1 Spring 2020

Member Spring 2020 Guide

1 Welcome

If you’ve spent time in our collection galleries in recent years, you’ve likely encountered Félix Fénéon, the mysterious man who is the subject of Paul Signac’s hypnotic masterpiece Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (which is also the cover of this Guide). You’ll have the chance to get to know him better when the exhibition Félix Fénéon: The Anarchist and the Avant-Garde—From Signac to Matisse and Beyond opens on March 22 (Member Previews begin March 19).

You might know that Fénéon was the art critic who coined the term Neo-Impressionism to describe the work of Georges-Pierre Seurat and Paul Signac in 1886. But did you know that he was also an editor who published Alfred Jarry and Guillaume Apollinaire early in their careers? And an art dealer, who signed Henri Matisse to a first, crucially enabling contract in 1909 and who gave the Italian Futurists their first exhibition in Paris in 1912? And a collector, who amassed a renowned collection of paintings by Seurat, Signac, Matisse, Pierre Bonnard, Amedeo Modigliani, and many others, as well as an equally astonishing assortment of sculptures from Africa, Oceania, and the Americas? And an anarchist—arrested, tried, and acquitted in the case of a bombing in 1894—who believed that art could play a fundamental role in the formation of a more just and harmonious world?

By bringing together a selection of the most outstanding works that Fénéon owned and championed, the exhibition offers a nuanced portrait of one of the most fascinating but hidden figures in the history of modern art. We look forward to introducing him to you!

Starr Figura Curator, Department of Drawings and Prints Cover: Paul Signac. Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (detail). 1890. Oil on canvas. Gift of Mr. and Mrs. David Rockefeller, 1991. © 2020 Artists Rights Society (ARS), New York/ADAGP, Paris

1 1 ←→ Say goodbye to our opening presentation

The new MoMA means a collection in motion. On May 12 we’ll reveal 20 newly installed galleries on floors 2, 4, and 5. To enjoy our inaugural hang one last time, plan a visit before April 6. See pages 10– 15 to learn more about some of the works you won't want to miss.

↘ → ↑ → Celebrate Expand Engage with See Migrant Armory Arts (or start!) leading artists Mother with Week your record mom collection Hear artists tell the Kick off one of the art stories behind specific Closing day of works during One world’s biggest weeks The fourth annual Dorothea Lange: at MoMA’s annual Work, a new monthly Words & Pictures falls Come Together: Record conversation series. Armory Party, where Fair and Music Festival, on Mother’s Day, you’ll enjoy an open bar In May, Faith Ringgold and members get an hosted by MoMA PS1 will discuss her her and live performance in collaboration with exclusive Last Look. by alt-country crooner 1967 painting American Bring your favorite Other Music, offers People Series #20: Die. Orville Peck. Wed, recent and rare lady to see Lange’s Mar 4, 9:00 p.m. Thu, May 7, 6:30 p.m. iconic photographs releases, merchandise, Members may reserve Members can and ephemera from one final time, purchase discounted complimentary tickets without the crowds. more than 75 labels, beginning April 7. tickets by visiting plus live performances, Sun, May 10. Learn moma.org/ film, and workshops. more at moma.org/ thearmoryparty2020. Mar 28–29. Members memberevents. can purchase discounted tickets by calling (212) 333-1161.

From left: A view of the fourth-floor collection galleries. Shown: Oil on canvas. Gift of Agnes Gund, the Louis and Bessie Adler Andy Warhol. Campbell’s Soup Cans. 1962. Acrylic with metallic Foundation, Inc., Robert and Meryl Meltzer, Jerry I. Speyer, enamel paint on canvas, 32 panels. Partial gift of Irving Blum. Anna Marie and Robert F. Shapiro, Emily and Jerry Spiegel, Additional funding provided by Nelson A. Rockefeller Bequest, an anonymous donor, and purchase. © 2020 Edward Ruscha. gift of Mr. and Mrs. William A. M. Burden, Abby Aldrich Photo: Noah Kalina; Come Together: Record Fair and Music Rockefeller Fund, gift of Nina and Gordon Bunshaft, acquired Festival at MoMA PS1. Photo: Walter Wlodarczyk; 2019 Armory through the Lillie P. Bliss Bequest, Philip Johnson Fund, Party. Photo: Austin Donohue; Faith Ringgold. American People Frances R. Keech Bequest, gift of Mrs. Bliss Parkinson, and Series #20: Die. 1967. Oil on canvas, two panels. Acquired Florence B. Wesley Bequest (all by exchange). © 2020 Andy through the generosity of The Modern Women’s Fund, Ronnie F. Warhol Foundation/ARS, NY/TM Licensed by Campbell’s Soup Heyman, Eva and Glenn Dubin, Lonti Ebers, Michael S. Ovitz, Co. All rights reserved; Claes Oldenburg. Giant Soft Fan. Daniel and Brett Sundheim, and Gary and Karen Winnick; 1966–67. Vinyl filled with foam rubber, wood, metal, and plastic Dorothea Lange. Migrant Mother, Nipomo, California (detail). tubing. The Sidney and Harriet Janis Collection. © 2020 March 1936. Gelatin silver print. Purchase Claes Oldenburg; Edward Ruscha. OOF. 1962 (reworked 1963). Member Must-Sees Member Events

A view of the Marlene Get a sneak peek Discover new Hess and James D. at what’s new ways of looking Zirin Lounge. Photo: Noah Kalina Member Previews Member Gallery Talks Be the first to see our new Dive deeper into MoMA’s collection exhibitions. Open to all members and exhibitions. Member Gallery and their accompanied guests; Talks take place on the first and standard guest ticketing third Wednesday of each month; policies apply. registration opens at 12:00 p.m. in the Museum lobby on a first-come, Félix Fénéon: The Anarchist and first-served basis. 12:30 p.m. the Avant-Garde—From Signac to Matisse and Beyond Taking a Thread for a Walk Thu, Mar 19–Sat, Mar 21 Wed, Mar 4

Engineer, Agitator, Constructor: Artist’s Choice: Amy Sillman— The Artist Reinvented The Shape of Shape Thu, May 7–Sat, May 9 Wed, Mar 18

Judd Start your day Wed, Apr 1 with art Dorothea Lange: Words & Pictures Member Early Access Wed, Apr 15 Members get a head start in the galleries, every day. See favorite Neri Oxman: Material Ecology works in select galleries and Wed, May 6 exhibitions before the Museum opens to the public. Daily, Félix Fénéon: The Anarchist and 9:30–10:30 a.m. the Avant-Garde—From Signac Never miss Browse good design to Matisse and Beyond Member Shopping Days Collection 1880s–1940s Wed, May 20 an exhibition Through Mar 22 Member Last Look For a limited time, all members Closing day of every major exhibition save 20% on curator-endorsed Dorothea Lange: Words & Pictures Spend an evening is reserved just for members. Take products at the MoMA Design Mar 23–May 10 advantage of a final opportunity to Stores and store.moma.org. Stock with us view our most popular exhibitions up on publications, home decor, Félix Fénéon: The Anarchist and Member After Hours without the crowds. artist products, tech, and more. the Avant-Garde—From Signac Join us for exclusive hours when the Sat, Mar 7–Tue, Mar 10 to Matisse and Beyond Museum is closed to the public. Bring Sur moderno: Journeys of Fri, Apr 17–Mon, Apr 20 May 11–Jun 28 friends and family, take in exhibitions Abstraction—The Patricia Phelps Sun, May 17–Wed, May 20 through special activations, and de Cisneros Gift enjoy drinks at our cash bar. Selected Sun, Mar 15 galleries and exhibitions will be open. Tue, Mar 17, Tue, Apr 7 & Dorothea Lange: Words & Pictures Thu, May 28, 6:30–9:00 p.m. Sun, May 10

4 5 Judd Mar 1–Jul 11, Member Previews: Feb 27–29 Judd

Félix Fénéon: The Anarchist and the Avant-Garde— From Signac to Matisse and Beyond Mar 22–Jul 25, Member Previews: Mar 19–21

Engineer, Agitator, Constructor: The Artist Reinvented May 10–Sep 12, Member Previews: May 7–9

Dorothea Lange: Words & Pictures Through May 9, Member Last Look: May 10

Neri Oxman: Material Ecology Through May 25

Artist’s Choice: Amy Sillman—The Shape of Shape Through Jun 7

Sur moderno: Journeys of Abstraction— The Patricia Phelps de Cisneros Gift Through Mar 14, Member Last Look: Mar 15

Haegue Yang: Handles Through Apr 12

“I had always considered my work another activity of some kind,” Mar 1–Jul 11 Taking a Thread for a Walk remarked artist Donald Judd. “I certainly didn’t think I was making Floor 6, Cohen Through May 17 sculpture.” One of the foremost sculptors of our time, Judd refused Center for Special this designation and other attempts to label his art: his revolutionary Exhibitions approach to form, materials, working methods, and display went A Century of Sculpture beyond the set of existing terms in mid-century New York. His work, Member Previews Through May in turn, changed the language of modern sculpture. Bringing together Feb 27–29 sculpture, painting, print, drawing, and rarely seen works from throughout Judd’s career, this is the first US retrospective in over Limited entry— Adam Linder: Shelf Life 30 years to explore this artist’s remarkable vision. members skip the line.

