery; the Art Gallery of Ontario; the School of Arts and Aesthetics at Jawaharlal Nehru University, Delhi; and the Whitechapel Gallery, London; among others. She lives in New Delhi.

Organized by Lucy Gallun, Assistant Curator, Department of Photography, The Museum of Modern Art.

Land: Zhang Huan and Li Binyuan

April 15, 2018–September 03, 2018

Land: Zhang Huan and Li Binyuan brings together a selection of performance works by two Chinese artists of different generations that address the relationship between the body and the land. Since the 1980s, the status of land in China has been undergoing radical transformation, mirroring shifts from collectivism to individualism and from socialism to capitalism. The exhibition juxtaposes videos and photographs of early performance works by Zhang Huan (Chinese, b. 1965) with those of more recent performances by Li Binyuan (Chinese, b. 1985).

Organized by Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.

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Spring Performance Festival

April 15, 2018–April 15, 2018

On April 15, MoMA PS1 will present an all-day celebration of New York City’s performance scene featuring more than 35 artists, alongside the opening of a slate of new exhibitions including Julia Phillips: Failure Detection, Projects 108: Gauri Gill, and Fernando Palma Rodríguez. Presented in collaboration with Brooklyn-based, artist-run space Secret Project Robot, the performance festival highlights work that intersects music, art, and nightlife, including solo and collaborative projects, improvisational theater, live music, and durational performances. The Spring Performance Festival is free and open to the public, marking the culmination of the VW Sunday Sessions season.

The festival highlights artists who first found an outlet for their work, as well as camaraderie and resources, within the city’s alternative spaces. These artists continue to present experimental projects and support the community that fostered their personal and creative identities. Emceed by Horrorchata and Merrie Cherry of BUSHWIG, the festival includes music performances in the VW Dome by Bottoms, Bunny Michael, Macy Rodman, Jennifer Vanilla, and DJ Dog Dick. Interspersed between these performances, FLUCT will premiere a new video work and Kathleen Dycaico will present a series of performances featuring Soojin Chang, DeVonn Francis, Sophia Park, and Kellan Delice. Throughout the building, visitors will encounter pop-up music, performance, and interventions, including performances by Somos Monstros, a collaborative project from Raúl de Nieves and Erik Zajaceskowski; a new durational play by Bushwick-based theatre group Saints of an Unnamed Country, directed by Cameron Stuart and Danielle Pomorski; a six-hour recital by Frank Hurricane; music by Invisible Circle and Dean Cercone; and DJ sets by DJ Bebe and DJ Adi. The program concludes with a rare performance by experimental band Black Dice, who are returning to New York after a five year absence.

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MoMA Presents: Tamer El Said’s In the Last Days of the City

April 27, 2018–May 03, 2018

The Roy and Niuta Titus Theaters

This film within a film is a haunting yet lyric chronicle of recent years in the Arab world, where revolutions seemed to spark hope for change and yield further instability in one stroke. The more things change, the more they stay the same. Khalid Abdalla (The Kite RunnerThe Square) plays the protagonist of Tamer El Said’s ambitious feature debut, a filmmaker in Cairo attempting to capture the zeitgeist of his city as the world changes around him—from personal love and loss to the fall of the Mubarak regime. Throughout, friends send footage and stories from Berlin, Baghdad, and Beirut, creating a powerful, multilayered meditation on togetherness, the tactile hold of cities, and the meaning of homeland. Shot in 2008 and completed this year, the film explores the weight of the cinematic image as record and storytelling in an ongoing time of change.

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

Akher Ayam El Madina (In the Last Days of the City). 2016. Egypt/Germany/Great Britain/United Arab Emirates. Directed by Tamer El Said. In Arabic; English subtitles. 118 min.

Friday, April 27, 7:00 p.m. Discussion with the filmmaker, Theater 2
Saturday, April 28, 7:00 p.m., Theater 1
Sunday, April 29, 4:00 p.m., Theater 1
Monday, April 30, 4:00 p.m., Theater 2
Tuesday, May 1, 4:30 p.m., Theater 2
Wednesday, May 2, 7:00 p.m., Theater 2
Thursday, May 3, 4:30 p.m., Theater 2

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Studio Visit: Selected Gifts from Agnes Gund

April 29, 2018–July 22, 2018

Floor Two, Collection Galleries

The exhibition, Studio Visit: Selected Gifts from Agnes Gund, celebrates Gund’s contributions as a patron of the arts, a collector, and a longtime Trustee of The Museum of Modern Art and MoMA PS1. On view from April 29, 2018, through July 22, 2018, the presentation pays tribute to the more than 800 works of art she has funded over the past half century. These gifts have come steadily and reliably during her decades of service as a key member of several departmental acquisition committees and her tenure as the Museum’s President from 1991 to 2002.

A studio visit provides an opportunity for some of the most meaningful encounters, conversations, and exchanges between artists, friends, curators, and collectors. Agnes Gund—or “Aggie,” as she is affectionately known—is one of the most dedicated and steadfast of studio visitors, consistently inspired by the thrill of looking and talking with artists in the presence of their artworks. Gund is committed to supporting a vast range of artists, from celebrated figures she counts among her close friends to emerging talents whose work she champions. “My friendships with artists,” she has said, “as well as a sensitivity to the challenges facing women artists and artists of color, have been formative in shaping my collection, which is deeply personal and deeply autobiographical.” The exhibition will reflect the depth of her collecting by bringing together a broad-ranging group of artworks from the 1950s to today in a non-chronological display that sets visitor favorites, seldom seen works, and recent acquisitions in dialogue with one another. Presenting a selection of 55 works Gund has given to MoMA, the exhibition shows that our collection would not be what it is today without her deeply held convictions and unparalleled generosity.

In celebration of her more than 50 years of involvement with the Museum, MoMA’s Party in the Garden will honor Ms. Gund, on May 31. In 1967, she first joined MoMA’s International Council and served on the Museum’s Board of Trustees from 1976 until 2002. Since 2002, she has served as president emerita and currently sits as chairman of the Board of Directors for MoMA PS1. Ms. Gund’s dedication and generous philanthropy to the arts community also extends beyond the Museum to other organizations such as Studio in a School, the Cleveland Museum of Art, National Young Arts Foundation, the Foundation for Contemporary Arts, the Center for Curatorial Leadership, and the Art for Justice Fund, to name only a few.

Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator, and Cara Manes, Assistant Curator, with Mia Matthias, Curatorial Fellow, Department of Painting and Sculpture. Special thanks to Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1.

Support for the exhibition is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Kate W. Cassidy Foundation, Alice and Tom Tisch, The Marella and Giovanni Agnelli Fund for Exhibitions, The Contemporary Arts Council of The Museum of Modern Art, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Franz Wassmer, Karen and Gary Winnick, and Oya and Bülent Eczacıbaşı.

MoMA Audio is supported by Bloomberg Philanthropies.

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MoMA Presents: Chang-Yong Moon and Jin Jeon’s Becoming Who I Was

May 01, 2018–May 07, 2018

The Roy and Niuta Titus Theaters

Filmed over the course of eight years, Becoming Who I Was follows the daily life of Padma Angdu, a young Ladakhi boy who has been identified as the reincarnation of a high-ranking Tibetan Buddhist monk. On his quest to be reunited with his original monastic order, he must overcome great obstacles with the help of his godfather and mentor, Urgyan Rickzan.

Organized by the Department of Film.

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Modern Matinees: Hitchcock/Truffaut

May 02, 2018–June 29, 2018

The Roy and Niuta Titus Theaters

In 1962, an American journalist asked French film director Francois Truffaut (1932–1984) a provocative question: Why do French critics take Alfred Hitchcock’s films so seriously? Truffaut, convinced that Hitchcock’s inclination toward jocular replies to sincere questions cast him in an unflattering light with the media and his peers, resolved to set the record straight. He wrote, “It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock.”

Truffaut had met Hitchcock (1899–1980) once before, in 1955, during production on Hitchcock’s To Catch a Thief in the South of France. The meeting was something of a catastrophe, as Truffaut and his buddy, the director Claude Chabrol, accidentally fell into a fountain in advance of their appointment with Hitchcock. Despite this rocky footing, Hitchcock agreed to 50 hours of interviews with Truffaut, consisting of 500 questions about his career, in chronological order. Questions were limited to the genesis of each film, the preparation of the scripts, and directorial complications. Truffaut capped the interview with Hitchcock’s own candid expectations for the commercial and artistic success of each film.

The first edition of Hitchcock/Truffaut was published in 1967 (with a revised edition in 1983), and it remains an invaluable guide for fans, filmmakers, and critics. This series, drawn primarily from MoMA’s collection, includes an array of films discussed in the book, accompanied by readings from pertinent passages.

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

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The Chelsea Girls Exploded

May 04, 2018–May 13, 2018

The Roy and Niuta Titus Theaters

In the fall of 1966 The Chelsea Girls, Andy Warhol’s double-screen masterpiece, began its unprecedented journey from its birthplace downtown to uptown commercial success. In celebration of the new publication Andy Warhol’s The Chelsea Girls and the ongoing Warhol film digitization project, The Andy Warhol Museum and The Museum of Modern Art present the premiere of a new high-quality digital scan, alongside related films and all the never-before-seen material Warhol shot to create his epic vision of the New York underground scene.

The exhibition features in-person appearances by Warhol stars; 10 film premieres, including The Trip, The John, Their Town (Toby Short), and The Pope Ondine Story; and two special 16mm screenings of The Chelsea Girls.

Organized by Geralyn Huxley, Curator of Film and Video, and Greg Pierce, Associate Curator of Film and Video, The Andy Warhol Museum; and Rajendra Roy, The Celeste Bartos Chief Curator of Film, The Museum of Modern Art.

The exhibition is supported by The Museum of Modern Art’s Annual Film Fund.

Special thanks to MPC NY and Technicolor PostWorks NY for their expertise and commitment to digitizing the films of Andy Warhol.

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William Fox Presents: Restorations and Rediscoveries from the Fox Film Corporation

May 18, 2018–June 05, 2018

The Roy and Niuta Titus Theaters

Founded in 1915 by the self-educated entrepreneur William Fox, the Fox Film Corporation became home to the most dazzling lineup of directorial talent in the studio era. As silent film transitioned into sound, Fox’s roster of directors included Frank Borzage, Allan Dwan, John Ford, Howard Hawks, William K. Howard, Henry King, William Cameron Menzies, F. W. Murnau, Alfred Santell, Raoul Walsh, and many others. Yet this legacy was almost lost when a 1937 vault fire at Fox’s New Jersey storage facility destroyed all of the Fox Film negatives and most of the positive prints. That any of the Fox Film inventory survives today is largely thanks to Eileen Bowser, the former head of MoMA’s Department of Film, who worked with the producer Alex Gordon to rescue the nitrate work prints and reference copies stored at the Fox studio in Los Angeles.

Focusing on that pivotal era, this series (presented here in the first of two parts) features recent restorations from the Fox Film collection by MoMA and the UCLA Film and Television Archive, including exceedingly rare films by Ford, King, and Walsh; a pair of unseen early Spencer Tracy gangster films; and a new digital transfer of Frank Borzage’s 1927 masterpiece 7th Heaven.

Organized by Dave Kehr, Curator, Department of Film. Special thanks to Todd Wiener, Steven K. Hill, Paul Malcolm, UCLA Film and Television Archive; Schwan Belston and Caitlin Robertson, Twentieth Century Fox.

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Bodys Isek Kingelez: City Dreams

May 26, 2018–January 01, 2019

Floor Three, The Philip Johnson Galleries

Press Preview: Tuesday, May 22, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

“Without a model, you are nowhere. A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live,” said visionary artist Bodys Isek Kingelez (1948–2015). Based in then-Zaire (now the Democratic Republic of Congo), following its independence from Belgium, Kingelez made sculptures of imagined buildings and cities that reflected dreams for his country, his continent, and the world. Kingelez’s “extreme maquettes” offer fantastic, utopian models for a more harmonious society of the future. An optimistic alternative to his own experience of urban life in his home city of Kinshasa, which grew exponentially and organically with urban planning and infrastructure often unable to keep step, his work explores urgent questions around urban growth, economic inequity, how communities and societies function, and the rehabilitative power of architecture—issues that resonate profoundly today.

