WINTER 2019/20 MEMBER GUIDE - MOMA
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Winter 2019/20 Member
Guide
1
Welcome
The new MoMA is here and we have thoroughly enjoyed hosting
those of you who have visited. If you have yet to come see us,
we hope you will soon to experience all this opening season has to
offer. Our recent transformation has brought new voices to the
fore, new audiences to our galleries, and new reasons to celebrate
being a MoMA member. The current program has so much to offer
that you’ll have to return more than once to see it all before we
rotate our collection in the spring.
With the new MoMA comes new benefits: This season, for the first
time, we’re offering you a “Last Look” at some of the temporary
exhibitions. Stop by on January 5 to experience Betye Saar: The
Legends of Black Girl’s Window, a rare examination of Saar’s work
as a printmaker, one last time without the crowds. You’ll also get
a final look at Surrounds, a collection of 11 ambitious installations
from contemporary artists.
As the new Director of Membership, I invite you to come experience
the Museum and your benefits like never before. And thank you
for being a member. We could not have made this transformation
without you.
Dore Murphy
Director of Membership
Cover: Dorothea Lange.
Kern County, California
(detail). 1938. Gelatin silver
print. Purchase
1 1
←
Enjoy a new
benefit
Waited until the last
minute to see a special
exhibition? Good
news—closing day
of major exhibitions,
including Betye Saar:
The Legends of Black
Girl’s Window, is now
reserved just for
members! Sun, Jan 5,
9:30 a.m.–5:30 p.m.
See page 4 for details.
↘ →
Join our online Share your
learners love of art
MoMA’s newest free MoMA membership ↑ →
massive open online is a thoughtful gift for Ponder our Eat like
course (MOOC) asks, the art lover in your
“What is contemporary life—and one that will collection an artist
art?” Explore this keep giving long after with notable
question through more the holidays have
than 70 works of art passed. All year, your creatives Now open at
MoMA PS1, Mina’s is an
made from 1980 to gift recipient will all-day café from chef
the present. Along the enjoy great benefits, The Way I See It, a new Mina Stone, author
way, you’ll hear from including free podcast created by of Cooking for Artists.
artists, architects, admission, discounted MoMA and the BBC, Stop by to enjoy
and designers from guest passes, and invites extraordinary simple but creative
around the globe member-only viewing creative thinkers Mediterranean cuisine,
about their creative hours. Start giving to choose a work in inspired by homestyle
processes, materials, today at moma.org/gift. MoMA’s collection that From left: Installation view of Betye Saar: The
dishes found on
and inspiration. they love. Hear guests Legends of Black Girl’s Window, The Museum
family dinner tables of Modern Art, New York, October 21, 2019–
Get started at including Steve Martin, throughout Greece. January 4, 2020. Photo: Heidi Bohnenkamp;
coursera.org/moma. Roxane Gay, Steve Members save 10% A view of the fifth-floor collection galleries.
Reich, and Margaret Shown: Claude Monet. Water Lilies (detail).
on meals.
Cho describe how art 1914–26. Oil on canvas, three panels. Mrs.
Simon Guggenheim Fund. Photo: Austin
inspires the work they Donohue; Still from the video At the Museum
do and the lives they with Sheila Hicks | Form, Texture, Color in the
lead. Find it wherever course What Is Contemporary Art? Shown:
you get your podcasts. Sheila Hicks. Pillar of Inquiry/Supple Column.
2013–14. Acrylic fiber. Gift of Sheila Hicks,
Glen Raven Inc., and Sikkema Jenkins and Co.
Installation view, Surrounds: 11 Installations,
The Museum of Modern Art, New York, October
21, 2019–January 5, 2020; Steve Martin
discusses a favorite work of art on our new
radio collaboration with BBC, The Way I See It;
A lunch spread at Mina’s. Photo: Flora Hanitijo
Member Must-Sees 3
Member Events
Start your day Enjoy an intimate A view of the second-
floor collection galleries.
with art art moment Shown: Jack Whitten.
Atopolis: For Édouard
Member Early Access Member Evening Glissant (detail). 2014.
Members get a head start in the Members at the Fellow category Acrylic on canvas.
galleries, every day. All winter long, and above are invited to an Acquired through
the generosity of Sid
see favorite works in select, newly end-of-year toast and after-hours R. Bass, Lonti Ebers,
reinstalled collection galleries viewing. Meet and greet with Agnes Gund, Henry
before the Museum opens to the MoMA staff, take guided tours, and Marie-Josée
public. Open to all members (with and enjoy complimentary drinks. Kravis, Jerry Speyer
and Katherine Farley,
the exception of Global and IDNYC). Wed, Dec 18, 6:30–9:00 p.m. and Daniel and Brett
Daily, 9:30–10:00 a.m. Sundheim. © 2019
Jack Whitten. Photo:
Not a Fellow member? Noah Kalina
Collection 1970s–Present Visit membership.moma.org
Dec 16–Jan 19 to upgrade.
Collection 1880s–1940s
Jan 20–Mar 22 Spend an evening
with us
Discover new Member After Hours
ways of looking Join us for exclusive after-hours
access when MoMA is closed to the
Member Gallery Talks public. Educators will be on hand
Dive deeper into MoMA’s collection to share insight on the art, and drinks
and special exhibitions with free will be available for purchase.
educational tours. Member Gallery Thu, Dec 19, Tue, Jan 14 &
Talks take place on the first and Tue, Feb 11, 6:30–9:00 p.m.
third Wednesday of each month;
registration opens at 12:00 p.m. in Browse good design Get a sneak peek
the Museum lobby and is available Never miss Member Shopping Days of what’s new
on a first-come, first-served basis.
12:30 p.m. an exhibition For a limited time, all members Member Previews
Member Last Look save 20% on curator-endorsed Be the first to see our new exhibitions.