Shahryar Nashat: Force Life Judd (1928–1994) began his career working as a painter while Through Mar 8 studying art history and writing art criticism. Among a generation Donald Judd. Untitled. 1963. Cadmium red light oil on wood of artists who sought to move past Abstract Expressionism, Judd with iron pipe. Hirshhorn shifted from two to three dimensions, into what he called “real Museum and Sculpture Garden, Shuzo Azuchi Gulliver: Cinematic Illumination Smithsonian Institution, Mar 28–Apr 26 space.” By the mid-1960s, he commenced his lifelong practice of using industrial materials and delegating production of his work Washington, DC, Joseph H. Hirshhorn Purchase Fund, 1991. to local metal shops. In the following years, “boxes,” “stacks,” and © 2020 Judd Foundation/ Private Lives Public Spaces “progressions” continued as his principal framework to introduce Artists Rights Society (ARS), different combinations of color and surface. Judd surveys the New York. Photo: Alex Jamison. Through Jul 5 complete evolution of the artist’s career, culminating in the last Hirshhorn Museum and Sculpture Garden decade of his life, when Judd intensified his work with color and continued to lay new ground for what ensuing generations would come to define as sculpture.

In the Galleries 7 Félix Fénéon: The Anarchist and the Avant-Garde—From Signac to Matisse and Beyond

Known among his friends as a “secret animator,” the French art Mar 22–Jul 25 critic, editor, publisher, dealer, collector, and anarchist Félix Fénéon Floor 3, (1861—1944) played a key role in the careers of leading artists from Steichen Galleries Georges Seurat and Paul Signac to Pierre Bonnard and Henri Matisse. In addition to promoting and collecting the work of these and Member Previews other artists he befriended in the burgeoning Paris art world of the Mar 19–21 1880s through the 1930s, Fénéon was also one of the first European collectors of art from Africa, Oceania, and the Americas, and Paul Signac. Opus 217. Against the Enamel of a Background he endeavored to bring new recognition to such works. As a fervent Rhythmic with Beats and Angles, anarchist during a period of dramatic social change and political Tones, and Tints, Portrait of turmoil, he believed that avant-garde art and radical politics were M. Félix Fénéon in 1890. 1890. Henri Matisse. Interior with a Young Girl (Girl Reading). Paris two sides of the same coin. Oil on canvas. Gift of Mr. and Mrs. David Rockefeller, 1991. 1905–06. Oil on canvas. Gift of © 2020 Artists Rights Society Mr. and Mrs. David Rockefeller, The exhibition, the first dedicated to Fénéon, features some 130 (ARS), New York/ADAGP, Paris 1991. © 2020 Succession H. objects, including major works that he championed and collected, Matisse/Artists Rights Society (ARS), New York to illuminate his little-known but fascinating career. Together these works reveal the profound and lasting legacy of Fénéon’s bold, forward-looking vision.

8 9 This tribute to New York artist Florine From left: Florine Stettheimer. Family Stettheimer brings her playful and Portrait, II. 1933. Oil on canvas. Gift of Collection Miss Ettie Stettheimer. © Estate of Florine exuberant works together with those from Stettheimer; Hannah Höch. Collage II (On her circle and like-minded artists working Filet Ground). c. 1925. Cut-and-pasted 1880s–1940s today. Here’s just a taste of the surprises printed and painted paper on printed paper. in store. See these works before this gallery Gift of the artist and of Rose Fried. © 2020 Hannah Höch/Artists Rights Society (ARS), is reinstalled in April. New York/VG Bild-Kunst, Germany; Marcel Duchamp. Fresh Widow. 1920. Miniature French window, painted wood frame, and panes of glass covered with black leather. Katherine S. Dreier Bequest. © 2020 Artists Rights Society (ARS), New York/ ADAGP, Paris/Estate of Marcel Duchamp; Sophie Taeuber-Arp. Head. 1920. Painted wood with glass beads on wire. Mrs. John Hay Whitney Bequest (by exchange) and Committee on Painting and Sculpture Funds. © 2020 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Floor 5, Gallery 509, worlds of art, dance, literature, gallery with Fresh Widow at the far left side of this family Fresh Widow. Constructed by a recent war and the bawdy Florine Stettheimer music, and theater. Such figures, (1920), a work he attributed portrait. She was unabashedly carpenter in accordance with tradition of amorous (or “fresh”) and Company along with Stettheimer’s own to his female alter ego, Rose proud of this unconventional Duchamp’s instructions, Fresh widows of soldiers. Head. New York artist Florine immediate family, often appear Sélavy. Works by other and personal painting, Widow is a reduced scale version Sophie Taeuber-Arp’s Head Stettheimer was a painter and in her elaborately detailed contemporaries, as well as frequently referring to it as “my of the traditional floor-length combines mechanically poet; a designer of highly portraits, which blur distinctions like-minded artists working masterpiece.”Collage II (On Filet French window. Duchamp produced turned-wood pieces original furniture, picture between private life and public today, extend Stettheimer’s Ground). Here, Hannah Höch covered the glass panes with and beaded ornaments typically frames, stage sets, and performance, domestic settings interests in accessorizing and feminizes the Dada movement’s panels of black leather, associated with domestic costumes; and a celebrated and theatrical stages. One of ornamentation, design and engagement with the everyday obstructing the metaphorical handicrafts to create a sculpture salon host. The parties she Stettheimer’s closest friends decoration. Family Portrait, II. by pairing craft techniques, view through the window. The that challenges the boundaries threw in her eccentrically from the mid-1910s to early Dressed in a black pantsuit traditionally seen as women’s artist transforms “French separating craft from fine art. decorated studio brought 1920s was the artist Marcel and with palette and paintbrush work, with the avant-garde window” into the title “Fresh together luminaries from the Duchamp, represented in this in hand, Stettheimer appears strategy of photomontage. Widow,” a pun that points to the

10 11 Unconventional materials make for new From left: Jacques Villeglé. modes of collaboration, and bold actions raise 122 rue du temple. 1968. Collection Torn-and-pasted printed paper the stakes for activism in art. In addition to on canvas. Gift of Joachim works by the likes of Jasper Johns and Robert Aberbach (by exchange). 1940s–1970s Rauschenberg, the lesser-known artists © 2020 Artists Rights Society featured here take center stage with their (ARS), New York/ADAGP, Paris; Niki de Saint Phalle. Shooting experimental approaches. See these works Painting American Embassy. before this gallery is reinstalled In April. 1961. Paint, plaster, wood, plastic bags, shoe, twine, metal seat, axe, metal can, toy gun, wire mesh, shot pellets, and other objects on wood. Gift of the Niki Charitable Art Foundation. © Niki Charitable Art Foundation; Daniel LaRue Johnson. Freedom Now, Number 1. August 13, 1963– January 14, 1964. Pitch on canvas with “Freedom Now” button, broken doll, hacksaw, mousetrap, flexible tube, and wood. Given anonymously

