Charles White Believed That Art Had a Role to Play in Changing the World, and He Made Paintings, Drawings, and Prints Toward That End

Member Calendar SEP

OCT Sep–Oct 2018

Charles White believed that art had a role to play in changing the world, and he made paintings, drawings, and prints toward that end. His images of historical heroes, cultural icons, and ordinary men and women captured both their best qualities and the human cost of the inhumanity and oppression they faced. Sharing his work with visitors to MoMA, during a time when we continue to struggle with many of the issues he responded to, reaffirms the importance of art in today’s fractured world.

Charles White: A Retrospective is also a celebration of an extraordinary artist, and the first opportunity in over 30 years to see such a wide range of his work. We're thrilled to partner with Howard University to bring White’s first mural to New York, and are especially excited to highlight the artist’s deep engagement with a multidisciplinary creative community here. Works lent by Pamela and Harry Belafonte, one of White's close friends and collaborators, will only be on view at MoMA, and we look forward to sharing them with you when the exhibition opens on October 7, with Member Previews beginning on October 3.

White worked collaboratively with fellow artists and activists his entire life, so it’s especially fitting that his exhibition will be on view at the same time as Judson Dance Theater: The Work Is Never Done, a testament to the innovation and experimentation fostered by working together. We’re excited to open the fall season with this exhibition on September 16, with Member Previews beginning September 13. We hope to see you in the galleries soon!

Front cover: Charles White. Sound of Silence. 1978. Color lithograph on paper, 25 1/8 × 35 5/16" (63.8 × 89.7 cm). Printer: David Panosh. Publisher: Hand Graphics, Ltd. The Art Institute of Chicago. Margaret Fisher Fund. © 1978 The Charles White Archives Esther Adler

Pull-out calendar: Family Programs. Photo: Martin Seck; Shown: René Magritte. The Menaced Assassin. 1927. Oil on canvas, 59 1/4" × 6' 4 7/8" (150.4 × 195.2 cm). Kay Sage Tanguy Fund. © 2018 C. Herscovici, Brussels/Artists Rights Society (ARS), New York. Photo: Ryan Lowry; Installation view of Bodys Isek Kingelez: City Dreams, The Museum of Modern Art, New York, May 26, 2018–January 1, 2019. Photo: Carly Gaebe; Family Associate Curator Programs. Photo: Martin Seck; Installation view of Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, The Museum of Modern Art, New York, July 15, 2018–January 13, 2019. Photo: Martin Seck; #ArtSpeaks. Photo: Manuel Martagon Department of Drawings and Prints Hammer Horror 15 Judson Dance Theater 6–7

Highlights Bruce Nauman 16–17

Rockaway! 2018 23 Charles White 12–13

Family Festival 30 Modern Matinees 14 Bodys Isek Kingelez. U.N. 1995. Paper, paperboard, and other various materials, 35 13/16 × 29 1/8 × 20 7/8" (91 × 74 × 53 cm), irreg. CAAC – The Pigozzi Collection, Bodys Isek Kingelez’s U.N. Geneva. © Bodys Isek Kingelez. Photo: Maurice Aeschimann. Courtesy CAAC – The Pigozzi Collection To mark the anniversary of the founding of the United Nations on October 24, curatorial fellow Hanna Girma shares an up-close look at Bodys Isek Kingelez’s U.N. Don't miss your chance to see it in Bodys Isek Kingelez: City Dreams, on view through January 1, with Member Early Hours through September 15.

A buzz of excitement and apprehension filled the room every time we uncrated a Bodys Isek Kingelez sculpture. These works—made primarily of paper, intricate appliqué, and found materials—are extremely fragile, and their unique designs make them especially challenging to transport. Curator Sarah Suzuki half- jokingly voiced her anxiety of opening a crate to find a paper-hungry mouse inside.

While no animals were discovered, one surprise did arrive: a sun-shaped map accompanying the work U.N. The map is the only two-dimensional work in the exhibition and, to our knowledge, the only one Kingelez ever made. Circumscribed by a yellow sun, the plywood map is adorned with corkboard continents and hand-drawn bodies of water. This rarely seen work complements the similarly shaped U.N., which spins below it as if to orbit in a Kingelezian, utopian universe.

U.N. is an elaborate deviation from Kingelez’s otherwise symmetrical and more subdued earlier works. It was originally created for a 1995 exhibition in Geneva, Dialogues de paix, which celebrated the 50th anniversary of the founding of the United Nations and included artists from 50 countries on five continents. Kingelez chose to honor the UN with this dazzling work, stating, “The stars are distributed around the form of the building. They represent the member countries, which I want to be equal. In this palace, peace is an indispensable tool for the democracy of nations.” Like the peacekeeping mission of the UN, Kingelez’s visionary buildings and cities are a call for us all to imagine, in the artist’s words, a “better, more peaceful world.”