Kingelez’s vibrant, ambitious sculptures are created from an incredible range of everyday materials and found objects—colored paper, commercial packaging, plastic, soda cans, and bottle caps—all meticulously repurposed and arranged. While he didn’t travel outside of Zaire until 1989, he was highly attuned to world events and deeply concerned with social issues. The Scientific Center of Hospitalisation the SIDA (1991), for example, references the AIDS crisis; Palais d’Hirochima (1991) addresses the condtion of postwar Japan; and U.N. (1995) attests to the organization’s global peacekeeping efforts and the artist’s own sense of civic responsibility. In the complex multi-building cityscape Kimbembele Ihunga (1994), the artist reimagines his agricultural home village complete with a soccer stadium, banks, restaurants, and skyscrapers. In Ville Fantôme (1996), which will be accompanied by a Virtual Reality experience for visitors, the artist has imagined a peaceful city in which doctors and police are not needed.

The first US retrospective of Kingelez’s work, the exhibition spans his full career, from early single-building sculptures, to spectacular sprawling cities, to futuristic late works, which incorporate increasingly unorthodox materials. These rarely shown works are a call for us all to imagine, in the artist’s words, a “better, more peaceful world.”

Organized by Sarah Suzuki, Curator, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

Exhibition design is produced in collaboration with the artist Carsten Höller.

Special thanks to Jean Pigozzi and CAAC—The Pigozzi Collection.

The exhibition is made possible by Allianz, a partner of contemporary art at MoMA.

Major support is provided by The International Council of The Museum of Modern Art and by The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Friends of Education of The Museum of Modern Art.

Additional support is provided by the Annual Exhibition Fund.

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MoMA Presents: Anand Patwardhan’s Jai Bhim Comrade

June 01, 2018–June 07, 2018

Over his 47-year career, Anand Patwardhan (b.1950) has secured a reputation as one of India’s most independent, fearless filmmakers—one for whom cinema is a form of political engagement. In his award-winning documentary Jai Bhim Comrade, the 1997 police shooting of Dalits (formerly branded “untouchables”) at Ramabai Colony in Mumbai triggers a narrative about caste discrimination in contemporary India set against the modern legacy of Dr. Bhimrao Ambedkar, the 20th-century reformer and legal scholar who also drafted India’s constitution. Shot over 14 years, Jai Bhim Comrade examines the persistent social and legal persecution of Dalit communities, as well as the poetry and music of Dalit resistance.

Organized by Prajna Desai, C-MAP Research Fellow for Asia, Department of Architecture and Design.

 

Friday, June 16:30 p.m., T1
Saturday, June 22:00 p.m., T2. Followed by a discussion with the filmmaker.
Sunday, June 32:00 p.m., T1
Monday, June 42:30 p.m., T2
Tuesday, June 56:30 p.m., T2
Wednesday, June 67:00 p.m., T1
Thursday, June 76:00 p.m., T1
 
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Reza Abdoh

June 03, 2018–September 03, 2018

MoMA PS1

MoMA PS1 presents the first major retrospective of pioneering theater director and playwright Reza Abdoh (Iranian-American, 1963–95), who was one of the most compelling figures in American experimental theater when he died of AIDS-related complications in 1995 at only 32 years old. Abdoh’s provocative and challenging work confronted the humanitarian catastrophe of the AIDS epidemic and the culture wars of the Reagan era, investigating a range of urgent social issues that remain equally relevant today, including those surrounding sexual orientation, gender, race, class, and privilege.

Co-organized by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator at Large, The Museum of Modern Art; and Negar Azimi, Tiffany Malakooti, and Babak Radboy for Bidoun. The exhibition is co-produced with the KW Institute for Contemporary Art in Berlin, where it will be presented from February 2 to April 29, 2019 and organized in collaboration with Krist Gruijthuijsen, Director.

Body Armor

June 03, 2018–September 09, 2018

The four artists in Body Armor—Maryam Hoseini, Zadie Xa, Delilah Montoya, and Ana Pellicer—present approaches to bodily adornment in contemporary life, placing focus on the garments and objects we wear to signal belonging, confer status, or project strength. Wearable ornaments have distinguished their owners for centuries across global cultures, embellishing appearance, granting access, and enhancing power. These distinctive markers allow individuals to move fluidly through a range of identities, operating as instruments of social influence that participate in a shared cultural language predicated on existing hierarchies and stereotypes.

Body Armor reimagines these adornments, and critiques the traditional, often colonial, contexts in which they are deployed. Pushing the boundaries of how we construe femininity across a range of cultures, geographies, and generations, these four artists trace the various ways these symbols work both in public and private space to define features of our cultural life, sense of self, social rankings, and communities.

Body Armor is organized by Jocelyn Miller, Assistant Curator, MoMA PS1.

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Seth Price: Danny, Mila, Hannah, Ariana, Bob, Brad

June 03, 2018–September 03, 2018

This recent series of large-scale photographs by Seth Price (American, b. 1973) depicts magnified details of human skin in high resolution, bearing only the first names of the people who served as the artist’s models. Presented as a discrete installation, these abstract portraits of people of various ages, genders, and races document portions of each subject’s body in extreme detail. Using a robotic camera typically deployed for scientific research or forensic study, Price captured thousands of high-definition images in a single sitting, focusing on a specific area such as the arm or leg. The resulting images were subsequently stitched together using satellite-imaging software, run through a 3D graphics program, and adjusted by a fashion retoucher. Printed on fabric and stretched over commercial light boxes, these digital skins take on an inner light, fusing human warmth with a screen-like glow.

Since the mid-2000s, Price’s work has been celebrated for its reflection of the cultural, political, and economic conditions of this new century through the use of disparate image formats, fashion, music, commercial packaging, and advertising applications. Less noted is the connection that much of his art has to the body. Whether invoking it through violent media images, sexual cartoons, casts, clothing, or sewage pipes, Price returns repeatedly to the body as the site where technology’s effects register most acutely, if mysteriously. Combining the crisp detail of close observation with the impersonal breadth afforded by panoramic view, the photographs presented here provide uncannily intimate representations that nevertheless reveal very little about their models.