Floor 4, Gallery 408, practices and challenged and political notices he used to billboards as a precursor for and advertising reality,” Saint They included a dismembered Stamp, Scavenge, Crush categorization by incorporating make this work. After tearing his process. Shooting Painting Phalle was a key figure among doll, a mousetrap, a hacksaw, A bedsheet hand-printed with readymade goods, symbols, fragments of the original images, American Embassy. This work a generation of artists exploring and a “Freedom Now” button— a rubber laundry stamp, a and even trash into their works. he pasted these passages of is one of Niki de Saint Phalle’s the potential of found and a relic of the Congress of Racial taxidermied bald eagle affixed Collaboration reigned as friends color, text, and image into a “shooting paintings,” a series, everyday objects through Equality, an interracial activist to a canvas, a car compacted and lovers from various fields chance composition. Many of begun in February 1961, that performance-based practice. group that organized freedom by a hydraulic press—these are worked with one another to the fliers used here announced repositioned the art of painting Freedom Now, Number 1. In rides protesting segregation. just some of the repurposed expand the meaning of art to the city’s May 1968 student and and assemblage as something 1963, inspired by the intensifying The objects are almost entirely materials used by international include the world around it. worker demonstrations, and the explicitly violent. The sole Civil Rights Movement, Los obscured by pitch—a resin used artists working from the mid- 122 rue du temple. 122 rue du artist considered the people female member of the Nouveaux Angeles–based Daniel LaRue for waterproofing boats as well 1950s to early 1960s. Sculptors, Temple is the Paris address from who had posted them to be his Réalistes (New Realists) group, Johnson conducted research in as tarring individuals for public choreographers, composers, which Jacques Villeglé detached collaborators, understanding which championed the “poetic 10 Southern states and collected torture—and evoke the domestic and painters blended their many of the movie posters their use of advertising recycling of urban, industrial, objects for his constructions. and mundane threat of violence.

12 13 There’s nothing more poignant than a portrait. I try to present people with an extreme From left: Chris Ofili. The Here artists working in a variety of mediums Holy Virgin Mary. 1996. Acrylic, Collection amount of dignity. They’re always going to oil, polyester resin, paper reference, critique, and push the meaning of collage, glitter, map pins, and representation to tell personal stories that be stared at, but I try and make the portraits elephant dung on canvas. 1970s–Present defy convention. See these works before this stare back. Gift of Steven and Alexandra gallery is reinstalled in April. Cohen; Catherine Opie. Dyke. 1993. Chromogenic color print. Catherine Opie, artist Committee on Photography Fund and gift of Agnes Gund. © 2020 Catherine Opie; Felix Gonzalez-Torres. “Untitled” (Perfect Lovers). 1991. Clocks, paint on wall. Gift of the Dannheisser Foundation. © 2020 The Felix Gonzalez- Torres Foundation, Courtesy Andrea Rosen Gallery, New York

Floor 2, Gallery 208, historical images with a sense of the self became both a reflection and imperious, yet also suffused described “twisted social Lovers). Initially set to the same True Stories their own selfhood, making the of and a defense against the with sexual potency. Close documentary photographer,” time, these identical battery- In the 1990s, as the culture past startlingly current. Sculpture culture in which it was produced, inspection reveals the delicate, made pictures in gay, lesbian, powered clocks will eventually wars raged, many artists turned became a means of exploring prompting artists to collage fluttering cherubim surrounding and transgender leather-culture fall out of sync, or may stop to representing themselves the body under pressure. With public and private concerns. her to be crafted from images of circles in Los Angeles during the entirely. Conceived shortly after and their communities through the rise of the Internet, cable Epitomizing the spirit of the time, women’s buttocks clipped from 1990s. Here the woman’s shorn Felix Gonzalez-Torres’s partner alternative modes of portraiture, television, and the 24-hour news Chris Ofili stated, “I try to bring pornographic magazines. “When hair and freckled shoulders was diagnosed with AIDS, this asserting their identities and cycle, national and international all that I am to my work.” The I go to the National Gallery and frame the tattooed word at the work uses everyday objects to presence. Photography and video traumas—such as the Los Holy Virgin Mary. Depicted on a see paintings of the Virgin Mary, nape of her neck. By taking track and measure the inevitable allowed for a diaristic approach, Angeles riots, the rampant global lush, glittering ground of orange I see how sexually charged possession of the label “dyke” flow of time. When one of the capturing change over time, and spread of the AIDS epidemic, resin that recalls the gold leaf they are. Mine is simply a hip- through its imprint on her body, clocks stops or breaks, they can life as an ongoing performance. and the first Iraq war—became of religious icons, Ofili’s Virgin hop version,” Ofili has said. she aimed to render the slur both be reset, thereby resuming In painting, artists suffused art- public theater. In this context, Mary is resplendent, majestic, Dyke. Catherine Opie, a self- powerless. “Untitled” (Perfect perfect synchrony.

14 15 Engineer, Agitator, Constructor: Dorothea Lange: Neri Oxman: Material Ecology Artist’s Choice: Amy Sillman— The Artist Reinvented Words & Pictures The Shape of Shape From tree bark and crustacean shells to “We regarded ourselves as engineers, we Toward the end of her life, Dorothea Lange silkworms and human breath, nature has Artist’s Choice: Amy Sillman—The Shape maintained that we were building things… we put (1895–1965) reflected, “All photographs—not influenced Neri Oxman’s design and production of Shape is the 14th installment of MoMA’s our works together like fitters.” So declared the only those that are so called ‘documentary’… processes, just as it has influenced architects Artist’s Choice series, in which a contemporary artist Hannah Höch, describing a radically new can be fortified by words.” A committed social across centuries. Unlike her predecessors, artist organizes an installation drawn from approach to artmaking in the 1920s and ’30s. observer, Lange paid sharp attention to the however, Oxman has developed not only new the Museum’s collection. The exhibition Such wholesale reinvention of the role of the artist human condition, conveying stories of everyday ways of thinking about materials, objects, features rarely seen works selected by and the functions of art took place in lockstep life through her photographs and the voices they buildings, and construction processes, but Sillman (b. 1955), an artist who has helped with shifts in industry, technology, and labor, and drew in. Dorothea Lange: Words & Pictures, the also new frameworks for interdisciplinary— redefine contemporary painting, pushing amid profoundly momentous events: World War I, first major MoMA exhibition of Lange’s work in and even interspecies—collaborations. the medium into installations, prints, zines, the Russian Revolution, the collapse of the Austro- 50 years, brings iconic works from the collection animation, and architecture. Here, Sillman Hungarian Empire, and the rise of fascism. together with lesser known images—from early She coined the term “material ecology” to presents a highly personal exploration street photographs to her examination of the describe techniques and objects that are of shape—the ever-shifting boundaries that Highlighting figures such as Aleksandr Rodchenko, public defender system. Her pictures’ complex informed by and directly engage with the define what and how we see—in modern art. Liubov Popova, John Heartfield, and Fré Cohen, relationships to words show Lange’s interest structures, systems, and aesthetics of nature. Works spanning vastly different time periods, Engineer, Agitator, Constructor demonstrates in art’s power to deliver public awareness and Integrating advanced 3-D printing techniques places, and mediums engage the curious the ways in which artists reimagined their to connect to intimate narratives in the world. with natural phenomena and behaviors, forms and unpredictable contours of bodies, roles to create a dynamic art for a new world. material ecology operates at the intersection fragments, gestures, and shadows. Common to all was a commitment to innovative Presenting Lange’s work in its diverse contexts— of biology, engineering, materials science, visual languages, from photomontage to new photobooks, Depression-era government and computer science. While individually Reflecting on her curatorial process, Sillman typography, and ambitions to reach mass reports, newspapers, magazines, poems— these works are elegant and arresting, taken said, “Even though shape is everywhere, audiences. This exhibition marks a recent along with the voices of contemporary artists, as a group they constitute a revolutionary we don’t talk about it much; it’s not a hot topic transformative acquisition from The Merrill C. writers, and thinkers, the exhibition offers new philosophy of designing, making—and in art, like color or systems. So I decided to Berman Collection, and offers a window onto a more nuanced understanding of Lange’s even unmaking—the world around us. look for works in MoMA’s collection in which the experimentation and political engagement vocation, and new means for considering words shape does prevail over other considerations. of art in the interwar period. May 10–Sep 12, and pictures today. Through May 9, Floor 2, The seven projects in this exhibition are I found a wealth of artworks, far too many Floor 3, Menschel Galleries. Member Previews: Sachs Galleries. Member Last Look: May 10 “demos” that might someday be available to all to include here, by artists who dig into life’s May 7–9 architects and designers for a great variety of surfaces, who start with physical perception Join us for a Member Gallery Talk on applications. Together, they celebrate a new rather than abstract logic. Often eccentric, Wed, Apr 15, at 12:30 p.m. age in which biology, architecture, engineering, poetic, or intimate, these works are like bodies Valentina Kulagina. Maquette for We Are Building (Stroim). and design join forces to build the future. that speak, operating at the hub of language 1929. Gouache, cut-and-pasted halftone prints, sandpaper, Through May 25, Floor 1 and watercolor on paper. The Merrill C. Berman Collection. and matter, signs and sensations.” Through Acquired through the generosity of Alice and Tom Tisch, Jo Jun 7, Floor 5 Carole and Ronald S. Lauder, Sue and Edgar Wachenheim III, Join us for a Member Gallery Talk on David Booth, Marlene Hess and James D. Zirin, Marie-Josée Wed, May 6, at 12:30 p.m. and Henry R. Kravis, Jack Shear, the Patricia Bonfield Endowed Join us for a Member Gallery Talk on Acquisition Fund for the Design Collection, Daniel and Jane Wed, Mar 18, at 12:30 p.m. Och, The Orentreich Family Foundation, Emily Rauh Pulitzer, The Modern Women's Fund; and by exchange: Gift of Jean Dubuffet in honor of Mr. and Mrs. Ralph Colin, The Judith Neri Oxman and The Mediated Matter Group. Lazarus. 2016. Installation view of Artist’s Choice: Amy Sillman—The Shape Rothschild Foundation Contemporary Drawings Collection, Dorothea Lange. Tractored Out, Childress County, Texas. 1938. Produced by, and in collaboration with, Stratasys, Ltd. Courtesy of Shape, The Museum of Modern Art, New York, October 21, and the Richard S. Zeisler Bequest Gelatin silver print. Purchase The Mediated Matter Group 2019–June 7, 2020. Photo: Heidi Bohnenkamp