4 5 New

Judson Dance Theater The Work Is Never Done Sep 16–Feb 3

Member Previews: Sep 13–15

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of Judson Memorial Church in New York’s Greenwich Village to present performances that redefined the kinds of movement that could count as dance. Through open workshops, Judson Dance Theater artists challenged traditional understandings of choreography, and employed new Trisha Brown. Lightfall. 1963. Performed at Concert of Dance #4, Judson Memorial Church, New York, January 30, 1963. Performers: Trisha compositional methods, incorporating “ordinary” movements, along with games, Brown and Steve Paxton. Photo: Peter Moore. © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York simple tasks, and social dances to infuse their pieces with a sense of spontaneity. The Judson participants, including Trisha Brown, Lucinda Childs, Robert Morris, Steve Paxton, and Yvonne Rainer, among others, would go on to profoundly shape all fields of art in the second half of the 20th century.

Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with workshops led by Anna Halprin, Robert Ellis Dunn, and James Waring, and exploring the influence of figures such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre. This exhibition celebrates the group’s multidisciplinary, collaborative ethos and range of participants through a gallery exhibition, a print publication, and an ambitious performance program.

Simone Forti's Dance Constructions are performed weekly (Contemporary Galleries, Floor 2: Tuesdays, Thursdays & Saturdays, 11:00 a.m., 1:30 & 3:30 p.m.). The Marron Atrium performance program is organized into two-week increments, featuring the work of one artist: Yvonne Rainer (Marron Atrium: Sep 16, 17, 19, 20 & 22, 12:30 & 3:00 p.m.), Deborah Hay (Marron Atrium: Oct 4, 5 & 6, 2:00 p.m.), David Gordon (Marron Atrium: Oct 18, 19 & 20, 2:00 p.m.), Lucinda Childs (Marron Atrium: Oct 29, 30 & 31, 12:00 & 3:00 p.m.), Steve Paxton (Marron Atrium: Dec 9–15, 12:00 p.m.), and Movement Research (during Museum hours), respectively. When live performances are not taking place, a video installation of historical material related to the featured artist, edited by artist Charles Atlas, will be on view. For further programming details, visit moma.org/judsondance. Anna Halprin. The Branch. 1957. Performed on the Halprin family’s Dance Deck, Kentfield, California, 1957. Performers, from left: A. A. Leath, Anna Halprin, and Simone Forti. Photo: Warner Jepson. Courtesy of the Estate of Warner Jepson 6 The Museum of Modern Art, Floor 2 & Marron Atrium 7 NY Art Book Fair 2018 Sep 21–23

Rust and Bone. 2012. France/Belgium. Directed by Jacques Audiard. Image courtesy of Sony Pictures Classics/ Photofest. © Sony Pictures Classics

Jacques Audiard Aug 31–Sep 20 NY Art Book Fair. Photo courtesy BJ Enright Photography

Members can reserve free film tickets in person and at moma.org/film. Printed Matter presents the 13th annual NY Art Book Fair (NYABF) at MoMA PS1. Free and open to the public, the NYABF has grown into a leading international For audiences who live and breathe film, the cinematic atmosphere created by event for the arts publishing community, providing an important platform for writer-director Jacques Audiard is among the most intoxicating and sustaining. artists and publishers to connect with audiences and circulate their work in a Since the mid-1990s, he has immersed us in the deeply nuanced worlds of his dynamic environment. intricately drawn characters, providing actors like Emmanuelle Devos, Romain Duris, and Tahar Rahim with career-defining roles. NYABF welcomes hundreds of exhibitors from around the world, including a broad range of artists and collectives, small presses, institutions, galleries, A dedicated cinephile, Audiard plays with genre conventions, from crime-thriller antiquarian booksellers, and distributors. With a commitment to diversity and to romance to Western, and infuses them with new vitality. On the occasion of his representation, the event serves as an open meeting place for an extended first English-language feature, The Sisters Brothers, we are excited to provide this community of publishers and book enthusiasts, and a site for dialogue and look back on his remarkable accomplishments at mid-career. exchange around all facets of arts publishing. For details, visit nyartbookfair.com.

8 The Museum of Modern Art, Theaters MoMA PS1 9 The Eye of Iran Cinematographer Mahmoud Kalari Sep 14–30

On the Art of Love or a Film with 14441 Frames. 1972. Yugoslavia. Directed by Karpo Godina. Image courtesy of the artist

Karpo Godina Oct 19–25

A Separation. 2011. Iran. Directed by Asghar Farhadi. Courtesy of Sony Pictures Classics

Members can reserve free film tickets in person and at moma.org/film. Members can reserve free film tickets in person and at moma.org/film. An essential figure of Yugoslav cinema, Karpo Godina infused the radical “Black Contemporary Iranian film has been earning worldwide acclaim since around Wave” of the 1960s with an irrepressible expressive freedom—squarely targeted 1990, when it became known for a neorealist streak characterized by authentic, against all forms of repression—and thrived long after the end of Titoism and simple depictions of life. The complexity of Iran has, however, been explored by the breakup of the nation in civil war. For more than 30 years, the half-Slovenian, a wide range of cinematic voices, with formally and conceptually rigorous films half-Macedonian filmmaker has brought a playfully anarchical spirit to the poetics dealing with subjects as diverse as urban life, women’s issues, and interpersonal and politics of film, moving breathlessly between fiction and nonfiction in his avant- dramas, all while creatively skirting strict censorship rules. garde shorts of the 1960s and ’70s and his feature films of the 1980s and ’90s.