Seth Price: Danny, Mila, Hannah, Ariana, Bob, Brad is organized by Peter Eleey, Chief Curator, with Josephine Graf, Curatorial Assistant, MoMA PS1.

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Sue Coe: Graphic Resistance

June 03, 2018–September 09, 2018

Since the 1970s, Sue Coe (British and American, b. 1951) has worked at the juncture of art and activism to expose injustices and abuses of power. Protesting various forms of exploitation and violence, she tackles issues of sexism, racism, economic inequality, xenophobia, and animal cruelty. Graphic Resistance highlights these concerns in a selection of drawings, prints, and large-scale collages, as well as illustrations that Coe produced for newspaper opinion pages.

Art’s persuasive power has long been understood by rulers and rebels alike. Situated in a lineage of socially-engaged artists from Francisco Goya and Käthe Kollwitz to Leon Golub, Coe harnesses this capacity in works that depict suffering to call her audiences to action. She challenges complacency by spotlighting subjects that are typically relegated to the margins of attention, demanding that the vulnerabilities she pictures be not simply seen, but felt. “Neutrality,” she has stated, is “no longer a position we can afford.”

The trajectory of Coe’s practice, which responds to current events, doubles as a history of sociopolitical issues and activist causes. The exhibition traces some of her concerns, beginning with a selection of works from the 1980s that address the societal and environmental effects of Reagan-era free market economic policy and social conservatism. It follows Coe’s concurrent advocacy for animal rights and passionate fight against industrialized slaughter—which remain among her primary targets today—and includes works that confront the first Gulf War, the devastations of Hurricane Katrina, and escalating xenophobia in recent politics.

Sue Coe: Graphic Resistance is organized by Peter Eleey, Chief Curator, with Josephine Graf, Curatorial Assistant, MoMA PS1.

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Carte Blanche: Edgardo Cozarinsky on Argentine Cinema

June 06, 2018–June 24, 2018

The Roy and Niuta Titus Theaters

Celebrated Argentine author and filmmaker Edgardo Cozarinsky made his North American cinematic debut with Dot Dot Dot (1971) in the very first New Directors/New Films festival, in 1972. Cozarinsky returns to MoMA with a Carte Blanche selection that juxtaposes classic and contemporary Argentine cinema in fresh and provocative ways. For example, a 1930s musical drama paired with a subversive theater improvisation from the late 1960s, or a 1950s noir about a child murderer paired with a recent coming-of-age drama about a different form of child abuse.

In doing so, he sheds new light on Argentine cinema’s unique concerns and urgencies—whether political, sexual, or artistic—observing that “history is rewritten all the time, and film history is even more liable to reassessments, fallen idols, and heroes retrieved from obscurity. This series of Argentine films proposes an alternative to accepted film history, bringing into dialogue vintage and present- day titles that escape, hopefully, from the accepted pattern of Argentine history and not just of film history.” Cozarinsky will introduce many of the programs, together with the scholar and archivist Fernando Martín Peña.

Organized by Joshua Siegel, Curator, Department of Film.

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MoMA at NGV: 130 Years of Modern and Contemporary Art

June 09, 2018–October 07, 2018

The National Gallery of Victoria, Melbourne, Australia

In partnership with The Museum of Modern Art, New York, the National Gallery of Victoria, Melbourne will present MoMA at NGV: 130 Years of Modern and Contemporary Art as part of its Winter Masterpieces series. MoMA at NGV will provide a unique survey of The Museum of Modern Art’s iconic collection. Consisting of approximately 200 key works, arranged chronologically into eight thematic sections, the exhibition will trace the development of art and design from late-19th-century urban and industrial transformation, through to the digital and global present.

The emergence of a “new art” at the turn of the 20th century will be represented by some of MoMA’s earliest acquisitions, including masterworks by Henri Matisse and Paul Cézanne as well as an architectural model by Le Corbusier featured in MoMA’s first architecture exhibition in 1932. Works by pioneering Cubist and Futurist artists, including Pablo Picasso and Umberto Boccioni, will appear alongside the radically abstracted forms present in graphic design, furniture, and textiles from the Bauhaus and in works by artists such as Kazimir Malevich and Piet Mondrian. The surreal visual language of paintings by artists like Salvador Dalí and Frida Kahlo and the spontaneity and tactility advanced in works by prominent Abstract Expressionists such as Alexander Calder and Jackson Pollock will also be included.

Developments in art from the 1960s to the 1980s, from Minimalism through Postmodernism, will be explored through the work of Roy Lichtenstein, Gerhard Richter, Andy Warhol, Lynda Benglis, Sol LeWitt, Jeff Koons, Cindy Sherman and Keith Haring, among others. Significant works of late 20th-century and early 21st century art and design, including major pieces by Kara Walker, Rineke Dijkstra, Andreas Gursky, Olafur Eliasson, Huang Yong Ping, Mona Hatoum, El Anatsui and Camille Henrot, will foreground ideas around cultural and national identity, and mobility in a globalized world. Tomohiro Nishikado’s pioneering computer game Space Invaders and Shigetaka Kurita’s original set of 176 emoji will further complement the discussion of contemporary topics.

The exhibition is organized by The Museum of Modern Art, New York, in partnership with the National Gallery of Victoria.

Organized by Samantha Friedman, Associate Curator, Drawings and Prints, The Museum of Modern Art; Juliet Kinchin, Curator of Modern Design, The Museum of Modern Art; Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings and Prints, The Museum of Modern Art; and Miranda Wallace, Senior Curator, International Exhibition Projects, NGV.

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Modern Matinees: Hitchcock/Truffaut, Fashionably Late

June 26, 2018–July 04, 2018

Since our regular Modern Matinees screenings take place early on weekdays, we’d like to offer this “redux” presentation for audiences that have been unable to attend. In June and July 2018 we present an encore selection from our Hitchcock/Truffaut program, featuring films discussed in Francois Truffaut’s landmark 1967 interviews with Alfred Hitchcock.