16 17 Sur moderno: Journeys Haegue Yang: Handles Taking a Thread for a Walk A Century of Sculpture of Abstraction—The Patricia Haegue Yang (Korean, b. 1971) is known for genre- Anni Albers wrote in 1965, “Just as it is possible The Abby Aldrich Rockefeller Sculpture Garden Phelps de Cisneros Gift defying, multimedia installations that interweave to go from any place to any other, so also, at The Museum of Modern Art holds a special a range of materials and methods, historical starting from a defined and specialized field, place in the hearts of many. From its inception Sur moderno: Journeys of Abstraction— references, and sensory experiences. Handles, can one arrive at a realization of ever-extending in 1939, the Sculpture Garden, which launched The Patricia Phelps de Cisneros Gift is drawn Yang’s installation commissioned for MoMA’s relationships… traced back to the event of the very concept of the garden as outdoor primarily from the paintings, sculptures, Marron Atrium, features six sculptures, dazzling a thread.” Such events quietly brought about gallery for changing installations, has hosted and works on paper donated to the Museum geometries, and the play of light and sound, some of modern art’s most intimate and exhibitions of sculpture and architectural by the Colección Patricia Phelps de Cisneros. to create a ritualized, complex environment with communal breakthroughs, challenging the structures, performances, and social events. This extraordinarily comprehensive collection both personal and political resonance. widespread marginalization of weaving as A Century of Sculpture features a selection provides the foundation for a journey through “women’s work.” In Albers’s lifetime, textiles of sculptures that have become synonymous the history of abstract and concrete art Handles are points of attachment and material became newly visible as a creative discipline— with the space and Philip Johnson’s elegant from South America at mid-century. The catalysts for movement and change. Yang’s one closely interwoven with the practices and enduring design. The works on view exhibition explores the transformative power installation considers this everyday interface of architecture, industrial design, drawing, chart more than one hundred years of artistic of abstraction in Brazil, Venezuela, Argentina, between people and things. Steel grab bars are and sculpture. production, from Auguste Rodin’s Monument and Uruguay, focusing on both the way mounted on the walls amid an iridescent pattern, to Balzac (1898), made in honor of one of that artists reinvented the art object itself and put to functional use in her sonic sculptures. True to its title, this exhibition takes a thread France’s greatest novelists, to Group of Figures and the role of art in the renewal of the Mounted on casters and covered in skins of bells, for a walk among ancient textile traditions, (2006–08) by German artist Katharina Fritsch, social environment. Through Mar 14, the sculptures generate a subtle rattling sound early-20th-century design reform movements, comprising nine boldly-colored, life-size Floor 3. Menschel Galleries. Member when maneuvered by performers. The natural and industrial materials and production figures, among them St. Michael, a Madonna, Last Look: Mar 15 ambient noise of birdsong, which also permeates methods. Featuring adventurous combinations a giant, and a snake. Favorites such as Pablo the space, was in fact recorded at a tense political of natural and synthetic fibers and spatially Picasso’s bronze She-Goat (1950) and Isa moment in the demilitarized zone between dynamic pieces that mark the emergence Genzken’s 36-foot-tall Rose II (2007) join North and South Korea during the historic summit of a more sculptural approach to textile art works newly on view, including a multipart in 2018. Reporters strained to hear the private beginning in the 1960s, this show highlights painted-steel sculpture from 1968 by Donald conversation between the two nations’ leaders, the fluid expressivity of the medium. Through Judd, and Louise Bourgeois’s Quarantania, III but their audio devices only picked up the May 17, Floor 3, Johnson Galleries (1949–50). Through May, Rockefeller chirping of birds and the faint click of cameras. Sculpture Garden, Floor 1 Through Apr 12, Floor 2, Marron Atrium Join us for a Member Gallery Talk on Wed, Mar 4, at 12:30 p.m. For a refreshing pause, head outside and Handles will be activated on the first listen to the meditation stop in our new Thursday of each month for our evening Sculpture Garden playlist, available at event, First Thursdays (see page 32). moma.org/audio.

Installation view of Sur moderno: Journeys of Abstraction—The Haegue Yang. Handles. 2019. Commissioned for the Donald B. Installation view of Taking a Thread for a Walk, The Museum Installation view of A Century of Sculpture, The Museum Patricia Phelps de Cisneros Gift, The Museum of Modern Art, New Catherine C. Marron Atrium by The Museum of Modern Art, New of Modern Art, New York, October 21, 2019–May 17, 2020. of Modern Art, New York, October 21, 2019–May 2020. York, October 21, 2019–March 14, 2020. Photo: Noah Kalina York. © Haegue Yang. Installation view, The Museum of Modern Art, Photo: Denis Doorly Photo: Heidi Bohnenkamp New York, October 21, 2019–April 12, 2020. Photo: Denis Doorly

18 19 → Some Favorites Chris Ware’s “I Guess on Magazine We’re Here” It’s about 15 minutes by subway from MoMA in Midtown to Images, clockwise from top Magazine is MoMA’s online publication, right: Illustration by Chris Ware; MoMA PS1 in Queens. featuring passionate perspectives on the art, Kalup Linzy. Resemblance 3. We took this timeframe 2019. Collage on canvas; as a creative prompt ideas, and culture of our time. You’ll find original Diana Hartman repairs Paula to invite musicians, Modersohn-Becker’s Self- content and commissioned projects including Portrait with Two Flowers in writers, and artists to audio, video, drawings, poetry, and essays. Her Raised Left Hand (1907); produce an original Lewis W. Hine. Sadie Pfeifer, work. Acclaimed artist And members receive Magazine’s monthly a Cotton Mill Spinner, Lancaster, and writer Chris Ware South Carolina. 1908. Gelatin newsletter, so keep an eye on your inbox. silver print. Purchase used the opportunity to imagine two women on a journey. As the Here’s just a sampling of some of our most mother and daughter make their way popular stories. Read, watch, and listen to across the East River them all at moma.org/magazine. underground to PS1, they privately reflect on their relationship and the moments they hold

→ in memory. Rosanne Cash, the River, and the Thread The opening track on Rosanne Cash’s 14th studio album, The River & The Thread, was inspired in part by her friend, the fashion designer Natalie Chanin, ↑ teaching her to sew. Conserving To accompany Taking a landmark a Thread for a Walk,

self-portrait an exhibition of textiles → and fiber art from In the inaugural episode MoMA’s collection, of Conservation Stories, 24 Hours with Cash created a playlist. Diana Hartman uses an In this interview, she eye-surgery needle and Kalup Linzy shares her thoughts microscope to repair Artist Kalup Linzy in choosing these tears in the canvas starts his day with songs and about the of Paula Modersohn- Whitney Houston and connections between Becker’s Self-Portrait hypertension and weaving, making art, and with Two Flowers in ends it with gratitude. writing music. According Her Raised Left Hand This feature is part of to string theory, the (1907), among the oldest our A Day series, in universe might be made paintings by a female which writer Heidi up of tiny connecting artist in the collection, Julavits invites artists threads—so it’s no and thought to be one to share an account surprise we were able of the first self-portraits of their day with us. to find so many. of a pregnant woman.