Collection 1940s–1970s Closing day of every major exhibition products at the MoMA Design Stores Open to all members and their
Wed, Dec 18 is reserved just for members. Take and store.moma.org. Stock up on accompanied guests; standard
advantage of a final opportunity to designs created exclusively for the guest ticketing policies apply.
view our most popular exhibitions new MoMA by some of our favorite
Energy
without the crowds. brands and artists, including ISSEY Dorothea Lange: Words & Pictures
Wed, Jan 1
MIYAKE, Vans, Yoko Ono, and more. Thu, Feb 6–Sat, Feb 8
Betye Saar: The Legends of Black Fri, Jan 31–Mon, Feb 3
Collection 1880s–1940s
Girl’s Window Judd
Wed, Jan 15
Sun, Jan 5 Thu, Feb 27–Sat, Feb 29
Experience art with
Collection 1970s–Present
Wed, Feb 5 Surrounds: 11 Installations the whole family
Sun, Jan 5 Family Week
It’s time to celebrate our youngest
Sur moderno: Journeys of member: Pope.L, 1978–2001 members. Mark your calendar for a
Abstraction—The Patricia Sun, Feb 2 week of art making, activities in the
Phelps de Cisneros Gift
galleries, a family-friendly film, and
Wed, Feb 19
more. Tue, Feb 18–Sun, Feb 23
4 5
Dorothea Lange: Words & Pictures
Feb 9–May 9, Member Previews: Feb 6–8 Dorothea Lange:
Neri Oxman: Material Ecology Words & Pictures
Feb 22–May 25
Adam Linder: Shelf Life
Shahryar Nashat: Force Life
Feb 1–Mar 8
Betye Saar: The Legends of Black Girl’s Window
Through Jan 4, Member Last Look: Jan 5
Surrounds: 11 Installations
Through Jan 4, Member Last Look: Jan 5
David Tudor and Composers Inside Electronics Inc.:
Rainforest V (variation 1)
Through Jan 5
Projects 110: Michael Armitage
Through Jan 20
Energy
Through Jan 26
member: Pope.L, 1978–2001
Through Feb 1, Member Last Look: Feb 2
Sur moderno: Journeys of Abstraction—
The Patricia Phelps de Cisneros Gift
Toward the end of her life, Dorothea Lange (1895–1965) reflected, Feb 9–May 9
Through Mar 14
“All photographs—not only those that are so called ‘documentary’… Floor 2, Sachs
can be fortified by words.” A committed social observer, Lange Galleries
The Shape of Shape—Artist’s Choice: Amy Sillman paid sharp attention to the human condition, conveying stories of
Through Apr 12 everyday life through her photographs and the voices they drew in. Member Previews
Dorothea Lange: Words & Pictures, the first major MoMA exhibition Feb 6–8
Haegue Yang: Handles of Lange’s work in 50 years, brings iconic works from the collection
Through Apr 12 together with lesser known images—from early street photographs Dorothea Lange. Migratory
to her examination of the public defender system. Her pictures’ Cotton Picker, Eloy, Arizona.
Taking a Thread for a Walk complex relationships to words show Lange’s interest in art’s power 1940. Gelatin silver print,
to deliver public awareness and to connect to intimate narratives printed 1965. Purchase
Through Apr 19 in the world.
A Century of Sculpture Presenting Lange’s work in its diverse contexts—photobooks,
Through May Depression-era government reports, newspapers, magazines, poems—
along with the voices of contemporary artists, writers, and thinkers,
Private Lives Public Spaces the exhibition offers a more nuanced understanding of Lange’s
vocation, and new means for considering words and pictures today.
Through Jul 5
In the Galleries 7
Neri Oxman: Material Ecology Ask a Curator
You organized the new Nothing makes me happier than
exhibition on Neri Oxman. to see a great talent recognized
What’s one thing you’d by the audience, by the press,
like people to know about and by other colleagues.
her work?
Neri is an outstanding architect Who was the first artist
who is interested in shaping whose work interested you,
a better future for all, including and why?
other species. By harnessing Wow, difficult. I grew up in
science and technology and Milano and I was surrounded by
speaking their language, she design all the time. When I was
contributes something more barely a teenager, I used to help
precious than buildings: out in the afternoons at Fiorucci,
Paola Antonelli is revolutionary new ways of the coolest store in the world.
a senior curator in making and new materials that So I would like to say that Elio
the Department of will then be used by hundreds Fiorucci was the first designer
Architecture and of colleagues. She is a whose spell I fell under.
Design, and Director testament to the fact that
of Research and buildings and products are not Which artwork are you most
Development at enough to describe how excited about in the new
MoMA. She is the vast and exciting the world of collection galleries?
organizer, with architecture and design is today. Sarah Sze’s Triple Point
curatorial assistant (Pendulum). It speaks about
Anna Burckhardt, What’s the most surprising the precarious states of our
of the upcoming or innovative material used existence, about fluidity,
exhibition Neri Oxman: in Oxman’s projects? about potential, and it does
Material Ecology and It is hard to pick one. Every so with hundreds of objects—
the current exhibition
From tree bark and crustacean shells to silkworms and human Feb 22–May 25 material she uses is old but a dream for me. In it, I see
Energy. We asked
breath, nature has influenced Neri Oxman’s design and production Floor 1 new—either brand new in its hope in chaos.
Paola to tell us about
processes, just as it has influenced architects across centuries. Unlike use, or manufactured in a brand
her job and what
her predecessors, however, Oxman has developed not only new new fashion. Take glass, for Tell us about one thing
Neri Oxman and The Mediated excites her most in
ways of thinking about materials, objects, buildings, and construction instance. Glass is millennia old, that has inspired you lately.
Matter Group. Silk Pavilion. the galleries.
processes, but also new frameworks for interdisciplinary—and even 2013. View through the Silk but nobody ever 3-D printed it School Strike for Climate,
interspecies—collaborations. Pavilion apertures as the before in the way that she does. Fridays for Future, Youth for
silkworms skin the structure. Climate…. I am impressed
Photo: The Mediated Matter
She coined the term “material ecology” to describe techniques and Group. Courtesy The
What’s one of the most by Greta Thunberg’s anger
objects that are informed by and directly engage with the structures, Mediated Matter Group surprising things about and how it has managed to
systems, and aesthetics of nature. Integrating advanced 3-D printing your job? galvanize millions.
techniques with natural phenomena and behaviors, material ecology How influential my choices can
operates at the intersection of biology, engineering, materials science, be. I learned early on, when I If you weren’t a curator what
and computer science. While individually these works are elegant started at MoMA 25 years ago, do you think you’d be doing?
and arresting, taken as a group they constitute a revolutionary new that because of the institution I would be a journalist. I
philosophy of designing, making—and even unmaking—the world I work at, I have the power to consider myself a curator-
around us. give visibility and credibility to reporter already.
designers, movements, and
The eight projects in this exhibition are “demos” that might someday types of design—video games, Want to read more?
be available to all architects and designers for a great variety of for instance, or digital fonts— The full interview can be found
applications. Together, they celebrate a new age in which biology, that have not yet received it, at moma.org/magazine.
architecture, engineering, and design join forces to build the future. even though they deserve it.
8 9
Betye Saar: The Legends of Surrounds: 11 Installations
Black Girl’s Window
By the time Betye Saar (American, born 1926)
made her assemblage Black Girl’s Window, in 1969,
she had already established an impactful artistic
career. Five decades later, Black Girl’s Window still
exemplifies an important turning point for Saar.
