Press release
MoMA, BERLINALE, AND DEUTSCHE KINEMATHEK ANNOUNCE
ANNUAL COLLABORATION TO BRING
RETROSPECTIVE
TO NEW YORK AUDIENCES
Mezhrabpom-The Red Dream Factory to be Inaugural Exhibition of New Partnership
NEW YORK, January 10, 2012-- The Museum of Modern Art announce a new partnership with the Berlin International Film Festival and the Deutsche Kinemathek to co-organize Berlin International Film Festival's annual Retrospective program.
The 2012 Retrospective launches a long-term collaboration with MoMA, bringing this year's installment, Mezhrabpom-The Red Dream Factory, to The Museum of Modern Art, April 11-30, 2012. Each year, Retrospective devotes itself to showcasing an important director or a topic relevant to film history.
Organized by the Deutsche Kinemathek-Museum für Film und Fernsehen since 1977, this popular Berlinale section gives viewers a first look at the oeuvre of a filmmaker, an epoch or a genre in a larger context, and provides unexpected discoveries.
In the future, the Berlin International Film Festival, the Deutsche Kinemathek and The Museum of Modern Art will cooperate closely in selecting themes and organizing the Retrospective section.
"This collaboration between MoMA, the Deutsche Kinemathek, and the Berlinale represents the culmination of a decades-long tradition of cooperation and intellectual exchange between our institutions. The opportunity to jointly organize and present the Retrospective section at the Berlin Film Festival brings these efforts together in a coherent and highly visible manner. We are thrilled to announce this important new phase of our partnership," says Rajendra Roy, The Celeste Bartos Chief Curator of Film at MoMA.
Rainer Rother, Artistic Director of the Deutsche Kinemathek and Section Director of the Retrospective comments: "I'm extremely pleased to have our New York colleagues as our new partner. We share a long history of cordial relations. This new partnership will allow the Retrospective, which is frequently the outcome of extensive preparations over years, to reach more audiences worldwide."
In April 2012, MoMA will present a large portion of this year's program under the title Mezhrapbom-The Red Dream Factory. This will make it possible for audiences in New York to explore a little-known period of film history, presenting the achievements of Soviet film studio Mezhrabpom from 1922-36, one that, nevertheless, had a far-reaching impact on the development of cinematic language around the world.
In the past, the Deutsche Kinemathek and MoMA have teamed up in a similar fashion on projects such as the film series East Side - West Side. Treasures from the MoMA Film Archives that screened in Berlin in 2004; and on the comprehensive presentation Weimar Cinema, 1919-1933: Daydreams and Nightmares that was shown in New York in 2010/2011.
The Berlin International Film Festival has also enjoyed close ties with The Museum of Modern Art, most recently when Dieter Kosslick was invited by MoMA to present his vision of film, culture, cuisine and environment under the title Carte Blanche: Dieter Kosslick, the Culinary Cineaste successfully in New York.
"By collaborating with MoMA, we are expanding the Berlinale's international network and increasing the
sustainability of our commitment to explore film history," comments Berlinale Director Dieter Kosslick.
Mezhrabpom-The Red Dream Factory
The Museum of Modern Art (MoMA.org)
April 11-30, 2012
Retrospective 2012: The Red Dream Factory
62nd Berlin International Film Festival
February 9 - 19, 2012
++++++++++++++++++++++++++++++++++++++++++++++++
MoMA, BERLINALE, AND DEUTSCHE KINEMATHEK ANNOUNCE
ANNUAL COLLABORATION TO BRING
RETROSPECTIVE
TO NEW YORK AUDIENCES
Mezhrabpom-The Red Dream Factory to be Inaugural Exhibition of New Partnership
NEW YORK, January 10, 2012-- The Museum of Modern Art announce a new partnership with the Berlin International Film Festival and the Deutsche Kinemathek to co-organize Berlin International Film Festival's annual Retrospective program.
The 2012 Retrospective launches a long-term collaboration with MoMA, bringing this year's installment, Mezhrabpom-The Red Dream Factory, to The Museum of Modern Art, April 11-30, 2012. Each year, Retrospective devotes itself to showcasing an important director or a topic relevant to film history.
Organized by the Deutsche Kinemathek-Museum für Film und Fernsehen since 1977, this popular Berlinale section gives viewers a first look at the oeuvre of a filmmaker, an epoch or a genre in a larger context, and provides unexpected discoveries.
In the future, the Berlin International Film Festival, the Deutsche Kinemathek and The Museum of Modern Art will cooperate closely in selecting themes and organizing the Retrospective section.
"This collaboration between MoMA, the Deutsche Kinemathek, and the Berlinale represents the culmination of a decades-long tradition of cooperation and intellectual exchange between our institutions. The opportunity to jointly organize and present the Retrospective section at the Berlin Film Festival brings these efforts together in a coherent and highly visible manner. We are thrilled to announce this important new phase of our partnership," says Rajendra Roy, The Celeste Bartos Chief Curator of Film at MoMA.
Rainer Rother, Artistic Director of the Deutsche Kinemathek and Section Director of the Retrospective comments: "I'm extremely pleased to have our New York colleagues as our new partner. We share a long history of cordial relations. This new partnership will allow the Retrospective, which is frequently the outcome of extensive preparations over years, to reach more audiences worldwide."
In April 2012, MoMA will present a large portion of this year's program under the title Mezhrapbom-The Red Dream Factory. This will make it possible for audiences in New York to explore a little-known period of film history, presenting the achievements of Soviet film studio Mezhrabpom from 1922-36, one that, nevertheless, had a far-reaching impact on the development of cinematic language around the world.
In the past, the Deutsche Kinemathek and MoMA have teamed up in a similar fashion on projects such as the film series East Side - West Side. Treasures from the MoMA Film Archives that screened in Berlin in 2004; and on the comprehensive presentation Weimar Cinema, 1919-1933: Daydreams and Nightmares that was shown in New York in 2010/2011.
The Berlin International Film Festival has also enjoyed close ties with The Museum of Modern Art, most recently when Dieter Kosslick was invited by MoMA to present his vision of film, culture, cuisine and environment under the title Carte Blanche: Dieter Kosslick, the Culinary Cineaste successfully in New York.
"By collaborating with MoMA, we are expanding the Berlinale's international network and increasing the
sustainability of our commitment to explore film history," comments Berlinale Director Dieter Kosslick.
Mezhrabpom-The Red Dream Factory
The Museum of Modern Art (MoMA.org)
April 11-30, 2012
Retrospective 2012: The Red Dream Factory
62nd Berlin International Film Festival
February 9 - 19, 2012
++++++++++++++++++++++++++++++++++++++++++++++++
Press release
MoMA's FOURTH ANNUAL FILM BENEFIT TO HONOR
PEDRO ALMODÓVAR
ON NOVEMBER 15, 2011
Antonio Banderas and Penélope Cruz Are Honorary Co-Chairs of the Event
New York, September 9, 2011—--The Museum of Modern Art's fourth annual Film Benefit, to be held on November 15, will honor writer/director Pedro Almodóvar, who is renowned for the Academy Award-winning films Talk to Her (2003) and All About My Mother (1999), along with award-winning films Broken Embraces (2009), Volver (2006), Bad Education (2004), and Women on the Verge of a Nervous Breakdown (1988), among many others.
With a career that includes 18 films over 30 years, Almodóvar's latest film, The Skin I Live In, will be released in the U.S. on October 14, 2011.
The honorary co-chairs for the 2011 Film Benefit are Antonio Banderas and Penélope Cruz. The event's co-chairs include Marie-Josée Kravis, President, and Jerry I. Speyer, Chairman of the Museum's Board of Trustees, with Karl Lagerfeld and
Anna Wintour.
In addition to a reception and dinner, the Film Benefit will be highlighted by a special presentation recognizing Almodóvar's acclaimed directorial work. The Film Benefit raises funds to ensure that great works of cinema continue to join the collection of The Museum of Modern Art.
Tables to the Film Benefit are available for $75,000, $50,000, and $25,000. Tables may be reserved by calling 212-708-9680.
SPONSORSHIP:
The event is generously sponsored by CHANEL
++++++++++++++++++++++++++++++++++++++++++++++++
MoMA's FOURTH ANNUAL FILM BENEFIT TO HONOR
PEDRO ALMODÓVAR
ON NOVEMBER 15, 2011
Antonio Banderas and Penélope Cruz Are Honorary Co-Chairs of the Event
New York, September 9, 2011—--The Museum of Modern Art's fourth annual Film Benefit, to be held on November 15, will honor writer/director Pedro Almodóvar, who is renowned for the Academy Award-winning films Talk to Her (2003) and All About My Mother (1999), along with award-winning films Broken Embraces (2009), Volver (2006), Bad Education (2004), and Women on the Verge of a Nervous Breakdown (1988), among many others.
With a career that includes 18 films over 30 years, Almodóvar's latest film, The Skin I Live In, will be released in the U.S. on October 14, 2011.
The honorary co-chairs for the 2011 Film Benefit are Antonio Banderas and Penélope Cruz. The event's co-chairs include Marie-Josée Kravis, President, and Jerry I. Speyer, Chairman of the Museum's Board of Trustees, with Karl Lagerfeld and
Anna Wintour.
In addition to a reception and dinner, the Film Benefit will be highlighted by a special presentation recognizing Almodóvar's acclaimed directorial work. The Film Benefit raises funds to ensure that great works of cinema continue to join the collection of The Museum of Modern Art.
Tables to the Film Benefit are available for $75,000, $50,000, and $25,000. Tables may be reserved by calling 212-708-9680.
SPONSORSHIP:
The event is generously sponsored by CHANEL
++++++++++++++++++++++++++++++++++++++++++++++++
MoMA-NYC Press release
HARUN FAROCKI: IMAGES OF WAR (AT A DISTANCE)
MARKS THE ARTIST'S FIRST SOLO EXHIBITION IN A U.S. MUSEUM
Harun Farocki: Images of War (at a Distance)
June 29, 2011–January 2, 2012
The Yoshiko and Akio Morita Media Gallery, second floor
June 29, 2011–October 17, 2011
Projects Gallery, second floor
NEW YORK, June 22, 2011--Harun Farocki: Images of War (at a Distance) marks the first comprehensive solo exhibition of Berlin-based artist Harun Farocki (b. 1944, German-annexed Czechoslovakia) in a United States museum, and features the U.S. premiere of Serious Games I-IV (2009-10), a four-part video installation at the center of the exhibition.
The exhibition reflects a recent large-scale acquisition, realized as a joint effort by MoMA's Department of Media and Performance Art and Department of Film, of 36 artworks, a body of work spanning four decades and including nearly all of Farocki's videos, video installations, and films in video format.
On view from June 29, 2011, to January 2, 2012, in The Yoshiko and Akio Morita Media Gallery, Harun Farocki: Images of War (at a Distance) is organized by Sabine Breitwieser, Chief Curator, and Erica Papernik, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.
Image Caption:
Harun Farocki. Still from Serious Games I: Watson is Down. 2010. Two-channel video installation (color, sound). 8 min. The Museum of Modern Art, New York. Committee on Media and Performance Art Funds, 2011. © 2011 Harun Farocki. Courtesy of the artist and Greene Naftali, New York
+++++++++++++++++++++++++++++++++++++++++++++++
HARUN FAROCKI: IMAGES OF WAR (AT A DISTANCE)
MARKS THE ARTIST'S FIRST SOLO EXHIBITION IN A U.S. MUSEUM
Harun Farocki: Images of War (at a Distance)
June 29, 2011–January 2, 2012
The Yoshiko and Akio Morita Media Gallery, second floor
June 29, 2011–October 17, 2011
Projects Gallery, second floor
NEW YORK, June 22, 2011--Harun Farocki: Images of War (at a Distance) marks the first comprehensive solo exhibition of Berlin-based artist Harun Farocki (b. 1944, German-annexed Czechoslovakia) in a United States museum, and features the U.S. premiere of Serious Games I-IV (2009-10), a four-part video installation at the center of the exhibition.
The exhibition reflects a recent large-scale acquisition, realized as a joint effort by MoMA's Department of Media and Performance Art and Department of Film, of 36 artworks, a body of work spanning four decades and including nearly all of Farocki's videos, video installations, and films in video format.
On view from June 29, 2011, to January 2, 2012, in The Yoshiko and Akio Morita Media Gallery, Harun Farocki: Images of War (at a Distance) is organized by Sabine Breitwieser, Chief Curator, and Erica Papernik, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.
Image Caption:
Harun Farocki. Still from Serious Games I: Watson is Down. 2010. Two-channel video installation (color, sound). 8 min. The Museum of Modern Art, New York. Committee on Media and Performance Art Funds, 2011. © 2011 Harun Farocki. Courtesy of the artist and Greene Naftali, New York
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Press release from MoMA-NYC
THE MUSEUM OF MODERN ART ACQUIRES
TWO MAJOR COLLECTIONS OF CONCEPTUAL ART
The Daled Collection of American and European Conceptual Art and
Conceptual Art from Seth Siegelaub and the Stichting Egress Foundation
New York, June 10, 2011The Museum of Modern Art announces the acquisition of the Daled Collection, one of the key collections of American and European Conceptual art from the 1960s and 1970s. The collection includes 223 works across all mediums, assembled between 1966 and 1978 by the Brussels-based collectors Herman J. Daled and Nicole-Verstraeten.
The collection is particularly distinguished by unparalleled groupings of works by Marcel Broodthaers a unique ensemble of some 60 works as well as by Vito Acconci, Daniel Buren, James Lee Byars, Dan Graham, and Niele Toroni, among many others.
As a counterpart to this tremendous collection, the Museum will also acquire the collectors' archives, containing photographs, letters, notes, and additional materials relating to the works and also documenting the historical context in which the collection was formed.
The Museum has also acquired a major group of works from the collection of exhibition organizer, publisher, and dealer Seth Siegelaub, a key supporter of artists working in dematerialized art practices in the late 1960s and early 1970s.
The collection includes 20 defining works of Conceptual art by Vito Acconci, Robert Barry, Douglas Huebler, On Kawara, Joseph Kosuth, Robert Smithson, and Lawrence Weiner, all of whom moved away from the traditional production of objects and chose instead to explore language, sound, time, movement, or mapping as their primary mediums.
In addition, Seth Siegelaub and the Stichting Egress Foundation have donated to The Museum of Modern Art Archives Siegelaub's own extensive archives, containing correspondence, photographs, notes, exhibition proposals, and many other significant documents that offer a tremendous resource to scholars of this period
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
THE MUSEUM OF MODERN ART ACQUIRES
TWO MAJOR COLLECTIONS OF CONCEPTUAL ART
The Daled Collection of American and European Conceptual Art and
Conceptual Art from Seth Siegelaub and the Stichting Egress Foundation
New York, June 10, 2011The Museum of Modern Art announces the acquisition of the Daled Collection, one of the key collections of American and European Conceptual art from the 1960s and 1970s. The collection includes 223 works across all mediums, assembled between 1966 and 1978 by the Brussels-based collectors Herman J. Daled and Nicole-Verstraeten.
The collection is particularly distinguished by unparalleled groupings of works by Marcel Broodthaers a unique ensemble of some 60 works as well as by Vito Acconci, Daniel Buren, James Lee Byars, Dan Graham, and Niele Toroni, among many others.
As a counterpart to this tremendous collection, the Museum will also acquire the collectors' archives, containing photographs, letters, notes, and additional materials relating to the works and also documenting the historical context in which the collection was formed.
The Museum has also acquired a major group of works from the collection of exhibition organizer, publisher, and dealer Seth Siegelaub, a key supporter of artists working in dematerialized art practices in the late 1960s and early 1970s.
The collection includes 20 defining works of Conceptual art by Vito Acconci, Robert Barry, Douglas Huebler, On Kawara, Joseph Kosuth, Robert Smithson, and Lawrence Weiner, all of whom moved away from the traditional production of objects and chose instead to explore language, sound, time, movement, or mapping as their primary mediums.
In addition, Seth Siegelaub and the Stichting Egress Foundation have donated to The Museum of Modern Art Archives Siegelaub's own extensive archives, containing correspondence, photographs, notes, exhibition proposals, and many other significant documents that offer a tremendous resource to scholars of this period
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
MoMA release
Modern Mondays
April and May 2011
The Roy and Niuta Titus Theater 2
An Evening with Laurence Gavron - April 25, 7:00 p.m.
Laurence Gavron (French, b. 1955) is a filmmaker, photographer, and novelist who lives in Dakar and became a Senegalese national in 2008. Over the last 30 years, she has completed several notable documentary films about the extraordinary life, music, architecture, and religion of Senegal. For this evening, Gavron will introduce two of her films.
Yandé Codou Sene, Diva Séeréer
2008. Senegal. Directed by Laurence Gavron.
Yandé Codou Sene, one of Senegal's most beloved voices, was the griot (an a capella history singer or poet) of former President Leopold Senghor, and would accompany him across the nation singing of the history and merits of his family. In Senegalese; English subtitles. 64 min.
Saudade á Dakar
2005. Senegal. Directed by Laurence Gavron.
Groups of Cape Verdean émigrés congregate in Dakar, where they transform the Portuguese saudade, a melancholy music, into something all their own. 48 min.
Organized by Laurence Kardish, Senior Curator, Department of Film.
Stories Untold - May 9, 7:00 p.m.
Radical Light: Alternative Film and Video in the San Francisco Bay Area
In conjunction with Radical Light: Alternative Film and Video in the San Francisco Bay Area, this evening will screen select shorts and follow with a conversation between the series curators and San Francisco and New York artists. The discussion will focus on the differences in style, support, and filmmaking environment that shapes film and video production by artists on the two U.S. coasts.
The Bed. 1968. Directed by James Broughton. 19 min.
Visit to Indiana. 1970. Directed by Curt McDowel. 10 min.
I, An Actress. 1977. Directed by George Kuchar. 10 min.
Easy Living. 1984. Chip Lord & Mickey McGowan. 19 min.
Peggy and Fred in Hell: The Prologue. 1984. Directed by Leslie Thornton. 21 min.
Futility. 1989. Directed by Greta Snider. 9 min.
Chronicles of a Lying Spirit (by Kelly Gabron). 1989. Directed by Cauleen Smith. 5 min.
Organized for MoMA by Jytte Jensen, Curator, Department of Film and Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Karen Finley - Monday, May 16, 7:00 p.m.
In conjunction with the gallery exhibition Looking at Music 3.0, the interdisciplinary artist Karen Finley (American, b. 1956) discusses how the worlds of music, art, and language have intersected in her practice.
Finley honed her theatrical work on downtown Manhattan's "alternative" stages in the early 1980s, channeling the rage and sense of mourning caused by the AIDS crisis, violence against women, war, and censorship into personal expression.
Her visual art, often taking the form of large-scale installations, encourages viewer participation by utilizing aspects of memento mori, theatrical staging, and tableau. Her recent work has embraced sentimentality and humor, while maintaining a definitive political point of view.
Finley will read from her latest book, The Reality Shows (2011), and discuss her song Tales of Taboo, (1986) which is included in the Looking at Music 3.0 gallery exhibition.
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Steve Paxton - May 23, 7:00 p.m.
This evening with experimental dancer and choreographer Steve Paxton (American, b. 1939), will focus on his history and influences. When Paxton developed Contact Improvisation in 1972, he indelibly transformed the vocabulary of dance. His movement technique—influenced by his studies in the martial arts and based on ideas of improvisation, gravity, and momentum between two bodies—has significantly influenced contemporary approaches to dance and physical movement. Paxton, who still actively teaches and writes, is widely regarded today as one of the most influential choreographers of his generation.
Organized by Jenny Schlenzka, Assistant Curator, Department of Media and Performance Art.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full–time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Modern Mondays
April and May 2011
The Roy and Niuta Titus Theater 2
An Evening with Laurence Gavron - April 25, 7:00 p.m.
Laurence Gavron (French, b. 1955) is a filmmaker, photographer, and novelist who lives in Dakar and became a Senegalese national in 2008. Over the last 30 years, she has completed several notable documentary films about the extraordinary life, music, architecture, and religion of Senegal. For this evening, Gavron will introduce two of her films.
Yandé Codou Sene, Diva Séeréer
2008. Senegal. Directed by Laurence Gavron.
Yandé Codou Sene, one of Senegal's most beloved voices, was the griot (an a capella history singer or poet) of former President Leopold Senghor, and would accompany him across the nation singing of the history and merits of his family. In Senegalese; English subtitles. 64 min.
Saudade á Dakar
2005. Senegal. Directed by Laurence Gavron.
Groups of Cape Verdean émigrés congregate in Dakar, where they transform the Portuguese saudade, a melancholy music, into something all their own. 48 min.
Organized by Laurence Kardish, Senior Curator, Department of Film.
Stories Untold - May 9, 7:00 p.m.
Radical Light: Alternative Film and Video in the San Francisco Bay Area
In conjunction with Radical Light: Alternative Film and Video in the San Francisco Bay Area, this evening will screen select shorts and follow with a conversation between the series curators and San Francisco and New York artists. The discussion will focus on the differences in style, support, and filmmaking environment that shapes film and video production by artists on the two U.S. coasts.
The Bed. 1968. Directed by James Broughton. 19 min.
Visit to Indiana. 1970. Directed by Curt McDowel. 10 min.
I, An Actress. 1977. Directed by George Kuchar. 10 min.
Easy Living. 1984. Chip Lord & Mickey McGowan. 19 min.
Peggy and Fred in Hell: The Prologue. 1984. Directed by Leslie Thornton. 21 min.
Futility. 1989. Directed by Greta Snider. 9 min.
Chronicles of a Lying Spirit (by Kelly Gabron). 1989. Directed by Cauleen Smith. 5 min.
Organized for MoMA by Jytte Jensen, Curator, Department of Film and Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Karen Finley - Monday, May 16, 7:00 p.m.
In conjunction with the gallery exhibition Looking at Music 3.0, the interdisciplinary artist Karen Finley (American, b. 1956) discusses how the worlds of music, art, and language have intersected in her practice.
Finley honed her theatrical work on downtown Manhattan's "alternative" stages in the early 1980s, channeling the rage and sense of mourning caused by the AIDS crisis, violence against women, war, and censorship into personal expression.
Her visual art, often taking the form of large-scale installations, encourages viewer participation by utilizing aspects of memento mori, theatrical staging, and tableau. Her recent work has embraced sentimentality and humor, while maintaining a definitive political point of view.
