5New Exhibitions

New

Shown: Pablo Picasso. Les Demoiselles d’Avignon. 1907. Oil on canvas, 8' x 7' 8" 1/4" (243.9 x 233.7 cm).

Acquired through the Lillie P. Bliss Bequest. © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. Photo: Martin Seck

OCT 3, 2012–FEB 4, 2013New Photography 2012 presents five artists whose varied techniques and backgrounds represent the diversity and vitality of photography today. Michele Abeles’s (American, b. 1977) elegant studio constructions combine common objects, such as potted plants, printed fabrics, and wine bottles, with nude males whose bodies are often truncated by the frame, to create images that renegotiate the creative process of still life photography. Shanghai-based photographic duo Birdhead (Ji Weiyu, Chinese, b. 1980; and Song Tao, Chinese, b. 1979) capture the lived reality of their community against the urban landscape of Shanghai with their mass accumulation of snapshots of friends and family. Often using a technique of re-photography, Anne Collier’s (American, b. 1970) meticulous compositions are informed as much by West Coast Conceptual art practices as by product photography and advertising. Her dryly humorous pictures engage in formal and psychological associations that frame recurrent tensions of power and gender. Zoe Crosher (American, b. 1975) calls photography’s veracity into question by rearranging, re-photographing, and reimagining the archive of Michelle duBois, an all-American girl who was devoted to relentless self-documentation in the 1970s and 1980s. Drawing on the language of

Anne Collier. Cut. 2009. Chromogenic color print, 45 13/16 x 55" (116.4 x 139.7 cm). Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art. © 2012 Anne Collier, Courtesy Anton Kern Gallery, New York

New Photography 2012: Michele Abeles, birdhead, Anne collier, Zoe crosher, shirana shahbaziPHOTOGRAPHY GALLERIES, FLOOR 3

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commercial photography, Shirana Shahbazi (German, b. Iran, 1974) approaches recognizable photographic genres like portraiture, still life, abstraction, and landscape with a distinctly analytical eye, investigating the circulation and production of images today by outputting her pictures in multiple forms, from photographic wall murals to discrete photographs and photorealist paintings. Together, these artists speak to the diverse permutations of photography in an era when the definition of the medium is continually changing.Organized by Eva Respini, Associate Curator, Department of Photography.

OCT 7, 2012–JAN 28, 2013A sculptor who began working in a classical figurative style during the postwar period, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career was cut short by her untimely death in 1973 at the age of 47, Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which incorporate photographs, clothing, or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Featuring over 100 sculptures, drawings, and photographs drawn from private and public collections,

Alina Szapocznikow. Petit Dessert I (Small Dessert I). 1970–71. Colored polyester resin and glass, 3 3/16 x 4 5/16 x 5 1/8" (8 x 11 x 13 cm). Kravis Collection. © The Estate of Alina Szapocznikow/Piotr Stanisławski/ADAGP, Paris. Photo by Thomas Mueller, courtesy Broadway 1602, New York; and Galerie Gisela Capitain GmbH, Cologne

some sweet dayWith Jérôme Bel and Steve Paxton, Faustin Linyekula and Dean Moss, Deborah Hay and Sarah Michelson, and Kevin Beasley

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Alina Szapocznikow: Sculpture Undone, 1955–1972 offers a comprehensive overview of this important artist’s work at a moment when international interest is blossoming. The exhibition is accompanied by a fully illustrated catalogue. The exhibition is organized by WIELS Contemporary Art Centre, Brussels, and the Museum of Modern Art, Warsaw, in collaboration with The Museum of Modern Art, New York, and the Hammer Museum, Los Angeles. The exhibition traveled to the Wexner Center for the Arts, Columbus, Ohio. The exhibition is curated by Elena Filipovic and Joanna Mytkowska. Organized at MoMA by Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings.

The MoMA presentation is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Additional support is provided by The Andy Warhol Foundation for the Visual Arts, The Modern Women’s Fund, The International Council of The Museum of Modern Art, and the Polish Cultural Institute New York.