One figure has contributed to the look of this rich, multifaceted, evolving cinema Godina was a frequent collaborator of Bahrudin “Bato” Čengić, Želimir Žilnik, like no other: cinematographer Mahmoud Kalari, who has lensed some of the Lordan Zafranović, and other pioneering members of the Black Wave, and he has most acclaimed works by Asghar Farhadi, Abbas Kiarostami, Mohsen Makhmalbaf, since worked comfortably in the former Yugoslavian republics as a director, and Dariush Mehrjui, to name just a few. Kalari approaches each film with no screenwriter, cinematographer, and editor. preconceptions, devising for each a specific visual style. From dynamic handheld camerawork to stark minimalism, placid countryside to gritty metropolis, short Karpo Godina makes a rare appearance at MoMA to present his first career shot to long take (in one case lasting over two hours), he is undaunted by any retrospective in the US, coinciding with the exhibition Toward a Concrete Utopia: boundary. Kalari has steadily, over three decades, focused our gaze on Iran. Architecture in Yugoslavia, 1948–1980 (see page 20).

10 The Museum of Modern Art, Theaters The Museum of Modern Art, Theaters 11 Charles White A Retrospective Oct 7–Jan 13

Member Previews: Oct 3–6 Member Early Hours: Oct 3–Jan 1, 9:30–10:30 a.m. Member Gallery Talk: Oct 17, 12:30 p.m.

“Art must be an integral part of the struggle,” Charles White insisted. “It can’t simply mirror what’s taking place. … It must ally itself with the forces of liberation.” Over the course of his four-decade career, White’s commitment to creating powerful images of African Americans was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, he developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists.

White’s far-reaching vision of a socially committed practice attracted promising young artists, and he became one of the 20th century’s most important and dedicated teachers. Acclaimed contemporary artists David Hammons and Kerry James Marshall were among his many students: as Marshall reflected, “Under Charles White’s influence I always knew that I wanted to make work that was about something: history, culture, politics, social issues. … It was just a matter of mastering the skills to actually do it.”

Charles White: A Retrospective charts White’s full career—from the 1930s through

his premature death in 1979—with over 100 works, including drawings, paintings, Charles White. Black Pope (Sandwich Board Man). 1973. Oil wash on board, prints, photographs, illustrated books, record covers, and archival materials. 60 × 43 7/8" (152.4 × 111.4 cm). Richard S. Zeisler Bequest (by exchange), The Friends of Education of The Museum of Modern Art, Committee on Drawings Fund, Dian Woodner, and Agnes Gund. © 1973 The 12 The MuseumMoMA of Modern PS1 Art, Floor 3 Photo:Charles Charles White Archives Roussel 13 Bruce Nauman Disappearing Acts Oct 21–Feb 25

Bruce Nauman. Contrapposto Studies, i through vii. 2015/16. Seven-channel video (color, sound, continuous duration), dimensions variable. Jointly owned by The Museum of Modern Art, New York, acquired in part through the generosity of Agnes Gund and Jo Carole and Ronald S. Lauder; and Emanuel Hoffmann Foundation, on permanent loan to Öffentliche Kunstsammlung Basel. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo courtesy the artist and Sperone Westwater, New York

Member Previews: Oct 17–20 (at MoMA) Member Early Hours: Oct 17–Feb 18, 9:30–10:30 a.m. (at MoMA) For Early Member Access at MoMA PS1, visit moma.org/membership.

Since the mid-1960s Bruce Nauman has been in search of new ways to make sculpture, employing a tremendous range of materials and working methods. Spanning the artist’s 50-year career, Bruce Nauman: Disappearing Acts provides a singular opportunity to experience his command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to performance, film, neon, and large-scale installations.

This expansive presentation across both of MoMA’s locations—the Museum’s Dragonfly Eyes. 2017. China. Directed by Xu Bing. © Xu Bing Studio entire sixth floor and all of MoMA PS1—offers distinct but complementary perspectives. The exhibition marks the US premiere of two works: Leaping Foxes (2018), a large-scale hanging sculpture, and his state-of-the-art 3-D video projection Contrapposto Split (2017). The nearly 50-foot-long Kassel Corridor (Elliptical Space) (1972) will be on view in New York for the first time.

Probing structures of power and established norms, questioning such values as “good” and “bad,” and leaving his work open to multiple, often conflicting, understandings, Nauman repeatedly tests the viewer’s willingness to relinquish

the safety of the familiar. We must be alert, ever vigilant, and wary of being Bruce Nauman. My Last Name Exaggerated Fourteen Times Vertically. 1967. Neon tubing seduced by the easy answers. This, his work teaches us, is where freedom begins. with clear glass tubing suspension frame, 63 × 33 × 2" (160 × 83.8 × 5.1 cm). Glenstone Museum, Potomac, Maryland. © 2018 Bruce Nauman/ Artists Rights Society (ARS), New York. Photo: 14 The Museum of Modern Art, Floor 6 & MoMA PS1 Tim Nighswander/ Imaging4Art.com 17 Modern Matinees Vincent Price Sep 5–Oct 31

The Curse of Frankenstein. 1957. Great Britain. Directed by Terence Fisher. Courtesy of Warner Bros. Pictures/Photofest

Hammer Horror

House of Usher. 1960. USA. Directed by Roger Corman. Courtesy of American-International/Photofest A Frankenstein Septet Oct 12–18

Members can reserve free film tickets in person and at moma.org/film.