Finley will read from her latest book, The Reality Shows (2011), and discuss her song Tales of Taboo, (1986) which is included in the Looking at Music 3.0 gallery exhibition.
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Steve Paxton - May 23, 7:00 p.m.
This evening with experimental dancer and choreographer Steve Paxton (American, b. 1939), will focus on his history and influences. When Paxton developed Contact Improvisation in 1972, he indelibly transformed the vocabulary of dance. His movement technique—influenced by his studies in the martial arts and based on ideas of improvisation, gravity, and momentum between two bodies—has significantly influenced contemporary approaches to dance and physical movement. Paxton, who still actively teaches and writes, is widely regarded today as one of the most influential choreographers of his generation.
Organized by Jenny Schlenzka, Assistant Curator, Department of Media and Performance Art.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full–time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Press release
THE MUSEUM OF MODERN ART PRESENTS A WEEKLONG RUN OF
VÉRÉNA PARAVEL AND J.P. SNIADECKI’S
FOREIGN PARTS
March 10-16 @ MoMA-NYC
New York, February 17, 2011-- Véréna Paravel and J.P. Sniadecki’s Foreign Parts will have a weeklong run at The Museum of Modern Art from March 10 through March 16, in The Roy and Niuta Titus Theaters.
With the support of Harvard University’s Sensory Ethnography Lab, anthropologists Véréna Paravel and J. P. Sniadecki spent two years filming this intimate portrait of the auto repair shops and junkyards that lie in the shadow of the New York Mets’ Citi Field Stadium, in Willets Point, Queens, and the hardscrabble community of immigrants who work and live there.
Once ignored and neglected by the city government, these residents recently became the target of a $3 billion redevelopment project of malls, offices, and high-rise condos. The rezoning and gentrification of the area, while perhaps less notorious in the annals of aesthetic crime than the destruction of Manhattan’s Penn Station, has been no less destructive to the vitality and diversity of New York City.
Foreign Parts was awarded Best First Feature and a Special Jury Prize at the Locarno Film Festival, the Best Film Award at DocsBarcelona, and was a highlight of The New York Film Festival.
French anthropologist and filmmaker Véréna Paravel made her first short video, 7 Queens, at the Harvard University Sensory Ethnography Lab. She has recently completed Interface Series, five short videos shot entirely through Skype. Her work—screened in Boston, Paris and New York City's Amie and Tony James Gallery—draws on experimental ethnography. Since 2009, she has been a Fellow at the Film Study Center, and a postdoctoral associate of the Sensory Ethnography Lab, Harvard University.
John Paul (J.P.) Sniadecki is a filmmaker and a PhD candidate in anthropology at Harvard University. His films have shown around the world and received several awards, including the Joris Ivens Award at the 2009 Cinema du réel Film Festival for his documentary Chaiqian (Demolition), which focuses on migrant labor and urban space in Chengdu, China. He is also a chief organizer and curator of Emergent Visions, a film series that screens new independent cinema from the People's Republic of China. A Blakemore Foundation Fellow, he currently lives in Beijing and is involved in a number of film and research projects.
MoMA Presents: Véréna Paravel and J.P. Sniadecki’s Foreign Parts is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art.
MoMA Presents: Véréna Paravel and J.P. Sniadecki’s Foreign Parts
March 10-16, 2011
The Roy and Niuta Titus Theaters
Foreign Parts
2010. USA. Camera, sound, editing: Véréna Paravel, J.P. Sniadecki. Sound mix: Ernst Karel.
Foreign Parts was awarded Best First Feature and a Special Jury Prize at the Locarno Film Festival, Best Film Award at DocsBarcelona, and was a highlight of The New York Film Festival. 80 min.
Screenings:
Thursday, March 10, 6:00 (Introduction by Paravel, Sniadecki)
Friday, March 11, 4:00
Saturday, March 12, 7:00
Sunday, March 13, 2:00
Monday, March 14, 4:00
Wednesday, March 16, 4:00
Public Information: The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019
Hours: Films are screened Wednesday-Monday.
For screening schedules, please visit www.moma.org.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during, Target Free Friday Nights 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
THE MUSEUM OF MODERN ART PRESENTS A WEEKLONG RUN OF
VÉRÉNA PARAVEL AND J.P. SNIADECKI’S
FOREIGN PARTS
March 10-16 @ MoMA-NYC
New York, February 17, 2011-- Véréna Paravel and J.P. Sniadecki’s Foreign Parts will have a weeklong run at The Museum of Modern Art from March 10 through March 16, in The Roy and Niuta Titus Theaters.
With the support of Harvard University’s Sensory Ethnography Lab, anthropologists Véréna Paravel and J. P. Sniadecki spent two years filming this intimate portrait of the auto repair shops and junkyards that lie in the shadow of the New York Mets’ Citi Field Stadium, in Willets Point, Queens, and the hardscrabble community of immigrants who work and live there.
Once ignored and neglected by the city government, these residents recently became the target of a $3 billion redevelopment project of malls, offices, and high-rise condos. The rezoning and gentrification of the area, while perhaps less notorious in the annals of aesthetic crime than the destruction of Manhattan’s Penn Station, has been no less destructive to the vitality and diversity of New York City.
Foreign Parts was awarded Best First Feature and a Special Jury Prize at the Locarno Film Festival, the Best Film Award at DocsBarcelona, and was a highlight of The New York Film Festival.
French anthropologist and filmmaker Véréna Paravel made her first short video, 7 Queens, at the Harvard University Sensory Ethnography Lab. She has recently completed Interface Series, five short videos shot entirely through Skype. Her work—screened in Boston, Paris and New York City's Amie and Tony James Gallery—draws on experimental ethnography. Since 2009, she has been a Fellow at the Film Study Center, and a postdoctoral associate of the Sensory Ethnography Lab, Harvard University.
John Paul (J.P.) Sniadecki is a filmmaker and a PhD candidate in anthropology at Harvard University. His films have shown around the world and received several awards, including the Joris Ivens Award at the 2009 Cinema du réel Film Festival for his documentary Chaiqian (Demolition), which focuses on migrant labor and urban space in Chengdu, China. He is also a chief organizer and curator of Emergent Visions, a film series that screens new independent cinema from the People's Republic of China. A Blakemore Foundation Fellow, he currently lives in Beijing and is involved in a number of film and research projects.
MoMA Presents: Véréna Paravel and J.P. Sniadecki’s Foreign Parts is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art.
MoMA Presents: Véréna Paravel and J.P. Sniadecki’s Foreign Parts
March 10-16, 2011
The Roy and Niuta Titus Theaters
Foreign Parts
2010. USA. Camera, sound, editing: Véréna Paravel, J.P. Sniadecki. Sound mix: Ernst Karel.
Foreign Parts was awarded Best First Feature and a Special Jury Prize at the Locarno Film Festival, Best Film Award at DocsBarcelona, and was a highlight of The New York Film Festival. 80 min.
Screenings:
Thursday, March 10, 6:00 (Introduction by Paravel, Sniadecki)
Friday, March 11, 4:00
Saturday, March 12, 7:00
Sunday, March 13, 2:00
Monday, March 14, 4:00
Wednesday, March 16, 4:00
Public Information: The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019
Hours: Films are screened Wednesday-Monday.
For screening schedules, please visit www.moma.org.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during, Target Free Friday Nights 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
MoMA-NYC Press release
MoMA's and MoMA PS1's Schedule of Exhibitions
Click HERE for MoMA's Schedule of Exhibitions
Click HERE for MoMA PS1's Schedule of Exhibitions
New exhibitions include Carlito Carvalhosa: Sum of Days (opening in August) and Diego Rivera: Murals for The Museum of Modern Art (opening in November) on view at MoMA, and Nancy Grossman: Heads (opening in May) at MoMA PS1.
Recently opened exhibitions include:
Picasso: Guitars 1912-1914
Plywood: Material, Process, Form
Projects 94: Henrik Olesen
Looking at Music 3.0
Exhibitions opening in March:
German Expressionism: The Graphic Impulse
Standard Deviations: Types and Families in Contemporary Design
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing
Impressions from South Africa, 1965 to Now
New Directors/New Films
Canadian Front 2011
Counter Space: Design and the Modern Kitchen has been extended to May 2, 2011, and
Paula Hayes: Nocturne of the limax maximus has been extended through April 18, 2011.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
MoMA's and MoMA PS1's Schedule of Exhibitions
Click HERE for MoMA's Schedule of Exhibitions
Click HERE for MoMA PS1's Schedule of Exhibitions
New exhibitions include Carlito Carvalhosa: Sum of Days (opening in August) and Diego Rivera: Murals for The Museum of Modern Art (opening in November) on view at MoMA, and Nancy Grossman: Heads (opening in May) at MoMA PS1.
Recently opened exhibitions include:
Picasso: Guitars 1912-1914
Plywood: Material, Process, Form
Projects 94: Henrik Olesen
Looking at Music 3.0
Exhibitions opening in March:
German Expressionism: The Graphic Impulse
Standard Deviations: Types and Families in Contemporary Design
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing
Impressions from South Africa, 1965 to Now
New Directors/New Films
Canadian Front 2011
Counter Space: Design and the Modern Kitchen has been extended to May 2, 2011, and
Paula Hayes: Nocturne of the limax maximus has been extended through April 18, 2011.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
Press release
LOOKING AT MUSIC 3.0 EXPLORES THE INFLUENCE OF MUSIC ON CONTEMPORARY ART
IN NEW YORK IN THE 1980s AND 1990s AND THE BIRTH OF "REMIX CULTURE’’
Gallery Exhibition Is Accompanied by a Film Program in March 2011
Looking at Music 3.0
February 16–June 6, 2011
The Yoshiko and Akio Morita Media Gallery, second floor
NEW YORK, February 2, 2011--Looking at Music 3.0, the third in a series of exhibitions at The Museum of Modern Art exploring the influence of music on contemporary art practices, focuses on New York in the 1980s and 1990s and the birth of "remix culture."
Highlighting a unique range of activity within the city during those decades, the exhibition addresses the birth of hip hop; new articulations of feminism as seen in video chain letters, zines, and raucous art and music performances; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities.
Approximately 70 works from a wide range of artists and musicians are on view, including works by the Beastie Boys, Kathleen Hanna and Le Tigre, Keith Haring, Miranda July, Christian Marclay, Steven Parrino, and Run-DMC.
A film exhibition closely linked to the artists and works on view in the gallery exhibition runs from March 2 to March 10, 2011, in MoMA’s Roy and Niuta Titus Theaters.
The exhibition is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art. Ms. London states: "In this dynamic time period, imaginative forms of street art spread across the five boroughs, articulating the counter-culture tenor of the times. As the city transitioned from bankruptcy to solvency, graffiti, media, and performance artists took advantage of low rents and collaborated on ad hoc works shown in alternative spaces and underground clubs. Appropriation, also known as remixing, thrived."
The exhibition begins with a recording from the German band Kraftwerk, the track "Trans-Europe Express" (1977). Widely known for their pioneering role in electronic music, Kraftwerk used custom-made vocoders, synthesizers, and computer-speech software, introducing notable innovations into music technology. "Trans-Europe Express," which plays in a loop at an audio station, paved the way for many of the musicians and artists featured within the exhibition, where it is sampled twice: in "Planet Rock" (1982), by Afrika Bambaataa and the Sonic Soul Force, and in "(Always Be My) Sunshine" (1997), by Jay-Z featuring Foxy Brown and Babyface.
Further exploring New York–based hip hop artists, the exhibition includes music by the Beastie Boys, Run-DMC, and the Wu-Tang Clan, with audio tracks by each of the artists playing at audio stations. Beginning with neighborhood parties in the South Bronx in the early 1970s, hip hop eventually expanded the geography of New York’s Manhattan-centric music scene and became the dominant cultural movement among urban minorities in the 1980s.
The exhibition next looks at the ways musicians and artists responded to the city in the 1980s and early 1990s. With New York bankrupt, the AIDS crisis reaching its zenith, and drug use wreaking havoc on many neighborhoods, a wave of activism swept through the art and music worlds. Artists addressed topics such as the ongoing discrimination of the black community, as seen in Spike Lee’s video for Public Enemy's "Fight the Power" (1989), and the stigmatization of AIDS as denounced by Keith Haring in his poster IGNORANCE=FEAR/SILENCE=DEATH (1989). Graffiti art had leapt from the street to the page, as seen in a print by the graffiti artist Lee Quinones, CENTURY OF THE WIND (1991), which is included in the exhibition.
The following section focuses on Tellus Audio Cassette Magazine, which launched in 1983 as a subscription-only bimonthly from the Lower East Side, a rough area of the city and a hotbed of creative activity. The brainchild of visual artist Joseph Nechtaval, curator Claudia Gould, and composer Carol Parkinson, and produced through the experimental recording studio Harvestworks/Studio PASS, Tellus magazine supported some of the city’s most innovative collaborations between artists and musicians for almost 20 years. The exhibition includes sound files from Tellus playing at an audio station, adjoined with the Double LP compilation TellusTools with a cover design by Christian Marclay.
A range of works by Christian Marclay, along with music by Brian Eno, David Byrne, and John Zorn, are part of the exhibition; each was a prominent figure in New York’s experimental art and music scenes of the 1980s and early 1990s. All four were interested in experimental composition and brought art theory to new music. A set of collaged vinyl records by Marclay, Recycled Records (1981–85), is on display, along with tracks by Eno and Byrne, artists who pioneered ambient and non-Western music crossovers, playing at audio stations. Zorn, a distinguished avant-garde composer, fused multiple genres, including jazz and punk, working with his band Naked City. A recording of "Speedfreaks," a song performed by Naked City, plays in a loop within the exhibition.
As audio and video technology advanced and television was affected by MTV, artists reflected upon how commercial entities controlled mass communication and used technology to shape modern culture. Karen Finley, Dara Birnbaum, and Martha Rosler utilized this technology to criticize stereotypes of women promoted in the mass media, as seen in Birnbaum’s Pop-Pop Video (1980); an audio track by Finley, Tales of Taboo (1986); and a plate and track from Rosler’s untitled print portion of the portfolio ARTIFACTS AT THE END OF THE DECADE (1981). The limits of technology and its potential as a tool for activism are explored by the video work of Tom Kalin, John Kelly, and Bob Beck, including Kalin’s video Nomads (1993), Kelly’s video Pass the Blutwurst,
Bitte, #1 (1986), and Beck’s video Girlfriend in a Coma (1980). The wide distribution possibilities that video offered (and their continuation in today’s distribution through the Internet) are a cornerstone of Seth Price's practice. His video NJS Map (2001–02), which traces the genealogy of one period in pop music called "New Jack Swing," is related to his ongoing project Title Variable, comprising several music compilations and published articles investigating technology's impact on music production.
Four music videos projected in the following section exemplify the vigor and effort that were put into this new art form: Keith Haring making a hand-drawn, theatrical garment for Grace Jones in "I’m Not Perfect (But I’m Perfect for You)" (1986); Diamanda Galás channeling both performance art and goth metal for "Double-Barrel Prayer" (1988); Long Island–based duo Eric B. and Rakim's extensive sampling from James Brown awakening other hip hop interest in "The Godfather of Soul"; and the video for A Tribe Called Quest's "Scenario," highlighting the band's playful and humorous approach to hip hop.
After the second wave of the Feminist Movement in the United States in the late 1960s and 1970s, so-called third-wave Feminism emerged from its point of genesis, the riot grrrl capital Portland, Oregon, in the 1990s. Inspired by the ethos of DIY (Do-It-Yourself), young women formed impromptu punk bands; wrote, pasted together, and photocopied self-published zines; and created their own independent methods of distribution. Several examples of those zines are on view. Performance artist, filmmaker, and writer Miranda July founded Joanie 4 Jackie in 1995 as an informal organization and active network, compiling video chain letters that gave young women the courage and confidence to continue making movies; a related poster and zine are on view in the gallery.
A recording by Le Tigre also plays at an audio station; the band fused New Wave, electronic dance music, and the angry punk sound of the riot grrrl era with humorous lyrics to confront such social ills as police brutality and Mayor Rudolph Giuliani’s crackdowns in millennial New York. In this era of genre-crossing, many musicians were active participants in the art scene, and vice-versa. Sonic Youth worked with artist Tony Oursler on the video for "Tunic (Song for Karen)" (1990), which plays on a monitor in the exhibition.
Tony Conrad, a film, video, and sound pioneer and composer, formed the art band XXX Macarena with fellow artists Jutta Koether and John Miller. Conrad’s video "In Line" (1986) is joined by a record sleeve from XXX Macarena. Fisherspooner, an electroclash performance duo that formed in 1998 and frequently performed in art galleries, skewered retro electropop and early Pet Shop Boys in their action-packed events, and the record sleeve from their album #1 (2001) is on view.
The rise of computer culture and wider access to new technologies in the mid-1990s brought with it a host of new possibilities for artists to explore. The three interactive pieces on display are examples of how artists harnessed new tools to bring audiences into their work. Via an interactive CD-ROM, Puppet Hotel (1995), visitors have access to performance artist/composer Laurie Anderson’s modified violins, and are invited to play a tune. A CD-ROM by the Residents,
Freak Show (1994), makes the answering machines and private diaries tucked away in freak show performers’ caravans available. In Perry Hoberman’s Faraday’s Ghost (2000), a bar code wand activates the distinctive sounds of everyday appliances—toasters, radios, and vacuum cleaners.
The exhibition is on view in The Yoshiko and Akio Morita Media Gallery from February 16 through June 6, 2011.
PUBLIC PROGRAMS:
Modern Mondays
Monday, May 16, 2011
Modern Mondays, a weekly program that brings contemporary, innovative film and moving-image works to the public, provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. On May 16, a conversation will be held with the interdisciplinary artist Karen Finley, discussing "Tales of Taboo" and how the worlds of music, art, and language have intersected in her practice. Inspired by the performances of Dead Kennedys as a student in San Francisco and by the lyrics and persona of Boy George later in New York, Finley honed her theatrical work on the same "alternative" stages as fellow downtown Manhattan artists and musicians. Finley will read from her latest book, The Reality Shows.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with I.D.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
FILM PROGRAM:
Looking at Music 3.0
In conjunction with the gallery exhibition of the same name, this series explores the influence of music on contemporary art practices, focusing on New York in the 1980s and 1990s and the birth of "remix culture." These films and videos examine the birth of hip-hop; new articulations of feminism in video chain letters, zines, and raucous art and music performances; AIDS activism in public service announcements, street posters, and concerts; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities. Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
Grrrl Love and Revolution: Riot Grrrl NYC
2010. USA. Directed by Abby Moser, Lucy Thane.
From 1993 through 1998, Moser and Thane documented the underground feminist "riot grrrl" movement, a loose collection of bands and zines that used fiery rhetoric to address rape, domestic abuse, sexuality, and female empowerment. The film charts the development of riot grrrl in New York City over the course of three years. 30 min.
Belladonna
1989. USA. Directed by Beth B, Ida Applebroog.
A chilling look at violence and the family, Belladonna includes recitations of statements by convicted child murderer Joel Steinberg and Nazi "death doctor" Joseph Mengele, and case studies from Freud’s "A Child is Being Beaten." The readings are intercut with paintings by Applebroog, Beth B’s mother. 25 min.
Jollies
1990. USA. Directed by Sadie Benning.
Shot with a Pixelvision camera, Benning’s short film is a chronicle of her crushes and kisses, tracing the development of her nascent sexuality. Addressing the camera with an air of seduction and romance, Benning allows the viewer a sense of her anxiety and delight as she comes to realize her lesbian identity. 11 min.
Program 71 min.
Wednesday, March 2, 7:00 p.m., T2
Thursday, March 3, 4:00 p.m., T1
Krush Groove
1985. USA. Directed by Michael Schultz. With Run-DMC, LL Cool J, Jam Master Jay, Sheila E., Russell Simmons.
Krush Groove is a dramatized retelling of the early days of the influential music label Def Jam Recordings, and specifically producer Russell Simmons’s decision to borrow money from a street hustler in order to press Run-DMC records. Filmed in the Bronx in the mid-1980s and featuring an array of rap luminaries, Schultz’s film captures a golden era of East Coast hip hop. 97 min.
Friday, March 4, 4:00 p.m. T2
Sunday, March 6, 5:00 p.m. T2
Instrument
1999. USA. Directed by Jem Cohen.
A collaboration between this fiercely independent filmmaker and the Washington D.C. band Fugazi, Instrument is a musical document of the band from 1987 through 1996. Portraying the musicians at work and hanging out, the film includes a wide range of materials, including concert footage, studio sessions, practice, touring, interviews, and close-up portraits of audience members from around the country. 115 min.
Friday, March 4, 7:00 p.m. T2
Saturday, March 5, 4:00 p.m. T2
Puppet Show
1997. USA. Directed by Rita Ackermann. Cinematography by Chris Habib. Music by Thurston Moore, vocals by Kim Gordon.
While hidden from view, Ackermann manipulates her hand-painted, couture-outfitted puppets, acting out the story of a young woman struggling to make ends meet in the big city. This short documents the show’s only performance, at the Learning Alliance in New York. 16 min.
Some Kind of Loving (Joanie 4 Jackie Co-Star Tape #3)
2000. USA. With videos by Karen Yasinsky, Jane Gang, Jennifer Reeder, Stephanie Barber, and Peggy Ahwesh.
In 1995, Miranda July founded Joanie 4 Jackie, an alternative video distribution network for women moviemakers. For Co-Star Tape #3, artist Astria Suparak selected the work of five women artists who explore the representation and cultural codes of female desire and sexuality. 60 min.
Saturday, March 5, 7:30 p.m. T2
Monday, March 7, 4:00 p.m. T2
Wigstock: The Movie
1987. USA. Directed by Tom Rubnitz.
Documenting an early installment of the famous New York drag festival, this video was shot a decade before Rubnitz’s celebrated feature-length documentary on the same subject. Presenting the Wigstock festival during its original Tompkins Square Park era, the video combines live performance footage and off-stage interviews. 20 min.
Making the Scene
1985. USA. Directed by Kim Gordon. Edited and photographed by Tony Oursler.
Gordon’s short documentary captures life at the West 21 Street incarnation of Danceteria, the first club in Manhattan to play videos and have two separate DJs perform nonstop for 12 straight hours. 11 min.