OCT 15–NOV 4This three-week program of dance performances in the Museum’s Marron Atrium showcases three pairings of six internationally renowned choreographers engaged in a cross-generational dialogue about each other’s work. The series brings together choreographers from different backgrounds and eras in order to demonstrate how the current state of dance can engage with a variety of subjects, such as aesthetics, gender, race, and history. Concurrently—by putting a focus on moving bodies in an institution that traditionally showcases static objects—Some sweet day argues for the extended potential and possibilities of the museum space. For a detailed schedule, please visit MoMA.org.Organized by Ralph Lemon, guest curator and choreographer; with Jenny Schlenzka, Associate Curator, MoMA PS1, and Jill A. Samuels, Producer, Department of Media and Performance Art, The Museum of Modern Art. Presented as part of MoMA’s ongoing Performance Program, organized by Sabine Breitwieser, Chief Curator, Department of Media and Performance Art.

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

Alina szapocznikow: sculpture undone, 1955–1972SPECIAL ExHIBITIONS GALLERY, FLOOR 3

Jerome Bel. The Show Must Go On, Paris, January 4, 2001, Theatre de la Ville. © 2012 Mussacchio Laniello

Member Previews WED, OCT 310:30 am–5:30 pm

THU, OCT 49:30 am–5:30 pm

FRI, OCT 59:30 am–8:00 pm

SAT, OCT 69:30 am–5:30 pm

Learn more about Alina Szapocznikow's work and influence. Join us October 5 for a half-day symposium. See page 39 for details.

Collaborative performances and responses take place each week. Visit MoMA.org/performance for a detailed schedule of Some sweet day events.

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ongoingTHROUGH OCT 1This retrospective exhibition, organized in collaboration with the Museo Reina Sofía in Madrid and the Tate Modern in London, is the largest presentation of works by Alighiero Boetti (1940–1994) in the United States to date, and the first in a New York museum since 1994. One of the most influential Italian artists of the 20th century, Boetti emerged in the 1960s as part of the Arte Povera movement, but after a few brief years he turned toward a more conceptual, playful, and profound investigation of the world around him. A dynamic and charismatic personality, Boetti was fascinated with systems

of duality and multiplicity, order and disorder, rules and the freedom within them—themes that appear throughout his oeuvre. Alighiero Boetti: Game Plan presents the central works of his career, interjecting the chronological development with a focus on some recurring concepts that drove Boetti’s practice. Among the works featured are those related to travel, geography, and mapping, many of which relate to his extensive trips to Afghanistan, where Boetti collaborated with local artisans to produce his most iconic monumental embroideries. This exhibition celebrates the material diversity, conceptual complexity, and visual beauty of Boetti’s art, and his notion that the artist, rather than inventing, simply brings what already exists in the world into the work.Organized at The Museum of Modern Art by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings.

The exhibition is made possible by the generous support of two anonymous donors. Additional funding is provided by The International Council of The Museum of Modern Art.

PUBLICATION

Alighiero boetti: game Plan 9 1/2 × 10 1/2"; 277 pages; 257 illustrations 819. hardcover $50 members $45

THROUGH NOV 5MoMA’s ambitious survey of 20th-century design for children is the first large-scale overview of the modernist preoccupation with childhood as a paradigm for progressive design thinking. The exhibition brings together areas underrepresented in design history, including school architecture, clothing, playgrounds, toys and games, children’s hospitals and safety equipment, nurseries, furniture, and books. In 1900, Swedish design reformer and social theorist Ellen Key’s book Century of the Child presaged the 20th century as a period of intensified focus and progressive thinking regarding the rights, development, and well-being of children. Taking inspiration from Key—and looking back through the 20th century—this exhibition examines individual and collective visions for the material world of children, from utopian dreams for the citizens of the future to the dark realities of political conflict and exploitation. Throughout this period children have been central to the concerns,

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Alighiero Boetti. Gemelli (Twins). 1968. Photomontage, 5 7/8 x 3 15/16" (15 x 10 cm). Collection Annemarie Sauzeau, Paris. © 2012 Estate of Alighiero Boetti/Artists Rights Society (ARS), New York/SIAE, Rome

Alighiero boetti: game PlanSPECIAL ExHIBITIONS GALLERY, FLOOR 6 MARRON ATRIUM, FLOOR 2

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century of the child: growing by Design, 1900–2000SPECIAL ExHIBITIONS GALLERY, FLOOR 6

Explore more! Visit MoMA Studio: Common Senses for interactive sensory explorations of art, design, and nature. Also, in October, catch a Common Senses at Lunchtime lecture. See page 40 for details.