With his distinctive voice—part effete, part diabolical—and imposing 6'4" frame, Members can reserve free film tickets in person and at moma.org/film. Vincent Price (1911–1993) was nothing like Hollywood’s typical leading men, and his earliest film roles consisted of character parts in costume dramas. It wasn’t Mary Shelley’s Frankenstein, published in 1818, has inspired hundreds of films. until 1940, when Price appeared in The House of the Seven Gables, that his Hollywood audiences fell in love with Frankenstein after the 1931 Universal predilection for Gothic narratives was born. After a string of high-profile roles Pictures version, featuring Boris Karloff’s iconic block-headed, neck-bolted in Brigham Young (1940), Laura (1944), and The Keys of the Kingdom (1944), creature and the hysterical doctor’s spectacular tesla coils and steam-spewing Price became a true lead, and his versatility—cad, romantic, adventurer, villain— equipment, all in glorious black and white. was underpinned by what The New York Times called a “suave diabolism.” In 1957, the British production company Hammer Films released the first of its While he continued to mix up the roles he choose, his string of low-budget seven Frankenstein films, which focused more on the Gothic aspects of the book horror films with William Castle and, later, Roger Corman, would come to define and the obsession, ambition, and guilt of the doctor (usually played by Peter his legacy, as he channeled Edgar Allan Poe and sundry possessed madmen Cushing). These films overflow with Victorian décor, lusty characters, decidedly in a generation’s worth of ghoulish, macabre films. Price’s mischievous raised more disfigured, wrathful monsters—all amplified by a highly artificial, gruesome eyebrows and devilish vocal modulations made him perfect for these roles, color palette that makes even a glimpse of blood into a horrifying experience. and he relished eccentric performances. This MoMA presentation of all seven Hammer Frankenstein films is being held in This wide-ranging overview of Vincent Price’s film work is drawn mainly from conjunction with It’s Alive! Frankenstein at 200, a visual history of Mary Shelley’s MoMA’s collection. Frankenstein at The Morgan Library and Museum (October 12–January 27).

18 The Museum ofMoMA Modern PS1 Art, Theaters The Museum of Modern Art, Theaters 15 Catalan Cinema’s Radical MoMA Presents Years, 1968–1978 Catch the latest in global cinema, newly restored classics, and more in these special weeklong film runs. Oct 25–Nov 10

Ingmar Bergman’s This Can’t Happen Here Sep 5–11

This is the North American theatrical premiere run of Ingmar Bergman’s virtually unseen 1950 espionage thriller Sånt händer inte här (This Can't Happen Here/High Tension).

The Answer. 1969/1976. Catalonia. Directed by Josep Maria Forn. Courtesy Filmoteca de Catalunya

Members can reserve free film tickets in person and at moma.org/film.

This series traces 10 revolutionary years in the history of Catalan cinema: the period between 1968 and 1978, when the fate of Spain—and Catalonia’s place in

it—lay in the balance. The death of General Francisco Franco on November 20, Sympathy for the Devil. 1968. Great Britain. Directed by Jean-Luc Godard. Courtesy of ABKCO Films 1975, and the ascension of Juan Carlos I to the throne made possible the nation’s transition from brutal dictatorship to fragile democracy. The Catalan language, Jean-Luc Godard’s after nearly a half-century of censorship, could once again be expressed freely in the streets and in the arts. Sympathy for the Devil Sep 13–19

Filmmakers who during the last years of dictatorship had risked their lives by MoMA premieres the new 4K digital restoration of this unforgettable shooting clandestinely or by encoding their scripts with politically subversive 1969 collaboration between Jean-Luc Godard and The Rolling Stones. ideas responded to newfound freedom after 1976 with work that continues to excite and provoke. The exhibition, drawn entirely from the archives of the Filmoteca de Catalunya, spans the decade from the radicalism of 1968 to the first democratic elections in 1977 and the writing of the Constitution of Spain Xu Bing’s Dragonfly Eyes the following year. It includes films by Pere Portabella, Antoni Ribas, and others Sep 21–27 that explore the legacy of the Spanish Civil War, the surge of immigrants into Catalonia from other parts of Spain, Catalan national identity, the clash of dissident Visual artist Xu Bing’s 2017 feature debut uses Internet-sourced movements, feminist and class struggle, and sexual liberation. surveillance footage to construct a fictional tale set in modern China.

18 The Museum of Modern Art, Theaters The Museum of Modern Art, Theaters 19 Ongoing

Constantin Brancusi. Fish. 1930. Blue-gray marble, 21 × 71 × 5 1/2" (53.3 × 180.3 × 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point. Acquired through the Lillie P. Bliss Bequest (by exchange). © Succession Brancusi - All rights reserved (ARS) 2018. Photo: Denis Doorly

Installation view of Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, The Museum of Modern Art, New York, July 15, 2018–January 13, 2019. Photo: Martin Seck Constantin Brancusi Sculpture Through Feb 18 Member Early Hours: Through Oct 2, 9:30–10:30 a.m. Member Gallery Talk: Sep 5, 12:30 p.m. Toward a Concrete Utopia The Museum of Modern Art, Floor 2 Architecture in Yugoslavia, 1948–1980 Constantin Brancusi (1876–1957) first showed his work in the United States at Through Jan 13 the 1913 Armory Show in New York. Reflecting on the presentation, one critic Member Early Hours: Through Sep 11, 9:30–10:30 a.m. described his sculptures as “disturbing, so disturbing indeed that they completely The Museum of Modern Art, Floor 3 altered the attitude of a great many New Yorkers towards a whole branch of art.” “Outstanding”—The New York Times Brancusi’s beguilingly simple forms looked like nothing else, then or since.