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

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Young Architects Program 2018: Jennifer Newsom and Tom Carruthers of Dream The Combine

June 28, 2018–September 03, 2018

MoMA PS1

Hide & Seek by Jennifer Newsom and Tom Carruthers of Dream The Combine, in collaboration with Clayton Binkley of Arup, will be on view in MoMA PS1’s courtyard from June 28 through September 3, 2018. Winner of The Museum of Modern Art and MoMA PS1’s annual Young Architects Program, this year’s construction is a responsive, kinetic environment that features eight intersecting elements arrayed across the entirety of the MoMA PS1 courtyard. Hide & Seek serves as a temporary urban landscape for the 21st season of Warm Up, MoMA PS1’s pioneering outdoor music series.

Now in its 19th edition, the Young Architects Program at The Museum of Modern Art and MoMA PS1 has offered emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues.

Inspired by the crowd, the street, and the jostle of relationships found in the contemporary city, Hide & Seek enables surprising connections throughout the adjoining courtyards of MoMA PS1 and the surrounding streets. Each of the horizontal structures contains two inward-facing, gimbaled mirrors suspended from a frame. The mirrors move in the wind or with human touch, permitting dislocating views and unique spatial relationships across the space that foster unexpected interactions. As the vanishing points disappear into the depths of the mirrors, the illusion of space expands beyond the physical boundaries of the Museum and bends into new forms, creating visual connections within the courtyard and onto the streets outside. In reference to these unpredictable gestures, the upper registers of the steel structure are filled with a cloud of mist and light, responding to the activity and life of Warm Up at night. Scriptive elements, including a runway and a large-scale hammock, invite visitors into performance and establish platforms for improvisation.

MoMA Presents: Hlynur Pálmason’s Winter Brothers

June 28, 2018–July 04, 2018

This debut feature from Hlynur Pálmason, an Icelandic visual artist/filmmaker based in Denmark, is an immersive sensory experience set in a desolate Danish limestone mining community. A landscape covered in indistinguishable white ash and snow masks the darkness enveloping Emil, a lonely and eccentric young man who works in the mine with his much more sociable brother. Few notice Emil until he is suspected of causing a coworker’s grave illness, which leads to his being ostracized. A relentless industrial soundscape accompanies this portrait of a man trapped in unforgiving isolation.

Organized by La Frances Hui, Associate Curator, Department of Film.

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Warm Up 2018

June 30, 2018–September 01, 2018

MoMA PS1’s pioneering outdoor music series Warm Up returns in 2018 with ten Saturdays presenting the best in live and electronic music. Taking place every Saturday from June 30 through September 1, Warm Up celebrates a wide range of artists: emerging and established, local and global, and across genres. This year’s program welcomes Omar-S, SOB x RBE, HoodCelebrityy, Cashmere Cat, Kelsey Lu, Maxo Kream, Lizzo, A-Trak, Gang Gang Dance, Josey Rebelle, Starchild + The New Romantic, and DJ Kass, as well as the New York debut of Laff Trax, a new collaboration by Chaz Bear of Toro y Moi and Jason Chung of Nosaj Thing, and a final-day headlining set by members of Discwoman, a collective that exclusively represents women and genderqueer artists.

Now in its 21st season, Warm Up is one of the longest running music programs housed within a museum. As an integral part of MoMA PS1’s curatorial program, Warm Up seeks to elevate innovative and underrepresented voices and connect fans with music’s most important artists. The program’s alumni include contemporary creators Four Tet, Solange, Black Dice, Cardi B, Jamie XX, and Laurel Halo, as well as legendary DJs including Ritchie Hawtin, DJ Premier, and Total Freedom.

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Rockaway! 2018: Narcissus Garden by Yayoi Kusama

July 01, 2018–September 03, 2018

Gateway National Recreation Area at Fort Tilden

This summer, MoMA PS1 will present Yayoi Kusama’s (Japan, b. 1929) site-specific installation of Narcissus Garden (1966–present) as the third iteration of Rockaway!, a free public art festival presented with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies. Narcissus Garden will be on view from July 1 through September 3, 2018 at the Gateway National Recreation Area at Fort Tilden.

Comprised of 1,500 mirrored stainless steel spheres, Narcissus Garden will be on view in a former train garage from the time when Fort Tilden was an active U.S. military base. The mirrored metal surfaces will reflect the industrial surroundings of the now-abandoned building, drawing attention to Fort Tilden’s history as well as the devastating damage inflicted on many buildings in the area by Hurricane Sandy in 2012.

Rockaway! 2018 is presented by MoMA PS1 with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies.

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Modern Matinees: Barry Levinson

July 04, 2018–August 31, 2018

Director, screenwriter, producer, and sometime actor Barry Levinson (American, b. 1942) is perhaps best known for the films he set in his beloved Baltimore, a place rich in family, memory, loss, humor, and celebration. The city itself is practically a character in Diner (1982), Tin Men (1987), Avalon (1990), and Liberty Heights (1999). And though Levinson did occasionally move his films away from Baltimore, that depth of feeling has remained constant, as evidenced by his 1988 Best Director Oscar for Rain Man.

A writing veteran of such television variety series as The Marty Feldman Comedy MachineThe Tim Conway Show, and the iconic Carol Burnett Show, Levinson started in movies with the screenplay for Mel Brooks’s sidesplitting Silent Movie (1976). While this comedy background suffuses his work, there is also a poignant nostalgia in Levinson’s films, often set in a time that exists only in memory—and sometimes those memories are faulty. His Baltimore films, especially, speak to long-ago gatherings, when extended families lived under one roof and observed traditions brought with them to this country. They also address the nobility of the working class and a pride in excelling through ambition and an unbreakable work ethic. Levinson confronts bigotry and the concept of otherness in quiet ways, too, as in Liberty Heights or, more overtly, in Rain Man.

In recent years Levinson has returned to TV with a trio of ripped-from-the-headlines biopics for HBO: You Don’t Know Jack (2010), The Wizard of Lies (2017), and Paterno (2018).

This broad overview of Levinson’s distinctive career is drawn primarily from MoMA’s collection. Special thanks to HBO.