It is the first work in which she combined her
interests in family, history, and the mystical with
her growing need to comment on social and
political injustice in America. And it marks the
beginning of her practice of incorporating found
objects in her artwork, thereby connecting with
the past while transforming it.
The artistic language that Saar debuted in Black
Girl’s Window originated in her printmaking,
which she began studying in 1960. “Printmaking
was a great seducer,” she recalled, “because
the technique sucked me in.” Finding time
between her responsibilities as a mother, she
explored etching impressions of a variety of
materials and items, such as fabric and rubber
stamps, to produce an array of visual elements
that she brought together in unified compositions.
Saar turned printmaking into an imaginative
collage of preexisting imagery, creating a body
of work focused on both the personal and
the universal. Some of her prints made their
way into Black Girl’s Window, in which she
expanded the approach she had developed How do artists mediate between the need for intimate experience Through Jan 4
into three dimensions with the addition of and the ambition to engage with the enormity of the world? Floor 6, Cohen
sculptural elements. Examined in depth here Surrounds presents 11 watershed installations by living artists from Center for Special
Through Jan 4 for the first time in Saar’s career, the prints the past two decades, conceived out of different circumstances Exhibitions
Floor 2, Sachs show the wide-ranging experimentation that but united in the scale of their ambition. Each explores physical
Galleries led to this shift. They reflect an interest in scale as well: many are large and imposing, at times even literally Member Last Look:
exploring the unknown, not unlike the girl surrounding the viewer. Others group smaller works into sequences Sun, Jan 5
Member Last Look: pressed against a window, both looking out that stretch across space. Some suggest the passing of long
Sun, Jan 5 and looking in. stretches of time, and some focus our attention on the stuff Sarah Sze. Triple Point
of everyday life. All mark decisive shifts in the careers of their (Pendulum). 2013. Salt, water,
Watch the intro story makers and are on view at MoMA for the first time. stone, string, projector, video,
Betye Saar. To Catch a Unicorn. 1960. Etching and aquatint
pendulum, and other materials.
at moma.org/saar. with watercolor additions. The Candace King Weir Endowment
Gift of the International
for Women Artists. © 2019 Betye Saar, courtesy the artist and Surrounds includes work by Allora & Calzadilla, Sadie Benning, Council of The Museum of
Roberts Projects, Los Angeles Janet Cardiff and George Bures Miller, Sou Fujimoto, Sheila Hicks, Modern Art, Agnes Gund,
Arthur Jafa, Mark Manders, Rivane Neuenschwander, Dayanita Ronald S. and Jo Carole
Singh, Hito Steyerl, and Sarah Sze. Lauder, and Sharon Percy
Rockefeller, in honor of the
60th Anniversary of the
International Council. © 2019
Sarah Sze. Photo: Noah Kalina
10 11
Projects 110: Michael Armitage member: Pope.L, 1978–2001
Referring to himself as “a fisherman of social absurdity,” Pope.L Through Feb 1
has developed a body of work that poses provocative questions Floor 3, Steichen
about a culture consumed with success yet riven by social, racial, Galleries
Projects 110: Michael Armitage presents eight paintings that, in the Through Jan 20 and economic conflict. Resisting easy categorization, his career
artist’s words, explore “parallel cultural histories.” Here, as in his work Floor 1 encompasses theatrical performances, street actions, language, Member Last Look:
more widely, Armitage puts contemporary visual culture in dialogue painting, video, drawing, installation, and sculpture. Pope.L’s work Sun, Feb 2
with art history and the legacy of modernism as it veers toward—and Installation view of Projects explores the fraught connection between prosperity and what he
breaks from—the West. Born in Nairobi, Kenya, in 1984, Armitage 110: Michael Armitage, calls “have-not-ness.” This tension is heightened by the presentation Watch the intro story
received his artistic training in London. Today, he travels between The Museum of Modern Art,
of these subversive artworks within a major art museum. at moma.org/popel.
London and Nairobi, citing each city as crucial to his creative practice. New York, October 21,
2019–January 20, 2020.
Photo: Heidi Bohnenkamp member: Pope.L, 1978–2001 focuses on a group of landmark
Across this body of work, the artist oscillates between the real and Pope.L. How Much Is That
performances that have defined the artist as a consummate agitator Nigger in the Window a.k.a.
the surreal, the celebratory and the sinister. He merges memories and humorist who has used his body to examine division and Tompkins Square Crawl.
of Kenya with media depictions of East Africa, entangling the personal inequality on the streets and stages of New York City and in the New York, NY 1991. Inkjet
and the everyday in a web of social and political tensions. Through print. Acquired in part
more rustic environs of Maine, where he taught for 20 years.
these compositions, Armitage considers how political reportage, through the generosity of
Jill and Peter Kraus, Anne
African bodies, and the body politic circulate within systems of global The title member ponders the terms and stakes of membership for a and Joel S. Ehrenkranz, The
capital, highlighting the fraught relationship between Africa and provocateur who constantly strives “to reinvent what’s beneath us, to Contemporary Arts Council
the West. of The Museum of Modern Art,
remind us where we all come from,” making material out of categories The Jill and Peter Kraus Media
of race, gender, and citizenship that are intimately entwined. and Performance Acquisition
This exhibition is organized by Thelma Golden, Director and Fund, and Jill and Peter Kraus
Chief Curator, The Studio Museum in Harlem, with Legacy Russell, in honor of Michael Lynne.
Associate Curator, The Studio Museum in Harlem. © Pope.L, courtesy the artist
12 13
Sur moderno: Journeys Haegue Yang: Handles
of Abstraction
The Patricia Phelps de Cisneros Gift
Sur moderno: Journeys of Abstraction—The Patricia Phelps Through Mar 14 Haegue Yang (Korean, b. 1971) is known for genre-defying, Through Apr 12
de Cisneros Gift is drawn primarily from the paintings, sculptures, Floor 3, Menschel multimedia installations that interweave a range of materials and Floor 2,
and works on paper donated to the Museum by the Colección Galleries methods, historical references, and sensory experiences. Handles, Marron Atrium
Patricia Phelps de Cisneros. This extraordinarily comprehensive Yang’s installation commissioned for MoMA’s Marron Atrium,
collection provides the foundation for a journey through the history Member Gallery Talk: features six sculptures activated daily, dazzling geometries, The artwork is
of abstract and concrete art from South America at mid-century. Feb 19, 12:30 p.m. and the play of light and sound, to create a ritualized, complex activated daily from
The exhibition explores the transformative power of abstraction environment with both personal and political resonance. 4:00 to 5:00 p.m.
in Brazil, Venezuela, Argentina, and Uruguay, focusing on both the Watch the intro
way that artists reinvented the art object itself and the role of art story at moma.org/ Handles are points of attachment and material catalysts for Read an interview
in the renewal of the social environment. surmoderno. movement and change. Yang’s installation considers this everyday with the artist at
interface between people and things. Steel grab bars are mounted moma.org/magazine.
on the walls amid an iridescent pattern, and put to functional use
Jesús Rafael Soto. Doble
transparencia (Double in her sonic sculptures. Mounted on casters and covered in skins Haegue Yang. Handles.