Situated between the capitalist West and the socialist East, Yugoslavia Rather than modeling clay like his peers, Brancusi carved his work directly from developed a postwar architecture that responded to contradictory demands wood or stone, and cast it in bronze. Simultaneously, he rejected realism, and influences, both in line with and distinct from the design approaches preferring that his sculptures evoke rather than resemble the subjects named seen elsewhere in Europe and beyond. Put to the task of constructing a in their titles, such as Bird in Space or Fish. He made bases for many of his socialist society based on “self-management,” modern architecture was a key sculptures, themselves complex constructions that became part of the work. instrument in implementing this utopian vision. Toward a Concrete Utopia is the first major US exhibition to study this remarkable body of work. With more This exhibition celebrates MoMA’s holdings—11 sculptures accompanied by than 400 drawings, models, photographs, and films, the exhibition examines a selection of drawings, photographs, and rare films. What emerges is a rich architecture’s capacity to produce civic space and common history in a highly portrait of an artist whose risk-taking and inventive approach to form changed diverse, multiethnic society. the course of the art that followed.

20 21 Last Chance

Rockaway! 2018 featuring a site-specific installation of Narcissus Garden by Yayoi Kusama. Artwork © YAYOI KUSAMA. Artwork courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai; Victoria Miro, London/Venice; and David Zwirner, New York. Photo: Pablo Enriquez

Installation view of Reza Abdoh, MoMA PS1, June 3–September 3, 2018. Image courtesy MoMA PS1. Photo: Matthew Septimus Rockaway! 2018 Narcissus Garden by Yayoi Kusama Reza Abdoh Through Sep 3 Gateway National Recreation Area at Fort Tilden, New York Through Sep 3 Members always enjoy free admission to MoMA PS1. MoMA PS1 Yayoi Kusama’s site-specific installation Narcissus Garden is presented by MoMA PS1 as the third iteration of Rockaway!, a free public art festival “MoMA PS1’s retrospective of the late theatre artist is a marvel of research and organized with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks curatorial empathy.”—The New Yorker Conservancy, National Park Service, and Bloomberg Philanthropies in the Gateway National Recreation Area at Fort Tilden. Though he was only 32 at the time of his death from AIDS, the Iranian-American theater director Reza Abdoh’s (1963–1995) mark on the world of theater was Comprised of 1,500 mirrored stainless-steel spheres, Narcissus Garden is unmistakable. Relentlessly inventive, he pushed his actors—and audiences—to on view in a former train garage that dates to the time when Fort Tilden was an their limits amid ambitious, unusual, disorienting stage sets. Abdoh’s aesthetic active US military base. The mirrored metal surfaces reflect the industrial language borrowed from fairy tales, BDSM, talk shows, raves, video art, and the surroundings of the now-abandoned building, drawing attention to Fort Tilden’s history of avant-garde theater. history and the devastating damage inflicted on many buildings in the area by Hurricane Sandy in 2012. The Rockaway! project aims to raise awareness of the This exhibition, the first large-scale retrospective of Abdoh’s work, highlights ongoing restoration work and efforts to ensure the Rockaways are prepared the diverse video works that Abdoh produced for his performances and for future effects of climate change. an installation based on his 1991 production Bogeyman. The exhibition also includes contextual materials reflecting the club scenes in both Los Angeles The installation is free and open to the public Friday–Sunday, 12:00–6:00 p.m., and New York, the culture wars of the Reagan era, and the AIDS crisis. and on September 3 (Labor Day), 12:00–6:00 p.m.