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

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The Grandmaster: Lau Kar-leung

July 05, 2018–July 17, 2018

Many directors and actors have been associated with the kung fu genre, Hong Kong cinema’s most unique creation, but no one compares to Lau Kar-leung (1937–2013), aka Liu Chia-liang, as a purist of the genre and the kung fu form. Trained in the southern Hung Fist tradition, Lau practiced under his father, whose teacher was a direct disciple of Wong Fei-hung (1847–1924), the legendary martial artist and folk hero whose life has been fictionalized in over 100 films. This lineage formed the foundation of Lau’s work as both a director and kung fu practitioner.

Lau began performing stunts and small roles in movies at an early age, and joined the Shaw Brothers film studio in the 1960s as a martial arts instructor, choreographing and directing action scenes. His partnership with director Chang Cheh created such stunning swordplay films as One-Armed Swordsman (1967) and Golden Swallow (1968). The first martial arts instructor ever to become a director, Lau rose to the position with a unique vision. Diverging from Chang’s world of gut-spilling bloodbaths and machismo, Lau used his films to honor the holistic practice of kung fu—a discipline of both the body and mind. And unlike director King Hu (Come Drink with MeA Touch of Zen), who constructed fantastical, impressionistic movements inspired by Peking opera–style acrobatics and theatrics, Lau favored realistic combat, informed by the southern kung fu form that he had practiced all his life.

While many films feature invincible fighters at their pinnacle, Lau had a penchant for a martial artist’s training stage, dedicating ample screen time to the depiction of rigorous practice and the development of humility, kindness, and moral standing—the qualities that make a true master. Some of the training scenes have an almost documentary quality; the actors sometimes underwent grueling physical ordeals on set. Lau often embedded kung fu demonstrations in opening-credit sequences as well, offering moments for the art form to shine in its purest state. Intricately choreographed and performed fight scenes further underline the director’s intimate relationship with his art. Lau’s films are an ultimate ode to kung fu, and earned him the moniker The Grandmaster.

This series includes 10 films Lau made for the Shaw Brothers. The director himself appears in six of the films, in a variety of leading and supporting roles, alongside many of his favorite kung fu stars, including Gordon Liu Chia-hui, Kara Wai, and Hsiao Hao.

Organized by La Frances Hui, Associate Curator, Department of Film.

The exhibition is supported by the Annual Film Fund. 

Special thanks to Celestial Pictures, American Genre Film Archive, and Bede Cheng.

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Reza Abdoh: Radical Visions

July 14, 2018–July 23, 2018

A polymath and self-described member of “a TV generation,” pioneering Iranian-American theater artist Reza Abdoh voraciously incorporated varied references to music videos, variety shows, film, dance, classical texts, BDSM, and more into his work, with equal parts poetry and rigor. Moving images played an essential role in the artist’s large-scale, interdisciplinary productions beginning in the mid-1980s. In his final working years he also turned to the cinematic form; his second feature remained unfinished at the time of his 1995 death from AIDS-related complications. In conjunction with the retrospective Reza Abdoh, currently on view at MoMA PS1, this series offers insight into the artist’s profound creative energy—films he directed and videos created collaboratively for productions—along with a recent documentary and a special evening of conversation.

Across disciplines, Abdoh confronted themes of transgression, violence, and abjection to speak to social and political upheaval and marginalization in America and around the world—with a demanding yet transcendent effect on cast members, audiences, and future scholars and followers of his work. While his media output was largely envisioned in the context of theatrical mise en scène, experiencing Abdoh onscreen is vital to the rediscovery of this essential creator, whose urgent anger, clarity of vision, and unique voice resonate two decades on.

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film; with Negar Azimi, Tiffany Malakooti, and Babak Radboy, Bidoun; and Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art

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Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980

July 15, 2018–January 13, 2019

Floor Three, The Robert Menschel Galleries

Press Preview: Tuesday, July 10, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

The Museum of Modern Art will explore the architecture of the former Yugoslavia with Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, the first major US exhibition to study the remarkable body of work that sparked international interest during the 45 years of the country’s existence. The exhibition will include more than 400 drawings, models, photographs, and film reels culled from an array of municipal archives, family-held collections, and museums across the region, introducing the exceptional built work of socialist Yugoslavia’s leading architects to an international audience for the first time.

The architecture that emerged during this period—from International Style skyscrapers to Brutalist “social condensers”—is a manifestation of the radical pluralism, hybridity, and idealism that characterized the Yugoslav state itself. Exploring themes of large-scale urbanization, technological experimentation and its application in everyday life, consumerism, monuments and memorialization, and the global reach of Yugoslav architecture, Toward a Concrete Utopia will feature work by important architects, including Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić. From the sculptural interior of the White Mosque in rural Bosnia, to the post-earthquake reconstruction of the city of Skopje based on Kenzo Tange’s Metabolist design, to the new town of New Belgrade with its expressive large-scale housing blocks and civic buildings, the exhibition will examine the unique range of forms and modes of production in Yugoslav architecture and its distinct yet multifaceted character.

Organized by Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and Vladimir Kulić, Associate Professor, Florida Atlantic University, with Anna Kats, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art and by The Contemporary Arts Council of The Museum of Modern Art.

 Generous funding is provided by the Graham Foundation for Advanced Studies in the Fine Arts.

 Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, The Marella and Giovanni Agnelli Fund for Exhibitions, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, and Karen and Gary Winnick.

 Support for the publication is provided by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.

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A View from the Vaults: Recent Film Acquisitions

July 18, 2018–August 08, 2018

The Museum of Modern Art’s film collection now comprises more than 30,000 film titles. And with the 1996 opening of the Celeste Bartos Film Preservation Center in Hamlin, Pennsylvania, the Museum has a state-of-the-art facility where these moving-image treasures can be stored. This two-building complex, now operating for more than 20 years, gives us ample space and the ideal controlled environment in which to preserve materials essential to film history, and provides our staff with the ability to plan confidently for the acquisition, cataloging, and care of future films.

Comprised of recent additions, this series illustrates the collection’s enormous diversity, from classic and contemporary Hollywood feature productions (GiantButch Cassidy and the Sundance Kid, Amadeus), to independent works that explore social issues (Into the Abyss), to international films that portray cultural values not unlike our own (Waiting for HappinessSalaam Bombay!). We included a few just-plain-funny movies, too.