20 21 Niki de Saint Phalle Marking Time: Art in the Age of Mass Incarceration

Niki de Saint Phalle created exuberant works intended to transform Apr 5–Sep 7 environments, individuals, and society. The first New York museum MoMA PS1 exhibition of this visionary feminist and activist artist features over Marking Time explores the centrality of incarceration to Apr 5–Aug 23 100 works that highlight Saint Phalle’s interdisciplinary approach contemporary art and culture, featuring art made by people in MoMA PS1 Niki de Saint Phalle. Tarot prisons and work by nonincarcerated artists concerned with state and engagement with pressing social and political issues. Garden. 1991. Lithograph. repression, erasure, and imprisonment. Highlighting the work © 2019 NIKI CHARITABLE Tameca Cole. Locked in a Early in her career, Saint Phalle pushed against accepted artistic ART FOUNDATION. Photo: of more than 25 artists, including American Artist, Tameca Cole, Dark Calm. 2016. Collage and practices, creating work that used assemblage and performative Ed Kessler Russell Craig, James “Yaya” Hough, Jesse Krimes, Mark Loughney, graphite on paper. Collection modes of production. Beginning in the late 1960s, Saint Phalle Gilberto Rivera, and Sable Elyse Smith, the exhibition bears Ellen Driscoll starting making large-scale sculptures, which led to an expansion witness to artists’ experimentation with and reimagining of the of her practice into architectural projects, sculpture gardens, books, fundamentals of living—time, space, and physical matter—pushing prints, films, theater sets, clothing, jewelry, and, famously, her the possibilities of these basic features of daily experience to own perfume. From this period forward, Saint Phalle also created create new aesthetic visions achieved through material and formal a series of innovative works that reflect an ethos of collaboration invention. The resulting work is often laborious, time-consuming, and engagement with the politics of social space. Addressing and immersive, as incarcerated artists manage penal time through subjects that ranged from women’s rights to climate change and their work and experiment with the material constraints that shape HIV/AIDS awareness, Saint Phalle was often at the vanguard in art making in prison. Alongside the exhibition, a series of public addressing the issues of her time. programs, education initiatives, and ongoing projects at MoMA PS1 will explore the social and cultural impact of mass incarceration. Central to the exhibition is an examination of Saint Phalle’s large- scale outdoor sculptures and architectural structures, including Tarot Garden, a massive architectural park outside Rome, Italy, which she began constructing in the late 1970s and continued to develop alongside key collaborators until her death.

22 23 Private Lives Public Spaces New Directors/ New Films 2020

Long before camera phones, the 1923 introduction of small- Through Jul 5 Now in its 49th edition, the New Directors/New Films festival is New Mar 25–Apr 5 gauge film stock heralded the unofficial birth of affordable home Titus Theaters York’s premier showcase for the work of emerging filmmakers from MoMA and moviemaking. Over the subsequent decades, many thousands 1 and 2 around the world. The list of directors who have shown films at New Film at Lincoln of reels of amateur film shot around the world amounted to one Directors/New Films over the last near half-century includes such Center of the largest and most significant bodies of moving-image work artists as Pedro Almodóvar, Chantal Akerman, Andrea Arnold, Luca Installation view of Private produced in the 20th century. Private Lives Public Spaces, the Guadagnino, Hou Hsiao-hsien, Kirsten Johnson, Terence Nance, Lives Public Spaces, The Museum A Febre (The Fever). 2019. Museum’s first gallery installation of home movies and amateur of Modern Art, New York, Christopher Nolan, Laura Poitras, Spike Lee, Sarah Polley, Kelly Brazil/France/Germany. films drawn exclusively from its collection, shines a light on a October 21, 2019–July 5, 2020. Reichardt, Guillermo del Toro, Joachim Trier, and Denis Villeneuve. Directed by Maya DaRin seldom-recognized cinematic revolution. Photo: Martin Seck Any of the filmmakers in this year’s lineup have the potential to be as important to the art of cinema as these. Join us in celebrating the This 100-screen presentation of virtually unseen, homemade continued vitality and promise of the medium. works dating from 1907 to 1991 explores the connections between artist’s cinema, amateur movies, and family filmmaking Tickets for MoMA and Film at Lincoln Center members go on sale as alternatives to commercial film production. Staged as an March 9, and tickets for the general public go on sale March 12. immersive video experience, the exhibition reveals an overlooked For more information and screening details, visit newdirectors.org. history of film from the Museum’s archives, providing fresh perspectives on a remarkably rich precursor to the social media of today.

Black Family Film Center 25 Film 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: It’s All in Me: Biograph/Edison: “In Times like These”: The Alumni Trilogy: Participant at MoMA One Mile from Heaven. Black Heroines Restorations and Amos and Efratia Gitai Celebrating 30 Years Founded 15 years ago to create 1937. USA. Directed by Borrowing a lyric from Rediscoveries from Celebrating the English- of the Jerusalem meaningful social change Allan Dwan. The Museum Chaka Khan’s anthem “I’m Sam Spiegel School through storytelling, Participant of Modern Art Film Stills the Collection language publication of Archive; The Ploughshare. Every Woman,” It’s All in Me This series highlights restorations Efratia Gitai: Correspondence Under the aegis of Renen has produced some of the 1915. USA. Directed by John celebrates both a wide range and rediscoveries from the last 1929–1994, MoMA presents Schorr, the Jerusalem Sam most admired films of our era. H. Collins. The Museum of of representations and 10 years, drawn from MoMA’s a staged reading with the Spiegel School has produced Including both documentary Modern Art Film Stills Archive; potent expressions of growth some of the most exciting and narrative films, Participant Kedma. 2002. Israel/Italy/ collection of early Edison and actors Marthe Keller and France. Directed by Amos and self-assertion by black Biograph films. Many will be Ronald Gutman on March 5, student films in international projects have proven to be Gitai. Courtesy AGAV Films; women and girls in films seen on a big screen for the first as well as four fiction cinema today. In continued urgently relevant and highly In Jersulaem. 1963. Israel. drawn entirely from MoMA’s time in over a hundred years, features by Efratia Gitai’s son, recognition of the School’s influential in the changing world Directed by David Perlov. collection, spanning from vibrant 30-year history, of cinema. That many are also Courtesy Sam Spiegel Film and all offer insights into the the Israeli filmmaker Amos School, Adam Greenberg; 1907 to 2018. Through Mar 5 development of film as an art Gitai—including Esther (1986) MoMA presents the Alumni audience favorites speaks to RBG. 2018. USA. Directed by form, serving as windows into and Berlin-Jerusalem (1989) Trilogy, featuring the North the hunger for stories that Betsy West, Julie Cohen; From early 20th-century America. in new digital restorations. American premiere of engage with the critical issues Inside of Here. 2020. USA. The Voice of Ahmad (2019). of our time. Apr 29–May 17 Directed by Bill Basquin; Moyra Mar 4–25 Mar 5–9 Davey. i confess. 2019. Video Apr 23–26 (color, sound), 56:46 min. Courtesy the artist; greengrassi, London; and Galerie Buchholz, Berlin/Cologne/New York; What Time Is It There? 2001. Taiwan/France. Directed by Tsai Ming-Liang; A Man Called Adam. 1966. USA. Directed by Leo Penn. Courtesy Everett In Character: Daniel Craig Collection; Casino Royale. 2006. UK/Czech Republic/ On the eve of his last outing USA/Germany/Bahamas. as James Bond, we celebrate Tsai Ming-Liang: In Directed by Martin Campbell. Daniel Craig with a survey of Modern Matinees: Dialogue with Time, Modern Mondays © Metro-Goldwyn-Mayer his most memorable screen Moyra Davey Through intimate evenings of Pictures/Photofest. Courtesy Cicely Tyson Memory, and Self Photofest roles. Mar 3–22 Since the early 1950s, Harlem- For close to three decades, This cinematic survey— screening and conversation, born Cicely Tyson has been Tsai Ming-Liang has defied the first in the US for the this ongoing series explores acting professionally, nimbly cinematic conventions Canadian, New York–based adventurous approaches to the shifting between nascent by stretching the limits of photographer, writer, and moving images and presents television series, the New York minimalism and stillness to filmmaker Moyra Davey— new cinematic work from stage, and motion pictures. explore themes of solitude, presents moving image work around the world. This spring, This Modern Matinees tribute desire, the passage of time, by Davey going back to the Modern Mondays continues highlights her pivotal roles in and memory. Apr 10–25 1990s. Opens Apr 30 with Jennifer Bolande, Bill Sounder, The Autobiography of Basquin, Narimane Mari, Simon Miss Jane Pittman, and more. Liu, Zina Saro-wiwa, and more. Mar 4–Apr 30 Full details at moma.org/ modernmondays.