Transparency). 1956. Oil on of bells, the sculptures generate a subtle rattling sound when 2019. Commissioned for the
plexiglass and wood with maneuvered by performers. The natural ambient noise of birdsong, Donald B. and Catherine C.
metal rods and bolts. Gift of
Patricia Phelps de Cisneros
which also permeates the space, was in fact recorded at a tense Marron Atrium by The Museum
of Modern Art, New York.
through the Latin American political moment in the demilitarized zone between North and © Haegue Yang. Installation
and Caribbean Fund in honor South Korea during the historic summit in 2018. Reporters strained view, The Museum of Modern
of Ana Teresa Arismendi to hear the private conversation between the two nations’ leaders, Art, New York, October 21,
but their audio devices only picked up the chirping of birds and 2019–Apr 12, 2020. Photo:
Denis Doorly
the faint click of cameras.
14 15
Collection 2019 marked the 100th anniversary of the From left: Farkas Molnár.
Project for a single-family
founding of the Bauhaus—the revolutionary house, Der rote Würfel
1880s–1940s
German school of modern art, architecture, (The red cube). 1923. Ink
and design. To celebrate this milestone, we’re and gouache on paper. Gift
highlighting a selection of works now on view of the Peter Norton Family
Foundation; Lucia Moholy.
in the fifth-floor collection galleries. Bauhaus Workshop Building
from Below. Oblique View.
1926. Gelatin silver print.
Thomas Walther Collection.
Gift of Thomas Walther.
© 2019 Lucia Moholy Estate/
Artists Rights Society (ARS),
New York/VG Bild-Kunst,
Bonn; Marianne Brandt.
Teapot. 1924. Bauhaus
Metal Workshop, Germany.
Nickel silver and ebony.
Phyllis B. Lambert Fund
Floor 5, Gallery 513, harness the vast potential of print media, innovative ideas Project for a single-family unity of art and industry at the products developed at the
Design for Modern Life of industrial production and and products transcended house, Der rote Würfel heart of the school’s philosophy. Bauhaus, this teapot was a
Between the world wars, new technologies to address national boundaries. Despite (The red cube). Farkas Molnár’s Bauhaus Workshop Building student work designed by
clusters of artists, architects, modern needs in the home numerous factional disputes “Red Cube” dispensed with from Below. Oblique View. In Marianne Brandt soon after
and designers joined forces and workplace. At the same and false starts, the utopian traditional structural elements 1925, the Bauhaus relocated she joined the metal workshop
to work internationally as agents time, middle-class women experimentation of the interwar and defined architecture as from Weimar to Dessau and into there. The artist László
of economic change and social experienced new social and years left a powerful legacy a simple geometric form to be the art and design school’s first Moholy-Nagy, who had taken
transformation. Convinced professional freedoms, such in terms of interdisciplinary prefabricated in the same purpose-built campus. Lucia over as the workshop’s form
of the underlying unity of all as opportunities for art and models of education, the way as an industrial product. Moholy’s dramatic view of the master in 1923, encouraged her
art forms, many groups in design education. increasing visibility of women Shown at the first exhibition new building expresses the spirit to enter this male-dominated
the Netherlands, Germany, as makers and designers, and of the Bauhaus School of Art of functionality and technological field at a time when virtually all
and the newly established Broadcast via telephone, the international networks and Design held in 1923 in progress embraced by the school. female students in the school
Soviet Union aspired to radio, film, and an explosion through which creativity flowed. Weimar, the work embodied the Teapot. Among the best-known were relegated to textiles.
16 17Collection I love you Harlem for the rich deep
The story of New York, home to countless From left: Jacob Lawrence.
The migration gained in
generations of artists, is woven throughout
vein of human feeling buried under momentum. 1940–41. Casein
1940s–1970s
MoMA’s collection galleries. We hope focused tempera on hardboard. © 2019
looks at our beloved city, like this panorama your fire engines. Jacob Lawrence/Artists Rights
of Harlem, are inviting to lifelong residents, Society (ARS), New York; Helen
Levitt, Janice Loeb, James
new transplants still finding their way, and Alice Neel, artist Agee. In the Street. 1952. 16mm
visitors alike. film (black and white, silent);
Alice Neel. Georgie Arce. 1953.
Oil on canvas. Promised gift
of Glenn and Eva Dubin.
© The Estate of Alice Neel
Courtesy David Zwirner,
New York/London; William H.
Johnson. Children. 1941.
Oil and pencil on wood panel.
Gift of Abby Aldrich Rockefeller
(by exchange), Agnes Gund,
Marlene Hess and James D.
Zirin, and the Hudgins Family
Floor 4, Gallery 402, about the Great Migration—the in Europe, created scenes In the Street. “Every human expressive collective portrait. intermittently in Europe over
In and Around Harlem multi-decade mass exodus of of everyday African American being is a poet, a masker, a Georgie Arce. Born in the following 12 years. During
Most of these artists found African Americans from the life in Harlem and in the South warrior, a dancer.” These opening Pennsylvania, Neel lived from this period, his output consisted
inspiration in the streets rural South to the urban North with flat compositions and words drive Levitt, Loeb, and 1938 to 1962 in Spanish Harlem, largely of expressionistic
and homes of Harlem. Helen that dramatically increased vibrant colors. Alice Neel Agee’s depiction of Spanish where she painted portraits landscapes made with impasto
Levitt, who spent her career Harlem’s population. The series made portraits of the people Harlem, an urban symphony that of her friends, family, neighbors, strokes of bold pigment. Upon
photographing lively activity was a key example of the way of nearby Spanish Harlem, a unfolds with the neighborhood’s and fellow artists. A chance returning to the United States
in different parts of the city, that artists reimagined history community that had rarely been inhabitants at its center. Candid encounter with a boy named in 1938, the artist changed
captured the upper-Manhattan painting in the modern era. represented in such a way. The glimpses of working-class home Georgie Arce on a local street course and began to develop
neighborhood, a center of William H. Johnson, another fusion of art and politics defines life, lively displays of children sparked a lasting friendship. a uniquely personal style,
African American culture. In Southern migrant to Harlem these artists’ contributions at play, and folks socializing on Children. Born in Florence, explicitly reflecting upon his
1941, resident Jacob Lawrence who had returned to the to the traditions of figurative the sidewalks come together South Carolina, Johnson moved ancestry through references
made a series of paintings neighborhood after working art in the 20th century. to form an extraordinarily to France at age 26 and lived to African American culture.