This Is a History of New York
1988. USA. Directed by Jem Cohen.
Composed entirely from documentary street footage, Cohen’s experimental film takes viewers through New York City, from prehistoric times to the Space Age. 20 min.
Program 51 min.
Sunday, March 6, 2:00 p.m. T2
Thursday, March 10, 4:00 p.m. T2
The Feeling of Power
1990. USA. Directed by Robert Beck. Music by Stephen Vitiello, Shin Shimokawa.
A powerful collage of images and music, The Feeling of Power compares the "facts" captured by the camcorder with facts about the history of AIDS. This compelling call to action indicts the government’s refusal to acknowledge New York’s peaking AIDS epidemic in the late 1980s. 9 min.
Put Blood in the Music
1989. USA. Directed by Charles Atlas.
Concentrating on downtown art and music figures such as John Zorn and Karen Finley, Atlas’s fast-paced Put Blood in the Music is a visually striking document of the downtown New York music scene of the 1980s. 75 min.
Wednesday, March 9, 4:00 p.m. & 7:00 p.m. T2
Le Tigre: On Tour
2010. USA. Directed by Kerthy Fix.
This documentary presents an inside view of Le Tigre during the band’s final tour. Fronted by Kathleen Hanna (formerly of the influential riot grrrl band Bikini Kill), Le Tigre is known for lyrics dealing with issues of feminism and the LGBT community. 30min.
Monday, April 4, 7:00 pm, T1
** Note: This screening is not part of the film series but is in conjunction with the gallery exhibition
*************************
Public Information:
The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019, (212) 708-9400
Hours: Wednesday through Monday: 10:30 a.m.-5:30 p.m. Friday: 10:30 a.m.-8:00 p.m. Closed Tuesday
Museum Admission: $20 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs). Target Free Friday Nights 4:00-8:00 p.m.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only)
+++++++++++++++++++++++++++++++++++++++++++++++++++
LOOKING AT MUSIC 3.0 EXPLORES THE INFLUENCE OF MUSIC ON CONTEMPORARY ART
IN NEW YORK IN THE 1980s AND 1990s AND THE BIRTH OF "REMIX CULTURE’’
Gallery Exhibition Is Accompanied by a Film Program in March 2011
Looking at Music 3.0
February 16–June 6, 2011
The Yoshiko and Akio Morita Media Gallery, second floor
NEW YORK, February 2, 2011--Looking at Music 3.0, the third in a series of exhibitions at The Museum of Modern Art exploring the influence of music on contemporary art practices, focuses on New York in the 1980s and 1990s and the birth of "remix culture."
Highlighting a unique range of activity within the city during those decades, the exhibition addresses the birth of hip hop; new articulations of feminism as seen in video chain letters, zines, and raucous art and music performances; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities.
Approximately 70 works from a wide range of artists and musicians are on view, including works by the Beastie Boys, Kathleen Hanna and Le Tigre, Keith Haring, Miranda July, Christian Marclay, Steven Parrino, and Run-DMC.
A film exhibition closely linked to the artists and works on view in the gallery exhibition runs from March 2 to March 10, 2011, in MoMA’s Roy and Niuta Titus Theaters.
The exhibition is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art. Ms. London states: "In this dynamic time period, imaginative forms of street art spread across the five boroughs, articulating the counter-culture tenor of the times. As the city transitioned from bankruptcy to solvency, graffiti, media, and performance artists took advantage of low rents and collaborated on ad hoc works shown in alternative spaces and underground clubs. Appropriation, also known as remixing, thrived."
The exhibition begins with a recording from the German band Kraftwerk, the track "Trans-Europe Express" (1977). Widely known for their pioneering role in electronic music, Kraftwerk used custom-made vocoders, synthesizers, and computer-speech software, introducing notable innovations into music technology. "Trans-Europe Express," which plays in a loop at an audio station, paved the way for many of the musicians and artists featured within the exhibition, where it is sampled twice: in "Planet Rock" (1982), by Afrika Bambaataa and the Sonic Soul Force, and in "(Always Be My) Sunshine" (1997), by Jay-Z featuring Foxy Brown and Babyface.
Further exploring New York–based hip hop artists, the exhibition includes music by the Beastie Boys, Run-DMC, and the Wu-Tang Clan, with audio tracks by each of the artists playing at audio stations. Beginning with neighborhood parties in the South Bronx in the early 1970s, hip hop eventually expanded the geography of New York’s Manhattan-centric music scene and became the dominant cultural movement among urban minorities in the 1980s.
The exhibition next looks at the ways musicians and artists responded to the city in the 1980s and early 1990s. With New York bankrupt, the AIDS crisis reaching its zenith, and drug use wreaking havoc on many neighborhoods, a wave of activism swept through the art and music worlds. Artists addressed topics such as the ongoing discrimination of the black community, as seen in Spike Lee’s video for Public Enemy's "Fight the Power" (1989), and the stigmatization of AIDS as denounced by Keith Haring in his poster IGNORANCE=FEAR/SILENCE=DEATH (1989). Graffiti art had leapt from the street to the page, as seen in a print by the graffiti artist Lee Quinones, CENTURY OF THE WIND (1991), which is included in the exhibition.
The following section focuses on Tellus Audio Cassette Magazine, which launched in 1983 as a subscription-only bimonthly from the Lower East Side, a rough area of the city and a hotbed of creative activity. The brainchild of visual artist Joseph Nechtaval, curator Claudia Gould, and composer Carol Parkinson, and produced through the experimental recording studio Harvestworks/Studio PASS, Tellus magazine supported some of the city’s most innovative collaborations between artists and musicians for almost 20 years. The exhibition includes sound files from Tellus playing at an audio station, adjoined with the Double LP compilation TellusTools with a cover design by Christian Marclay.
A range of works by Christian Marclay, along with music by Brian Eno, David Byrne, and John Zorn, are part of the exhibition; each was a prominent figure in New York’s experimental art and music scenes of the 1980s and early 1990s. All four were interested in experimental composition and brought art theory to new music. A set of collaged vinyl records by Marclay, Recycled Records (1981–85), is on display, along with tracks by Eno and Byrne, artists who pioneered ambient and non-Western music crossovers, playing at audio stations. Zorn, a distinguished avant-garde composer, fused multiple genres, including jazz and punk, working with his band Naked City. A recording of "Speedfreaks," a song performed by Naked City, plays in a loop within the exhibition.
As audio and video technology advanced and television was affected by MTV, artists reflected upon how commercial entities controlled mass communication and used technology to shape modern culture. Karen Finley, Dara Birnbaum, and Martha Rosler utilized this technology to criticize stereotypes of women promoted in the mass media, as seen in Birnbaum’s Pop-Pop Video (1980); an audio track by Finley, Tales of Taboo (1986); and a plate and track from Rosler’s untitled print portion of the portfolio ARTIFACTS AT THE END OF THE DECADE (1981). The limits of technology and its potential as a tool for activism are explored by the video work of Tom Kalin, John Kelly, and Bob Beck, including Kalin’s video Nomads (1993), Kelly’s video Pass the Blutwurst,
Bitte, #1 (1986), and Beck’s video Girlfriend in a Coma (1980). The wide distribution possibilities that video offered (and their continuation in today’s distribution through the Internet) are a cornerstone of Seth Price's practice. His video NJS Map (2001–02), which traces the genealogy of one period in pop music called "New Jack Swing," is related to his ongoing project Title Variable, comprising several music compilations and published articles investigating technology's impact on music production.
Four music videos projected in the following section exemplify the vigor and effort that were put into this new art form: Keith Haring making a hand-drawn, theatrical garment for Grace Jones in "I’m Not Perfect (But I’m Perfect for You)" (1986); Diamanda Galás channeling both performance art and goth metal for "Double-Barrel Prayer" (1988); Long Island–based duo Eric B. and Rakim's extensive sampling from James Brown awakening other hip hop interest in "The Godfather of Soul"; and the video for A Tribe Called Quest's "Scenario," highlighting the band's playful and humorous approach to hip hop.
After the second wave of the Feminist Movement in the United States in the late 1960s and 1970s, so-called third-wave Feminism emerged from its point of genesis, the riot grrrl capital Portland, Oregon, in the 1990s. Inspired by the ethos of DIY (Do-It-Yourself), young women formed impromptu punk bands; wrote, pasted together, and photocopied self-published zines; and created their own independent methods of distribution. Several examples of those zines are on view. Performance artist, filmmaker, and writer Miranda July founded Joanie 4 Jackie in 1995 as an informal organization and active network, compiling video chain letters that gave young women the courage and confidence to continue making movies; a related poster and zine are on view in the gallery.
A recording by Le Tigre also plays at an audio station; the band fused New Wave, electronic dance music, and the angry punk sound of the riot grrrl era with humorous lyrics to confront such social ills as police brutality and Mayor Rudolph Giuliani’s crackdowns in millennial New York. In this era of genre-crossing, many musicians were active participants in the art scene, and vice-versa. Sonic Youth worked with artist Tony Oursler on the video for "Tunic (Song for Karen)" (1990), which plays on a monitor in the exhibition.
Tony Conrad, a film, video, and sound pioneer and composer, formed the art band XXX Macarena with fellow artists Jutta Koether and John Miller. Conrad’s video "In Line" (1986) is joined by a record sleeve from XXX Macarena. Fisherspooner, an electroclash performance duo that formed in 1998 and frequently performed in art galleries, skewered retro electropop and early Pet Shop Boys in their action-packed events, and the record sleeve from their album #1 (2001) is on view.
The rise of computer culture and wider access to new technologies in the mid-1990s brought with it a host of new possibilities for artists to explore. The three interactive pieces on display are examples of how artists harnessed new tools to bring audiences into their work. Via an interactive CD-ROM, Puppet Hotel (1995), visitors have access to performance artist/composer Laurie Anderson’s modified violins, and are invited to play a tune. A CD-ROM by the Residents,
Freak Show (1994), makes the answering machines and private diaries tucked away in freak show performers’ caravans available. In Perry Hoberman’s Faraday’s Ghost (2000), a bar code wand activates the distinctive sounds of everyday appliances—toasters, radios, and vacuum cleaners.
The exhibition is on view in The Yoshiko and Akio Morita Media Gallery from February 16 through June 6, 2011.
PUBLIC PROGRAMS:
Modern Mondays
Monday, May 16, 2011
Modern Mondays, a weekly program that brings contemporary, innovative film and moving-image works to the public, provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. On May 16, a conversation will be held with the interdisciplinary artist Karen Finley, discussing "Tales of Taboo" and how the worlds of music, art, and language have intersected in her practice. Inspired by the performances of Dead Kennedys as a student in San Francisco and by the lyrics and persona of Boy George later in New York, Finley honed her theatrical work on the same "alternative" stages as fellow downtown Manhattan artists and musicians. Finley will read from her latest book, The Reality Shows.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with I.D.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
FILM PROGRAM:
Looking at Music 3.0
In conjunction with the gallery exhibition of the same name, this series explores the influence of music on contemporary art practices, focusing on New York in the 1980s and 1990s and the birth of "remix culture." These films and videos examine the birth of hip-hop; new articulations of feminism in video chain letters, zines, and raucous art and music performances; AIDS activism in public service announcements, street posters, and concerts; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities. Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
Grrrl Love and Revolution: Riot Grrrl NYC
2010. USA. Directed by Abby Moser, Lucy Thane.
From 1993 through 1998, Moser and Thane documented the underground feminist "riot grrrl" movement, a loose collection of bands and zines that used fiery rhetoric to address rape, domestic abuse, sexuality, and female empowerment. The film charts the development of riot grrrl in New York City over the course of three years. 30 min.
Belladonna
1989. USA. Directed by Beth B, Ida Applebroog.
A chilling look at violence and the family, Belladonna includes recitations of statements by convicted child murderer Joel Steinberg and Nazi "death doctor" Joseph Mengele, and case studies from Freud’s "A Child is Being Beaten." The readings are intercut with paintings by Applebroog, Beth B’s mother. 25 min.
Jollies
1990. USA. Directed by Sadie Benning.
Shot with a Pixelvision camera, Benning’s short film is a chronicle of her crushes and kisses, tracing the development of her nascent sexuality. Addressing the camera with an air of seduction and romance, Benning allows the viewer a sense of her anxiety and delight as she comes to realize her lesbian identity. 11 min.
Program 71 min.
Wednesday, March 2, 7:00 p.m., T2
Thursday, March 3, 4:00 p.m., T1
Krush Groove
1985. USA. Directed by Michael Schultz. With Run-DMC, LL Cool J, Jam Master Jay, Sheila E., Russell Simmons.
Krush Groove is a dramatized retelling of the early days of the influential music label Def Jam Recordings, and specifically producer Russell Simmons’s decision to borrow money from a street hustler in order to press Run-DMC records. Filmed in the Bronx in the mid-1980s and featuring an array of rap luminaries, Schultz’s film captures a golden era of East Coast hip hop. 97 min.
Friday, March 4, 4:00 p.m. T2
Sunday, March 6, 5:00 p.m. T2
Instrument
1999. USA. Directed by Jem Cohen.
A collaboration between this fiercely independent filmmaker and the Washington D.C. band Fugazi, Instrument is a musical document of the band from 1987 through 1996. Portraying the musicians at work and hanging out, the film includes a wide range of materials, including concert footage, studio sessions, practice, touring, interviews, and close-up portraits of audience members from around the country. 115 min.
Friday, March 4, 7:00 p.m. T2
Saturday, March 5, 4:00 p.m. T2
Puppet Show
1997. USA. Directed by Rita Ackermann. Cinematography by Chris Habib. Music by Thurston Moore, vocals by Kim Gordon.
While hidden from view, Ackermann manipulates her hand-painted, couture-outfitted puppets, acting out the story of a young woman struggling to make ends meet in the big city. This short documents the show’s only performance, at the Learning Alliance in New York. 16 min.
Some Kind of Loving (Joanie 4 Jackie Co-Star Tape #3)
2000. USA. With videos by Karen Yasinsky, Jane Gang, Jennifer Reeder, Stephanie Barber, and Peggy Ahwesh.
In 1995, Miranda July founded Joanie 4 Jackie, an alternative video distribution network for women moviemakers. For Co-Star Tape #3, artist Astria Suparak selected the work of five women artists who explore the representation and cultural codes of female desire and sexuality. 60 min.
Saturday, March 5, 7:30 p.m. T2
Monday, March 7, 4:00 p.m. T2
Wigstock: The Movie
1987. USA. Directed by Tom Rubnitz.
Documenting an early installment of the famous New York drag festival, this video was shot a decade before Rubnitz’s celebrated feature-length documentary on the same subject. Presenting the Wigstock festival during its original Tompkins Square Park era, the video combines live performance footage and off-stage interviews. 20 min.
Making the Scene
1985. USA. Directed by Kim Gordon. Edited and photographed by Tony Oursler.
Gordon’s short documentary captures life at the West 21 Street incarnation of Danceteria, the first club in Manhattan to play videos and have two separate DJs perform nonstop for 12 straight hours. 11 min.
This Is a History of New York
1988. USA. Directed by Jem Cohen.
Composed entirely from documentary street footage, Cohen’s experimental film takes viewers through New York City, from prehistoric times to the Space Age. 20 min.
Program 51 min.
Sunday, March 6, 2:00 p.m. T2
Thursday, March 10, 4:00 p.m. T2
The Feeling of Power
1990. USA. Directed by Robert Beck. Music by Stephen Vitiello, Shin Shimokawa.
A powerful collage of images and music, The Feeling of Power compares the "facts" captured by the camcorder with facts about the history of AIDS. This compelling call to action indicts the government’s refusal to acknowledge New York’s peaking AIDS epidemic in the late 1980s. 9 min.
Put Blood in the Music
1989. USA. Directed by Charles Atlas.
Concentrating on downtown art and music figures such as John Zorn and Karen Finley, Atlas’s fast-paced Put Blood in the Music is a visually striking document of the downtown New York music scene of the 1980s. 75 min.
Wednesday, March 9, 4:00 p.m. & 7:00 p.m. T2
Le Tigre: On Tour
2010. USA. Directed by Kerthy Fix.
This documentary presents an inside view of Le Tigre during the band’s final tour. Fronted by Kathleen Hanna (formerly of the influential riot grrrl band Bikini Kill), Le Tigre is known for lyrics dealing with issues of feminism and the LGBT community. 30min.
Monday, April 4, 7:00 pm, T1
** Note: This screening is not part of the film series but is in conjunction with the gallery exhibition
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Public Information:
The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019, (212) 708-9400
Hours: Wednesday through Monday: 10:30 a.m.-5:30 p.m. Friday: 10:30 a.m.-8:00 p.m. Closed Tuesday
Museum Admission: $20 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs). Target Free Friday Nights 4:00-8:00 p.m.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only)
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Press release
THE MUSEUM OF MODERN ART ANNOUNCES NEW ACQUISITIONS OF WORKS IN MEDIA
INCLUDING DAVID WOJNAROWICZ'S A FIRE IN MY BELLY
New York, January 13, 2011--The Museum of Modern Art (NYC) has acquired a complete version of A Fire in My Belly (1986–87) by David Wojnarowicz—both its original 13-minute version and a 7-minute excerpt made by the artist—announced MoMA Director Glenn D. Lowry today.
MoMA is the first institution to acquire the video, and it goes on view today in the Museum's exhibition Contemporary Art from the Collection,a focused examination of artistic practice since the late 1960s that considers how current events from the last 40 years have shaped artists' work.
Also joining the collection are media works by Harun Farocki, Andrea Fraser, Dan Graham, Dorit Margreiter, and a collective of young artists who critically engage social and political issues in their work.
Wojnarowicz (American, 1954–1992), one of the most influential artists to have emerged from New York in the 1980s, made A Fire in My Belly after being diagnosed with HIV. A collage of images filmed primarily during the artist's travels to Mexico, it combines footage from a number of sources that refer—often in graphic detail—to death, social inequality, faith, and desire.
In MoMA's Contemporary Galleries, it joins a grouping of art works made during the AIDS crisis in the late 1980s and early 1990s. A Fire in My Belly is the 13th work by the artist to join MoMA's collection over the last two decades.
+++++++++++++++++++++++++++++++++++++++++++++++
THE MUSEUM OF MODERN ART ANNOUNCES NEW ACQUISITIONS OF WORKS IN MEDIA
INCLUDING DAVID WOJNAROWICZ'S A FIRE IN MY BELLY
New York, January 13, 2011--The Museum of Modern Art (NYC) has acquired a complete version of A Fire in My Belly (1986–87) by David Wojnarowicz—both its original 13-minute version and a 7-minute excerpt made by the artist—announced MoMA Director Glenn D. Lowry today.
MoMA is the first institution to acquire the video, and it goes on view today in the Museum's exhibition Contemporary Art from the Collection,a focused examination of artistic practice since the late 1960s that considers how current events from the last 40 years have shaped artists' work.
Also joining the collection are media works by Harun Farocki, Andrea Fraser, Dan Graham, Dorit Margreiter, and a collective of young artists who critically engage social and political issues in their work.
Wojnarowicz (American, 1954–1992), one of the most influential artists to have emerged from New York in the 1980s, made A Fire in My Belly after being diagnosed with HIV. A collage of images filmed primarily during the artist's travels to Mexico, it combines footage from a number of sources that refer—often in graphic detail—to death, social inequality, faith, and desire.
In MoMA's Contemporary Galleries, it joins a grouping of art works made during the AIDS crisis in the late 1980s and early 1990s. A Fire in My Belly is the 13th work by the artist to join MoMA's collection over the last two decades.
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Press release
THE MUSEUM OF MODERN ART ANNOUNCES
FILM EXHIBITIONS
FOR JANUARY-APRIL 2011
New York, December 9, 2010--The Museum of Modern Art announces film exhibitions from January through April, 2011, including career retrospectives of important filmmakers, the 40th anniversary of New Directors/New Films, annual exhibitions such as Global Lens, Documentary Fortnight, and Canadian Front, and select screenings.
A major retrospective of director Charles Burnett (April 6–25), a MacArthur Award–winning independent filmmaker, will showcase 20 of his films, including shorts. Born in Mississippi and having lived in Los Angeles most of his life, Burnett has tapped into his own roots to create a body of poignant work that includes such critically acclaimed films as To Sleep With Anger (1990). He first received note when his film Killer of Sheep (1977) won a prize at the Berlin Film Festival in 1981 and was later selected for the National Film Registry for being "culturally, historically, or aesthetically significant."
A retrospective of the work of master Soviet director Dziga Vertov (April 15–June 24) will trace Vertov’s radical experiments in image and sound as they evolved from silent films in 1918 to sound films in the 1940s. The exhibition opens with the U.S. premiere of Celovek s kinoapparatom (Man with a Movie Camera) (1929) in a newly restored full-frame print, with live musical accompaniment. Also presented are 13 programs of Vertov’s silent films, including the U.S. premieres of 14 Kino-Nedelia (Kino-Week) films from 1918–19.
The Museum presents its annual exhibitions, including the 40th anniversary of New Directors/New Films (March 23–April 3), the collaborative program between The Museum of Modern Art and The Film Society of Lincoln Center dedicated to the discovery of new work by emerging filmmakers.
Documentary Fortnight 2011: MoMA’s International Festival of Nonfiction Film and Media (February 16–28) showcases recent nonfiction film and media. Other annual exhibitions include Oscar’s Docs (February 4-6), which each year looks at documentaries that have won the Academy Awards, Canadian Front (March 16–21), and Kino! New Films from Germany (April 27–May 2).
MoMA will offer a variety of weeklong presentations, including Richard Kaplan: Wayfarer and Truth-Teller, “All the Wrong Art:” Juxtapoz Magazine on Film, and BigPond Adelaide Film Festival, with film selections from the biannual Australian festival.
www.moma.org
+++++++++++++++++++++++++++++++++
THE MUSEUM OF MODERN ART ANNOUNCES
FILM EXHIBITIONS
FOR JANUARY-APRIL 2011
New York, December 9, 2010--The Museum of Modern Art announces film exhibitions from January through April, 2011, including career retrospectives of important filmmakers, the 40th anniversary of New Directors/New Films, annual exhibitions such as Global Lens, Documentary Fortnight, and Canadian Front, and select screenings.