26 27 Adam Linder: Shelf Life Shuzo Azuchi Gulliver: Shahryar Nashat: Force Life Cinematic Illumination

For the inaugural commissions in the Marie-Josée and Henry Kravis Through Mar 8 Studio, choreographer Adam Linder presents the performance Shelf Floor 4 Life, and artist Shahryar Nashat presents the installation Force Life. The exhibitions Linder’s Shelf Life is a choreographic work for six dancers. Using a alternate throughout In 1969, Shuzo Azuchi Gulliver conceived of an immersive moving Mar 28–Apr 26 variety of dance vocabularies—as well as costumes, props, and their the day, so that only image event created by beaming images from 18 slide projectors Floor 4 voices—the performers interpret three concepts that together form one is on view at across the Tokyo discotheque Killer Joe’s. The resulting Cinematic what Linder describes as a “nervous system of dance”: the barre a given time. See Illumination had the effect of transforming frame-by-frame film where movement begins; the blood flow that propels the body; and moma.org for the Shuzo Azuchi Gulliver. projection into a 360-degree environment intended to meld with Cinematic Illumination. the brain that reflects on the dancing body, its physical impulses schedule. the sound, lights, and moving bodies in the underground venue. 1968–69. Installation as well as its rational calculations. The title Shelf Life alludes to the Gulliver created the nearly 1,500 slides from film footage of everyday view, Japanese Expanded finite physical resources expended by the dancer’s body and how From left: Adam Linder. Cinema: Revisited, Tokyo Shelf Life. 2019. © 2020 actions and magazine imagery, imbuing one of the period’s most the virtuosity and ephemerality of performance is defined within Photographic Art Museum, Adam Linder; Shahryar spectacular multiple projection works with a do-it-yourself attitude. 2017. Courtesy the artist the context of a museum. Nashat. Force Life. 2020. and Tokyo Photographic © 2020 Shahryar Nashat. Gulliver had staged performances since he was a teenager in the Art Museum Photos: Will Davidson Nashat’s Force Life consists of four works: a video titled Blood (what Kansai region, before hitchhiking to Tokyo in 1967 with the intent is authority); a horizontal sculpture titled Barre (are you nervous to pursue filmmaking. There, Gulliver joined a vibrant scene in in this system); and two marble sculptures titled Brain (you no longer which art was staged outside of gallery spaces and cinema was have to simulate) and Brain (do you feel nervous in this system). expanded to multiple projections or moved off-screen entirely. These works consider the ways in which art is experienced—how This dynamic interdisciplinary mix unfolded against the backdrop an artwork is seen by the eyes, felt through the body, and perceived of a booming postwar youth culture that tapped into global by the mind. An immersive light installation, which changes psychedelia and ignited critical debates about technology, politics, throughout the day in relation to the natural shift in light outside, and Japanese-US relations. unites the disparate works on view into a multisensory environment that functions as a cohesive whole. Originally made for the Intermedia Arts Festival of 1969, this presentation of Cinematic Illumination premieres the recent restoration and acquisition of the work by MoMA’s Department of Media and Performance. The first presentation of a historical The Marie-Josée and Henry Kravis Studio is our space for moving image installation in the Kravis Studio, it brings the 1960s live events dedicated to performance, music, sound, spoken to life on a large scale, interweaving the international history of word, and expanded approaches to the moving image. avant-garde art, experimental approaches to film, and the meeting of art and technology in nightlife spaces.

Kravis Studio 29 The People’s Studio: Collective Imagination

Beyond the Uniform Dorothea Lange Poetry Program Floor 2 Listen to this audio tour featuring Inspired by Dorothea Lange: Words artists and experts from MoMA’s & Pictures, poets Tess Taylor, Brynn Free with museum Department of Security who share Saito, and Marcelo Hernandez admission personal stories about works on Castillo read selections from view. Daily their work that speak to issues of Open daily during migrancy, followed by a discussion Museum hours A Day Led by Security Officers about their book project for the Join security officers and artist exhibition. Sat, Mar 21, 2:00 p.m. Programs and Chemi Rosado-Seijo for a day of art- activities are making, conversation, and music in Music Video Night with Hidji designed for the People’s Studio and galleries. Join us for an evening of screenings adults and teens. Sat, Mar 7, 10:30 a.m.–5:30 p.m. and conversation with director Hidji and Gregg Kaysen of Mass Appeal. Photo: Noah Kalina Book Making Music Video Night is a series in which Learn techniques for creating your inspiring leaders in the music video own handmade book. Add to it industry share insights into their through drop-in writing and collage working processes and career paths. activities. Daily, beginning Apr 1 A reception follows. Thu, Apr 2, 9:30 p.m. Wendy’s Subway Reading Room Consult a resource library, created Arpillera Workshop with by Wendy’s Subway, that represents Sarah Zapata diverse perspectives on the theme Artist and writer Sarah Zapata of collective imagination. Daily invites visitors to explore the power of arpilleras—detailed, hand-sewn, Listening Sessions with three-dimensional textile pictures, Gelsey Bell made collectively by women from Join composer, vocalist, and the shantytowns of Lima, Peru— scholar Gelsey Bell for a guided and explore basic embroidery and listening experience of modern and latch hook techniques to create a contemporary music. Each session collective textile of their own. highlights a particular section of Thu, Apr 9 & 16, 1:00 & 3:30 p.m.; the Museum’s Fluxus audio archive Sat, May 2, 1:00 & 3:30 p.m. and the Steven Lieber collection. Thursdays, Mar 5 & Apr 30, 2:00 p.m.