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ambitions, and activities of modern architects and designers both famous and unsung, who found that working specifically for the youngest members of society provided unique freedom and creativity.

Organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design.

Major support for the exhibition is provided by Lawrence B. Benenson. Additional funding is provided by the Nordic Culture Fund, Lily Auchincloss Foundation, Inc., the Barbro Osher Pro Suecia Foundation, and Marimekko. Support for the publication is provided by The International Council of The Museum of Modern Art and the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art. Special thanks to Stokke AS–Ålesund, Norway.

PUBLICATION

century of the child: growing by Design, 1900–2000 9 1/2 × 12"; 264 pages; 425 illustrations 826. hardcover $60 members $54Also available in digital format at iTunes.com/MoMAbooks

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THROUGH DEC 10 Slavs and Tatars (founded 2006) is an international collective of artists, designers, and writers whose installations, performance lectures, publications, and artist’s multiples reflect upon intercultural relations and the perceived differences between Western cultures and the Eastern world. Pursuing an unconventional research-based practice, the group identifies the “area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia” as their point of reference. With much wit and wordplay, their projects address the transmission and hybridization of traditions, politics, and language within the region. For Projects 98, Slavs and Tatars build upon a recent cycle of works that examines the concept of the anti-modern, creating a new installation titled Beyonsense, which takes its name from a translation of zaum—the Futurist experiments with transrational language and poetry. The collective’s first solo museum presentation in the United States, Beyonsense features a reading room populated by a number of Slavs and Tatars’ text-based objects and printed editions, transforming the gallery into a space for contemplating the mystical and affective sides of modernism.

Organized by Gretchen L. Wagner, Sue and Eugene Mercy, Jr., Assistant Curator, Department of Prints and Illustrated Books.

The Elaine Dannheisser Projects Series is made possible in part by The Junior Associates of The Museum of Modern Art. Additional generous support for this exhibition is provided by the Sharjah Art Foundation. Special thanks to Pasargad, New York.

THROUGH JAN 7, 2013Originally from Philadelphia, the Quay Brothers (American, b. 1947) have labored together in their London studio, Atelier Koninck, for the past 30 years, creating avant-garde stop-motion puppet animation, live-action films, and graphic design. As illustrators, stage designers, and filmmakers in a range of genres, the Quays have penetrated many fields of visual expression for a number of different audiences, from avant-garde cinema and opera to art for publications and television advertising. Beginning with their student films in 1971, the Quay Brothers have produced over 70 moving image works, including two features, music videos, dance films, documentaries, and signature personal works, among them Street of Crocodiles (1986), Rehearsals for

Froebel Gift No. 2: Sphere, Cylinder, and Cube. c. 1890. Wood and string, 11 1/4 x 10 1/4 x 3" (28.6 x 26 x 7.6 cm). Manufactured by J. L. Hammett Co., Braintree, Massachusetts. Gift of Lawrence Benenson

Projects 98: slavs and tatarsPROJECTS GALLERY, FLOOR 2

Quay brothers: on Deciphering the Pharmacist’s Prescription for lip-reading PuppetsSPECIAL ExHIBITIONS GALLERY, FLOOR 2 THEATER GALLERIES

early Viewing hoursTHROUGH OCT 15ANY DAY THE MUSEUM IS OPEN 9:30–10:30 am

Open to Individual members and above (plus Student and Artist members) and accompanying guests. Present membership card and/or member guest admission ticket at exhibition entrance.

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Extinct Anatmoies (1987), the Stille Nacht series (1988–2008), Institute Benjamenta (1995), and In Absentia (2000). They have also designed sets and projections for opera, drama, and concert performances such as Tchaikovsky’s Mazeppa (1991), Ionesco’s The Chairs (Tony-nominated design, 1997), Richard Ayre’s The Cricket Recovers (2005), and recent site-specific performance pieces based on the work of Bartók and Kafka.Their installation work includes a series of “dormitoriums,” miniature décors created for their stop-motion films, on view in The Roy and Niuta Titus Theater lobby, along with the U.S. premiere of the optical box installation Coffin of a Servant’s Journey (2007). This is the first retrospective to present the full scope of their achievements: animated and live-action films, including never-before-seen early work, puppets, graphic design, drawings, calligraphic works, installations, and works on paper. An accompanying film series is screening in The Roy and Niuta Titus Theaters through January 2013 (see page 34).