A major retrospective of director Charles Burnett (April 6–25), a MacArthur Award–winning independent filmmaker, will showcase 20 of his films, including shorts. Born in Mississippi and having lived in Los Angeles most of his life, Burnett has tapped into his own roots to create a body of poignant work that includes such critically acclaimed films as To Sleep With Anger (1990). He first received note when his film Killer of Sheep (1977) won a prize at the Berlin Film Festival in 1981 and was later selected for the National Film Registry for being "culturally, historically, or aesthetically significant."
A retrospective of the work of master Soviet director Dziga Vertov (April 15–June 24) will trace Vertov’s radical experiments in image and sound as they evolved from silent films in 1918 to sound films in the 1940s. The exhibition opens with the U.S. premiere of Celovek s kinoapparatom (Man with a Movie Camera) (1929) in a newly restored full-frame print, with live musical accompaniment. Also presented are 13 programs of Vertov’s silent films, including the U.S. premieres of 14 Kino-Nedelia (Kino-Week) films from 1918–19.
The Museum presents its annual exhibitions, including the 40th anniversary of New Directors/New Films (March 23–April 3), the collaborative program between The Museum of Modern Art and The Film Society of Lincoln Center dedicated to the discovery of new work by emerging filmmakers.
Documentary Fortnight 2011: MoMA’s International Festival of Nonfiction Film and Media (February 16–28) showcases recent nonfiction film and media. Other annual exhibitions include Oscar’s Docs (February 4-6), which each year looks at documentaries that have won the Academy Awards, Canadian Front (March 16–21), and Kino! New Films from Germany (April 27–May 2).
MoMA will offer a variety of weeklong presentations, including Richard Kaplan: Wayfarer and Truth-Teller, “All the Wrong Art:” Juxtapoz Magazine on Film, and BigPond Adelaide Film Festival, with film selections from the biannual Australian festival.
www.moma.org
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Press release
MOMA PRESENTS THE NEW YORK PREMIERE OF
SHARON LOCKHART’S
DOUBLE TIDE
November 11–17, 2010
The Roy and Niuta Titus Theaters
NEW YORK, October 22, 2010−The Museum of Modern Art will present the New York premiere, followed by a weeklong theatrical run, of Sharon Lockhart’s Double Tide (2009), from November 11 through 17, 2010.
Double Tide is a luminous and meditative portrait of a woman digging clams in the mudflats of the Atlantic Ocean. Filmed in Seal Cove, Maine, a historic site for commercial clamming, during the rare natural phenomenon of low tide occurring twice during daylight hours—once at dawn and once at dusk--Double Tide depicts an ageless tradition of backbreaking work within the sublime and quiet beauty of a wild coastal landscape.
The first half of the film begins in the foggy half-light of the early morning, and is gradually illuminated by the rising sun as the clammer traverses the mudflats, moving farther into the distance. The latter half finds her again at work, the pace of her clamming coinciding with the approaching twilight as she finally exits the mudflats, and the frame, in near-darkness.
Double Tide, which also exists as a double-screen gallery installation, continues the fascination with ritual and labor seen in Lockhart’s other recent works, from her choreographed study of Japanese farmers piling hay (NO, 2003) to her recent look at Maine shipyard workers at rest (Lunch Break, 2009) and leaving the factory at day’s end (Exit, 2009).
As with many of her films, Double Tide occupies the liminal space between stillness and movement, and between actual time and subjective time. Jen Casad, the clam digger who appears in the film, will join Lockhart in a Q&A following the opening night screening on November 11.
Double Tide is organized by Joshua Siegel, Associate Curator, Department of Film.
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MOMA PRESENTS THE NEW YORK PREMIERE OF
SHARON LOCKHART’S
DOUBLE TIDE
November 11–17, 2010
The Roy and Niuta Titus Theaters
NEW YORK, October 22, 2010−The Museum of Modern Art will present the New York premiere, followed by a weeklong theatrical run, of Sharon Lockhart’s Double Tide (2009), from November 11 through 17, 2010.
Double Tide is a luminous and meditative portrait of a woman digging clams in the mudflats of the Atlantic Ocean. Filmed in Seal Cove, Maine, a historic site for commercial clamming, during the rare natural phenomenon of low tide occurring twice during daylight hours—once at dawn and once at dusk--Double Tide depicts an ageless tradition of backbreaking work within the sublime and quiet beauty of a wild coastal landscape.
The first half of the film begins in the foggy half-light of the early morning, and is gradually illuminated by the rising sun as the clammer traverses the mudflats, moving farther into the distance. The latter half finds her again at work, the pace of her clamming coinciding with the approaching twilight as she finally exits the mudflats, and the frame, in near-darkness.
Double Tide, which also exists as a double-screen gallery installation, continues the fascination with ritual and labor seen in Lockhart’s other recent works, from her choreographed study of Japanese farmers piling hay (NO, 2003) to her recent look at Maine shipyard workers at rest (Lunch Break, 2009) and leaving the factory at day’s end (Exit, 2009).
As with many of her films, Double Tide occupies the liminal space between stillness and movement, and between actual time and subjective time. Jen Casad, the clam digger who appears in the film, will join Lockhart in a Q&A following the opening night screening on November 11.
Double Tide is organized by Joshua Siegel, Associate Curator, Department of Film.
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Press release
ON LINE
EXPLORES THE TRANSFORMATION OF DRAWING
THROUGHOUT THE TWENTIETH AND TWENTY-FIRST CENTURIES
Exhibition Challenges Definition of Drawing through Gallery Exhibition, Site-Specific Installations, Dance Performances, and Film Program
On Line: Drawing Through the Twentieth Century
November 21, 2010–February 7, 2011
The Joan and Preston Robert Tisch Gallery, sixth floor
NEW YORK, November 15, 2010--On Line: Drawing Through the Twentieth Century, on view at MoMA from November 21, 2010, through February 7, 2011, aims to challenge the conventional definition of drawing as a work on paper by exploring the radical transformation of the medium throughout the last century, a period when numerous artists critically examined the traditional concepts of drawing and expanded its definition in relation to gesture and form.
The exhibition brings together approximately 300 works, many drawn from MoMA’s collection, by over 100 artists—both canonical and less well-known—from over 20 nations. Crossing disciplinary boundaries, these works relate drawing to selections of painting, sculpture, photography, film, and dance (represented by films and documentation, as well as live performances).
Deriving its title from the essay “On Line,” which Vasily Kandinsky wrote in 1919–20, On Line follows artists’ exploration of line as the basic element of drawing over a century and, consequently, argues for an extended field of the medium: the cutting and pasting of collage; sketching in notebooks; tracing with pen and ink; outlining with pencil, crayon, or charcoal; winding with wire and strips of cloth; wrapping and binding; and line etched on canvas or in the land.
The exhibition is organized chronologically in three sections that examine different stages of this aesthetic exploration: Surface Tension considers the artistic drive to represent movementwithin a flat picture plane; Line Extension includes works in which lines extend beyond flatness into real time and space; and Confluence presents contemporary works in which line and background are fused, giving significance to the space between lines.
The exhibition is organized by Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art, and Guest Curator Catherine de Zegher, former Director, The Drawing Center, New York (recently appointed as Co-Director of the 18th Biennale of Sydney).
MoMA.org
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ON LINE
EXPLORES THE TRANSFORMATION OF DRAWING
THROUGHOUT THE TWENTIETH AND TWENTY-FIRST CENTURIES
Exhibition Challenges Definition of Drawing through Gallery Exhibition, Site-Specific Installations, Dance Performances, and Film Program
On Line: Drawing Through the Twentieth Century
November 21, 2010–February 7, 2011
The Joan and Preston Robert Tisch Gallery, sixth floor
NEW YORK, November 15, 2010--On Line: Drawing Through the Twentieth Century, on view at MoMA from November 21, 2010, through February 7, 2011, aims to challenge the conventional definition of drawing as a work on paper by exploring the radical transformation of the medium throughout the last century, a period when numerous artists critically examined the traditional concepts of drawing and expanded its definition in relation to gesture and form.
The exhibition brings together approximately 300 works, many drawn from MoMA’s collection, by over 100 artists—both canonical and less well-known—from over 20 nations. Crossing disciplinary boundaries, these works relate drawing to selections of painting, sculpture, photography, film, and dance (represented by films and documentation, as well as live performances).
Deriving its title from the essay “On Line,” which Vasily Kandinsky wrote in 1919–20, On Line follows artists’ exploration of line as the basic element of drawing over a century and, consequently, argues for an extended field of the medium: the cutting and pasting of collage; sketching in notebooks; tracing with pen and ink; outlining with pencil, crayon, or charcoal; winding with wire and strips of cloth; wrapping and binding; and line etched on canvas or in the land.
The exhibition is organized chronologically in three sections that examine different stages of this aesthetic exploration: Surface Tension considers the artistic drive to represent movementwithin a flat picture plane; Line Extension includes works in which lines extend beyond flatness into real time and space; and Confluence presents contemporary works in which line and background are fused, giving significance to the space between lines.
The exhibition is organized by Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art, and Guest Curator Catherine de Zegher, former Director, The Drawing Center, New York (recently appointed as Co-Director of the 18th Biennale of Sydney).
MoMA.org
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Press release from MoMA - The Museum of Modern Art
Modern Mondays
November 2010
The Roy and Niuta Titus Theater 2 - MoMA-NYC
An Evening with Hala Alabdalla and Omar Amiralay - November 1, 7:00 p.m.
In conjunction with the film exhibition, Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I, screening October 28–November 22, 2010, Omar Amiralay (Syrian, b. 1944) and Hala Alabdalla (Syrian, b. 1956) present a screening of the documentary Nuron wa Thilal (Light and Shadows, The Last of the Pioneers: Nazih Shahbandar) (1991), which Amiralay codirected with Mohammad Malas and Oussama Mohammad.
This portrait of Nazih Shahbandar illuminates his role as a pioneer of Arab cinema production in the 1930s and 1940s. He wrote scripts, built sets, set up a studio fitted with film equipment that was almost entirely of his own fabrication, produced and directed the first Syrian film with sound, and chased his dream of making a 3-D film. This documentary is an ode both to the man and to early Arab cinema, and it provides a fitting prelude to a conversation with two of the most influential and inventive artists of the region during recent decades.
Amiralay was a driving force in the establishment of the Arab Film Institute, a collaborative project uniting young and independent filmmakers in the region that organizes workshops and offers other support. His films have earned a number of awards worldwide, and his cinema has become canon for generations of documentary filmmakers in the Arab world. As the general director of Ramad Films, Amiralay’s France-based production company, Alabdalla has executive-produced many of Amiralay’s films. I Am the One Who Carries Flowers to Her Grave (2006) was her directorial debut.
Program 90 min.
Organized by Jytte Jensen, Curator, Department of Film.
An Evening with Josiah McElheny, Stephen Prina, and Lynne Tillman - November 8, 7:00 p.m.
This evening presents a pairing of recent films—Stephen Prina’s The Way He Always Wanted It II (2008) and the U.S. premiere of Josiah McElheny’s Island Universe (2008)—that share a fascination with mid-century modernist design and the interplay of architecture, music, and the moving image.
In Island Universe, with an original score by Paul Schütze, McElheny (American, b. 1966) considers the origins of the universe as embodied in J.&L. Lobmeyer’s famed Space Age chandeliers for New York’s Metropolitan Opera House. In The Way He Always Wanted It II, which belongs to a constellation of works under the same name (photographs, watercolors, a video installation, and an unrealized sound installation from 1979), Prina (American, b. 1954) tracks his way through the domestic interior and snowy exterior of the architect Bruce Goff’s 1947 Ford House in Aurora, Illinois, setting his images to a score that he arranged and performs from fragments of Goff’s own musical compositions and private correspondence.
Following the screening, McElheny and Prina will take part in a conversation moderated by the novelist and critic Lynne Tillman, author of American Genius, A Comedy (2006) and the forthcoming short-story collection Someday This Will Be Funny (2011).
Program 100 min.
Organized by Joshua Siegel, Associate Curator, Department of Film.
An Evening with Joana Hadjithomas and Khalil Joreige - November 15, 7:00 p.m.
In conjunction with the film exhibition, Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I, screening October 28–November 22, 2010, filmmakers Joana Hadjithomas and Khalil Joreige (both, Lebanese, b. 1969) perform Aida, sauve-moi (Aida, Save Me) (2010). This lecture-performance is inspired by an event that took place during the 2006 Beirut premiere of their film A Perfect Day (2005), an event that interrupted that film’s release and resonates strongly with the entirety of their work. Aida, Save Me tells a story that measures the distance between recognition and representation of oneself, and recounts an adventure wherein fiction suddenly takes on the appearance of documentation.
Beirut natives Hadjithomas and Joreige are filmmakers, artists, and university teachers. They have directed several feature films, including Around the Pink House (1999) and I Want to See, which was named Best Film of 2008 by the French syndicate of critics. They are also accomplished short-film makers, and their numerous photographic installations and videos, including the Wonder Beirut Project (2008) and Lasting Images (2006), have been exhibited in museums and galleries around the world.
Program 90 min.
Organized by Jytte Jensen, Curator, Department of Film.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.).
Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Modern Mondays
November 2010
The Roy and Niuta Titus Theater 2 - MoMA-NYC
An Evening with Hala Alabdalla and Omar Amiralay - November 1, 7:00 p.m.
In conjunction with the film exhibition, Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I, screening October 28–November 22, 2010, Omar Amiralay (Syrian, b. 1944) and Hala Alabdalla (Syrian, b. 1956) present a screening of the documentary Nuron wa Thilal (Light and Shadows, The Last of the Pioneers: Nazih Shahbandar) (1991), which Amiralay codirected with Mohammad Malas and Oussama Mohammad.
This portrait of Nazih Shahbandar illuminates his role as a pioneer of Arab cinema production in the 1930s and 1940s. He wrote scripts, built sets, set up a studio fitted with film equipment that was almost entirely of his own fabrication, produced and directed the first Syrian film with sound, and chased his dream of making a 3-D film. This documentary is an ode both to the man and to early Arab cinema, and it provides a fitting prelude to a conversation with two of the most influential and inventive artists of the region during recent decades.
Amiralay was a driving force in the establishment of the Arab Film Institute, a collaborative project uniting young and independent filmmakers in the region that organizes workshops and offers other support. His films have earned a number of awards worldwide, and his cinema has become canon for generations of documentary filmmakers in the Arab world. As the general director of Ramad Films, Amiralay’s France-based production company, Alabdalla has executive-produced many of Amiralay’s films. I Am the One Who Carries Flowers to Her Grave (2006) was her directorial debut.
Program 90 min.
Organized by Jytte Jensen, Curator, Department of Film.
An Evening with Josiah McElheny, Stephen Prina, and Lynne Tillman - November 8, 7:00 p.m.
This evening presents a pairing of recent films—Stephen Prina’s The Way He Always Wanted It II (2008) and the U.S. premiere of Josiah McElheny’s Island Universe (2008)—that share a fascination with mid-century modernist design and the interplay of architecture, music, and the moving image.
In Island Universe, with an original score by Paul Schütze, McElheny (American, b. 1966) considers the origins of the universe as embodied in J.&L. Lobmeyer’s famed Space Age chandeliers for New York’s Metropolitan Opera House. In The Way He Always Wanted It II, which belongs to a constellation of works under the same name (photographs, watercolors, a video installation, and an unrealized sound installation from 1979), Prina (American, b. 1954) tracks his way through the domestic interior and snowy exterior of the architect Bruce Goff’s 1947 Ford House in Aurora, Illinois, setting his images to a score that he arranged and performs from fragments of Goff’s own musical compositions and private correspondence.
Following the screening, McElheny and Prina will take part in a conversation moderated by the novelist and critic Lynne Tillman, author of American Genius, A Comedy (2006) and the forthcoming short-story collection Someday This Will Be Funny (2011).
Program 100 min.
Organized by Joshua Siegel, Associate Curator, Department of Film.
An Evening with Joana Hadjithomas and Khalil Joreige - November 15, 7:00 p.m.
In conjunction with the film exhibition, Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I, screening October 28–November 22, 2010, filmmakers Joana Hadjithomas and Khalil Joreige (both, Lebanese, b. 1969) perform Aida, sauve-moi (Aida, Save Me) (2010). This lecture-performance is inspired by an event that took place during the 2006 Beirut premiere of their film A Perfect Day (2005), an event that interrupted that film’s release and resonates strongly with the entirety of their work. Aida, Save Me tells a story that measures the distance between recognition and representation of oneself, and recounts an adventure wherein fiction suddenly takes on the appearance of documentation.
Beirut natives Hadjithomas and Joreige are filmmakers, artists, and university teachers. They have directed several feature films, including Around the Pink House (1999) and I Want to See, which was named Best Film of 2008 by the French syndicate of critics. They are also accomplished short-film makers, and their numerous photographic installations and videos, including the Wonder Beirut Project (2008) and Lasting Images (2006), have been exhibited in museums and galleries around the world.
Program 90 min.
Organized by Jytte Jensen, Curator, Department of Film.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.).
Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Press release
THE 2010 FILM BENEFIT HONORING
KATHRYN BIGELOW
TO BE CO-CHAIRED BY
RALPH FIENNES, HARRISON FORD, AND JODIE FOSTER
Live Acoustic Performance by Canadian Indie Rock Group Metric Will Highlight the Event's
After-Party, Along with a DJ Set by Nick Zinner of the Yeah Yeah Yeahs
NEW YORK, October 18, 2010--The Museum of Modern Art's 2010 Film Benefit, an event to be held on November 10, 2010, honors the Academy Award-winning writer-director Kathryn Bigelow. Co-chairs for this year's event are Ralph Fiennes, Harrison Ford, Jodie Foster, Hilary and Wilbur Ross, and Lizzie and Jonathan Tisch. Honorary Co-chairs are Marie-Josée Kravis and Jerry I. Speyer. The event raises funds to ensure that great works of cinema continue to join the collection of The Museum of Modern Art.
The Film Benefit includes a cocktail reception in MoMA's Agnes Gund Garden Lobby, a special presentation in MoMA's Titus Theater recognizing Bigelow's acclaimed directorial work, and a formal dinner in MoMA's Donald B. and Catherine C. Marron Atrium. The event concludes with an after-party featuring a special acoustic performance by the acclaimed Canadian indie rock band Metric, followed by a DJ set by Nick Zinner of the Yeah Yeah Yeahs.
A selection of Bigelow's films are represented within the Museum's collection, including Point Break (1991), Blue Steel (1989), Near Dark (1987), The Loveless (1982), and Set-Up (1978). In June 2011, MoMA will present a retrospective of Bigelow's entire career with screenings of all of her feature films, including the Academy Award-winning film The Hurt Locker (2008), K-19: The Widowmaker (2002), The Weight of Water (2000), and Strange Days (1995).
In conjunction with the retrospective, the Museum has acquired Bigelow's paper archive, which documents all of her film projects from Set-Up to The Hurt Locker, from pre-production research through production notes to post-release publicity and press materials. The archive contains both process and creative documentation such as storyboards, scripts, filming schedules, location scouting reports, and casting notes. The collection also includes unrealized scripts and other projects.
Individual tickets to the Film Benefit begin at $5,000, with tables ranging from $25,000 to $75,000. Tickets to the after-party performance from 9:00 p.m. to midnight are $100 in advance and $150 at the door.
Tables and individual tickets may be reserved by visiting MoMA.org/filmbenefit2010, or by calling MoMA's Department of Special Programming and Events at 212/708-9680, or e-mailing specialevents@moma.org.
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THE 2010 FILM BENEFIT HONORING
KATHRYN BIGELOW
TO BE CO-CHAIRED BY
RALPH FIENNES, HARRISON FORD, AND JODIE FOSTER
Live Acoustic Performance by Canadian Indie Rock Group Metric Will Highlight the Event's
After-Party, Along with a DJ Set by Nick Zinner of the Yeah Yeah Yeahs
NEW YORK, October 18, 2010--The Museum of Modern Art's 2010 Film Benefit, an event to be held on November 10, 2010, honors the Academy Award-winning writer-director Kathryn Bigelow. Co-chairs for this year's event are Ralph Fiennes, Harrison Ford, Jodie Foster, Hilary and Wilbur Ross, and Lizzie and Jonathan Tisch. Honorary Co-chairs are Marie-Josée Kravis and Jerry I. Speyer. The event raises funds to ensure that great works of cinema continue to join the collection of The Museum of Modern Art.
The Film Benefit includes a cocktail reception in MoMA's Agnes Gund Garden Lobby, a special presentation in MoMA's Titus Theater recognizing Bigelow's acclaimed directorial work, and a formal dinner in MoMA's Donald B. and Catherine C. Marron Atrium. The event concludes with an after-party featuring a special acoustic performance by the acclaimed Canadian indie rock band Metric, followed by a DJ set by Nick Zinner of the Yeah Yeah Yeahs.
A selection of Bigelow's films are represented within the Museum's collection, including Point Break (1991), Blue Steel (1989), Near Dark (1987), The Loveless (1982), and Set-Up (1978). In June 2011, MoMA will present a retrospective of Bigelow's entire career with screenings of all of her feature films, including the Academy Award-winning film The Hurt Locker (2008), K-19: The Widowmaker (2002), The Weight of Water (2000), and Strange Days (1995).
In conjunction with the retrospective, the Museum has acquired Bigelow's paper archive, which documents all of her film projects from Set-Up to The Hurt Locker, from pre-production research through production notes to post-release publicity and press materials. The archive contains both process and creative documentation such as storyboards, scripts, filming schedules, location scouting reports, and casting notes. The collection also includes unrealized scripts and other projects.
Individual tickets to the Film Benefit begin at $5,000, with tables ranging from $25,000 to $75,000. Tickets to the after-party performance from 9:00 p.m. to midnight are $100 in advance and $150 at the door.
Tables and individual tickets may be reserved by visiting MoMA.org/filmbenefit2010, or by calling MoMA's Department of Special Programming and Events at 212/708-9680, or e-mailing specialevents@moma.org.