18 19Collection For me, painting poorly was a rebellion
Iconography and symbolism take center From left: Cecilia Vicuña. Black
Panther and Me (ii). 1978. Oil
stage in this gallery devoted to women artists
against the colonial standards that we, on canvas. Latin American and
1970s–Present
telling their own stories. This installation also Caribbean Fund. © Cecilia
brings together artists working in an array the colonized, were expected to submit to. Vicuña; Mrinalini Mukherjee.
of mediums and from diverse geographies.
Today we would call it a decolonizing act.
Yakshi. 1984. Dyed hemp.
Committee on Painting and
Back then, we called it “liberation.” Sculpture Funds, and acquired
through the generosity of
Marlene Hess and James D.
Cecilia Vicuña, artist Zirin and the Modern Women’s
Fund. © Mrinalini Mukherjee.
Courtesy of the Mrinalini
Mukherjee Foundation; Zofia
Kulik. The Splendor of Myself II.
1997. Nine gelatin silver prints.
Acquired with support from
The Modern Women’s Fund.
© 2019 Zofia Kulik
Floor 2, Gallery 206, reconsider the past. They to New York in 1969, she became of Spanish missionaries. She forest deity in Hindu, Buddhist, humble, perhaps humorous
Transfigurations imagine new worlds that are fascinated by the recently formed replaced the Christian saints and Jain faiths that is a symbol substitutes that indicate the
The works brought together liberated from long-standing Black Panther Party. In this self- with personal iconography of fertility traditionally portrayed stark realities of her daily life.
in this gallery suggest a dialogue conventions or perceptions, portrait, Vicuña depicted herself and painted the scene in a with voluptuous hips, a narrow Kulik composed this work
between artists across nations and often choose unusual alongside a panther, surrounded deliberately flat style. Yakshi. waist, broad shoulders, and from her vast archive of images
and generations who have materials for artmaking, from by Italian cypress trees, plants To make this monumental, exaggerated breasts. The using a photographic montage
reimagined how women might sand and fiber to their own from her own garden, and a freestanding, abstract sculpture, Splendor of Myself II. Zofia technique. The elaborate dress
be represented. Believing that bodies. Together, these artists staircase that, according to the Mrinalini Mukherjee knotted Kulik’s self-portrait alludes is constructed from scores
art has transformative power, explore how the female form— artist, “leads to other dimensions.” dyed hemp, and wound it to Tudor-era images of Queen of male figures. By weaving their
these artists have looked through both defiant and poetic Vicuña was inspired by 16th- around a hidden metal armature Elizabeth I. Instead of the bodies into the gown’s material,
to mythology, folklore, art means—inhabits the world. century paintings made by locals to create a form that generally scepters, swords, and globes, the artist has emphasized a
history, and popular culture— Black Panther and Me (ii). of Cuzco, Peru, who produced suggests a female body. The the Polish artist holds a weed- specifically female authority
both ancient and current—to When Cecilia Vicuña traveled Christian imagery at the direction title references Yakshi, a female like flower and a cucumber— and personal agency.
20 21The Shape of Shape Energy A Century of Sculpture Taking a Thread for a Walk
Artist’s Choice: Amy Sillman
Energy is the indispensable fuel of life for all The Abby Aldrich Rockefeller Sculpture Garden Anni Albers wrote in 1965, “Just as it is possible
species. For humans, it has become almost at The Museum of Modern Art holds a special to go from any place to any other, so also,
Artist’s Choice: Amy Sillman—The Shape
an addiction. The search for new sources place in the hearts of many. From its inception starting from a defined and specialized field,
of Shape is the 14th installment of MoMA’s
of energy and the exploitation of existing ones in 1939, the Sculpture Garden, which launched can one arrive at a realization of ever-extending
Artist’s Choice series, in which a contemporary
have driven progress, formed and informed the very concept of the garden as outdoor relationships . . . traced back to the event of
artist organizes an installation drawn from
cultures, transfigured landscapes, and gallery for changing installations, has hosted a thread.” Such events quietly brought about
the Museum’s collection. The exhibition
ignited wars. Throughout the 20th century, exhibitions of sculpture and architectural some of modern art’s most intimate and
features rarely seen works selected by
everything from objects to buildings and structures, performances, and social events. communal breakthroughs, challenging the
Sillman (b. 1955), an artist who has helped
entire cities was conceived to maximize A Century of Sculpture features a selection widespread marginalization of weaving as
redefine contemporary painting, pushing
immediate output and productivity. In order of sculptures that have become synonymous “women’s work.” In Albers’s lifetime, textiles
the medium into installations, prints, zines,
to secure energy, we have deforested, drilled, with the space and Philip Johnson’s elegant became newly visible as a creative discipline—
animation, and architecture. Here, Sillman
mined, extracted, removed mountaintops, and enduring design. The works on view one closely interwoven with the practices
presents a highly personal exploration
and terraformed the planet. chart more than one hundred years of artistic of architecture, industrial design, drawing,
of shape—the ever-shifting boundaries that
production, from Auguste Rodin’s Monument and sculpture.
define what and how we see—in modern art.
In the 21st century, many designers have to Balzac (1898), made in honor of one of
Works spanning vastly different time periods,
become aware of their role and responsibility France’s greatest novelists, to Group of Figures True to its title, this exhibition takes a thread
places, and mediums engage the curious
in these disruptive activities, and have (2006–08) by German artist Katharina Fritsch, for a walk among ancient textile traditions,
forms and unpredictable contours of bodies,
adjusted their practices accordingly. If in comprising nine boldly-colored, life-size early-20th-century design reform movements,
fragments, gestures, and shadows.
the past design led us to devour energy at figures, among them St. Michael, a Madonna, and industrial materials and production
an ever-growing rate, design can now help a giant, and a snake. Favorites such as Pablo methods. Featuring adventurous combinations
Reflecting on her curatorial process, Sillman
us conserve it and behave more responsibly. Picasso’s bronze She-Goat (1950) and Isa of natural and synthetic fibers and spatially
said, “Even though shape is everywhere,
The objects in this exhibition engage with Genzken’s 36-foot-tall Rose II (2007) join dynamic pieces that mark the emergence
we don’t talk about it much; it’s not a hot topic
energy in its myriad forms—from thermal works newly on view, including a multipart of a more sculptural approach to textile art
in art, like color or systems. So I decided to
and kinetic to electrical and even reproductive. painted-steel sculpture from 1968 by Donald beginning in the 1960s, this show highlights
look for works in MoMA’s collection in which
They represent its sourcing, deployment, Judd, and Louise Bourgeois’s Quarantania, III the fluid expressivity of the medium. Through
shape does prevail over other considerations.
consumption, and preservation. They showcase (1949–50). Through May, Rockefeller Apr 19, Floor 3, Johnson Galleries
I found a wealth of artworks, far too many
the technological advancements of the past Sculpture Garden, Floor 1
to include here, by artists who dig into life’s
decades, while proposing alternatives for
surfaces, who start with physical perception
a future in which resources might not be as For a refreshing pause, on your next visit head
rather than abstract logic. Often eccentric,
readily available. Through Jan 26, Floor 1 outside and listen to the meditation stop
poetic, or intimate, these works are like bodies
in our new Sculpture Garden audio playlist.
that speak, operating at the hub of language
Join us for a Member Gallery Talk on
and matter, signs and sensations.” Through
Wed, Jan 1, at 12:30 p.m.