The exhibition is organized by Ron Magliozzi, Associate Curator, Department of Film.

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

PUBLICATION

Quay brothers: on Deciphering the Pharmacist’s Prescription for lip-reading Puppets8 x 10"; 64 pages; 60 illustrations 843. paperback $24.95 members $22.45

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ONGOINGReinstalled to continue the historical sequence begun on MoMA’s fifth (1880–1940) and fourth (1940–1980) floors, the galleries on the second floor begin with art of the early 1980s and extend to the present moment, interweaving works in all mediums. Individual galleries focus on particular topics, ranging from specific locales that nourished influential groups of artists to key strategies shared by diverse practitioners of the same generation. Others display a single significant installation or artist’s project. Like the fifth- and fourth-floor galleries, the second-floor galleries will be periodically reinstalled to reflect the depth and richness of the Museum’s collection, and to allow for varying approaches to the wide variety of art produced during the last 30 years. Featured artists include Matthew Barney, Mark Bradford, Keith Haring, Martin Kippenberger, Steve McQueen, Senga Nengudi, Doris Salcedo, and Rosemarie Trockel.

This installation, one of a series highlighting the Museum’s contemporary collection, is made possible by BNY Mellon.

Street of Crocodiles. 1986. Great Britain. Directed by the Quay Brothers. Image courtesy of the filmmakers

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Installation view of Contemporary Galleries: 1980–Now, 2011. Photo: Jason Mandella. Shown: Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2" (182.9 x 1705.6cm). Part (panel a): 72 x 360 3/4" (182.9 x 916.3 cm). Part (panel b): 72 x 310 3/4" (182.9 x 788 cm). Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation; Jeff Koons. Three Ball 50/50 Tank (Two Dr. J. Silver Series, One Wilson Supershot). 1985. Glass, painted steel, distilled water, plastic, and three basketballs, 60 5/8 x 48 3/4 x 13 1/4" (154 x 123.9 x 33.6 cm). Gift of Werner and Elaine Dannheisser. © 2012 Jeff Koons

early Viewing hoursOCT 17–NOV 12ANY DAY THE MUSEUM IS OPEN 9:30–10:30 am

Open to Individual members and above (plus Student and Artist members) and accompanying guests. Present membership card and/or member guest admission ticket at exhibition entrance.

Don't miss the Quay Brothers’ films on the big screen! This month we screen commercial work, music videos, and museum documentaries. See page 34 for details.

Looking to explore more of MoMA's collection? Now you can download a digital edition of the MoMA Collection Highlights book. Visit iTunes.com/MoMABooks today.

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THROUGH JAN 28, 2013Born out of Necessity Showcasing objects that adhere to the traditional view of design as a tool for problem-solving, Born out of Necessity offers close examination of the problems themselves—whether urgent, foreseen, or imagined. From objects that respond to pressing needs in developing countries to new solutions that are tailored to the urban environment, the exhibition considers how design intervenes across a range of experiences, including medical emergencies and natural disasters. Other objects demonstrate how products created to address specific challenges for people with disabilities can provide solutions that improve everyone’s life. Drawing on the narrative power of design, Born out of Necessity addresses a host of complex cultural developments, such as the need to incorporate environmental responsibility in everyday life, our attempts to marry ancient religious beliefs with contemporary mores, and the desire to anticipate and prevent technological and ecological quagmires.Organized by Paola Antonelli, Senior Curator, and Kate Carmody, Curatorial Assistant, Department of Architecture and Design.