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Press release
MoMA PUBLISHES
FREDERICK WISEMAN
AN INCISIVE EXAMINATION OF ONE OF CINEMA’S MOST INNOVATIVE AND INFLUENTIAL FILMMAKERS
Featuring new essays by Andrew Delbanco, David Denby, Pierre Legendre, Errol Morris, Marie-Christine de Navacelle, Jay Neugeboren, Christopher Ricks, Catherine Samie, Joshua Siegel, William T. Vollmann, and Frederick Wiseman
A book signing with Frederick Wiseman will take place on October 22, 2010 the opening night of the theatrical run of his latest film Boxing Gym (2010), at New York’s IFC Center
NEW YORK, October 15, 2010--Publishing in December to mark the end of a year-long exhibition of Frederick Wiseman’s films at The Museum of Modern Art, and to celebrate the acquisition of 36 newly struck film prints for the Museum’s permanent collection, Frederick Wiseman is the first publication in English to provide a comprehensive overview of Wiseman’s work to date, including his projects for theater and opera.
In a career spanning more than four decades, Frederick Wiseman has made nearly forty films that together form a monumental chronicle of late-twentieth century institutional and cultural life. From his controversial debut, Titicut Follies (1967), about the horrifying conditions at a state prison hospital for the criminally insane, to his recent critical and commercial successes La Danse—The Paris Opera Ballet (2009) and Boxing Gym (2010), Wiseman’s films pose ethical, philosophical, and aesthetic dilemmas that are both urgent and vexing.
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MoMA PUBLISHES
FREDERICK WISEMAN
AN INCISIVE EXAMINATION OF ONE OF CINEMA’S MOST INNOVATIVE AND INFLUENTIAL FILMMAKERS
Featuring new essays by Andrew Delbanco, David Denby, Pierre Legendre, Errol Morris, Marie-Christine de Navacelle, Jay Neugeboren, Christopher Ricks, Catherine Samie, Joshua Siegel, William T. Vollmann, and Frederick Wiseman
A book signing with Frederick Wiseman will take place on October 22, 2010 the opening night of the theatrical run of his latest film Boxing Gym (2010), at New York’s IFC Center
NEW YORK, October 15, 2010--Publishing in December to mark the end of a year-long exhibition of Frederick Wiseman’s films at The Museum of Modern Art, and to celebrate the acquisition of 36 newly struck film prints for the Museum’s permanent collection, Frederick Wiseman is the first publication in English to provide a comprehensive overview of Wiseman’s work to date, including his projects for theater and opera.
In a career spanning more than four decades, Frederick Wiseman has made nearly forty films that together form a monumental chronicle of late-twentieth century institutional and cultural life. From his controversial debut, Titicut Follies (1967), about the horrifying conditions at a state prison hospital for the criminally insane, to his recent critical and commercial successes La Danse—The Paris Opera Ballet (2009) and Boxing Gym (2010), Wiseman’s films pose ethical, philosophical, and aesthetic dilemmas that are both urgent and vexing.
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Press release
MoMA-NYC Presents:
The Darkness of Day:
Recent Films by Jay Rosenblatt
October 13-18, 2010
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents a weeklong theatrical run of recent work by the San Francisco–based filmmaker Jay Rosenblatt, October 13-18, 2010. A compilation of 5 films, the 70 minute program includes the New York premiere of The Darkness of Day (2009), a stoic yet tender meditation on suicide, and the award-winning Phantom Limb (2005), a haunting expression of loss and grief.
Rosenblatt, a master of the found-footage form, interweaves neglected or discarded educational and industrial films, commercials, news clips, and home movies with subtly layered soundtracks of poetry, journal entries, personal memoir, and music by Benjamin Britten, Arvo Pärt, and others.
Other works presented in the theatrical run include Afraid So (2006), based on a Jeanne Marie Beaumont poem and narrated by Garrison Keillor; the grimly humorous I Just Wanted to Be Somebody (2006), about the singer and anti-gay rights crusader Anita Bryant; and Prayer (2001), a reflection on anxiety and blind faith in post-9/11 America.
“Jay Rosenblatt’s thoughtful, visionary investigations of masculine identify, personal growth, and loss are transfixing and resonate with audiences across social and cultural lines,” says Rajendra Roy, The Celeste Bartos Chief Curator, Department of Film, The Museum of Modern Art. “We’re honored to provide the opportunity to continue to expand those audiences”
Jay Rosenblatt introduces the opening night screening on October 13, as well as the screening on October 15.
Darkness of Day is organized by Joshua Siegel, Associate Curator, with Rajendra Roy, The Celeste Bartos Chief Curator, Department of Film, The Museum of Modern Art.
Screening Schedule
Wednesday, October 13, 7:00 (introduced by Rosenblatt)
Thursday, October 14, 4:00
Friday, October 15, 6:00 (introduced by Rosenblatt)
Saturday, October 16, 1:30
Sunday, October 17, 2:00
Monday, October 18, 4:00
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MoMA-NYC Presents:
The Darkness of Day:
Recent Films by Jay Rosenblatt
October 13-18, 2010
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents a weeklong theatrical run of recent work by the San Francisco–based filmmaker Jay Rosenblatt, October 13-18, 2010. A compilation of 5 films, the 70 minute program includes the New York premiere of The Darkness of Day (2009), a stoic yet tender meditation on suicide, and the award-winning Phantom Limb (2005), a haunting expression of loss and grief.
Rosenblatt, a master of the found-footage form, interweaves neglected or discarded educational and industrial films, commercials, news clips, and home movies with subtly layered soundtracks of poetry, journal entries, personal memoir, and music by Benjamin Britten, Arvo Pärt, and others.
Other works presented in the theatrical run include Afraid So (2006), based on a Jeanne Marie Beaumont poem and narrated by Garrison Keillor; the grimly humorous I Just Wanted to Be Somebody (2006), about the singer and anti-gay rights crusader Anita Bryant; and Prayer (2001), a reflection on anxiety and blind faith in post-9/11 America.
“Jay Rosenblatt’s thoughtful, visionary investigations of masculine identify, personal growth, and loss are transfixing and resonate with audiences across social and cultural lines,” says Rajendra Roy, The Celeste Bartos Chief Curator, Department of Film, The Museum of Modern Art. “We’re honored to provide the opportunity to continue to expand those audiences”
Jay Rosenblatt introduces the opening night screening on October 13, as well as the screening on October 15.
Darkness of Day is organized by Joshua Siegel, Associate Curator, with Rajendra Roy, The Celeste Bartos Chief Curator, Department of Film, The Museum of Modern Art.
Screening Schedule
Wednesday, October 13, 7:00 (introduced by Rosenblatt)
Thursday, October 14, 4:00
Friday, October 15, 6:00 (introduced by Rosenblatt)
Saturday, October 16, 1:30
Sunday, October 17, 2:00
Monday, October 18, 4:00
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2nd Press release (scroll down for 1st release)
ABSTRACT EXPRESSIONISM NEW YORK
DRAWS FROM MoMA'S RENOWNED COLLECTION TO EXPLORE A
PIVOTAL MOMENT IN MODERN ART IN NEW YORK
Abstract Expressionist New York Celebrates the Achievements of a Generation That Catapulted
New York City to the Center of the International Art World Sixty Years Ago
NEW YORK, September 27, 2010--Drawn entirely from the collection of The Museum of Modern Art, Abstract Expressionist New York traces the development of Abstract Expressionism from its auspicious beginnings in the 1940s to its seasoned maturity in the 1960s. The exhibition will be on view at MoMA starting October 3, 2010.
Marking the Museum's largest and most comprehensive presentation of Abstract Expressionist art, this wide-ranging survey brings together some 250 works across a variety of mediums, including painting, sculpture, drawings, prints, photographs, and film.
Masterpieces by artists such as Jackson Pollock, Mark Rothko, Barnett Newman, Robert Motherwell, Arshile Gorky, Lee Krasner, Willem de Kooning, David Smith, and Joan Mitchell are joined by lesser-seen but revelatory works by artists who developed independent voices within Abstract Expressionism.
In addition to providing a fresh look at scores of works of art that have not been seen together in half a century, the exhibition also offers a selection of images and documentary material from The Museum of Modern Art Archives, which illustrates the linked histories of Abstract Expressionism, MoMA, and New York City during this pivotal moment in modern art.
Abstract Expressionist New York will be on view throughout the Museum, spanning 25,000 square feet of gallery space, including the entire fourth-floor painting and sculpture galleries as well as galleries on the second and third floors.
Abstract Expressionist New York is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture; Jodi Hauptman, Curator, Department of Drawings; Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books; Sarah Meister, Curator, Department of Photography; Michelle Elligott, Museum Archivist; Anne Morra, Associate Curator, and Sally Berger, Assistant Curator, Department of Film; and Paulina Pobocha, Curatorial Assistant, Department of Painting and Sculpture.
Abstract Expressionism ranks among the movements most closely associated with The Museum of Modern Art. From the moment of its founding, the Museum honored, as part of its mandate, a commitment to art by Americans as well as by Europeans. Under the leadership of founding director Alfred H. Barr, Jr., its initial pursuit of works by Abstract Expressionist artists took place within the context of a wide-ranging program of acquisitions and exhibitions of work by artists living in the United States. Built on this strong foundation, the Museum's present-day collection of Abstract Expressionism—unrivalled in its breadth and depth—was formed over the course of many decades with the sustained support of the Museum's curators, trustees, and often the artists themselves.
Three distinct exhibitions are presented in three locations throughout the Museum: The Alfred H. Barr, Jr. Painting and Sculpture Galleries, fourth floor; The Paul J. Sachs Drawings Galleries, third floor; and The Paul J. Sachs Prints and Illustrated Books Galleries, second floor.
An exhibition of films from the collection that are associated with the Abstract Expressionist movement will be featured in The Roy and Niuta Titus theaters in early 2011. The ambitious scale of this exhibition introduces various perspectives on the movement and invites a new understanding of a period which influenced the artistic developments of the subsequent half century.
+++++++++++++++++++++++++++++
ABSTRACT EXPRESSIONISM NEW YORK
DRAWS FROM MoMA'S RENOWNED COLLECTION TO EXPLORE A
PIVOTAL MOMENT IN MODERN ART IN NEW YORK
Abstract Expressionist New York Celebrates the Achievements of a Generation That Catapulted
New York City to the Center of the International Art World Sixty Years Ago
NEW YORK, September 27, 2010--Drawn entirely from the collection of The Museum of Modern Art, Abstract Expressionist New York traces the development of Abstract Expressionism from its auspicious beginnings in the 1940s to its seasoned maturity in the 1960s. The exhibition will be on view at MoMA starting October 3, 2010.
Marking the Museum's largest and most comprehensive presentation of Abstract Expressionist art, this wide-ranging survey brings together some 250 works across a variety of mediums, including painting, sculpture, drawings, prints, photographs, and film.
Masterpieces by artists such as Jackson Pollock, Mark Rothko, Barnett Newman, Robert Motherwell, Arshile Gorky, Lee Krasner, Willem de Kooning, David Smith, and Joan Mitchell are joined by lesser-seen but revelatory works by artists who developed independent voices within Abstract Expressionism.
In addition to providing a fresh look at scores of works of art that have not been seen together in half a century, the exhibition also offers a selection of images and documentary material from The Museum of Modern Art Archives, which illustrates the linked histories of Abstract Expressionism, MoMA, and New York City during this pivotal moment in modern art.
Abstract Expressionist New York will be on view throughout the Museum, spanning 25,000 square feet of gallery space, including the entire fourth-floor painting and sculpture galleries as well as galleries on the second and third floors.
Abstract Expressionist New York is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture; Jodi Hauptman, Curator, Department of Drawings; Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books; Sarah Meister, Curator, Department of Photography; Michelle Elligott, Museum Archivist; Anne Morra, Associate Curator, and Sally Berger, Assistant Curator, Department of Film; and Paulina Pobocha, Curatorial Assistant, Department of Painting and Sculpture.
Abstract Expressionism ranks among the movements most closely associated with The Museum of Modern Art. From the moment of its founding, the Museum honored, as part of its mandate, a commitment to art by Americans as well as by Europeans. Under the leadership of founding director Alfred H. Barr, Jr., its initial pursuit of works by Abstract Expressionist artists took place within the context of a wide-ranging program of acquisitions and exhibitions of work by artists living in the United States. Built on this strong foundation, the Museum's present-day collection of Abstract Expressionism—unrivalled in its breadth and depth—was formed over the course of many decades with the sustained support of the Museum's curators, trustees, and often the artists themselves.
Three distinct exhibitions are presented in three locations throughout the Museum: The Alfred H. Barr, Jr. Painting and Sculpture Galleries, fourth floor; The Paul J. Sachs Drawings Galleries, third floor; and The Paul J. Sachs Prints and Illustrated Books Galleries, second floor.
An exhibition of films from the collection that are associated with the Abstract Expressionist movement will be featured in The Roy and Niuta Titus theaters in early 2011. The ambitious scale of this exhibition introduces various perspectives on the movement and invites a new understanding of a period which influenced the artistic developments of the subsequent half century.
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Press release
MoMA The Museum of Modern Art
Modern Mondays - October 2010
The Roy and Niuta Titus Theater 2
An Evening with Barbara Hammer
October 4, 7:00 p.m.
Barbara Hammer (American, b. 1939) presents previously unknown works from her archive, concentrating on performance, photography, and installation pieces, and discusses some of the lesser-known and hidden aspects of her practice.
The evening includes a reprise of some of her plays on gender and identity, including her role as Bob Hammer in Tender Fictions (1995), and other performance-related projects like Homage to Sappho (1978), Put a Lesbian in the Whitehouse (1979), Available Space (1979), Changing the Shape of Film, Moving Projector, and Balloon Projection (all 2009).
Program 90 min.
Organized by Sally Berger, Assistant Curator, Department of Film.
An Evening with Ming Wong
October 18, 7:00 p.m.
For this evening, multimedia artist Ming Wong (Singaporean, b. 1971) discusses his moving-image pieces, commissioned posters, and installations of collected documentation confronting notions of national, racial, linguistic, and gender identity.
His work also references both Malay cinema and the films of Hollywood and the Western avant-garde when he directs himself in homemade versions of classic scenes from the films of Douglas Sirk, Rainer Werner Fassbinder, Pier Paolo Pasolini, and Luchino Visconti.
These works bring to light cross-cultural currents and obliquely reference Singapore’s complex history and diverse population.
Program 90 min.
Organized by Laurence Kardish, Senior Curator, Department of Film.
An Evening with John Gerrard
October 25, 7:00 p.m.
Media artist John Gerrard (Irish, b. 1974) presents his recent work in real-time 3-D. His digital landscapes—including a pig farm, an oil derrick, a grain silo, and a dust storm—lie somewhere between documentary and fiction.
His works are constantly developing and regenerating and their underlying tension comes from Gerrard’s moral discomfort with humankind’s abuse of the environment.
Organized in conjunction with Independent Media Arts Preservation (IMAP) and the International Network for the Conservation of Contemporary Art (INCCA), the program concludes with a conversation about media conservation featuring the artist, Associate Curator Barbara London, and Media Conservator Glenn Wharton.
Program 90 min.
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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MoMA The Museum of Modern Art
Modern Mondays - October 2010
The Roy and Niuta Titus Theater 2
An Evening with Barbara Hammer
October 4, 7:00 p.m.
Barbara Hammer (American, b. 1939) presents previously unknown works from her archive, concentrating on performance, photography, and installation pieces, and discusses some of the lesser-known and hidden aspects of her practice.
The evening includes a reprise of some of her plays on gender and identity, including her role as Bob Hammer in Tender Fictions (1995), and other performance-related projects like Homage to Sappho (1978), Put a Lesbian in the Whitehouse (1979), Available Space (1979), Changing the Shape of Film, Moving Projector, and Balloon Projection (all 2009).
Program 90 min.
Organized by Sally Berger, Assistant Curator, Department of Film.
An Evening with Ming Wong
October 18, 7:00 p.m.
For this evening, multimedia artist Ming Wong (Singaporean, b. 1971) discusses his moving-image pieces, commissioned posters, and installations of collected documentation confronting notions of national, racial, linguistic, and gender identity.
His work also references both Malay cinema and the films of Hollywood and the Western avant-garde when he directs himself in homemade versions of classic scenes from the films of Douglas Sirk, Rainer Werner Fassbinder, Pier Paolo Pasolini, and Luchino Visconti.
These works bring to light cross-cultural currents and obliquely reference Singapore’s complex history and diverse population.
Program 90 min.
Organized by Laurence Kardish, Senior Curator, Department of Film.
An Evening with John Gerrard
October 25, 7:00 p.m.
Media artist John Gerrard (Irish, b. 1974) presents his recent work in real-time 3-D. His digital landscapes—including a pig farm, an oil derrick, a grain silo, and a dust storm—lie somewhere between documentary and fiction.
His works are constantly developing and regenerating and their underlying tension comes from Gerrard’s moral discomfort with humankind’s abuse of the environment.
Organized in conjunction with Independent Media Arts Preservation (IMAP) and the International Network for the Conservation of Contemporary Art (INCCA), the program concludes with a conversation about media conservation featuring the artist, Associate Curator Barbara London, and Media Conservator Glenn Wharton.
Program 90 min.
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Press release
Abstract Expressionist New York
is on view from October 3, 2010 to April 25, 2011
@ MoMA-NYC
More than sixty years have passed since the critic Robert Coates, writing in the New Yorker in 1946, first used the term “Abstract Expressionism” to describe the richly colored canvases of Hans Hofmann. Over the years the name has come to designate the paintings and sculptures of artists as different as Jackson Pollock and Barnett Newman, Willem de Kooning and Mark Rothko, Lee Krasner and David Smith.
Beginning in the 1940s, under the aegis of Director Alfred H. Barr, Jr., works by these artists began to enter the Museum’s collection. Thanks to the sustained support of the curators, the trustees, and the artists themselves, these ambitious acquisitions continued throughout the second half of the last century and produced a collection of Abstract Expressionist art of unrivaled breadth and depth.
Drawn entirely from the Museum’s vast holdings, Abstract Expressionist New York underscores the achievements of a generation that catapulted New York City to the center of the international art world during the 1950s, and left as its legacy some of the twentieth century’s greatest masterpieces.
Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.
The exhibition continues on the floors below, where focused shows--Rock Paper Scissors in the second-floor Prints and Illustrated Books Galleries, and Ideas Not Theories in the third-floor Drawings Galleries—reveal distinct facets of the movement as it developed in diverse mediums, adding to a historical overview of the era and giving a sense of its great depth and complexity.
The exhibition is accompanied by a richly illustrated publication.
The exhibition is made possible by HyundaiCard Company. Major support is provided by Donald B. Marron and The Dana Foundation. Additional funding is provided by Anne and Joel Ehrenkranz, Sue and Edgar Wachenheim III, David Teiger, and Sally and Wynn Kramarsky.
For more info: http://www.moma.org/visit/calendar/exhibitions/1098
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Abstract Expressionist New York
is on view from October 3, 2010 to April 25, 2011
@ MoMA-NYC
More than sixty years have passed since the critic Robert Coates, writing in the New Yorker in 1946, first used the term “Abstract Expressionism” to describe the richly colored canvases of Hans Hofmann. Over the years the name has come to designate the paintings and sculptures of artists as different as Jackson Pollock and Barnett Newman, Willem de Kooning and Mark Rothko, Lee Krasner and David Smith.
Beginning in the 1940s, under the aegis of Director Alfred H. Barr, Jr., works by these artists began to enter the Museum’s collection. Thanks to the sustained support of the curators, the trustees, and the artists themselves, these ambitious acquisitions continued throughout the second half of the last century and produced a collection of Abstract Expressionist art of unrivaled breadth and depth.
Drawn entirely from the Museum’s vast holdings, Abstract Expressionist New York underscores the achievements of a generation that catapulted New York City to the center of the international art world during the 1950s, and left as its legacy some of the twentieth century’s greatest masterpieces.
Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.
The exhibition continues on the floors below, where focused shows--Rock Paper Scissors in the second-floor Prints and Illustrated Books Galleries, and Ideas Not Theories in the third-floor Drawings Galleries—reveal distinct facets of the movement as it developed in diverse mediums, adding to a historical overview of the era and giving a sense of its great depth and complexity.
The exhibition is accompanied by a richly illustrated publication.
The exhibition is made possible by HyundaiCard Company. Major support is provided by Donald B. Marron and The Dana Foundation. Additional funding is provided by Anne and Joel Ehrenkranz, Sue and Edgar Wachenheim III, David Teiger, and Sally and Wynn Kramarsky.
For more info: http://www.moma.org/visit/calendar/exhibitions/1098
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MoMA-NYC presents The March of Time, a 10-day exhibition of the propaganda-flavored "newsreels"
Press release
The March of Time: 75th Anniversary
September 1-10, 2010
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents The March of Time, a 10-day exhibition of the propaganda-flavored "newsreels" that were shown in movie theaters between 1935 and 1951, which combined actual footage with reenactments.
The March of Time expressed the worldview of Time magazine creator Henry Luce, who candidly described the series as "fakery in allegiance to the truth." Relying on the omniscient narration of Westbrook Van Voorhis, The March of Time had an enormous impact; the series won an Oscar in 1937, and was satirized by Orson Welles in Citizen Kane.
As historian Raymond Fielding describes it, "Time editorialized openly, infuriating its enemies and oftentimes alienating its friends. And it did all this with vigor, artistry, and showmanship…." Through the courtesy of the current copyright holder, Home Box Office (HBO), MoMA presents this sampling of "Time capsules" from a distant but eerily similar era to remind us that "time (still) marches on!"
Organized by Charles Silver, Curator, Department of Film, The Museum of Modern Art.
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The March of Time: 75th Anniversary
September 1-10, 2010
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents The March of Time, a 10-day exhibition of the propaganda-flavored "newsreels" that were shown in movie theaters between 1935 and 1951, which combined actual footage with reenactments.
The March of Time expressed the worldview of Time magazine creator Henry Luce, who candidly described the series as "fakery in allegiance to the truth." Relying on the omniscient narration of Westbrook Van Voorhis, The March of Time had an enormous impact; the series won an Oscar in 1937, and was satirized by Orson Welles in Citizen Kane.
As historian Raymond Fielding describes it, "Time editorialized openly, infuriating its enemies and oftentimes alienating its friends. And it did all this with vigor, artistry, and showmanship…." Through the courtesy of the current copyright holder, Home Box Office (HBO), MoMA presents this sampling of "Time capsules" from a distant but eerily similar era to remind us that "time (still) marches on!"