Apr 12, Floor 5
Installation view of The Shape of Shape—Artist’s Choice: Amy Installation view of Energy, The Museum of Modern Art, New York, Installation view of A Century of Sculpture, The Museum Installation view of Taking a Thread for a Walk, The Museum
Sillman, The Museum of Modern Art, New York, October 21, 2019– October 21, 2019–January 26, 2020. Photo: Noah Kalina of Modern Art, New York, October 21, 2019–May 2020. of Modern Art, New York, October 21, 2019–April 19, 2020.
April 12, 2020. Photo: Heidi Bohnenkamp Photo: Heidi Bohnenkamp Photo: Denis Doorly
22 23New Commissions
To celebrate our reopening, MoMA Clockwise from top right:
Experimental Jetset. Full Scale False
commissioned six long-term, site-specific Scale. 2019. Aluminum, automotive
paint, M.D.O. board, rubber, ink on
contemporary artworks that will be on view paper, wall, and fabric. Courtesy the
between one and 10 years. In this excerpt
artists; Goshka Macuga. Exhibition M.
2019. Wool, cotton, synthetic fibers.
from Magazine, our online publication, Courtesy the artist and Andrew Kreps
Gallery, New York; Philippe Parreno.
curator Yasmil Raymond shares some Echo. 2019. Mixed media. Courtesy
the artist; Gladstone Gallery, New
background about each work. Read the York and Brussels; Esther Schipper, The collective Experimental Jetset did In the Cullman Education and Research
the decor for Café 2. They made “windows”
full interview at moma.org/magazine. Building, there’s a large wall that was
Berlin; and Pilar Corrias, London;
Haim Steinbach. hello again. 2013. that take the same shape as the Philip offered to Goshka Macuga. She spent
Vinyl, dimensions variable. Acquired
on the occasion of The Museum of
Johnson windows on the facade of the time going through MoMA’s archive and
Modern Art’s 2019 reopening; Yoko café. They also brought text into their collection selecting what she understood
Ono. PEACE is POWER. 2019. Vinyl installation and designed the menus and to be meaningful acquisitions in terms
wallpaper and fabric. Courtesy the placemats with phrases culled from of human rights, women’s rights, civil rights,
artist; Kerstin Brätsch. Fossil Psychics
for Christa. 2019. Stucco-marmo,
texts about modern art and architecture. and affirmations of race and gender. She
tempera, Oracal 8300 Transparent then staged a photo shoot in her studio
Cal 089, vinyl, and Venetian plaster. to look like the legendary portrait of the
Courtesy the artist and Gavin Brown’s
enterprise, New York. All works
French novelist and theorist André Malraux.
commissioned on the occasion of
The Museum of Modern Art’s 2019
reopening, unless otherwise noted.
All photos: Heidi Bohnenkamp
Kerstin Brätsch’s piece, in the Petrie Yoko Ono wanted a space that was On the far west side of the lobby is a Also in the lobby is a work by Philippe
Terrace Café, consists of wall-mounted soothing and calming; she chose the text-work by Haim Steinbach, who is Parreno that spans the entrances on
reliefs made of stucco marmo, an Italian third-floor Loggia. From the minute known for amassing collections not only 53rd and 54th streets. All the sculptures
technique where you mix wet plaster I went to meet her in her apartment, she of objects but also of found texts, phrases, turn on and off at unexpected moments
with pigments to make a type of fake said, “I know what I want to do. I want an and slogans. In this case, he used the upon receiving live data from around the
marble. The whole space feels like you’ve affirmation that peace is power.” We phrase “Hello. Again.” You might read it as Museum, culling light, heat, and sound.
entered another period of time with started from there and she developed propaganda for the reopening of MoMA, Parreno wanted to treat the space as
excavated fossils. It’s quite mysterious a wallpaper that looks like the sky and but if you read it with various intonations, a living being that feels and responds to
and otherworldly. ottomans that look like fallen clouds. its poetry is subtle and subversive. its environment.
24 25Theater of Operations: VW Sunday Sessions
The Gulf Wars 1991–2011
VW Sunday Sessions returns to the VW Dome with the best in Through Mar 29
live art. The series encompasses performance, activism, and MoMA PS1
MoMA PS1 presents a large-scale group exhibition examining Through Mar 1 experimentation that fosters the development of new work.
the legacies of American-led military engagement in Iraq. While MoMA PS1 Upcoming events include commissions spanning theater, dance, Members save
brief, the 1991 Gulf War marked the start of a lengthy period of and sound by Emily Allan and Leah Hennessey, Nikita Gale, and $2 on tickets.
military involvement in the country that led to more than a decade Watch the intro story Niall Jones. Plus, a program with members of New York City’s For program details,
of sanctions and the 2003 Iraq War. The invasion in 2003 at moma.org/gulfwars. kink/leather and sex worker communities highlights performance visit moma.org/
galvanized a broader international response, prompting antiwar that intersects closely with social justice. sundaysessions.
protests around the globe. Though the Iraq War officially ended Installation view, Theater
in 2011, artists have continued to examine these conflicts and of Operations: The Gulf The VW Dome Artist Residency continues as a locus for the VAC Museum Day. 2019.
their ongoing impacts. Wars 1991–2011, MoMA PS1, development of new work with Freya Powell presenting Only Courtesy of Nikita Gale
November 3, 2019–March 1,
2020. Photo: Walter Wlodarczyk
Remains Remain. Now in its third year, this residency program
Theater of Operations explores the effects of these wars on for performance-based artists includes open showings where
artists based in Iraq and its diasporas, as well as responses to the the public can experience artists’ works in progress.
war from artists in the West, revealing how this period was
defined by unsettling intersections of spectacularized violence, MoMA PS1’s acclaimed VW Sunday Sessions performance series
xenophobia, oil dependency, and new imperialisms. On view across welcomes visitors to experience and participate in live art. Since
the entire MoMA PS1 building, the exhibition features the work its founding in 1976, MoMA PS1 has offered audiences one of the
of over 80 artists, including Afifa Aleiby, Dia al-Azzawi, Thuraya most extensive programs of live performance in the world. With
al-Baqsami, Paul Chan, Harun Farocki, Guerrilla Girls, Thomas a focus on artists that blur and break traditional genre boundaries,
Hirschhorn, Hiwa K, Hanaa Malallah, Monira Al Qadiri, Nuha al-Radi, VW Sunday Sessions embraces the communities in New York
and Ala Younis. City that create and sustain artistic practice.