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THROUGH MAR 20139+1 Ways of Being Political: 50 Years of Political Stances in Architecture and Urban DesignThe political potential of architecture was one of the founding credos of the avant-garde in the early 20th century. Yet today it is commonly believed that this potential has been overwhelmed by economic realities and by the sense that architecture, by its very nature, is symbiotic with existing power structures. Such a perception, however, is belied both by the rise of a neo-avant-garde in the 1960s and 70s, and by emerging practices that bear witness to a rebirth of social and political engagement as an assertion of architecture’s relevance. This installation of architectural works from MoMA’s collection offers a series of fresh perspectives on the ways in which, over the last half century, architects have responded actively to the ever-evolving conditions of the polis. The display engages a range of media in MoMA’s collection, putting architectural stances in dialogue with the works of other urban practitioners: artists, photographers, and designers. Divided into nine sections,the exhibition presents a variety of critiques, from radicalism, institutional critique, and iconoclasm, to the blurring of social borders and the examination of public space.

Organized by Pedro Gadanho, Curator, and Margot Weller, Curatorial Assistant, Department of Architecture and Design.

ONGOINGPlywood: Material, Process, Form“Plywood,” explained Popular Science in 1948, “is a layercake of lumber and glue.” In the history of design, plywood is also an important material that has given 20th-century designers greater flexibility in shaping modern forms at an industrial scale. Focusing on the period from around 1930 through the 1950s, this installation features archival photographs and objects from the collection—including iconic furniture by Alvar Aalto and Charles and Ray Eames—that showcase the extensive formal and aesthetic possibilities offered by plywood.Organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design.

Zach Lieberman, James Powderly, Evan Roth, Chris Sugrue, TEMPT1, and Theo Watson. EyeWriter. 2009. OpenFrameworks and custom software, eyeglasses, PlayStation Eye camera, IR pass filter, IR LEDs, battery clip, resistor, zip ties, and metal wire, 7 7/8 x 5 7/8 x 1 15/16" (20 x 15 x 5 cm). Image by the EyeWriter Team. Architecture & Design Purchase Fund

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Engage the future architect or builder in your family! Visit the Education and Family Information desk on floor 2 for a Plywood: Material, Process, Form Family Activity Guide.

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ONGOINGShaping Modernity 1880–1980Recent acquisitions are featured in this installation of highlights from the design collection, covering a century of dramatic aesthetic and technological innovation from the late 19th to the late 20th century. Diverse types of modern design, representing various geographic origins and styles, are organized around period-specific themes: International New Art 1880–1918; Metal and Glass 1920s–1950s; and Out of the Box: Italy 1960s–1980s. The installation reveals new acquisitions, including an interior design for a fireplace wall (1901) by Charles Rennie Mackintosh and Margaret Macdonald; a fragment of an exterior relief frieze from the Susan Lawrence Dana House, Springfield, Illinois (1902–04) by Frank Lloyd Wright; a modernist Czechoslovakian table lamp (c. 1930) by Miroslav Prokop; a Silver Streak Iron (c. 1946) manufactured by Saunders Corporation; and a Shiva vase (1973) by Ettore Sottsass. Another eye-catching highlight is the large purple Tuttuno all-in-one living environment (1971) by Internotredici Associati, displayed for the first time at the Museum since the landmark exhibition Italy: The New Domestic Landscape (1972).

Organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design.

Architecture and Design Collection Exhibitions are made possible by Hyundai Card Company.

THROUGH JAN 7, 2013Eyes Closed/Eyes Open: Recent Acquisitions in DrawingsThis exhibition is culled from the past two years of acquisitions by MoMA’s Department of Drawings. Anchored in various explorations of the late 1960s, these works reveal a range of creative, intellectual, and critical impulses—whether serving as an intimate record of the artist’s practice, or purposefully crafted to address an assumed wider audience. German artist Franz Erhard Walther created a suite of Work Drawings to illustrate (both functionally and conceptually) his First Work Set (1963– 69), a group of 58 interactive sculptural objects, on display at the Museum for the first time since their original presentation here in 1969. While roughly contemporary, Willem de Kooning’s Untitled “eyes-closed”

Ongoing Exhibitions

drawings of 1966, which were sketched blindly by the artist, offer a counterpoint to Walther’s project and seem to embrace the traditional role of drawing as a tool of private expression, while Martha Rosler’s House Beautiful: Bringing the War Home photomontage series of 1967–72 turns a critical eye to the era’s sociopolitical context and expanding media sphere.

Organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Ingrid Langston, Curatorial Assistant, Department of Drawings.