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

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Constantin Brancusi Sculpture

July 22, 2018–February 18, 2019

Floor Two, Paul J. Sachs Galleries

Looking back at the first showing of Constantin Brancusi’s work (1876–1957) in the United States, in the 1913 Armory Show, one writer reflected that sculptures on view were “disturbing, so disturbing indeed that they completely altered the attitude of a great many New Yorkers towards a whole branch of art.” Indeed, Brancusi’s beguilingly simple forms looked like nothing else, then or since.

Rather than modeling clay like his peers, Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. He often moved works from base to base, or placed them directly on the floor of his studio, so that they lived in the world alongside ordinary objects, and among people.

Born in rural Romania, Brancusi moved to Paris in 1904, where he established his studio and quickly immersed himself in avant-garde art circles. In his adopted city, he embraced an experimental modern spirit, including an interest in modern machines and popular culture. With his friend Man Ray, he made films that captured his life in the studio—working with his materials and muses, activating his artworks through movement and recombination, and revealing his sources of inspiration such as animals at play, light in nature, and dance. Yet until his death he proudly presented himself as an outsider—cultivating his image as a peasant, with a long beard, work shirt, and sandals. The contradiction also informs his art making, which was dependent on ancient techniques as much as contemporary technologies.

This exhibition celebrates MoMA’s extraordinary holdings—11 sculptures by Brancusi will be shown together for the first time, alongside drawings, photographs, and films. A selection of never-before-seen archival materials shed light on the artist’s working process and relationships with friends, sitters, and patrons, including this Museum. What emerges is a rich portrait of an artist whose risk-taking and inventive approach to form changed the course of the art that followed.

Organized by Paulina Pobocha, Associate Curator, with Mia Matthias, Curatorial Fellow, Department of Painting and Sculpture

The exhibition is made possible by Monique M. Schoen Warshaw.

Major support is provided by The Contemporary Arts Council of The Museum of Modern Art, and by Jack Shear with The International Council of The Museum of Modern Art.

Additional support is provided by the Annual Exhibition Fund.

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The Future of Film Is Female

July 26, 2018–August 02, 2018

The current moment in the film industry is one of deep change and extraordinary opportunity, and we are presented with the responsibility to take the necessary steps toward a brighter, more inclusive future in which cinema can more accurately reflect the world around us. The Future of Film is Female is a proactive, positive gesture toward increased representation, equitable workplaces, and gender parity for women in cinema through the simple, yet powerful, act of screening their films.

Begun as a funding program for women developing short films, The Future of Film Is Female has expanded its mission, partnering with MoMA to champion contemporary films directed by women early in their careers, in an effort to have their voices represented and respected on equal footing with their male counterparts. This two-year, seasonal series begins with films by Shirin Neshat, Gillian Robespierre, Maysaloun Hamoud, Coralie Fargeat, and Erin Lee Carr; a special shorts program from the NoBudge movie club; and short film screenings before each feature. Subsequent seasons will reflect and respond to changes in filmmaking, financing, and exhibition, in addition to broader societal challenges.

The Future of Film Is Female is organized by Caryn Coleman, guest curator, and Rajendra Roy, The Celeste Bartos Chief Curator of Film, The Museum of Modern Art.

The exhibition is supported by The Museum of Modern Art’s Annual Film Fund.

 

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Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures, Part 2

August 09, 2018–August 23, 2018

Continuing our celebration of the Republic Pictures library, which is currently being restored and returned to wide distribution by Paramount, here are 16 more rarely seen titles, each handpicked by Martin Scorsese. The program opens with a rare Republic A-picture, Edward Ludwig’s dreamlike South Seas romance Wake of the Red Witch(1948), with John Wayne and Gail Russell, and includes Republic’s 1953 Trucolor follow-up, Fair Wind to Java(Joseph Kane, 1953)—a Scorsese favorite starring Fred McMurray and Vera Ralston, in a 35mm restoration from The Film Foundation.

Other filmmakers to be highlighted include John H. Auer (I, Jane Doe, 1948), William A. Seiter (Make Haste to Live, 1954), William Witney (The Outcast, 1954), Bernard Vorhaus (Three Faces West, 1940), Anthony Mann (Strangers in the Night, 1944), Herbert Wilcox (Laughing Anne, 1953), Allan Dwan (Surrender, 1950), and Frank Borzage (Moonrise, 1948). This series is presented in association with The Film Foundation and Paramount Pictures.

Organized by Dave Kehr, Curator, Department of Film.

 

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MoMA Presents: Michelle Memran’s The Rest I Make Up

August 23, 2018–August 29, 2018

Maria Irene Fornes is one of America’s greatest playwrights and most influential teachers, but many only know her as the ex-lover of writer and social critic Susan Sontag. The visionary Cuban-American dramatist constructed astonishing worlds onstage and taught countless students how to connect with their imaginations. When she gradually stops writing due to dementia, an unexpected friendship with filmmaker Michelle Memran reignites her spontaneous creative spirit and triggers a decade-long collaboration that picks up where the pen left off. 

The duo travels from New York to Havana, Miami to Seattle, exploring the playwright’s remembered past and their shared present. Theater luminaries such as Edward Albee, Ellen Stewart, Lanford Wilson, and others weigh in on Fornes’s important contributions. What began as an accidental collaboration becomes a story of love, creativity, and connection that persists even in the face of forgetting.

 

The Rest I Make Up. 2018. USA. Directed by Michelle Memran. 75 min.

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MoMA Presents: Emmanuel Gras’s Makala

August 24, 2018–August 30, 2018

Gras’s transfixing road movie and Cannes Film Festival prizewinner follows a young Congolese man named Kabwita through the making, transporting, and selling of charcoal—from the felling of a tree to pushing a teetering bicycle weighed down with bulging sacks along treacherous dirt roads to contending with motorists, extortionists, and potential customers. As Gras observes Kabwita’s perilous trade, he derives beauty from the monumental efforts that go into his day-to-day existence. Makala is a documentary that resembles a neorealist parable, locating an epic dimension in the humblest of existences. A Kino Lorber release.