Organized by Charles Silver, Curator, Department of Film, The Museum of Modern Art.
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(MoMA-NYC)-The Original Copy: Photography of Sculpture, 1839 to Today
Press release
THE ORIGINAL COPY
EXAMINES THE ROLE OF PHOTOGRAPHY IN THE PERCEPTION AND CREATIVE REDEFINITION OF SCULPTURE
The Original Copy: Photography of Sculpture, 1839 to Today
August 1–November 1, 2010
The International Council of The Museum of Modern Art Gallery, sixth floor
NEW YORK, May 27, 2010--The Original Copy: Photography of Sculpture, 1839 to Today presents a critical examination of the intersections between photography and sculpture, exploring how one medium informs the analysis and creative redefinition of the other. On view at The Museum of Modern Art from August 1 through November 1, 2010, the exhibition brings together over 300 photographs, magazines, and journals, by more than 100 artists, from the dawn of modernism to the present, to look at the ways in which photography at once informs and challenges the meaning of what sculpture is. The Original Copy is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art. Following the exhibition’s presentation at MoMA, it will travel to Kunsthaus Zürich, where it will be on view from February 25 through May 15, 2011.
When photography was introduced in 1839, aesthetic experience was firmly rooted in Romanticist tenets of originality. In a radical way, photography brought into focus the critical role that the copy plays in art and in its perception. While the reproducibility of the photograph challenged the aura attributed to the original, it also reflected a very personal form of study and offered a model of dissemination that would transform the entire nature of art.
"In his 1947 book Le Musée Imaginaire, the novelist and politician André Malraux famously advocated for a pancultural ‘museum without walls,’ postulating that art history, and the history of sculpture in particular, had become ‘the history of that which can be photographed,’" said Ms. Marcoci.
Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of dark room manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but have created stunning reinventions of it.
Conceived around ten conceptual modules, the exhibition examines the rich historical legacy of photography and the aesthetic shifts that have taken place in the medium over the last 170 years through a superb selection of pictures by key modern, avant-garde, and contemporary artists. Some, like Eugène Atget, Walker Evans, Lee Friedlander, and David Goldblatt, are best known as photographers; others, such as Auguste Rodin, Constantin Brancusi, and David Smith, are best known as sculptors; and others, from Hannah Höch and Sophie Taeuber-Arp to such contemporaries as Bruce Nauman, Fischli/Weiss, Rachel Harrison, and Cyprien Gaillard, are too various to categorize but exemplify how fruitfully and unpredictably photography and sculpture have combined.
The Original Copy begins with Sculpture in the Age of Photography, a section comprising early photographs of sculptures in French cathedrals by Charles Nègre and in the British Museum by Roger Fenton and Stephen Thompson; a selection of André Kertész’s photographs from the 1920s showing art amid common objects in the studios of artist friends; and pictures by Barbara Kruger and Louise Lawler that foreground issues of representation to underscore photography’s engagement in the analysis of virtually every aspect of art. Eugène Atget: The Marvelous in the Everyday presents an impressive selection of Atget’s photographs, dating from the early 1900s to the mid 1920s, of classical statues, reliefs, fountains, and other decorative fragments in Paris, Versailles, Saint-Cloud, and Sceaux, which together amount to a visual compendium of the heritage of French civilization at the time.
Auguste Rodin: The Sculptor and the Photographic Enterprise includes some of the most memorable pictures of Rodin’s sculptures by various photographers, including Edward Steichen’s Rodin—The Thinker (1902), a work made by combining two negatives: one depicting Rodin in silhouetted profile, contemplating The Thinker (1880–82), his alter ego; and one of the artist’s luminous Monument to Victor Hugo (1901). Constantin Brancusi: The Studio as Groupe Mobile focuses on Brancusi’s uniquely nontraditional techniques in photographing his studio, which was articulated around hybrid, transitory configurations known as groupe mobiles (mobile groups), each comprising several pieces of sculpture, bases, and pedestals grouped in proximity. In search of transparency, kineticism, and infinity, Brancusi used photography to dematerialize the static, monolithic materiality of traditional sculpture. His so-called photos radieuses (radiant photos) are characterized by flashes of light that explode the sculptural gestalt.
Marcel Duchamp: The Readymade as Reproduction examines Box in a Valise (1935–41), a catalogue of his oeuvre featuring 69 reproductions, including minute replicas of several readymades and one original work that Duchamp "copyrighted" in the name of his female alter ego, Rrose Sélavy. Using collotype printing and pochoir—in which color is applied by hand with the use of stencils—Duchamp produced "authorized ‘original’ copies" of his work, blurring the boundaries between unique object, readymade, and multiple. Cultural and Political Icons includes selections focusing on some of the most significant photographic essays of the twentieth century—Walker Evans’s American Photographs (1938), Robert Franks’s The Americans (1958), Lee Friedlander’s The American Monument (1976), and David Goldblatt’s The Structure of Things Then (1998)—many of which have never before been shown in a thematic context as they are here.
The Studio without Walls: Sculpture in the Expanded Field explores the radical changes that occurred in the definition of sculpture when a number of artists who did not consider themselves photographers in the traditional sense, such as Robert Smithson, Robert Barry, and Gordon Matta-Clark, began using the camera to document remote sites as sculpture rather than the traditional three-dimensional object. Daguerre’s Soup: What Is Sculpture? includes photographs of found objects or assemblages created specifically for the camera by artists, such as Brassaï’s Involuntary Sculptures (c. 1932), Alina Szapocznikow’s Photosculptures (1970–71), and Marcel Broodthaers’s Daguerre’s Soup (1974), the last work being a tongue-in-cheek picture which hints at the various fluid and chemical processes used by Louis Daguerre to invent photography in the nineteenth century, bringing into play experimental ideas about the realm of everyday objects.
The Pygmalion Complex: Animate and Inanimate Figures looks at Dada and Surrealist pictures and photo-collages by artists, including Man Ray, Herbert Bayer, Hans Bellmer, Hannah Höch, and Johannes Theodor Baargeld, who focused their lenses on mannequins, dummies, and automata to reveal the tension between living figure and sculpture. The Performing Body as Sculptural Object explores the key role of photography in the intersection of performance and sculpture. Bruce Nauman, Charles Ray, and Dennis Oppenheim, placing a premium on their training as sculptors, articulated the body as a sculptural prop to be picked up, bent, or deployed instead of traditional materials. Eleanor Antin, Ana Mendieta, VALIE EXPORT, and Hannah Wilke engaged with the "rhetoric of the pose," using the camera as an agency that itself generates actions through its presence.
SPONSORSHIP:
The exhibition is made possible by The William Randolph Hearst Endowment Fund. Additional support is provided by David Teiger and The Robert Mapplethorpe Foundation.
PUBLICATION:
The exhibition is accompanied by a publication, The Original Copy: Photography of Sculpture, 1839 to Today, edited by Roxana Marcoci with essays by Ms. Marcoci, Geoffrey Batchen, and Tobia Bezzola. Like the exhibition, the book is divided into the ten conceptual themes, and an introductory text begins each section. It is published by The Museum of Modern Art and will be available at the MoMA Stores and online at MoMAstore.org in July 2010. It is distributed to the trade by D.A.P/Distributed Art Publishers in the United States and Canada, and by Thames & Hudson outside North America. 9.5 x 12 in.; 242 pp.; 120 color / 180 b&w illustrations. Clothbound: 978-0-87070-757-5, $55.00.
PUBLIC PROGRAM:
The Original Copy: A Panel Discussion on Photography and Sculpture
Tuesday, September 14, 6:00 p.m., The Celeste Bartos Theater, 4 West 54 Street
A panel discussion moderated by Roxana Marcoci, curator of the exhibition, also includes George Baker, Associate Professor of Modern and Contemporary Art and Vice Chair, UCLA Department of Art History; Mark Godfrey, Curator, Tate Modern; Sarah Hamill, Assistant Professor of Modern and Contemporary Art, Oberlin College; and Rachel Harrison, artist.
Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the film desk, or online at www.moma.org/thinkmodern.
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THE ORIGINAL COPY
EXAMINES THE ROLE OF PHOTOGRAPHY IN THE PERCEPTION AND CREATIVE REDEFINITION OF SCULPTURE
The Original Copy: Photography of Sculpture, 1839 to Today
August 1–November 1, 2010
The International Council of The Museum of Modern Art Gallery, sixth floor
NEW YORK, May 27, 2010--The Original Copy: Photography of Sculpture, 1839 to Today presents a critical examination of the intersections between photography and sculpture, exploring how one medium informs the analysis and creative redefinition of the other. On view at The Museum of Modern Art from August 1 through November 1, 2010, the exhibition brings together over 300 photographs, magazines, and journals, by more than 100 artists, from the dawn of modernism to the present, to look at the ways in which photography at once informs and challenges the meaning of what sculpture is. The Original Copy is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art. Following the exhibition’s presentation at MoMA, it will travel to Kunsthaus Zürich, where it will be on view from February 25 through May 15, 2011.
When photography was introduced in 1839, aesthetic experience was firmly rooted in Romanticist tenets of originality. In a radical way, photography brought into focus the critical role that the copy plays in art and in its perception. While the reproducibility of the photograph challenged the aura attributed to the original, it also reflected a very personal form of study and offered a model of dissemination that would transform the entire nature of art.
"In his 1947 book Le Musée Imaginaire, the novelist and politician André Malraux famously advocated for a pancultural ‘museum without walls,’ postulating that art history, and the history of sculpture in particular, had become ‘the history of that which can be photographed,’" said Ms. Marcoci.
Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of dark room manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but have created stunning reinventions of it.
Conceived around ten conceptual modules, the exhibition examines the rich historical legacy of photography and the aesthetic shifts that have taken place in the medium over the last 170 years through a superb selection of pictures by key modern, avant-garde, and contemporary artists. Some, like Eugène Atget, Walker Evans, Lee Friedlander, and David Goldblatt, are best known as photographers; others, such as Auguste Rodin, Constantin Brancusi, and David Smith, are best known as sculptors; and others, from Hannah Höch and Sophie Taeuber-Arp to such contemporaries as Bruce Nauman, Fischli/Weiss, Rachel Harrison, and Cyprien Gaillard, are too various to categorize but exemplify how fruitfully and unpredictably photography and sculpture have combined.
The Original Copy begins with Sculpture in the Age of Photography, a section comprising early photographs of sculptures in French cathedrals by Charles Nègre and in the British Museum by Roger Fenton and Stephen Thompson; a selection of André Kertész’s photographs from the 1920s showing art amid common objects in the studios of artist friends; and pictures by Barbara Kruger and Louise Lawler that foreground issues of representation to underscore photography’s engagement in the analysis of virtually every aspect of art. Eugène Atget: The Marvelous in the Everyday presents an impressive selection of Atget’s photographs, dating from the early 1900s to the mid 1920s, of classical statues, reliefs, fountains, and other decorative fragments in Paris, Versailles, Saint-Cloud, and Sceaux, which together amount to a visual compendium of the heritage of French civilization at the time.
Auguste Rodin: The Sculptor and the Photographic Enterprise includes some of the most memorable pictures of Rodin’s sculptures by various photographers, including Edward Steichen’s Rodin—The Thinker (1902), a work made by combining two negatives: one depicting Rodin in silhouetted profile, contemplating The Thinker (1880–82), his alter ego; and one of the artist’s luminous Monument to Victor Hugo (1901). Constantin Brancusi: The Studio as Groupe Mobile focuses on Brancusi’s uniquely nontraditional techniques in photographing his studio, which was articulated around hybrid, transitory configurations known as groupe mobiles (mobile groups), each comprising several pieces of sculpture, bases, and pedestals grouped in proximity. In search of transparency, kineticism, and infinity, Brancusi used photography to dematerialize the static, monolithic materiality of traditional sculpture. His so-called photos radieuses (radiant photos) are characterized by flashes of light that explode the sculptural gestalt.
Marcel Duchamp: The Readymade as Reproduction examines Box in a Valise (1935–41), a catalogue of his oeuvre featuring 69 reproductions, including minute replicas of several readymades and one original work that Duchamp "copyrighted" in the name of his female alter ego, Rrose Sélavy. Using collotype printing and pochoir—in which color is applied by hand with the use of stencils—Duchamp produced "authorized ‘original’ copies" of his work, blurring the boundaries between unique object, readymade, and multiple. Cultural and Political Icons includes selections focusing on some of the most significant photographic essays of the twentieth century—Walker Evans’s American Photographs (1938), Robert Franks’s The Americans (1958), Lee Friedlander’s The American Monument (1976), and David Goldblatt’s The Structure of Things Then (1998)—many of which have never before been shown in a thematic context as they are here.
The Studio without Walls: Sculpture in the Expanded Field explores the radical changes that occurred in the definition of sculpture when a number of artists who did not consider themselves photographers in the traditional sense, such as Robert Smithson, Robert Barry, and Gordon Matta-Clark, began using the camera to document remote sites as sculpture rather than the traditional three-dimensional object. Daguerre’s Soup: What Is Sculpture? includes photographs of found objects or assemblages created specifically for the camera by artists, such as Brassaï’s Involuntary Sculptures (c. 1932), Alina Szapocznikow’s Photosculptures (1970–71), and Marcel Broodthaers’s Daguerre’s Soup (1974), the last work being a tongue-in-cheek picture which hints at the various fluid and chemical processes used by Louis Daguerre to invent photography in the nineteenth century, bringing into play experimental ideas about the realm of everyday objects.
The Pygmalion Complex: Animate and Inanimate Figures looks at Dada and Surrealist pictures and photo-collages by artists, including Man Ray, Herbert Bayer, Hans Bellmer, Hannah Höch, and Johannes Theodor Baargeld, who focused their lenses on mannequins, dummies, and automata to reveal the tension between living figure and sculpture. The Performing Body as Sculptural Object explores the key role of photography in the intersection of performance and sculpture. Bruce Nauman, Charles Ray, and Dennis Oppenheim, placing a premium on their training as sculptors, articulated the body as a sculptural prop to be picked up, bent, or deployed instead of traditional materials. Eleanor Antin, Ana Mendieta, VALIE EXPORT, and Hannah Wilke engaged with the "rhetoric of the pose," using the camera as an agency that itself generates actions through its presence.
SPONSORSHIP:
The exhibition is made possible by The William Randolph Hearst Endowment Fund. Additional support is provided by David Teiger and The Robert Mapplethorpe Foundation.
PUBLICATION:
The exhibition is accompanied by a publication, The Original Copy: Photography of Sculpture, 1839 to Today, edited by Roxana Marcoci with essays by Ms. Marcoci, Geoffrey Batchen, and Tobia Bezzola. Like the exhibition, the book is divided into the ten conceptual themes, and an introductory text begins each section. It is published by The Museum of Modern Art and will be available at the MoMA Stores and online at MoMAstore.org in July 2010. It is distributed to the trade by D.A.P/Distributed Art Publishers in the United States and Canada, and by Thames & Hudson outside North America. 9.5 x 12 in.; 242 pp.; 120 color / 180 b&w illustrations. Clothbound: 978-0-87070-757-5, $55.00.
PUBLIC PROGRAM:
The Original Copy: A Panel Discussion on Photography and Sculpture
Tuesday, September 14, 6:00 p.m., The Celeste Bartos Theater, 4 West 54 Street
A panel discussion moderated by Roxana Marcoci, curator of the exhibition, also includes George Baker, Associate Professor of Modern and Contemporary Art and Vice Chair, UCLA Department of Art History; Mark Godfrey, Curator, Tate Modern; Sarah Hamill, Assistant Professor of Modern and Contemporary Art, Oberlin College; and Rachel Harrison, artist.
Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the film desk, or online at www.moma.org/thinkmodern.
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(MoMA-NYC Installation) Projects 93: Dinh Q. Lê, from June 30, 2010 to January 24, 2011
Press release
THE MUSEUM OF MODERN ART (MoMA-NYC) INSTALLS
DINH Q. LÊ'S THE FARMERS AND THE HELICOPTERS
AS PART OF ITS PROJECTS SERIES
Projects 93: Dinh Q. Lê
June 30, 2010-January 24, 2011
Contemporary Galleries and The Yoshiko and Akio Morita Media Gallery, second floor
NEW YORK, June 22, 2010--The Museum of Modern Art presents Projects 93: Dinh Q. Lê, the installation of Dinh Q. Lê's (Vietnamese American, b. 1968) recently acquired work The Farmers and The Helicopters (2006), on view June 30, 2010, through January 24, 2011.
The first Vietnamese artist to have a solo exhibition at MoMA, Lê creates work that frequently refers to the Vietnam War—known as the American War in his native country—and presents both sides of the conflict, informed by his own personal history. The installation, in two adjacent galleries, comprises a three-channel video and a helicopter that was constructed by hand from scrap parts by two Vietnamese men: Le Van Danh, a farmer, and Tran Quoc Hai, a self-taught mechanic.
The video, made in collaboration with artists Phu-Nam Thuc Ha and Tuan Andrew Nguyen, interlaces interviews and personal recollections of the war by Vietnamese men and women with clips from American blockbuster films and documentaries made during the war.
The helicopter played an important military role during the war and has become a resonant object for many Vietnamese. While many of the interviewees in the installation's video relay childhood memories of the horrors associated with helicopters during the war, the helicopter-makers share their vision of this machine as a means to make a better life for the Vietnamese people and bring strength to their community.
The collaboration between Lê and the other participants is an important part of The Farmers and The Helicopters, providing the work's multilayered insight into the country's complex associations with this charged object.
Projects 93: Dinh Q. Lê is organized by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art, and Director, MoMA PS1, and Cara Starke, Assistant Curator, Department of Media and Performance Art, The Museum of Modern Art. The Elaine Dannheisser Projects series is coordinated by Kathy Halbreich, Associate Director, The Museum of Modern Art.
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THE MUSEUM OF MODERN ART (MoMA-NYC) INSTALLS
DINH Q. LÊ'S THE FARMERS AND THE HELICOPTERS
AS PART OF ITS PROJECTS SERIES
Projects 93: Dinh Q. Lê
June 30, 2010-January 24, 2011
Contemporary Galleries and The Yoshiko and Akio Morita Media Gallery, second floor
NEW YORK, June 22, 2010--The Museum of Modern Art presents Projects 93: Dinh Q. Lê, the installation of Dinh Q. Lê's (Vietnamese American, b. 1968) recently acquired work The Farmers and The Helicopters (2006), on view June 30, 2010, through January 24, 2011.
The first Vietnamese artist to have a solo exhibition at MoMA, Lê creates work that frequently refers to the Vietnam War—known as the American War in his native country—and presents both sides of the conflict, informed by his own personal history. The installation, in two adjacent galleries, comprises a three-channel video and a helicopter that was constructed by hand from scrap parts by two Vietnamese men: Le Van Danh, a farmer, and Tran Quoc Hai, a self-taught mechanic.
The video, made in collaboration with artists Phu-Nam Thuc Ha and Tuan Andrew Nguyen, interlaces interviews and personal recollections of the war by Vietnamese men and women with clips from American blockbuster films and documentaries made during the war.
The helicopter played an important military role during the war and has become a resonant object for many Vietnamese. While many of the interviewees in the installation's video relay childhood memories of the horrors associated with helicopters during the war, the helicopter-makers share their vision of this machine as a means to make a better life for the Vietnamese people and bring strength to their community.
The collaboration between Lê and the other participants is an important part of The Farmers and The Helicopters, providing the work's multilayered insight into the country's complex associations with this charged object.
Projects 93: Dinh Q. Lê is organized by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art, and Director, MoMA PS1, and Cara Starke, Assistant Curator, Department of Media and Performance Art, The Museum of Modern Art. The Elaine Dannheisser Projects series is coordinated by Kathy Halbreich, Associate Director, The Museum of Modern Art.
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JOAN JONAS'S MIRAGE @ MoMA-NYC: December 18, 2009–May 31, 2010
Press release
MoMA INSTALLATION OF
JOAN JONAS'
MIRAGE
REIMAGINES ORIGINAL 1976 PERFORMANCE
Performance 7: Mirage by Joan Jonas
December 18, 2009–May 31, 2010
The Yoshiko and Akio Morita Media Gallery
NEW YORK, December 16, 2009-- The Museum of Modern Art presents Performance 7: Mirage by Joan Jonas, a gallery installation by the artist Joan Jonas (American, b. 1936), from December 18, 2009, through May 31, 2010, in The Yoshiko and Akio Morita Gallery.
The installation, which recently entered MoMA’s collection, re-imagines Mirage, a groundbreaking performance originally created in 1976 for the screening room of New York’s Anthology Film Archives. For the original performance version of Mirage, Jonas carried out a series of movements—including percussive running and drawing—while interacting with a variety of sculptural components, films, and videos.
In the MoMA installation, original objects and photographs from the 1976 performance are combined with six moving image works (May Windows, Good Night Good Morning, Car Tape, Volcano Film, Mirage 1, and Mirage 2), which are shown both on monitors in the gallery and projected onto the gallery walls.
Performance 7 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art.
MoMA INSTALLATION OF
JOAN JONAS'
MIRAGE
REIMAGINES ORIGINAL 1976 PERFORMANCE
Performance 7: Mirage by Joan Jonas
December 18, 2009–May 31, 2010
The Yoshiko and Akio Morita Media Gallery
NEW YORK, December 16, 2009-- The Museum of Modern Art presents Performance 7: Mirage by Joan Jonas, a gallery installation by the artist Joan Jonas (American, b. 1936), from December 18, 2009, through May 31, 2010, in The Yoshiko and Akio Morita Gallery.
The installation, which recently entered MoMA’s collection, re-imagines Mirage, a groundbreaking performance originally created in 1976 for the screening room of New York’s Anthology Film Archives. For the original performance version of Mirage, Jonas carried out a series of movements—including percussive running and drawing—while interacting with a variety of sculptural components, films, and videos.
In the MoMA installation, original objects and photographs from the 1976 performance are combined with six moving image works (May Windows, Good Night Good Morning, Car Tape, Volcano Film, Mirage 1, and Mirage 2), which are shown both on monitors in the gallery and projected onto the gallery walls.
Performance 7 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art.