Drawings Collection Exhibitions are made possible by

THROUGH MAR 11, 2013Performing Histories (1)This is the first of a two-part exhibition presenting artworks that engage with history. These works, newly added to the Museum’s Media and Performance Art collection, represent a wide range of perspectives, reflecting the diversity of the artists’ practices and backgrounds. The featured artists are Kader Attia (b. France, 1970), Andrea Fraser (b. USA, 1965), Ion Grigorescu (b. Romania, 1945), Sharon Hayes (b. USA, 1970), Dorit Margreiter (b. Austria, 1967), Deimantas Narkevicius (b. Lithuania, 1964), and Martha Rosler (b. USA, 1943). In recent decades, artists have increasingly chosen to employ performance in conjunction with cinematic mediums, such as film, slide projection, video, and photography, in order to create multifaceted narratives and provide new readings of past events. Examining history as both document and fiction, the exhibited works raise questions about how the past is constructed and how it can inform the present. Along with the exhibition, a number of live performances will be held in the Museum galleries. A special section in the MoMA Media Lounge (see below) is dedicated to videos related to the exhibition. Organized by Sabine Breitwieser, Chief Curator, with Martin Hartung, Curatorial Assistant, Department of Media and Performance Art.

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

ONGOINGMoMA Media Lounge—Phase 2The Department of Media and Performance Art expands the MoMA Media Lounge, a modular and flexible display presenting

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Media galleryFLOOR 2

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MoMA Media loungeCORRIDOR, FLOOR 2

Join us for two Modern Mondays events with artists featured in Performing Histories: Kader Attia on October 15, and Dorit Margreiter on October 22. See page 35 for details.

Facilitators are on hand in the galleries every Wednesday and the third Saturday of each month, from noon to 4:00 p.m., to assist visitors in activating Walther's First Work Set. Come and participate!

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the Museum’s collection of video- and audio-based works, into the entire second-floor corridor linking The Lewis B. and Dorothy Cullman Education and Research Building to the Museum galleries. MoMA began collecting video art in the mid-1970s and has since amassed a collection of approximately 1,500 single-channel videos, from works made with the late 1960s Portapak to examples of current digital video techniques. The first public platform of its kind in a New York museum, the Media Lounge invites viewers to select artworks through an iPad interface and experience them with historically accurate display technology. Designed by artist Renée Green (American, b. 1959), the installation consists of expandable or contractible environments for individual or shared viewing experiences. Green’s Media Bichos, as she refers to this work, can be related to Lygia Clark’s Bichos of the 1960s—geometric “creatures” with which visitors can interact to create multiple forms. Banners suspended overhead refer to radical aspirations of the avant-garde and beyond, forming Green’s Space Poem #3 (Media Bicho) and adding another layer to her ongoing investigation of the ways in which viewers read and extract meaning from combined systems while moving through space. Phase 2 expands to include seven viewing stations (six cube monitors for standard definition videos and one flat-screen monitor for widescreen format videos), in addition to a projection highlighting specific videos. Phase 3 will encompass the space around the second-floor Bauhaus Staircase.

Organized by Sabine Breitwieser, Chief Curator, and Erica Papernik, Assistant Curator, Department of Media and Performance Art, in collaboration with the Department of Media and Performance Art staff.

Major support for the MoMA Media Lounge is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Special thanks to KnollTextiles.

THROUGH FEB 18, 2013Bruce Nauman: White Anger, Red Danger, Yellow Peril, Black DeathBruce Nauman began his career in the mid-1960s, joining other artists of his generation in abandoning traditional forms of painting and sculpture. Instead, he and his peers reinvented artistic processes and mediums in a way that mirrored the revolutionary social changes defining the culture of the time. Nauman’s work has

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retained a fierce radicality throughout the ensuing four decades, even as it has constantly and dramatically transformed its own means and appearance. During the 1980s, when Nauman was in his forties, his work often directly voiced his concern over profound sociopolitical problems. White Anger, Red Danger, Yellow Peril, Black Death (1984), now on view in a special installation located just outside the entrance to the fourth-floor Painting and Sculpture Galleries, belongs to a group of sculptures that use I-beams and chairs to address the practice of torture still employed by governments worldwide. “I thought of using a chair that would somehow become the figure,” Nauman said, “torturing a chair and hanging it up or strapping it down.” While such a sculpture has no political efficacy per se, for Nauman the work of art does its job by calling attention to issues that may otherwise remain unseen and unspoken.