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Judson Dance Theater: The Work Is Never Done

September 16, 2018–February 03, 2019

Floor Two, Contemporary Galleries and the Donald B. and Catherine C. Marron Atrium

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present performances that Village Voice critic Jill Johnston declared the most exciting new developments in dance in a generation. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Together, the artists challenged traditional understandings of choreography, expanding dance in ways that reconsidered its place in the world. They employed new compositional methods to strip dance of its theatrical conventions, incorporating “ordinary” movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity.

Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn, and James Waring and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre. Through live performance and some 300 objects including film, photographic documentation, sculptural objects, scores, music, poetry, architectural drawings, and archival material, the exhibition celebrates the group’s multidisciplinary and collaborative ethos as well as the range of its participants. The Work Is Never Done includes a gallery exhibition, a print publication, and an ambitious performance program in the Museum’s Donald B. and Catherine C. Marron Atrium.

The exhibition is organized by Ana Janevski, Curator, and Thomas J. Lax, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art.

The exhibition is made possible by Hyundai Card.

Leadership support is provided by Monique M. Schoen Warshaw and by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Major support for the exhibition and publication is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Generous funding is provided by The Contemporary Arts Council of The Museum of Modern Art and The Harkness Foundation for Dance.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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Charles White: A Retrospective

October 07, 2018–January 13, 2019

Floor Three, The Edward Steichen Galleries

With Charles White: A Retrospective, The Museum of Modern Art and the Art Institute of Chicago present the first major museum exhibition of Charles White’s oeuvre in over 30 years, on view at The Museum of Modern Art from October 7, 2018, through January 13, 2019. Covering the full breadth of his career with over 100 multidisciplinary works, the exhibition features drawings, paintings, prints, photographs, and contextual ephemera. Prior to its MoMA presentation, the exhibition will be on view at the Art Institute of Chicago from June 8 through September 3, 2018. Following its MoMA presentation, the exhibition will travel to the Los Angeles County Museum of Art (LACMA), where it will be on view in Spring 2019.

Beginning in the late 1930s and concluding with White’s premature death in 1979, the exhibition features a detailed overview of his work over a four-decade span of enormous change in the US that provided a constant wellspring of subject matter for the artist. The presentation reveals White as a responsive visual strategist who was open to exploring styles and techniques inspired by contemporary art and culture, and a savvy interpreter of an evolving political climate. White’s commitment to figuration, to directly addressing the social and political concerns of his time, and to mastering mediums that allowed for wide circulation of his art established him as a major figure, and one with significant influence on his peers and followers.

The exhibition is organized chronologically, with groupings centered on the cities and creative communities in which White lived and worked. Each section will be supported by relevant ephemera and supporting materials detailing White’s working process, political and social activities, and role as a teacher.

Charles White: A Retrospective is organized by Esther Adler, Associate Curator, Department of Drawings and Prints; and Sarah Kelly Oehler, Field-McCormick Chair and Curator of American Art, Art Institute of Chicago.

Charles White: A Retrospective is part of Art Design Chicago, an exploration of Chicago’s art and design legacy, an initiative of the Terra Foundation for American Art with presenting partner The Richard H. Driehaus Foundation.

The exhibition is supported at The Museum of Modern Art and Art Institute of Chicago by the Terra Foundation for American Art.

The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.

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Bruce Nauman: Disappearing Acts

October 21, 2018–February 18, 2019

The Museum of Modern Art, The Steven and Alexandra Cohen Center for Special Exhibitions, sixth floor, and MoMA PS1

The exhibition is on view at The Museum of Modern Art October 21, 2018–February 18, 2019, and at MoMA PS1 October 21, 2018–February 25, 2019.

The Museum of Modern Art and MoMA PS1 will collaborate on the first comprehensive retrospective in 25 years devoted to the work of American artist Bruce Nauman (b. 1941). Co-organized by The Museum of Modern Art and Schaulager Basel, Bruce Nauman: Disappearing Acts will draw upon the rich holdings of both institutions and over 70 lenders. Encompassing Nauman’s entire career, the exhibition will occupy the Museum’s entire sixth floor and the whole of MoMA PS1. This joint presentation will provide an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and neon to performance, video, film, sculpture, and architecturally scaled environments. The exhibition’s title refers to the manifold appearances of disappearance in the artist’s work. For Nauman, disappearance is both a real phenomenon and an ample metaphor for grappling with the anxieties of both the creative process and of navigating the everyday world.

Since 1970, Nauman has frequently worked on a monumental scale, necessitating this expansive presentation across both of MoMA’s locations. Both venues include works in all mediums and from all phases of Nauman’s career, offering distinct but complementary perspectives on his wide-ranging practice. The characteristics of the two spaces have shaped the curatorial approach to each: the flexibility of The Museum of Modern Art’s sixth-floor exhibition galleries will accommodate six of the artist’s largest works, alongside a representative selection of his production across the decades; while the suite of former classrooms in MoMA PS1’s historic building will house over 120 works in a more traditional retrospective format. At The Museum of Modern Art, the exhibition moves swiftly from Nauman’s early work examining his own body to works that directly involve the viewer, who must navigate a series of room-sized installations that dictate movement and stress the senses. At MoMA PS1, Disappearing Acts will unfold chronologically, but with strategic interruptions to highlight consistencies in a seemingly disparate body of work, as Nauman revisits earlier motifs and concerns with new urgency.

Organized by The Museum of Modern Art, New York, and Laurenz Foundation, Schaulager Basel.

The exhibition is organized by Kathy Halbreich, Laurenz Foundation Curator and Advisor to the Director, The Museum of Modern Art; with Heidi Naef, Chief Curator, and Isabel Friedli, Curator, Schaulager Basel; and Magnus Schaefer, Assistant Curator, and Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

The exhibition is made possible by the Laurenz Foundation, Schaulager Basel.

Leadership support is provided by The Sandra and Tony Tamer Exhibition Fund.

Major support is provided by The International Council of The Museum of Modern Art and by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Generous funding is provided by The Hayden Family Foundation, Sully Bonnelly and Robert R. Littman, Ellen and William Taubman, and by The Contemporary Arts Council of The Museum of Modern Art.

Additional support is provided by the MoMA PS1 Annual Exhibition Fund and by The Museum of Modern Art’s Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, The Marella and Giovanni Agnelli Fund for Exhibitions, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, and Karen and Gary Winnick.

 

 

 

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