26 27Private Lives Public Spaces To Save and Project:
The 17th MoMA International
Festival of Film Preservation
Long before camera phones, the 1923 introduction of small- Through Jul 5 Now in its 17th year, MoMA’s annual celebration of film preservation, Jan 9–22
gauge film stock heralded the unofficial birth of affordable home Titus Theaters To Save and Project, features newly preserved and restored films Titus Theaters
moviemaking. Over the subsequent decades, many thousands 1 and 2 from archives, studios, distributors, foundations, and individual 1 and 2
of reels of amateur film shot around the world amounted to one filmmakers around the world. This year’s program begins with the
of the largest and most significant bodies of moving-image work restoration premiere of two major silent films from MoMA’s archive,
Nina Barr Wheeler. Home movies. Loves of Carmen. 1927.
produced in the 20th century. Private Lives Public Spaces, the 1952–56. Digital preservation D. W. Griffith’s powerful drama Isn’t Life Wonderful (1924), filmed USA. Directed by Raoul Walsh
Museum’s first gallery installation of home movies and amateur of 16mm film. Wheeler Winston on location in postwar Germany, and Raoul Walsh’s Loves of Carmen
films drawn exclusively from its collection, shines a light on a Dixon Collection (1927), a rowdy adaptation of Mérimée’s novella that established
seldom-recognized cinematic revolution. Dolores del Rio as Hollywood’s first Latina star.
This 100-screen presentation of virtually unseen, homemade The program includes discoveries, such as the two astonishingly
works dating from 1907 to 1991 explores the connections inventive feature films directed by the forgotten French filmmaker
between artist’s cinema, amateur movies, and family filmmaking Louis Valray in the 1930s, as well as established classics like Gustav
as alternatives to commercial film production. Staged as an Machatý’s avant-garde feature Ecstasy (1933), starring a young
immersive video experience, the exhibition reveals an overlooked Hedy Lamarr, here in its rarely seen Czech language version. From
history of film from the Museum’s archives, providing fresh the UCLA Film and Television Archive comes a new restoration of
perspectives on a remarkably rich precursor to the social media the two-color Technicolor Mystery of the Wax Museum (1933), paired
of today. with the Academy Film Archive’s new version of Roger Corman’s
stylized The Masque of the Red Death (1964). Works such as The Scar
(1977), from the Film Archive (Public Organization), Thailand, and
La femme au couteau (1969), from The Film Foundation’s African Film
Heritage Project, demonstrate the depth of world cinema beyond
the Western canon. Narrow-gauge filmmaking is represented by a
program of pioneering documentaries by Leo Hurwitz, preserved on
16mm by the George Eastman Museum, and an extensive program
of home movies, curated by MoMA’s Katie Trainor and Ron Magliozzi
in connection with the ongoing exhibition Private Lives Public Spaces.
To see the full schedule and purchase tickets, visit moma.org/film.
Black Family Film Center 29Film Series
Members see films
for free, every day.
Get screening details
and reserve tickets at
the Member Desk, or
visit moma.org/film.
Clockwise rom top left:
Modern Matinees: The Wonders: Alice and American Indies, 1980–1989 It’s All in Me: Black Heroines Show Me Love: The Front Page. 1974. USA.
Jack Lemmon Alba Rohrwacher The end of New Hollywood’s Borrowing a lyric from International Teen Cinema Directed by Billy Wilder.
Courtesy Photofest; Troppa
Our tribute to his five-decade Celebrating two blossoming film-studio experimentation Chaka Khan’s anthem “I’m Many established international grazia (Lucia’s Grace). 2018.
screen career makes clear cinema careers, MoMA and in the early 1980s ushered in Every Woman,” It’s All in Me filmmakers have addressed Italy. Directed by Gianni Zanasi.
that, whatever the character— Luce Cinecittà honor the a new era of—and an urgent celebrates both a wide range themes of adolescence early Courtesy The Match Factory;
hapless cross-dresser, fussy Italian writer-director Alice need for—the free expression of representations and potent in their careers, often resulting Bless Their Little Hearts.
1983. USA. Directed by
roommate, desperate alcoholic, Rohrwacher and the actress of independent film. This expressions of growth, in nuanced, personal, and Billy Woodberry. Courtesy
compassionate naval officer— Alba Rohrwacher with series, programmed from agency, and self-assertion adventurous works. The films Milestone Films; Strange
Jack Lemmon could be counted their first North American MoMA’s collection, explores by black women and girls— in this series, mostly made Days. 1995. USA. Directed by
on to make them truly retrospective. Dec 4–23 American independent cinema portrayed by gifted, under- outside the US, exemplify this Kathryn Bigelow. Courtesy
Everett Collection; Totally
unforgettable. Jan 1–Feb 28 in the years directly before recognized talents too often creative tradition while also Fucked Up. 1993. USA. Written
the Sundance Film Festival disregarded by a racially challenging the typically white, and directed by Gregg Araki.
launched indie films into the insensitive industry—in films heteronormative world Courtesy Strand Releasing/
American mainstream. spanning from 1907 to 2018. of American “teen films.” Photofest; White Afro. 2019.
USA. Directed by Akosua
Jan 23–Feb 2 Feb 20–Mar 5 Jan 2–19 Adoma Owusu; Sanctus. 1990.
USA. Directed by Barbara
Hammer; God in Three Persons.
Courtesy the Residents;
Portrait of a Lady on Fire. 2019.
France. Directed by Céline
Sciamma. Courtesy NEON;
The Navigator. 1924. USA.