The People’s Studio: Collective Imagination, located in the Paula and James Crown Creativity Lab, 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 Lab Below: Live Transmission First Thursdays Let’s Talk Art Drawing with Morgan O’Hara, Specific Objects, Access Programs Join us on the first Thursday of A series of daily conversations June 13, 2019. Photo: Beatriz A Judd Symposium We offer a variety of programs and Meseuger each month for evening hours: about art on view in the galleries, This half-day symposium will consist services to ensure the Museum is unwind in the galleries, dine, join led by MoMA educators, artists, of close readings of specific works accessible to everyone. Wheelchairs, a conversation, and more. Don’t and other special guests. on view in the exhibition in order portable stools, and FM assistive miss artist talks with Haegue Yang A selection is provided here; for to discuss Donald Judd’s legacy listening devices (headsets and neck (March), Neri Oxman (April), and complete listings visit moma.org. and relevance today. Fri, Mar 13, loops) for sound amplification Faith Ringgold (May). For details, 1:00–5:30 p.m. are available for all Access Programs. visit moma.org/firstthursdays. Let’s Talk Art programs are free for members and Museum admission ticket Access Programs are free of charge. Space is Thursdays, Mar 5, Apr 2 & May 7, Free for members. Registration is required. holders. No registration is required. limited, and preregistration is required. For more open until 9:00 p.m. information or to register, call (212) 408-6447 Thirty-Minute Orientation Tour or email [email protected]. Free for members and with Museum hablArte admission. Admission to talks is free, Fridays, Saturdays & Sundays, Pásate una hora explorando la but tickets are required; members may 11:00 a.m. colección reinstalada de MoMA a Art inSight reserve tickets in advance. través de una conversación con Tuesdays, Mar 3, Apr 7 & May 5, How to Look at Lithographs, educadores. hablArte is a series of 2:00–4:00 p.m. with Curator Esther Adler and conversations about art in Spanish, For blind and low-vision visitors Never Stop Drawing Conservator Laura Neufeld led by MoMA educators, staff, Thu, Mar 19, 3:00 p.m. This series of programs invites and other special guests. All are Create Ability welcome, from native speakers to Sundays, Mar 15, Apr 19 & May 17, visitors to rediscover the daily act of Artist Wendy Red Star on drawing, a common practice among new learners seeking opportunities 11:00 a.m.–1:00 p.m. (ages 5–17) Dorothea Lange: Words & Pictures for conversation. hablArte occurs and 2:00–4:00 p.m. (ages 18+) artists, designers, scientists, and Wed, Apr 1, 3:00 p.m. researchers of all ages. A selection every first Friday at 6:00 p.m. and For individuals with intellectual and is provided here; for complete first Saturday at 3:00 p.m. For Artist Sam Contis on Dorothea listings and topics visit moma.org. developmental disabilities and their families listings visit moma.org. Lange: Words & Pictures hablArte programs are free for members Meet Me at MoMA Never Stop Drawing programs are free Fri, Apr 3, 3:00 p.m. and Museum admission ticket holders. No for members and Museum admission ticket Tuesdays, Mar 24, Apr 14 & May 12, registration is required. holders. No registration is required. Queer Perspectives Tour 2:30–4:00 p.m. Thursdays, Mar 5, Apr 2 & For individuals with dementia and their family Drop-in Drawing May 7, 5:30 p.m. Fridays and First Thursdays, members or caregivers 6:00–8:00 p.m. Interpreting MoMA Materials are provided. All ages are welcome. Thu, Apr 23 & Thu, May 21, 5:30 p.m.

For deaf adults In Process A monthly series in which artists lead visitors through exhibitions using direct experimentation with their preferred materials, techniques, and ideas. Fri, Mar 20, Sat, Mar 21, Fri, Apr 17 & Sat, Apr 18, 3:00 p.m.

In Process programs are free with gallery admission. Capacity is limited and registration is available 30 minutes before the program begins.

Programs Heyman Family Art Lab Family Art Workshops To learn more, call In this hands-on space, kids and Get inspired in the galleries, then (212) 708-9805, email adults can draw, work with wire, create your own art in the studio. familyprograms@ design emoji, engage in light-box Select Saturdays and Sundays in moma.org, or visit play, and more. Drop in and choose March and April, Cullman Education moma.org/family. the activities that interest you. All and Research Building Heyman Family Art Lab. ages welcome. Daily, 10:30 a.m.– Photo: Manuel Martagon 5:00 p.m., Fridays, until 6:30 p.m., Advance registration required. Ages vary Cullman Education and Research Building, Floor 1 Tours for Tweens Share ideas and consider different Tours for Fours perspectives about works of art. Look, listen, and share ideas Kids and adults participate. Themes while you explore modern and change monthly. Saturdays and contemporary art. Movement, Sundays, Mar 21 & 22, Apr 25 & 26, drawing, and other gallery 10:30 a.m.–12:00 p.m., Cullman activities give everyone the chance Education and Research Building to participate. Themes change Advance registration required. monthly. Saturdays and Sundays, Mar 1–May 17, 10:20–11:15 a.m., Cullman Education and Research Building Explore This! Activity Stations For kids age four and adult companions. Free tickets are distributed on a first-come, Participate in fun and engaging first-served basis starting at 10:00 a.m. activities in the galleries. Choose on the day of the program. artworks that interest your family and move at your own pace. Tuesdays and Thursdays, Apr 7, 9, A Closer Look for Kids 14 & 16, 1:00–3:00 p.m., Cullman Engage in lively discussions and fun Education and Research Building activities while looking closely at Free for members and with Museum admission. modern masterpieces and cutting- Admission for kids under 16 is free. This is edge contemporary art. Themes a drop-in program with no special ticketing. change monthly. Saturdays and Sundays, Mar 1–May 17, 10:20– 11:30 a.m., Cullman Education Family Films and Research Building Enjoy new and classic family-friendly For kids ages five to 10 and adult companions. short films, engaging discussions, Free tickets are distributed on a first-come, and suggestions for follow-up first-served basis at 10:00 a.m. on the day of activities in the Museum’s galleries. the program. Themes change monthly. Saturdays, Mar 7 & Apr 4, 12:00–1:00 p.m., Bartos Theater 3

This program is for individual families of up to two adults and up to three kids. Free tickets are distributed on a first-come, first-served basis starting at 10:00 a.m. on the day of the program.

For Families A Fresh Start Our new assortment channels the colors and joys of spring. Discover vases for new blooms, a modern house for your fine feathered friends, a colorful update of Alvar Aalto’s Three-Legged Stool, and so much more. And don’t forget: members get 10% off every day and free shipping on orders of $20 or more. Félix Fénéon: Judd Neri Oxman: Member Shopping Days: Mar 7–10, Apr 17–20 & May 17–20 The Anarchist and Material Ecology By Ann Temkin. With the Avant-Garde contributions by Erica By Paola Antonelli. Cooke, Tamar Margalit, With contributions by By Starr Figura, Isabelle Christine Mehring, James Cahn, Philippe Peltier. Anna Burckhardt and Meyer, Annie Ochmanek, Hadas A. Steiner With contributions by Cécile Yasmil Raymond, and Bargues, Yaelle Biro, Anna Throughout her 20-year Jeffrey Weiss career, Neri Oxman has Blaha, Megan Fontanella, Published to accompany Claudine Grammont, invented not only new the first US retrospective of ideas for materials and Joan U. Halperin, Charlotte Donald Judd’s sculpture in Hellman, Béatrice Joyeux- construction processes, more than 30 years, Judd but also new frameworks Prunel, Patricia Leighten, explores the work of a Léa Saint-Raymond, Élodie for interdisciplinary—and landmark artist who, over interspecies—collaborations. Vaudry, and Marnin Young the course of his career, Accompanying the first She coined the term developed a material and “material ecology” to describe exhibition that traces formal vocabulary that Fénéon’s extraordinary impact her process of producing transformed the field of techniques and objects on the development of early modern sculpture. This modernism as a writer, dealer, informed by the structural, richly illustrated catalogue systemic, and aesthetic publisher, curator, collector, takes a close look at Judd’s and anarchist, the publication wisdom of nature, from the achievements and presents shells of crustaceans to follows his career through a newly available archival selection of major works that the flow of human breathing. materials from the Judd This densely illustrated he admired, championed, Foundation and elsewhere and collected, alongside catalogue highlights the to expand scholarly interdisciplinary nature of contemporary letters, perspectives on his work. documents, and photographs, the designer’s practice, and The essays address subjects demonstrates how Oxman’s to offer a long-overdue such as his early beginnings celebration of this singular, contributions allow us to in painting, the fabrication question and redefine the catalytic figure in art history. of his sculptures, his site- Hardcover, 248 pages, idea of modernism and of specific pieces, and his work organic design. Paperback, 228 color illustrations, in design and architecture. $65/members $58.50 192 pages, 400 illustrations, Hardcover, 304 pages, $50/members $45 300 illustrations, $75/members $67.50

Publications 37 Thank You To Our Partners Special Programs Sponsors The Museum gratefully acknowledges its major partners

Judd is made possible by Hyundai Card. Film at MoMA is made possible by CHANEL. The conservation and presentation of Volkswagen of America is proud to be Film exhibitions are supported by the the collection is made possible by Bank MoMA’s lead partner of education. Annual Film Fund. of America, MoMA’s opening partner.