THROUGH APR 2013The Shaping of New Visions: Photography, Film, PhotobookThis exhibition, covering the period from 1910 to today, offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium’s relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, and Conceptual and post-Conceptual art—and in the development of contemporary artistic practices. The shaping of what came to be known as “New Vision” photography bore the obvious influence

August Sander. Das rechte Auge meiner Tochter Sigrid (The Right Eye of My Daughter Sigrid). 1928. Gelatin silver print, 7 1/16 x 9" (17.9 x 22.9 cm). Gift of the photographer. © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

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library and ArchivesEDUCATION AND RESEARCH BUILDING, MEZZANINE

To hear dynamic commentaries on the Museum’s collection and special exhibitions, pick up a player at the audio program desks on floors 1 and 6. Visitors can also access MoMA Audio via their wireless devices by connecting to MoMA’s public WiFi network.

MoMA Audio is offered free of charge courtesy of

A MoMA Audio

of “lens-based” and “time-based” works. El Lissitzky best summarized its ethos: “The new world will not need little pictures,” he wrote in The Conquest of Art (1922). “If it needs a mirror, it has the photograph and the cinema.” Bringing together some 250 works from MoMA’s collection, the exhibition addresses the idea of photographic history as a multivalent history of distinct “new visions,” rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks. Organized by Roxana Marcoci, Curator, Department of Photography.

THROUGH JAN 7, 2013 New to the Print Collection: Matisse to Bourgeois This exhibition showcases some 80 prints and artists’ books the Museum has acquired over the past two years, and reveals how an art collection is always a work in progress. On view for the first time at MoMA, these works span more than a century, from 1888 to 2011, with some contextualized by related works already in the collection. Pablo Picasso’s 1937 print The Weeping Woman (acquired in 2011), which filled one of the last major gaps in MoMA’s holdings of works by the artist, is shown alongside the third state of the same image that joined the collection in 1999. Likewise, the 1958 linoleum cut Solid as a Rock (My God Is Rock), by Charles White (acquired in 2010), is complemented by a lithograph by White that was donated to the Museum more

than 40 years ago, and illuminates White’s widespread impact on a younger generation of artists. The exhibition also addresses more experimental processes that have often led to rare or one-of-a-kind works, from James Ensor’s hand-colored Deadly Sins (1888–1904) and a group of Henri Matisse’s monotypes (1914–15), to a recent monumental cyanotype by Christian Marclay.

The exhibition is organized by Christophe Cherix, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, with Judy Hecker, Assistant Curator, Department of Prints and Illustrated Books.

OCT 24, 2012–JAN 1, 2013The Artist in Place: The First 10 Years of MoMA PS1The institution now known as MoMA PS1 began over 40 years ago as The Institute for Art and Urban Resources, an organization dedicated to rehabilitating derelict property around New York City into spaces for artists to create and display their work. Within 10 years, the Institute had occupied the iconic P.S. 1 school building in Queens and the downtown Clocktower Gallery, developed a formal studio program that drew young artists from around the world, and maintained an exhibition schedule that frequently involved hundreds of artists in a single season. Drawing on materials from the newly opened institutional records in the Museum Archives, this exhibition chronicles the growth and development of MoMA PS1 in its first decade—from its origins as a temporary art event to one of the largest art spaces in the country—and emphasizes its enduring legacy as a central player in the New York art world and a showcase for a critical era in contemporary art.Organized by Jonathan Lill, Project Archivist, and Alana Miller, Project Archives Assistant, MoMA Archives.

Funding for the processing and creation of a finding aid for the MoMA PS1 Archives was provided by the Leon Levy Foundation.

Vija Celmins. Starfield. 2010. Mezzotint and drypoint, plate: 23 11/16 x 33 7/16" (60.2 x 85 cm). Publisher: the artist, New York, and Simmelink/Sukimoto Editions, Olympia, Washington. Printer: Simmelink/Sukimoto Editions, Olympia, Washington. Edition: 30. The Lily Auchincloss Fund. © 2012 Vija Celmins