The Contenders 2019 Directed by Donald Crisp,
Modern Matinees: For this annual series, Buster Keaton. Courtesy
Photofest
Iris Barry’s History of Film the Department of Film
Using the 1935 publication combs through major studio
Film Notes, by Iris Barry, releases and the top film
the MoMA film department’s festivals, selecting influential, God in Three Persons “Now We Think as We Doc Fortnight 2020
first curator, as a guidepost, innovative films made in and a Brief History of the Fuck”: Queer Liberation Doc Fortnight, MoMA’s
this series reconstructs a the past 12 months that we Residents to Activism annual international festival
range of MoMA’s earliest film believe will stand the test of MoMA presents the world- This series highlights of nonfiction film, returns
programs. Through Dec 31 time. For the full screening premiere live performance MoMA’s significant collection for its 19th year with 12 days
schedule, visit moma.org/ of the Residents’ landmark of moving-image work by of innovative approaches
contenders. Through Jan 8 1988 album God in Three lesbian and gay filmmakers— to documentary filmmaking.
Persons, along with a two-part from avant-garde celebrations Detailed film descriptions are
compilation of videos created of queer culture on film available at moma.org/film.
by the legendary art collective. to the tragic resolve of AIDS Feb 5–19
From Third Reich ’n Roll (1976) activism on home video, and
to Dyin’ Dog (2019), these from classic to largely
programs chart the evolution forgotten—including newly
of “the most mysterious band preserved landmark films of
in the world.” Jan 24–28 the movement. Jan 28–Feb 5
30 31Adam Linder: Shelf Life David Tudor and Composers
Shahryar Nashat: Force Life Inside Electronics Inc.
Rainforest V (variation 1)
The first commissions to be shown in the Studio are two Feb 1–Mar 8
simultaneous solo exhibitions by Adam Linder (Australian, born Floor 4
1983) and Shahryar Nashat (Swiss, born 1975). Linder’s Shelf Life,
which will be performed during Museum hours, brings together six Adam Linder:
performers to present a system of choreographic units related to the Shelf Life and Rainforest V (variation 1) (1973–2015), conceived by David Tudor Through Jan 5
Barre, the Brain, and the Blood, three sites the artist has identified Shahryar Nashat: and realized by Composers Inside Electronics Inc., is a sound Floor 4
as primal to the production of dance. The group’s physical language Force Life will installation constructed from everyday objects, such as a metal
will accentuate and shift received understandings of everyday alternate every hour. barrel, a vintage computer hard disc, and plastic tubing, which Forest Speech
movements as they have been reframed by choreographers since are fitted with sonic transducers and suspended in space to Performances
From left: Adam Linder.
the 1960s. Alternately, artist Shahryar Nashat will present three Shelf Life. 2019. © 2019 increase their resonance. Dec 12 & 14, 8:00 p.m.
new large-scale works that extend his exploration of the interplay Adam Linder; Shahryar Dec 15, 12:00 &
between bodies, objects, and images—also working within a system Nashat. Force Life. 2019. Tudor’s first Rainforest, from 1968, served as the musical score 3:00 p.m.
determined by the Barre, the Brain, and the Blood. Combining © 2019 Shahryar Nashat.
for choreographer Merce Cunningham’s dance of the same
Photos: Will Davidson
sculpture and video, this new constellation of works for the Studio name. In 1973, working together with a group of young artists and Get a 360° look at
will consider the ways in which new technologies have reshaped musicians, Tudor expanded the work from a musical composition the installation on
the human body. to a performance installation titled Rainforest IV. Composer Gordon our YouTube channel.
Mumma described their collective artistic process as “a garden
of shared ideas with minimal fences.” The group would later be David Tudor and Composers
named Composers Inside Electronics (CIE) (active 1973–present), Inside Electronics Inc.
and to this day includes John Driscoll and Phil Edelstein, among Rainforest V (variation 1).
others. Tudor continued to work with CIE on multiple iterations 1973/2015. Twenty objects,
sound. Conceived by David
of Rainforest over the next several decades. This last evolution of Tudor, realized by Composers
the work, Rainforest V (variation 1), transforms an installation once Inside Electronics Inc. (John
activated by performers into a rich visual environment animated Driscoll, Phil Edelstein, and
by a computer program. Matt Rogalsky). Committee
on Media and Performance
Art Funds. © 2019 David
Through a collaborative workshop of musicians and artists working Tudor and Composers Inside
across generations and approaches, CIE will create a new realization Electronics Inc. Installation
The Marie-Josée and Henry Kravis Studio is our new space
of Tudor’s rarely performed Forest Speech (1978–79). In this piece, view, The Museum of Modern
for live events dedicated to performance, music, sound, Art, New York, October 21,
the performers will use the instrumental nature of the objects in
spoken word, and expanded approaches to the moving image. 2019–January 5, 2020.
Rainforest V (variation 1) to inspire new interpretations. Photo: Heidi Bohnenkamp
Kravis Studio 33The People’s Studio:
Collective Imagination
Exchange Little Wheel Souvenirs Floor 2
Collage a postcard and send Artist Salome Asega invites visitors
it through the mail, engaging to play a round of roulette that sends Free with museum
histories of artists exchanging, them into the galleries to look at admission
circulating, and recontextualizing art and walk out with a souvenir. This
visual material. Ongoing project considers how reproductions Open daily, during
of works of art reflect and affect Museum hours
Over/Under cultural values. Jan 6–Mar 1, daily,
Contribute to collective weavings 10:00 a.m.–5:30 p.m. Programs and
inspired by the shared studios activities are
where modern artists unified art Home Movie Day 2020 designed for
and design. Ongoing Screen your home movies and adults and teens.
learn how to keep them safe for
Reading Room future generations. Related special Photo: Noah Kalina
Consult a resource library, created programs will take place in the
by Wendy’s Subway, that represents galleries throughout the day.
diverse perspectives on the theme Sat, Jan 11, 10:00 a.m.–4:00 p.m.
of Collective Imagination. Ongoing
Music Video Night with Milah Libin
EJ Hill, Autumn Knight, and Join us for an evening of screenings
Steffani Jemison on Pope.L and conversation with director Milah
Join us for a series of conversations Libin and Gregg Kaysen of Mass
with artists on Pope.L’s influence Appeal. Music Video Night is a three-
on their work. Sundays, Dec 15, 26 part series in which inspiring leaders
& Jan 26, 2:00 p.m. in the music video industry share
insights into their working processes
Found Sound Workshops and career paths. A reception follows.
with Lea Bertucci Thu, Feb 6, 9:30 p.m.
Learn simple ways to manipulate
and collage found sounds during a
live mixing session led by composer
and Forest Speech performer
Lea Bertucci. Sign-up is required
and begins 30 minutes prior
to each session. Thu, Dec 19
& Sat, Dec 21, 3:00 p.m.
The People’s Studio: Collective Imagination is a participatory
program focusing on the human relationships that shape
works of art. Visitors can experiment with artists’ strategies,
and join conversations and workshops about the networks,
cultures, and environments that sustain artistic practice.
To learn more, visit moma.org/creativitylab.
Crown Creativity LabYou can also read