22 23 less experimental. But when we, as Everything that we start reinstalling curators, go back and look at those will be from square one, as if this whole initial couple of decades we see that we building had just been built. So that’s were really casting our net very wide. more than 60 galleries. So, gallery by gallery, we literally assigned curators When you come to the galleries next to floors and curators to rooms within year it won’t be as it is now, that the floors, and those are just a fraction of main circuit is primarily painting and the people who are involved in it. It’s sculpture. In many galleries you’ll been fantastic because the ideas see paintings and drawings and photos coming from people who haven’t really and films. And in these galleries, been dealing with collection galleries At a recent event for Future Modern members, MoMA Director where you’ll see art from places like before are sensational. It’s a ton of Paris and Berlin and New York, discussion, but our mantra is “more Glenn D. Lowry and Ann Temkin, The Marie-Josée and Henry you will also see art from less familiar work for more people!” It takes more Kravis Chief Curator of Painting and Sculpture, discussed the centers. I think in this century the time than being dictatorial, but we’ll Museum’s plans for 2019 and vision for the collection galleries. whole idea of center versus periphery have a better product, I’m positive. Here we’ve excerpted and edited some highlights from their talk. has shifted. We’re interested in peripheries for what they contribute to LOWRY centers as much as we’re interested in One of the things I’m really looking what centers contribute to peripheries. forward to is being able to show a great So this looser, less classified, less deal of recent acquisitions. There’s GLENN LOWRY maybe you took for granted in the categorized look at what’s in the something really exciting about being What will be different in the ways the past. One way that we’re going to do collection is what you’ll be seeing. able to quickly integrate into the public and our members will experience this in 2019 is to make the collection conversation works that are fresh to the collection? galleries as dynamic and fluid as the LOWRY the Museum as well as those that have temporary exhibition galleries. When So in addition to great works of art that been here for a long time. We’ve talked ANN TEMKIN you visit the collection galleries, and are familiar, there will be many works about the process and what some of The most important thing for me and then come back in three months, six of art that feel new and fresh and that this will look like, but if you were able my colleagues is thinking about how to months, or nine months, you’re going will be seen in contexts that will be to define what you want someone deal with today’s approach to what is to see a significant number of galleries surprising. What’s it like trying to figure coming to the Museum for the first conveniently called “the canon.” MoMA, that are telling different stories and out how to do this? How do we decide time in 2019 to feel, what would that be? of course, is an institution closely telling you about different artists than what goes where? identified with defining that canon for those same galleries told you on your TEMKIN modern art. It’s something that last visit. TEMKIN Oh that’s easy: happy. The reason I museums worldwide are confronting One key decision that we made and all my colleagues work here is we right now, because across the board LOWRY quickly and easily, at least five years personally get tremendous joy from there is a realization that there has Can you elaborate a little bit on how ago, was that we would stick with a art. Our life’s work is to pass along been, in many cases, a prioritizing of new voices, or voices that maybe have chronological order, as we have in our that joy. an American and Eurocentric sense of been present but not so evident, might current galleries. We’re going to stick the canon, as well as white and male— be experienced? with that because we decided there’s To learn more about the project, as there also has been in music and in so much change happening that you visit moma.org/futuremodern. literature—and that doesn’t feel very TEMKIN need some sort of anchor or spine. 21st century. A lot of the things that we’re talking We feel like having the counterpoint of about actually match very well something somewhat rigid, like early Today we want to be the ones provoking what was being said in the 1930s to most recent, gives us the freedom questions, getting you to think your about the Museum, and I think over to, within that, get quite experimental. own thoughts, getting you to make the decades we became more of new observations about works that a grown-up institution and perhaps

24 25 My Favorite Work

We asked a member to choose their favorite work from our collection and tell us how it has inspired or influenced them.

Terry Adkins Methane Sea 2013

Chosen by Sara Fruner, Individual member since 2017

One of my favorite works was recently on view in the exhibition of gifts from Agnes Gund: Terry Adkins’s Methane Sea (2013). It features a tangle of thick ropes slung over a metal frame covered with “wooden fids,” i.e., conical tools used on boats to work with rope and canvas. There is nothing overtly appealing about the piece. No shiny colors, no peculiar shapes. Yet it encapsulates the very mechanism that turns an assembly of plain, everyday matter into an artwork.

The trick about art lies in association: you look at a rope festooning an armature and your mind gets instantly propelled into other spaces. In the case of Methane Sea, colonial history—slavery, the Middle Passage in-between Africa and the Caribbean—and current times—immigration, boats overflowing with the Fanonian wretched of the Earth looking for a hope on the shores of the “wealthy” countries. Adkins triggers the artistic spell by taking an object as common and unpretentious as a rope, and placing it in a different context. In so doing, he lets the object speak a new language. The rope becomes the ordeal and the sufferings that all the ropes in the world, since man’s exploitation began, entail. Terry Adkins. Methane Sea. 2013. Wood, steel, rope, and tape, 78 × 40 × 55" (198.1 × 101.6 × 139.7 cm). Gift of Agnes Gund. Thanks to the artist’s imagery, a rope is a voice, blurting out all the untold © Terry Adkins. Courtesy of the Estate of Terry Adkins stories no historian could ever collect, and giving back in such a successful, poignant, synthetic way.

26 27 Member Events Member Opening Reception Gallery Talks Charles White 12:30 p.m. Tue, Oct 2, 7:00–9:00 p.m.