New Directors/New Films, 2010 -- March 24–April 4, 2010
Press release
THE FILM SOCIETY OF LINCOLN CENTER AND
THE MUSEUM OF MODERN ART PRESENT
THE 39th ANNUAL NEW DIRECTORS/NEW FILMS
FROM MARCH 24 THROUGH APRIL 4, 2010
Festival Will Be Presented at Walter Reade Theater at Lincoln Center and MoMA’s Roy and Niuta Titus Theaters
New Directors/New Films, 2010 -- March 24–April 4, 2010
The Roy and Niuta Titus Theaters at MoMA and Walter Reade Theater at Lincoln Center
NEW YORK, January 13, 2010--For the 39th consecutive year, the acclaimed New Directors/New Films festival, presented by The Film Society of Lincoln Center and The Museum of Modern Art, will showcase the finest in new filmmaking talent from around the world. The 2010 edition of this world-renowned film festival opens on Wednesday, March 24, and closes on Sunday, April 4.
New Directors/New Films is one of the premier showcases for the work of fresh, newly discovered international and American filmmakers. Over the course of nearly four decades, the festival has introduced innovative works by talented directors from around the globe, many of whom have become major figures in world cinema, including Chantal Akerman, Pedro Almodóvar, Héctor Babenco, Terence Davies, Atom Egoyan, Todd Haynes, Nicole Holofcener, Wong Kar-Wai, Spike Lee, Richard Linklater, Kelly Reichardt, Jason Reitman, John Sayles, Steven Spielberg, Wim Wenders, and Jia Zhangke among many others.
This is the first year that New Directors/New Films will have its own dedicated online presence, at www.newdirectors.org.
During its 39-year history, New Directors/New Films has premiered hundreds of films that have gone on to enjoy great critical and popular success, including such Academy Award–nominated titles as Courtney Hunt’s Frozen River (2008), Carl Deal and Tia Lessin’s Trouble the Water (2009), John Carney’s Once (2007), Laura Poitras’s My Country, My Country (2006), Ryan Fleck’s Half Nelson (2007), Phil Morrison’s Junebug (2005), Nathaniel Kahn’s My Architect (2003), and Byambasuren Davaa and Luigi Falorni’s The Story of the Weeping Camel (2003).
The New Directors/New Films selection committee is made up of members from both presenting organizations: Jytte Jensen, Laurence Kardish, and Rajendra Roy from The Museum of Modern Art; and, from The Film Society of Lincoln Center, Marian Masone, Richard Peña, and, the newest committee member, Gavin Smith.
The Film Society of Lincoln Center and MoMA
Under the leadership of Mara Manus, Executive Director, and Richard Peña, Program Director, The Film Society of Lincoln Center offers the best in international, classic, and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, now in its 47th year, and New Directors/New Films, which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award—now named ―The Chaplin Award‖—to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, and Tom Hanks. For more information, visit www.filmlinc.com.
The Museum of Modern Art’s Department of Film was established as the Film Library in 1935, and presented its first series as circulating exhibitions in 1936. In 1979 the Academy of Motion Picture Arts and Sciences bestowed on the Department of Film an Honorary Academy Award in recognition of its ―ongoing program of film preservation and its continuing support of the motion picture as an art form.‖ The department has an extensive archive of over 22,000 film and media works, including the world’s largest institutional collections of the works of D. W. Griffith, Andy Warhol, and Stan Brakhage. The Department’s programming is presented six days a week (closed on Tuesdays) in three state-of-the-art theaters. The Department also organizes exhibitions in MoMA’s galleries, including the current exhibition Tim Burton; past exhibitions have included Pixar: 20 Years of Animation (2005–06) and the major retrospective Alfred Hitchcock (1999). In addition, the Department’s Film Study Center, which makes available to researchers and scholars many of the moving image works and paper materials from the collection, utilizes the Time Warner Screening Room and the Mayer Screening Room in MoMA’s Education and Research Building. Rajendra Roy is the current Celeste Bartos Chief Curator of Film, appointed in May 2007.
Public Information:
The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019
Hours: Films are screened Wednesday-Monday. For screening schedules, please visit www.moma.org.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.)
The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org.
Lineup
3 Backyards
Filmmaker Eric Mendelsohn (Judy Berlin, ND/NF 1999) returns with this exquisite, unsettling trio of life-changing episodes set in a leafy, tranquil corner of Long Island suburbia. Endowed with the mystery of a John Cheever short story, this beautifully composed film creates the vibrant sense of a world full of interior and exterior secrets. With Edie Falco and Elias Koteas. Read more…
Amer
A dreamy pastiche tour de force of 1970s Italian giallo horror movies that plays out a delirious, enigmatic death-dance of fear and desire. The film’s three parts, each in a different style, correspond to the childhood, adolescence, and adulthood of its female protagonist—and that’s all you need to know. Read more…
Beautiful Darling: The Life and Times of Candy Darling, Andy Warhol Superstar
Born James Slattery in Massapequa, Long Island, in 1944, Candy Darling transformed herself into a stunning blonde actress and became an active player in New York’s “downtown” scene in the Sixties. Read more…
Bilal’s Stand
For nearly 60 years, Bilal’s family has run a taxi business, known in the neighborhood as “the stand.” But times are getting tougher: there’s more competition, and Bilal is thinking of leaving to go to university. Read more…
Bill Cunningham New York - Opening Night
In a city of dedicated originals, New York Times photographer Bill Cunningham stands out. This heartfelt and honest documentary turns the camera on Cunningham and his chronicles of the events and people that captivate our beloved city, and the result is just as much a portrait of New York as of Cunningham. Read more…
Dogtooth
The most perverse film of the year—you’ll be scratching your head when you’re not laughing it off. In a scenario that suggests a warped experiment in social conditioning and control, a not-so-average family lives in an idyllic villa sealed off from the outside world and possessing its own rules. Read more…
Down Terrace
Mike Leigh meets The Sopranos in this extraordinary family crime drama, laced with jet-black humor. Fresh out of jail, Bill (Robert Hill) is obsessed with finding out who snitched on him. Read more…
Evening Dress (La Robe du soir)
A girl’s crush on her French teacher (played by Belgian-Portuguese singer Lio) veers off into obsession. Myriam Aziza beautifully captures a stifling small-town atmosphere, as well as the complex, contradictory emotional life of this twelve-year-old. Read more…
Every Day Is a Holiday (Chaque jour est une fête)
Three women (Hiam Abbass, Manal Khader, Raïa Haïdar) board a bus on the Lebanese Day of Liberation to visit their husbands in jail. When their bus is stopped short by a stray bullet, the women are left to find their own way in the hot sun through mountains full of mines, amid sounds of muffled explosions. Read more…
The Father of My Children
Mia Hansen-Løve’s film first follows the frantic business dealings of Grégoire, juggling the demands of work and family. A moving yet never sentimental drama that honestly depicts the movie business and the process of picking up the pieces after bereavement. Read more…
Frontier Blues
With a cinematic style that is a study in elegant simplicity, Frontier Blues is a sweet, slightly absurdist snapshot of desperate men, absent women, and waiting for whatever the future may hold. Filmmaker Babak Jalali presents an assortment of hometown stories from Iraq’s northern border. Read more…
The Happiest Girl in the World
When a plucky young lady from the country wins a contest, she must travel with her parents to Bucharest to claim her prize. Radu Jude’s debut is a bone-dry, pitch-black comedy with distinct views on happiness, the cruelty of families, and the making of inept television commercials. Read more…
How I Ended This Summer
Set in the frozen wilds of the Russian Arctic, here’s a thriller infused with equal parts psychological trauma and physical endurance. Young Pavel (Grigory Dobrygin) arrives at a remote research station for a summer of adventure under the tutelage of the wise and crusty Sergei (Sergei Puskepalis), but things go awry… Read more…
Hunting & Sons
In this sharp and trenchant portrait of the pitfalls of happiness, newlyweds and childhood sweethearts Tako and Sandra lead a sweet suburban life. But when Sandra gets pregnant, the good news starts a crack in the adorable façade that grows as Tako gets panicked about the future. Read more…
I Am Love
In modern-day Milan, the Recchi textile dynasty inhabits a world of sumptuous elegance, but after power shifts, the company scion’s wife (Tilda Swinton) feels a growing sense of living in a gilded cage—until she is unexpectedly stirred by desire. Read more…
I Killed My Mother (J’ai tué ma mère) - Closing Night
In this cri de coeur exposé of the limits of love, the director himself plays the lead character, Hubert—a fiery creature full of lust and venom whose burgeoning (homo)sexuality is intensely at odds with his mutually parasitic maternal relationship.
Read more…
Last Train Home
Each year a jaw-dropping migration happens over New Year’s in China, when city workers leave en masse for their hometowns in the countryside. Lixin Fan’s wondrous documentary follows one couple (out of one hundred and thirty million travelers!): the Zhangs, who are making the long and crowded journey to their rural village, trying to reunite with their rebellious teenage daughter. Read more…
The Man Next Door (El hombre de al lado)
Read more…
My Perestroika
Robin Hessman’s thoughtful and beautifully crafted documentary explores the lives of a group of former schoolmates who are finding their ways in a brave new world: two teachers, a businessman, a single mother, and a once-famous rock musician. A touching portrait of ordinary people living through extraordinary times. Read more…
Night Catches Us
The realities of African-American life during the final days of the Black Power movement come alive in this Philadelphia drama set in 1976. Anthony Mackie and Kerry Washington play two former Black Panther activists who reunite one summer, before Jimmy Carter’s election. Read more…
Northless (Norteado)
The perils of illegal border crossings between Mexico and the United States get a totally fresh take in Rigoberto Perezcano’s delicately poised film. Waiting to make his move, a man from the country bides his time in Tijuana and strikes up relationships with two women at the convenience store where he works. Read more…
The Oath
Filmmaker Laura Poitras interweaves the stories of Osama bin Laden’s former bodyguard—now driving a cab in Yemen—and a Guantanamo Bay prisoner charged with war crimes. Poitras shades the complexities of her subjects in the manner of great novelists, delivering an intimate portrait filled with plot reversals, betrayals, and never-before-seen intelligence documents. Read more…
La Pivellina
In this engaging unsentimental tale of human decency and solidarity, the little orphan finds home and family with circus folks in a trailer park on the outskirts of Rome. Drawing on their background in documentary, filmmakers Tizza Covi and Rainer Frimmel naturally depict the easygoing rapport among generations in a small community where everybody depends on one another. Read more…
The Red Chapel
Here’s a documentary that has to be seen to be believed, situated somewhere between Michael Moore and Borat. Filmmaker Mads Brügger travels to Pyongyang, North Korea, on a “mission of cultural exchange,” bringing a camera crew—and the Danish-Korean slapstick-comedy team Red Chapel. Read more…
Samson and Delilah
Set in the aboriginal communities of Australia, this age-old tale of love explodes cliché and convention through unvarnished and unyielding authenticity. Winner of the Caméra d’Or for best debut feature at the 2009 Cannes Film Festival. Read more…
Tehroun
Welcome to Tehroun, as Iranians call their capital city—a place where Ibrahim, a recent arrival, begs for money with the help of a child rented from a gang-lord. This debut feature presents a searing portrait of the city’s seamier hidden side, a world of child trafficking, rampant smuggling, and assorted other criminal activities. Read more…
Women Without Men
In her feature-film debut, renowned gallery artist Shirin Neshat presents the stories of four women in early 1950s Iran with signature visual virtuosity and narrative grace. The ambitions and actions of these women from across the spectrum of Iranian society inform and affect the course of events—public, private, and often political. Read more…
THE FILM SOCIETY OF LINCOLN CENTER AND
THE MUSEUM OF MODERN ART PRESENT
THE 39th ANNUAL NEW DIRECTORS/NEW FILMS
FROM MARCH 24 THROUGH APRIL 4, 2010
Festival Will Be Presented at Walter Reade Theater at Lincoln Center and MoMA’s Roy and Niuta Titus Theaters
New Directors/New Films, 2010 -- March 24–April 4, 2010
The Roy and Niuta Titus Theaters at MoMA and Walter Reade Theater at Lincoln Center
NEW YORK, January 13, 2010--For the 39th consecutive year, the acclaimed New Directors/New Films festival, presented by The Film Society of Lincoln Center and The Museum of Modern Art, will showcase the finest in new filmmaking talent from around the world. The 2010 edition of this world-renowned film festival opens on Wednesday, March 24, and closes on Sunday, April 4.
New Directors/New Films is one of the premier showcases for the work of fresh, newly discovered international and American filmmakers. Over the course of nearly four decades, the festival has introduced innovative works by talented directors from around the globe, many of whom have become major figures in world cinema, including Chantal Akerman, Pedro Almodóvar, Héctor Babenco, Terence Davies, Atom Egoyan, Todd Haynes, Nicole Holofcener, Wong Kar-Wai, Spike Lee, Richard Linklater, Kelly Reichardt, Jason Reitman, John Sayles, Steven Spielberg, Wim Wenders, and Jia Zhangke among many others.
This is the first year that New Directors/New Films will have its own dedicated online presence, at www.newdirectors.org.
During its 39-year history, New Directors/New Films has premiered hundreds of films that have gone on to enjoy great critical and popular success, including such Academy Award–nominated titles as Courtney Hunt’s Frozen River (2008), Carl Deal and Tia Lessin’s Trouble the Water (2009), John Carney’s Once (2007), Laura Poitras’s My Country, My Country (2006), Ryan Fleck’s Half Nelson (2007), Phil Morrison’s Junebug (2005), Nathaniel Kahn’s My Architect (2003), and Byambasuren Davaa and Luigi Falorni’s The Story of the Weeping Camel (2003).
The New Directors/New Films selection committee is made up of members from both presenting organizations: Jytte Jensen, Laurence Kardish, and Rajendra Roy from The Museum of Modern Art; and, from The Film Society of Lincoln Center, Marian Masone, Richard Peña, and, the newest committee member, Gavin Smith.
The Film Society of Lincoln Center and MoMA
Under the leadership of Mara Manus, Executive Director, and Richard Peña, Program Director, The Film Society of Lincoln Center offers the best in international, classic, and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, now in its 47th year, and New Directors/New Films, which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award—now named ―The Chaplin Award‖—to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, and Tom Hanks. For more information, visit www.filmlinc.com.
The Museum of Modern Art’s Department of Film was established as the Film Library in 1935, and presented its first series as circulating exhibitions in 1936. In 1979 the Academy of Motion Picture Arts and Sciences bestowed on the Department of Film an Honorary Academy Award in recognition of its ―ongoing program of film preservation and its continuing support of the motion picture as an art form.‖ The department has an extensive archive of over 22,000 film and media works, including the world’s largest institutional collections of the works of D. W. Griffith, Andy Warhol, and Stan Brakhage. The Department’s programming is presented six days a week (closed on Tuesdays) in three state-of-the-art theaters. The Department also organizes exhibitions in MoMA’s galleries, including the current exhibition Tim Burton; past exhibitions have included Pixar: 20 Years of Animation (2005–06) and the major retrospective Alfred Hitchcock (1999). In addition, the Department’s Film Study Center, which makes available to researchers and scholars many of the moving image works and paper materials from the collection, utilizes the Time Warner Screening Room and the Mayer Screening Room in MoMA’s Education and Research Building. Rajendra Roy is the current Celeste Bartos Chief Curator of Film, appointed in May 2007.
Public Information:
The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019
Hours: Films are screened Wednesday-Monday. For screening schedules, please visit www.moma.org.
Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.)
The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org.
Lineup
3 Backyards
Filmmaker Eric Mendelsohn (Judy Berlin, ND/NF 1999) returns with this exquisite, unsettling trio of life-changing episodes set in a leafy, tranquil corner of Long Island suburbia. Endowed with the mystery of a John Cheever short story, this beautifully composed film creates the vibrant sense of a world full of interior and exterior secrets. With Edie Falco and Elias Koteas. Read more…
Amer
A dreamy pastiche tour de force of 1970s Italian giallo horror movies that plays out a delirious, enigmatic death-dance of fear and desire. The film’s three parts, each in a different style, correspond to the childhood, adolescence, and adulthood of its female protagonist—and that’s all you need to know. Read more…
Beautiful Darling: The Life and Times of Candy Darling, Andy Warhol Superstar
Born James Slattery in Massapequa, Long Island, in 1944, Candy Darling transformed herself into a stunning blonde actress and became an active player in New York’s “downtown” scene in the Sixties. Read more…
Bilal’s Stand
For nearly 60 years, Bilal’s family has run a taxi business, known in the neighborhood as “the stand.” But times are getting tougher: there’s more competition, and Bilal is thinking of leaving to go to university. Read more…
Bill Cunningham New York - Opening Night
In a city of dedicated originals, New York Times photographer Bill Cunningham stands out. This heartfelt and honest documentary turns the camera on Cunningham and his chronicles of the events and people that captivate our beloved city, and the result is just as much a portrait of New York as of Cunningham. Read more…
Dogtooth
The most perverse film of the year—you’ll be scratching your head when you’re not laughing it off. In a scenario that suggests a warped experiment in social conditioning and control, a not-so-average family lives in an idyllic villa sealed off from the outside world and possessing its own rules. Read more…
Down Terrace
Mike Leigh meets The Sopranos in this extraordinary family crime drama, laced with jet-black humor. Fresh out of jail, Bill (Robert Hill) is obsessed with finding out who snitched on him. Read more…
Evening Dress (La Robe du soir)
A girl’s crush on her French teacher (played by Belgian-Portuguese singer Lio) veers off into obsession. Myriam Aziza beautifully captures a stifling small-town atmosphere, as well as the complex, contradictory emotional life of this twelve-year-old. Read more…
Every Day Is a Holiday (Chaque jour est une fête)
Three women (Hiam Abbass, Manal Khader, Raïa Haïdar) board a bus on the Lebanese Day of Liberation to visit their husbands in jail. When their bus is stopped short by a stray bullet, the women are left to find their own way in the hot sun through mountains full of mines, amid sounds of muffled explosions. Read more…
The Father of My Children
Mia Hansen-Løve’s film first follows the frantic business dealings of Grégoire, juggling the demands of work and family. A moving yet never sentimental drama that honestly depicts the movie business and the process of picking up the pieces after bereavement. Read more…
Frontier Blues
With a cinematic style that is a study in elegant simplicity, Frontier Blues is a sweet, slightly absurdist snapshot of desperate men, absent women, and waiting for whatever the future may hold. Filmmaker Babak Jalali presents an assortment of hometown stories from Iraq’s northern border. Read more…
The Happiest Girl in the World
When a plucky young lady from the country wins a contest, she must travel with her parents to Bucharest to claim her prize. Radu Jude’s debut is a bone-dry, pitch-black comedy with distinct views on happiness, the cruelty of families, and the making of inept television commercials. Read more…
How I Ended This Summer
Set in the frozen wilds of the Russian Arctic, here’s a thriller infused with equal parts psychological trauma and physical endurance. Young Pavel (Grigory Dobrygin) arrives at a remote research station for a summer of adventure under the tutelage of the wise and crusty Sergei (Sergei Puskepalis), but things go awry… Read more…
Hunting & Sons
In this sharp and trenchant portrait of the pitfalls of happiness, newlyweds and childhood sweethearts Tako and Sandra lead a sweet suburban life. But when Sandra gets pregnant, the good news starts a crack in the adorable façade that grows as Tako gets panicked about the future. Read more…
I Am Love
In modern-day Milan, the Recchi textile dynasty inhabits a world of sumptuous elegance, but after power shifts, the company scion’s wife (Tilda Swinton) feels a growing sense of living in a gilded cage—until she is unexpectedly stirred by desire. Read more…
I Killed My Mother (J’ai tué ma mère) - Closing Night
In this cri de coeur exposé of the limits of love, the director himself plays the lead character, Hubert—a fiery creature full of lust and venom whose burgeoning (homo)sexuality is intensely at odds with his mutually parasitic maternal relationship.
Read more…
Last Train Home
Each year a jaw-dropping migration happens over New Year’s in China, when city workers leave en masse for their hometowns in the countryside. Lixin Fan’s wondrous documentary follows one couple (out of one hundred and thirty million travelers!): the Zhangs, who are making the long and crowded journey to their rural village, trying to reunite with their rebellious teenage daughter. Read more…
The Man Next Door (El hombre de al lado)
Read more…
My Perestroika
Robin Hessman’s thoughtful and beautifully crafted documentary explores the lives of a group of former schoolmates who are finding their ways in a brave new world: two teachers, a businessman, a single mother, and a once-famous rock musician. A touching portrait of ordinary people living through extraordinary times. Read more…
Night Catches Us
The realities of African-American life during the final days of the Black Power movement come alive in this Philadelphia drama set in 1976. Anthony Mackie and Kerry Washington play two former Black Panther activists who reunite one summer, before Jimmy Carter’s election. Read more…
Northless (Norteado)
The perils of illegal border crossings between Mexico and the United States get a totally fresh take in Rigoberto Perezcano’s delicately poised film. Waiting to make his move, a man from the country bides his time in Tijuana and strikes up relationships with two women at the convenience store where he works. Read more…
The Oath
Filmmaker Laura Poitras interweaves the stories of Osama bin Laden’s former bodyguard—now driving a cab in Yemen—and a Guantanamo Bay prisoner charged with war crimes. Poitras shades the complexities of her subjects in the manner of great novelists, delivering an intimate portrait filled with plot reversals, betrayals, and never-before-seen intelligence documents. Read more…
La Pivellina
In this engaging unsentimental tale of human decency and solidarity, the little orphan finds home and family with circus folks in a trailer park on the outskirts of Rome. Drawing on their background in documentary, filmmakers Tizza Covi and Rainer Frimmel naturally depict the easygoing rapport among generations in a small community where everybody depends on one another. Read more…
The Red Chapel
Here’s a documentary that has to be seen to be believed, situated somewhere between Michael Moore and Borat. Filmmaker Mads Brügger travels to Pyongyang, North Korea, on a “mission of cultural exchange,” bringing a camera crew—and the Danish-Korean slapstick-comedy team Red Chapel. Read more…
Samson and Delilah
Set in the aboriginal communities of Australia, this age-old tale of love explodes cliché and convention through unvarnished and unyielding authenticity. Winner of the Caméra d’Or for best debut feature at the 2009 Cannes Film Festival. Read more…
Tehroun
Welcome to Tehroun, as Iranians call their capital city—a place where Ibrahim, a recent arrival, begs for money with the help of a child rented from a gang-lord. This debut feature presents a searing portrait of the city’s seamier hidden side, a world of child trafficking, rampant smuggling, and assorted other criminal activities. Read more…
Women Without Men
In her feature-film debut, renowned gallery artist Shirin Neshat presents the stories of four women in early 1950s Iran with signature visual virtuosity and narrative grace. The ambitions and actions of these women from across the spectrum of Iranian society inform and affect the course of events—public, private, and often political. Read more…
Modern Mondays APRIL 2010
MoMAThe Museum of Modern Art
Modern Mondays
April 2010
@ The Roy and Niuta Titus Theaters 1 & 2
An Evening with Nathaniel Dorsky
April 12, 7:00 p.m.