Exhibitions at MoMA are supported by Leadership support is provided by the the Annual Exhibition Fund. Henry Luce Foundation and Repossi. Access and Community Programs are Generous funding is provided by The supported by the Stavros Niarchos Education at MoMA is supported by the Media and Performance at MoMA is Allianz is MoMA’s proud partner for Volkswagen of America is proud to be Thomas H. Lee and Ann Tenenbaum Foundation (SNF). Annual Education Fund. made possible by Hyundai Card. design and innovation. lead partner of education at MoMA Endowed Fund, and The Lunder and artist experimentation programs Foundation–Peter and Paula Lunder Family. Major support is provided by The Taft at MoMA PS1. Foundation and the Werner and Elaine Support for the publication is provided by Dannheisser Fund for Older Adults. the Jo Carole Lauder Publications Fund of The International Council of The Museum Additional funding is provided by the of Modern Art. Sarah K. de Coizart Article 5th Charitable Trust, Allene Reuss Memorial Trust, Free public admission every Friday Access and Community Programs MoMA Audio is supported by Bloomingdale’s, J.E. and Z.B. Butler night is made possible by UNIQLO. are supported by the Stavros Niarchos Bloomberg Philanthropies. Major support for Félix Fénéon: The Foundation, Von Seebeck-Share B Foundation (SNF). Anarchist and the Avant-Garde—From Charitable Trust, The Elroy and Terry Signac to Matisse and Beyond is provided Krumholz Foundation, Karen Bedrosian by The International Council of The Richardson, Langner Family Fund of The Museum of Modern Art, Jack Shear, New York Community Trust, Frank J. Antun and Denise Littlefield Sobel. Foundation, the Josephs Family in loving Collection Re-Installation Donors memory of Hal and Florence Josephs, and We thank our leadership donors for their outstanding an anonymous donor. support of the collection reinstallation Major support for Engineer, Agitator, Constructor: The Artist Reinvented is provided by The Modern Women’s Fund. Major support for The Paula and Kate W. Cassidy Foundation Alice and Tom Tisch James Crown Creativity Lab is provided The David Rockefeller Council Generous funding is provided by The Dian by The Contemporary Arts Council of The Sandra and Tony Tamer The Contemporary Arts Council Woodner Exhibition Endowment Fund. The Museum of Modern Art. Exhibition Fund Anne Dias Sue and Edgar Wachenheim III Kathy and Richard S. Fuld, Jr. Generous funding is provided by The Junior Kenneth C. Griffin Associates of The Museum of Modern Art Mimi and Peter Haas Fund The Keith Haring Foundation Endowment for Educational Programs. Jerry I. Speyer and Katherine G. Farley Marie-Josée and Henry R. Kravis Shuzo Azuchi Gulliver: Cinematic Eva and Glenn Dubin Jo Carole and Ronald S. Lauder Additional support is provided by Illumination is presented as part of Anna Marie and Robert F. Shapiro Christina Davis. The Hyundai Card Performance Series.

Major support for Adult and Academic New Directors/New Films 2020 is Programs is provided by the Estate of Major Donors to Programs presented by Film at Lincoln Center Susan Sabel. and The Museum of Modern Art and is supported by Film at Lincoln Center’s Generous funding is provided by Annual Education Fund Agnes Martin Foundation GRoW @ Annenberg New Wave Membership Program, American endowments established by Agnes Gund Volkswagen of America Denise Littlefield Sobel Emily Rauh Pulitzer Airlines, The New York Times, CHANEL, and Daniel Shapiro, The Junior Associates Lewis B. and Dorothy Cullman Education Jerry I. Speyer and Katherine G. Farley Brett and Daniel Sundheim and the Annual Film Fund of The Museum of The Museum of Modern Art, Walter and Research Endowment Karen and Gary Winnick of Modern Art. and Jeanne Thayer, and by the gifts of The Sarah Arison Endowment Fund Annual Exhibition Fund The Marella and Giovanni Agnelli Fund Alan Kanzer. for Education The Sandra and Tony Tamer for Exhibitions Edward John Noble Foundation Exhibition Fund Clarissa Alcock and Edgar Bronfman, Jr. Crown Family Education Fund Sue and Edgar Wachenheim III Agnes Gund Family Programs are made possible by Trustee Committee on Education Mimi and Peter Haas Fund Oya and Bülent Eczacıbaşı The Samuel and Ronnie Heyman Family The Enoch Foundation Jerry I. Speyer and Katherine G. Farley Endowment Fund. General Education Endowment Eva and Glenn Dubin Annual Film Fund Elyse and Lawrence B. Benenson Alice and Tom Tisch Steven Tisch Generous funding is provided by The Debra and Leon D. Black The David Rockefeller Council Jo Carole and Ronald S. Lauder William Randolph Hearst Endowment Fund The LOVE Fund for Education The Contemporary Arts Council Association of Independent Commercial and Brett and Daniel Sundheim. Epstein Teicher Philanthropies Anne Dias Producers (AICP) Leo and Julia Forchheimer Foundation Kathy and Richard S. Fuld, Jr. The Brown Foundation, Inc., of Houston Lily Auchincloss Foundation, Inc. Kenneth C. Griffin Marlene Hess and James D. Zirin Tiger Baron Foundation, Inc. The Keith Haring Foundation Karen and Gary Winnick Paula and James Crown Marie-Josée and Henry R. Kravis The Junior Associates of The Museum of Kathy and Richard S. Fuld, Jr. Jo Carole and Ronald S. Lauder Modern Art Marlene Hess and James D. Zirin Anna Marie and Robert F. Shapiro Marie-Josée and Henry R. Kravis Estate of Ralph L. Riehle 1 11 West 53 Street, New York, NY 10019

Your Visit Shopping Open daily, 10:30 a.m.–5:30 p.m. Members save 10%. Member Early Access, 9:30–10:30 a.m. First Thursdays, until 9:00 p.m. Museum Store UNIQLO Free Friday Nights, 5:30–9:00 p.m. Floor 1, 9:30 a.m.–6:30 p.m., Closed Thanksgiving Day and Christmas Fridays and First Thursdays, until 9:00 p.m. Floors 2 & 6, Open during Museum hours Members free ($5 guest tickets available on each visit). Adults $25; seniors (65 and over MoMA Design Store with ID) and visitors with disabilities $18; 44 West 53 Street. (212) 767-1050 students (full-time with current ID) $14; Open daily, 10:00 a.m.–6:30 p.m., children (16 and under) free Fridays and First Thursdays, until 9:00 p.m.

MoMA Design Store, Soho Dining 81 Spring Street. (646) 613-1367 Members receive 10% off during Museum hours. Open daily, 10:00 a.m.–8:00 p.m.; Sunday, 11:00 a.m.–7:00 p.m. Café 2 (floor 2) features sharable Italian-inspired plates, wine, and beer. Order online Saturday–Thursday, 11:00 a.m.–5:00 p.m. store.moma.org Fridays, until 7:30 p.m. Order by phone Petrie Terrace Café (floor 6) is a full-service (800) 447-6662 café. Outdoor seating is available in season. Saturday–Thursday, 11:00 a.m.–5:00 p.m. Fridays, until 7:30 p.m. Film Tickets Members receive free film admission Café 2 Espresso Bar and Garden Bar (seasonal) and $5 guest admission, but must still Saturday–Thursday, 9:30 a.m.–5:00 p.m. obtain a ticket. Fridays, until 7:30 p.m. Tickets are released two weeks in advance, The Modern (9 West 53 St.) and are available online, at the ticketing is a two-Michelin-starred restaurant. desk, and at the Cullman Education and Member discount does not apply. Research Building lobby desk. Lunch: Monday–Saturday, 11:30–2:00 p.m. Dinner: Monday–Wednesday, 5:00–10:00 p.m., Thursday–Saturday, 5:00–10:30 p.m. Membership Closed Sundays (888) 999-8861 [email protected] Bar Room at The Modern Member discount available 3:00–5:00 p.m. only (alcohol excluded). Monday–Saturday, 11:30 a.m.–10:30 p.m. Sunday, 11:30 a.m.–9:30 p.m.

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Your Visit Dining Open daily, 12:00–6:00 p.m. Mina’s offers simple but creative Mediterranean- Closed Tuesdays and Wednesdays inspired cuisine from celebrated chef Mina Stone. Members receive 10% off during regular MoMA Members free ($5 guest tickets available on PS1 hours. each visit). Adults $10; seniors (65 and over with ID) $5; students (full-time with current ID) $5; children (16 and under) free. Admission Shopping fees are suggested. Artbook @ MoMA PS1 The most vibrant source for cutting-edge Admission to MoMA PS1 is currently free for all contemporary art books and magazines on NYC residents, courtesy of the Anna-Maria and the East Coast Stephen Kellen Foundation.