Member Early Hours Member Free, one-hour tours just for members on the Sustaining ($1,200) members and above are first and third Wednesday of each month. Daily, 9:30–10:30 a.m. invited to a reception and viewing celebrating After Hours Charles White: A Retrospective. Wed, Sep 5 Open to all members (except Global and 6:30–8:30 p.m. Constantin Brancusi Sculpture MoMA NYC) and accompanying guests. Member Opening Present your membership card and/or Twice a month, enjoy after-hours access to Wed, Sep 19 member guest admission ticket at the selected exhibitions. Educators will be on hand. The Long Run Museum entrance. Charles White On selected evenings, you can also “Sip and Wed, Oct 3 Wed, Oct 3, 7:00–10:00 p.m. Through Sep 11 Shop” at MoMA Design Store on 53 Street Bodys Isek Kingelez: City Dreams Toward a Concrete Utopia: Architecture in from 5:30 to 7:00 p.m. and enjoy Fellow ($360) and Supporting ($600) members Yugoslavia, 1948–1980 complimentary wine and prosecco. Wed, Oct 17 are invited to an evening reception and viewing Charles White: A Retrospective celebrating the opening of Charles White: Through Sep 15 Tue, Sep 11 A Retrospective. Bodys Isek Kingelez: City Dreams Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 Premium Viewing Through Oct 2 Member Lecture Constantin Brancusi Sculpture The Long Run Hours Tue, Oct 9, 6:30–8:30 p.m. Sep 12–Oct 16 Tue, Sep 18 Mon, Sep 17, 6:30–9:00 p.m. & Tue, Oct 23, 8:00–10:30 a.m. Supporting members ($600) and above are The Long Run Bodys Isek Kingelez: City Dreams invited to a lecture and reception with the Fellow members ($360) and above enjoy curators of Judson Dance Theater: The Work Oct 3–Jan 1 Constantin Brancusi Sculpture Is Never Done. Charles White: A Retrospective exclusive access when the Museum is closed Collection Galleries 1880s–1950s to the public. All galleries will be open and Oct 17–Feb 18 refreshments will be served. Curatorial Bruce Nauman: Disappearing Acts Thu, Oct 4 Bodys Isek Kingelez: City Dreams Curatorial Walk-Through Member Previews Charles White: A Retrospective Walk-Through Thu, Oct 11, 6:30–8:30 p.m. Starting at 10:30 a.m. Toward a Concrete Utopia: Architecture in Wed, Sep 19, 6:30–8:30 p.m. Patron members ($1,750) and above are invited Yugoslavia, 1948–1980 to a private tour and reception with the See new exhibitions before they open to curators of Charles White: A Retrospective. the public, during exclusive previews. Patron members ($1,750) and above are invited Mon, Oct 22 to a private tour and reception with the Thu, Sep 13–Sat, Sep 15 Bruce Nauman: Disappearing Acts curators of Constantin Brancusi Sculpture. Opening Reception Judson Dance Theater: The Work Is Never Done Charles White: A Retrospective Little Member Bruce Nauman Wed, Oct 3–Sat, Oct 6 Constantin Brancusi Sculpture Tue, Oct 16, 6:00–10:00 p.m. Charles White: A Retrospective Morning Sat, Sep 22, 8:00–10:30 a.m. Sustaining ($1,200) members and above are Wed, Oct 17–Sat, Oct 20 Member invited to a reception and viewing celebrating Bruce Nauman: Disappearing Acts Family ($175) members and above are invited Bruce Nauman: Disappearing Acts. Shopping Days for a morning of family-friendly activities in Tue, Sep 11–Fri, Sep 14 Constantin Brancusi Sculpture. Member Fri, Oct 5–Mon, Oct 8 Member Opening Collection Tour Members save 20% on all products at the Bruce Nauman Tue, Sep 11 & Thu, Oct 4, 5:30-6:30 p.m.. MoMA Design Stores, at store.moma.org, and Wed, Oct 17, 6:00–10:00 p.m. in our catalog, including furniture and sale Members are invited to join us for a one-hour, items (cannot be combined with any other Fellow ($360) and Supporting ($600) after-hours tour of MoMA’s Collection Galleries. offer or discount). members are invited to a reception and Limited to 50. Tours are held monthly. viewing celebrating Bruce Nauman: Disappearing Acts.

28 29 The 20th Annual For Families MoMA Family Festival Tours for Fours Family Films Saturdays and Sundays, Sep 15–Oct 28, 10:20–11:15 a.m., Oops! Mistakes and Sat, Oct 20, 6:30–9:30 p.m. Education and Research Building Mix-Ups Look, listen, and share ideas while you explore Sat, Sep 15, 12:00–1:00 p.m., T3 modern and contemporary art. Movement, drawing, and other gallery activities give Enjoy new and classic family-friendly short everyone the chance to participate. Each films, engaging discussions, and suggestions month a new theme is introduced. for follow-up activities in the Museum’s September’s theme is Art-Making Materials. galleries. This program is for individual families October’s theme is People and Portraits. of up to two adults and up to three kids.

For kids age four and their adult companions. Free tickets are For kids age four and up and their adult companions. Free tickets are distributed on a first-come, first-served basis starting at 10:00 a.m. distributed, first come, first served, at 10:00 a.m. on the day of the on the day of the program. For details, visit moma.org/family. program. For details, visit moma.org/family. A Closer Look Family Films for Kids With a Little Help Saturdays and Sundays, Sep 15–Oct 28, Sat, Oct 13, 12:00–1:00 p.m., T3 10:20–11:30 a.m., Education and Research Building Enjoy new and classic family-friendly short films, engaging discussions, and suggestions Engage in lively discussions and fun activities for follow-up activities in the Museum’s while looking closely at modern masterpieces galleries. This program is for individual families and cutting-edge contemporary art. Each of up to two adults and up to three kids.

month a new theme is introduced. Kids and For kids age seven and up and their adult companions. Free tickets are adults participate. September’s theme is Art in distributed, first come, first served, at 10:00 a.m. on the day of the 3-D. October’s theme is Shape, Line, and Color. program. For details, visit moma.org/family.