At this event, the venerated filmmaker Nathaniel Dorsky (American, b. 1943) will discuss his methods of creating visual poetry. He will also premiere new work, and screen his recently completed quartet. His silent films transmit a kind of internal music through their gracefully calibrated visual rhythms. Exquisitely framed images are joined together through meticulous editing, creating an experience akin to seeing the world anew. Dorsky will introduce his short films Sarabande (2008), Winter (2008), Compline (2009), and Aubade (2010), with a discussion to follow.
Program 90 min. T2
Organized by Jytte Jensen, Curator, Department of Film.
An Evening with Amie Siegel
April 19, 7:00 p.m.
As a prelude to MoMA’s annual survey of recent German cinema, Kino! 2010, Amie Siegel (American, b. 1974) presents and discusses her film DDR/DDR (2000), a film essay about contemporary life in the former DDR (Deutsche Demokratische Republik, better known as East Germany). Siegel graduated from The Art Institute of Chicago and Bard College before heading to Berlin on an academic grant. There, she has created a number of distinguished installations and single-screen moving image pieces. Many of these works, which she refers to as “cine constellations,” examine the nature of objectivity and historical memory.
Program 135 min. T2
Organized by Laurence Kardish, Senior Curator, Department of Film.
An Evening with Matías Piñeiro
April 26, 7:00 p.m.
Filmmaker Matías Piñeiro (Argentinean, b. 1982) presents the North American premiere of his feature Todos mienten (They All Lie, 2009). Winner of jury prizes at the Buenos Aires and Santiago international film festivals, They All Lie is a melodrama wrapped in a tantalizing intellectual mystery about Argentina’s nineteenth-century history of dictatorship and liberalism. Set in a secluded country house where a group of girls and boys in their twenties play games of love and chance, invent stories, spy on each other, and plan a robbery, the film employs intricate plot lines, camera movements, and long takes, and situates Piñeiro as an exciting contributor to new Argentine cinema.In Spanish; English subtitles. A discussion with the director will follow the screening.
Program 90 min. T1
Organized by Joshua Siegel, Associate Curator, Department of Film.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.).
Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
+++++++++++++++++++++++++++++
Modern Mondays
April 2010
@ The Roy and Niuta Titus Theaters 1 & 2
An Evening with Nathaniel Dorsky
April 12, 7:00 p.m.
At this event, the venerated filmmaker Nathaniel Dorsky (American, b. 1943) will discuss his methods of creating visual poetry. He will also premiere new work, and screen his recently completed quartet. His silent films transmit a kind of internal music through their gracefully calibrated visual rhythms. Exquisitely framed images are joined together through meticulous editing, creating an experience akin to seeing the world anew. Dorsky will introduce his short films Sarabande (2008), Winter (2008), Compline (2009), and Aubade (2010), with a discussion to follow.
Program 90 min. T2
Organized by Jytte Jensen, Curator, Department of Film.
An Evening with Amie Siegel
April 19, 7:00 p.m.
As a prelude to MoMA’s annual survey of recent German cinema, Kino! 2010, Amie Siegel (American, b. 1974) presents and discusses her film DDR/DDR (2000), a film essay about contemporary life in the former DDR (Deutsche Demokratische Republik, better known as East Germany). Siegel graduated from The Art Institute of Chicago and Bard College before heading to Berlin on an academic grant. There, she has created a number of distinguished installations and single-screen moving image pieces. Many of these works, which she refers to as “cine constellations,” examine the nature of objectivity and historical memory.
Program 135 min. T2
Organized by Laurence Kardish, Senior Curator, Department of Film.
An Evening with Matías Piñeiro
April 26, 7:00 p.m.
Filmmaker Matías Piñeiro (Argentinean, b. 1982) presents the North American premiere of his feature Todos mienten (They All Lie, 2009). Winner of jury prizes at the Buenos Aires and Santiago international film festivals, They All Lie is a melodrama wrapped in a tantalizing intellectual mystery about Argentina’s nineteenth-century history of dictatorship and liberalism. Set in a secluded country house where a group of girls and boys in their twenties play games of love and chance, invent stories, spy on each other, and plan a robbery, the film employs intricate plot lines, camera movements, and long takes, and situates Piñeiro as an exciting contributor to new Argentine cinema.In Spanish; English subtitles. A discussion with the director will follow the screening.
Program 90 min. T1
Organized by Joshua Siegel, Associate Curator, Department of Film.
Tickets: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.).
Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
+++++++++++++++++++++++++++++
MoMAThe Museum of Modern Art (NYC)
(2010/Performance Retrospective)-Marina Abramović: The Artist Is Present
MoMA PRESENTS THE FIRST LARGE-SCALE U.S. PERFORMANCE RETROSPECTIVE OF
MARINA ABRAMOVIĆ'S WORK
Exhibition Features World Premiere of New Solo Work Performed By Abramović and Live "Reperformances" of Historical Pieces by Performers Selected for This Exhibition
Marina Abramović: The Artist Is Present
March 14-May 31, 2010
The Joan and Preston Robert Tisch Gallery, sixth floor, and The Donald B. and Catherine C. Marron
Atrium, second floor
NEW YORK, February 25, 2010--The Museum of Modern Art presents Marina Abramović: The Artist Is Present, the first large-scale scale American museum retrospective of the artist's groundbreaking performance work, from March 14 to May 31, 2010.
Internationally recognized as a pioneer and key figure in performance art, Marina Abramović (Yugoslav, b. 1946) uses her own body as subject, object, and medium, exploring the physical and mental limits of her being. The exhibition traces Abramović's prolific career with approximately 50 works spanning over four decades of interventions and sound pieces, video works, installations, photography, solo performances, and collaborative performances.
Also included are the world premiere of a new work to be performed by Abramović herself and "reperformances" of influential historical pieces by performers selected especially for this exhibition. The live reperformances are included in a chronological installation of the artist's work reflecting the different modes of representing, documenting, and exhibiting her ephemeral time- and media-based works.
Abramović, best known for her durational works, has created a new work for this performance retrospective--The Artist Is Present (2010)—that she will perform daily throughout the run of the exhibition, for a total of over 700 hours. For her longest solo piece to date, Abramović will sit in silence at a table in the Museum's Donald B. and Catherine C. Marron Atrium during public hours, passively inviting visitors to take the seat across from her for as long as they choose within the timeframe of the Museum's hours of operation. Although she will not respond, participation by Museum visitors completes the piece and allows them to have a personal experience with the artist and the artwork.
Marina Abramović: The Artist Is Present is organized by Klaus Biesenbach, Director, P.S.1 Contemporary Art Center, and Chief Curator at Large, The Museum of Modern Art.
+++++++++++++++++++++++++++++++++++++++++++++++
MARINA ABRAMOVIĆ'S WORK
Exhibition Features World Premiere of New Solo Work Performed By Abramović and Live "Reperformances" of Historical Pieces by Performers Selected for This Exhibition
Marina Abramović: The Artist Is Present
March 14-May 31, 2010
The Joan and Preston Robert Tisch Gallery, sixth floor, and The Donald B. and Catherine C. Marron
Atrium, second floor
NEW YORK, February 25, 2010--The Museum of Modern Art presents Marina Abramović: The Artist Is Present, the first large-scale scale American museum retrospective of the artist's groundbreaking performance work, from March 14 to May 31, 2010.
Internationally recognized as a pioneer and key figure in performance art, Marina Abramović (Yugoslav, b. 1946) uses her own body as subject, object, and medium, exploring the physical and mental limits of her being. The exhibition traces Abramović's prolific career with approximately 50 works spanning over four decades of interventions and sound pieces, video works, installations, photography, solo performances, and collaborative performances.
Also included are the world premiere of a new work to be performed by Abramović herself and "reperformances" of influential historical pieces by performers selected especially for this exhibition. The live reperformances are included in a chronological installation of the artist's work reflecting the different modes of representing, documenting, and exhibiting her ephemeral time- and media-based works.
Abramović, best known for her durational works, has created a new work for this performance retrospective--The Artist Is Present (2010)—that she will perform daily throughout the run of the exhibition, for a total of over 700 hours. For her longest solo piece to date, Abramović will sit in silence at a table in the Museum's Donald B. and Catherine C. Marron Atrium during public hours, passively inviting visitors to take the seat across from her for as long as they choose within the timeframe of the Museum's hours of operation. Although she will not respond, participation by Museum visitors completes the piece and allows them to have a personal experience with the artist and the artwork.
Marina Abramović: The Artist Is Present is organized by Klaus Biesenbach, Director, P.S.1 Contemporary Art Center, and Chief Curator at Large, The Museum of Modern Art.
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(2010)-Weekly series: MODERN MONDAYS
Modern Mondays: March 2010
The Roy and Niuta Titus Theaters 1 & 2
Programs:
An Evening with Marina Abramoviæ
March 1, 7:00 p.m.
Marina Abramoviæ (Yugoslav, b. 1946) hosts a conversation about preparations for her MoMA exhibition Marina Abramoviæ: The Artist Is Present, which opens March 14. In particular, the artist speaks about “reperformance” as legacy and the future of performance art. Program approx. 90 min. T1
Organized and moderated by Klaus Biesenbach, Director, P.S.1 Contemporary Art Center, and Chief Curator at Large, MoMA.
An Evening with Jia Zhangke
March 8, 7:00 p.m.
In conjunction with MoMA’s Jia Zhangke (Chinese, b. 1970) retrospective, the director hosts a screening of hisWo Men De Shi Nian (Ten Years, 2007) and Shi Nian (Remembrance, 2008), as well as a sneak preview of an excerpt from his latest film, Shanghai Chuan Qi (I Wish I Knew, 2010). Program approx. 90 min. T2
A discussion between the director and Howard Feinstein, Independent Curator and Critic & Kevin B. Lee, Critic, Filmmaker, and Programming Executive, dGenerate Films, follows the screening.
Organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art.
An Evening with Joseph DeLappe
March 15, 7:00 p.m.
Digital media artist and internet game activist Joseph DeLappe (American, b. 1963) has worked in new media since 1983, and in online, computer-game based interventionist performance art since 2001. For this evening, DeLappe discusses his recent projects, including dead-in-iraq (2007), wherein he has adapted the popular U.S. government–funded “America’s Army” computer game; and The Salt Satyagraha Online: Gandhi’s March to Dandi in Second Life (2008), for which he created a “mixed-reality” durational performance utilizing a converted exercise treadmill to reenact Mahatma Gandhi’s 1930 Salt March. DeLappe used a Nordic Trak Walkfit to traverse the 248-mile length of Gandhi’s original march. His steps were converted into those of his avatar, MGandhi Chakrabati, via a handily wired connection to his laptop. Program approx. 90 min. T2
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Genesis Breyer P-Orridge
March 22, 7:00 p.m.
New York–based artist and founding member of the seminal industrial band Throbbing Gristle, Genesis Breyer P-Orridge (Great Britain, b. 1950) has been testing the limits and convention of music, language, art, and identity for almost 40 years. Recently, in collaboration with his partner Lady Jaye, the artist started an ongoing experiment in body modification aimed at creating one “pandrogynous” being. For this discussion, P-Orridge focuses on his works created with the 1970s British avant-garde performance collective COUM Transmissions and will show rare footage and images from their performances. The group’s collaboration culminated in the 1976 retrospective PROSTITUTION at London’s I.C.A. Gallery, which was vehemently attacked by the press and debated in British Parliament. Please note: This program may contain explicit material. Program approx. 90 min. T2
Organized by Jenny Schlenzka, Assistant Curator for Performance, Department of Media and Performance Art.
Tickets:$10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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Modern Mondays: March 2010
The Roy and Niuta Titus Theaters 1 & 2
Programs:
An Evening with Marina Abramoviæ
March 1, 7:00 p.m.
Marina Abramoviæ (Yugoslav, b. 1946) hosts a conversation about preparations for her MoMA exhibition Marina Abramoviæ: The Artist Is Present, which opens March 14. In particular, the artist speaks about “reperformance” as legacy and the future of performance art. Program approx. 90 min. T1
Organized and moderated by Klaus Biesenbach, Director, P.S.1 Contemporary Art Center, and Chief Curator at Large, MoMA.
An Evening with Jia Zhangke
March 8, 7:00 p.m.
In conjunction with MoMA’s Jia Zhangke (Chinese, b. 1970) retrospective, the director hosts a screening of hisWo Men De Shi Nian (Ten Years, 2007) and Shi Nian (Remembrance, 2008), as well as a sneak preview of an excerpt from his latest film, Shanghai Chuan Qi (I Wish I Knew, 2010). Program approx. 90 min. T2
A discussion between the director and Howard Feinstein, Independent Curator and Critic & Kevin B. Lee, Critic, Filmmaker, and Programming Executive, dGenerate Films, follows the screening.
Organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art.
An Evening with Joseph DeLappe
March 15, 7:00 p.m.
Digital media artist and internet game activist Joseph DeLappe (American, b. 1963) has worked in new media since 1983, and in online, computer-game based interventionist performance art since 2001. For this evening, DeLappe discusses his recent projects, including dead-in-iraq (2007), wherein he has adapted the popular U.S. government–funded “America’s Army” computer game; and The Salt Satyagraha Online: Gandhi’s March to Dandi in Second Life (2008), for which he created a “mixed-reality” durational performance utilizing a converted exercise treadmill to reenact Mahatma Gandhi’s 1930 Salt March. DeLappe used a Nordic Trak Walkfit to traverse the 248-mile length of Gandhi’s original march. His steps were converted into those of his avatar, MGandhi Chakrabati, via a handily wired connection to his laptop. Program approx. 90 min. T2
Organized by Barbara London, Associate Curator, Department of Media and Performance Art.
An Evening with Genesis Breyer P-Orridge
March 22, 7:00 p.m.
New York–based artist and founding member of the seminal industrial band Throbbing Gristle, Genesis Breyer P-Orridge (Great Britain, b. 1950) has been testing the limits and convention of music, language, art, and identity for almost 40 years. Recently, in collaboration with his partner Lady Jaye, the artist started an ongoing experiment in body modification aimed at creating one “pandrogynous” being. For this discussion, P-Orridge focuses on his works created with the 1970s British avant-garde performance collective COUM Transmissions and will show rare footage and images from their performances. The group’s collaboration culminated in the 1976 retrospective PROSTITUTION at London’s I.C.A. Gallery, which was vehemently attacked by the press and debated in British Parliament. Please note: This program may contain explicit material. Program approx. 90 min. T2
Organized by Jenny Schlenzka, Assistant Curator for Performance, Department of Media and Performance Art.
Tickets:$10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00-8:00 p.m.). Admission is free for Museum members and for Museum ticketholders.
Modern Mondays is a weekly program that brings contemporary, innovative film and moving-image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists. Modern Mondays presents new—and newly rediscovered—film and media works with the director in attendance, stimulating discourse, dialogue, and interaction in a social setting.
Organized by the Department of Film and the Department of Media and Performance Art. Modern Mondays is made possible by Anna Marie and Robert F. Shapiro. Additional support is provided by The Contemporary Arts Council of The Museum of Modern Art.
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(2010/Art Installation)-Projects 92: Yin Xiuzhen
THE MUSEUM OF MODERN ART PRESENTS FIRST U.S. INSTALLATION OF
YIN XIUZHEN'S LARGE-SCALE SCULPTURE
COLLECTIVE SUBCONSCIOUS
Projects 92: Yin Xiuzhen
February 24—May 24, 2010
Contemporary Galleries, second floor
NEW YORK, February 24, 2010-- The Museum of Modern Art presents Projects 92: Yin Xiuzhen, the first U.S. installation of the artist's large-scale sculpture Collective Subconscious (2007), February 24 through March 24, 2010.
Yin Xiuzhen's (Chinese, b. 1963) site-specific installations and sculptures bridge the past and the present, the environmental and the personal. Collective Subconscious is a 38-foot-long minivan that has been bisected and lengthened via a tube covered in a patchwork of secondhand garments and set upon rows of tiny wheels.
A limited number of Museum visitors at a time are welcome to climb inside the caterpillar-like sculpture, where low stools provide seating and the strains of the popular Chinese pop song "Beijing Beijing" (2007) by Wang Feng fill the air, creating a refuge within the white walls of the gallery and a place for conversation and discussion.
Yin often employs quotidian materials in her work, frequently including found and repurposed textiles. Collective Subconscious incorporates used clothing taken from friends, family, and strangers. For the artist, these worn garments have the power to evoke memory, retain human experience, and convey time and place.
In previous works, she has used conveyances from airplane fuselages to tractors; for this sculpture, she uses a Songhuajiang minivan. In the years before private car ownership became common in China, this type of minivan, known in Chinese as xiao mian ("little loaf of bread"), was used as a communal taxi and represented economic success for those who could afford to hail—or own—one.
The work reflects the rapid social and environmental change in urban China, as communal vehicles have given way to private car ownership, and shared communist ideals have been eclipsed by individual material success.
Projects 92 is organized by Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, The Museum of Modern Art. The Elaine Dannheisser Projects series is coordinated by Kathy Halbreich, Associate Director, The Museum of Modern Art.
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YIN XIUZHEN'S LARGE-SCALE SCULPTURE
COLLECTIVE SUBCONSCIOUS
Projects 92: Yin Xiuzhen
February 24—May 24, 2010
Contemporary Galleries, second floor
NEW YORK, February 24, 2010-- The Museum of Modern Art presents Projects 92: Yin Xiuzhen, the first U.S. installation of the artist's large-scale sculpture Collective Subconscious (2007), February 24 through March 24, 2010.
Yin Xiuzhen's (Chinese, b. 1963) site-specific installations and sculptures bridge the past and the present, the environmental and the personal. Collective Subconscious is a 38-foot-long minivan that has been bisected and lengthened via a tube covered in a patchwork of secondhand garments and set upon rows of tiny wheels.
A limited number of Museum visitors at a time are welcome to climb inside the caterpillar-like sculpture, where low stools provide seating and the strains of the popular Chinese pop song "Beijing Beijing" (2007) by Wang Feng fill the air, creating a refuge within the white walls of the gallery and a place for conversation and discussion.
Yin often employs quotidian materials in her work, frequently including found and repurposed textiles. Collective Subconscious incorporates used clothing taken from friends, family, and strangers. For the artist, these worn garments have the power to evoke memory, retain human experience, and convey time and place.
In previous works, she has used conveyances from airplane fuselages to tractors; for this sculpture, she uses a Songhuajiang minivan. In the years before private car ownership became common in China, this type of minivan, known in Chinese as xiao mian ("little loaf of bread"), was used as a communal taxi and represented economic success for those who could afford to hail—or own—one.
The work reflects the rapid social and environmental change in urban China, as communal vehicles have given way to private car ownership, and shared communist ideals have been eclipsed by individual material success.
Projects 92 is organized by Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, The Museum of Modern Art. The Elaine Dannheisser Projects series is coordinated by Kathy Halbreich, Associate Director, The Museum of Modern Art.
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Events @ MoMA (NYC)
MoMA-NYC
EXPLORES CINEMATIC LIGHT AND SHADOW IN AN EXHIBITION OF
SIX FILMS BY ARTIST ANDREW NOREN
Andrew Noren: What the Light Was Like
October 21–25, 2009
The Roy and Niuta Titus Theater 2
NEW YORK, October 7, 2009--MoMA presents Andrew Noren: What The Light Was Like, an exhibition of six films by Andrew Noren (b. 1943, American), who has been making moving image art for over 40 years, evolving into one of the cinema’s master practitioners in the manipulation of light and shadow. This retrospective, comprising six works in five programs, is organized by Laurence Kardish, Senior Curator, Department of Film,
and screens in The Roy and Niuta Titus Theater 2 from October 21 through 25, 2009.
Noren has been making experimental, avant-garde cinema since the mid 1960s. In 1968, he began work The Adventures of the Exquisite Corpse, an ongoing film project that is now over 10 hours long,
and is made up of individual movements, or cantos.
Each of these sections are designed to stand alone as separate films, but all of the sections are intricately connected to one another and, taken together, form a luminous and elaborate visual music of great complexity and intensity.
Noren describes the work as "a kind of visual alchemy" and
"a metaphysical enquiry into the nature of light itself, and into the nature of visual perception."
Full press release with schedule of screenings.
To read an extensive interview between Andrew Noren and Laurence Kardish,
visit: http://www.moma.org/visit/calendar/films/999.
EXPLORES CINEMATIC LIGHT AND SHADOW IN AN EXHIBITION OF
SIX FILMS BY ARTIST ANDREW NOREN
Andrew Noren: What the Light Was Like
October 21–25, 2009
The Roy and Niuta Titus Theater 2
NEW YORK, October 7, 2009--MoMA presents Andrew Noren: What The Light Was Like, an exhibition of six films by Andrew Noren (b. 1943, American), who has been making moving image art for over 40 years, evolving into one of the cinema’s master practitioners in the manipulation of light and shadow. This retrospective, comprising six works in five programs, is organized by Laurence Kardish, Senior Curator, Department of Film,
and screens in The Roy and Niuta Titus Theater 2 from October 21 through 25, 2009.
Noren has been making experimental, avant-garde cinema since the mid 1960s. In 1968, he began work The Adventures of the Exquisite Corpse, an ongoing film project that is now over 10 hours long,
and is made up of individual movements, or cantos.
Each of these sections are designed to stand alone as separate films, but all of the sections are intricately connected to one another and, taken together, form a luminous and elaborate visual music of great complexity and intensity.
Noren describes the work as "a kind of visual alchemy" and
"a metaphysical enquiry into the nature of light itself, and into the nature of visual perception."
Full press release with schedule of screenings.
To read an extensive interview between Andrew Noren and Laurence Kardish,
visit: http://www.moma.org/visit/calendar/films/999.