For kids age five to 10 and their adult companions. Free tickets are distributed on a first-come, first-served basis starting at 10:00 a.m. on the day of the program. For details, visit moma.org/family. Tours for Tweens

Photo: Carly Gaebe Saturdays and Sundays, Sep 22–23 & Oct 20–21, 10:30 a.m.–12:00 p.m., Family Art Education and Research Building

Workshops Share ideas and consider different perspectives Select Saturdays and Sundays, about works of art. Kids and adults participate. 10:30 a.m.–12:00 p.m. & 2:00–4:00 p.m., September’s theme is Artists’ Materials and A night for our littlest members! Join us Education and Research Building Process and October’s theme is Places in Art. for dancing, communal art projects led by Museum educators, kid-friendly treats, For kids ages 11 to 14 and their adult companions. Advance registration Explore works in MoMA’s collection and required. For details, visit moma.org/family. and fun activities in the galleries. The entire special exhibitions, then use your experience Museum will be open, including MoMA's in the galleries as inspiration for art making in beloved fifth-floor collection galleries. the studio. Art Lab This is an exclusive benefit for Family members Building Imagined Cities Nature ($175) and above. Admission is free, but Sep 15, 23, 29, & 30; Oct 13 & 14, ages 5–7 advance registration is required online. For Daily, 10:30 a.m.–4:30 p.m. more information, visit moma.org/familyfestival Fri, until 6:30 p.m. Inspired by Bodys Isek Kingelez, who created Education and Research Building or email us at [email protected]. buildings and cities out of paper, commercial To upgrade to a Family membership, call us at packaging, and materials from everyday life, (888) 999-8861. Create a nature-inspired design, draw and you’ll create your own structure to add to a arrange with natural materials, and explore collaborative “extreme maquette.” nature discovery boxes in our multisensory Kids and adults participate. Advance registration required; register installation. All ages are welcome. beginning September 5. For details, visit moma.org/family. For more information, please call (212) 708-9805 or email [email protected].

Photo: Carly Gaebe

30 31 Programs Modern Mondays Charles White Building upon the Museum’s eight-decade Printmaking tradition of fostering cinematic innovation and experimentation, Modern Mondays invites Workshops Gallery Sessions Deborah Hay: artists working in the expanded field of film, Sat, Oct 27 & Tue, Oct 30, 1:30–3:00 p.m., video, performance, and sound to present their Education & Research Building, Classrooms Daily, 11:30 a.m. & 1:30 p.m. A Lecture on the work in an intimate setting. Make your own drypoint prints in response to Join us for lively conversations and engaging Members and children (16 and under) free. Tickets $12, seniors $10, Performance of full-time students with current ID $8 Charles White’s innovative work in this medium. activities, facilitated by Museum educators, Each session is led by an artist and planned that offer insightful and unusual ways to engage Beauty An Evening with Yvonne Rainer with the EFA Robert Blackburn Printmaking with collections and special exhibitions. Mon, Sep 17, 7:00 p.m., T2 Workshop, whose founder, Robert Blackburn, Thu, Oct 4, 7:00 p.m., T2 Yvonne Rainer, one of the founders of Judson Groups meet in the galleries noted on the schedule. Gallery Sessions was White’s primary printer in New York. are free for members and Museum admission ticket holders. Dance Theater, presents Revisions: A Truncated No registration is required. The workshops are free. Space is limited and available on a Deborah Hay presents her lecture-performance History of the Universe for Dummies. A Rant first-come, first-served basis. Sign-up begins half an hour prior to A Lecture on the Performance of Beauty, which Dance and Letter to Humanity, her lecture- each workshop. Designed for adult participants, but children are focuses on her solo work o beautiful, which was performance reflecting on current events, as welcome if accompanied by an adult collaborator. choreographed in 2002. This lecture- part of the exhibition Judson Dance Theater: Quiet Mornings performance accompanies the exhibition The Work Is Never Done (see page 6). Wed, Sep 5 & Wed, Oct 3, 7:30–9:00 a.m. Judson Dance Theater: The Work Is Never Done (see page 6). An Evening with Xu Bing Prime Time:

See your favorite works from MoMA’s collection For ticketing info, see moma.org. Mon, Sep 24, 7:00 p.m., T2 and take in new exhibitions, all without the The work of Chinese artist Xu Bing challenges Studio Workshop crowds. Guided meditation takes place at the meaning of language and what we see, from Thu, Sep 27, 10:00 a.m.–12:30 p.m. & 8:30 a.m. his groundbreaking installation A Book from the 2:00–4:30 p.m. Sky (1987–91)—scrolls and books filled with Free for members, and member guests are $5. Adults $15, seniors $12, Artists and full-time students with current ID $10, children (16 and under) free what appears to be Chinese text but turns out Use mixed materials to construct imaginative The Long Run to be fake characters—to his recent foray into buildings and cityscapes inspired by works on feature film (see page 19). Xu joins us for an view in Bodys Isek Kingelez: City Dreams. All Wed, Oct 10, 6:00 p.m., T3 illustrated talk about his universe of language, materials are provided and no experience is #ArtSpeaks meaning, fiction, and truth. necessary. This workshop is offered twice. For this evening conversation, contemporary Registration opens August 30 at 9:30 a.m. Tue, Sep 25 & Tue, Oct 30, artists share their observations, thoughts, Phil Tippett in Conversation with Lucy Raven Participants may only register for one session. 11:00 a.m–4:00 p.m., Museum galleries and questions about the career path of artists Mon, Oct 1, 7:00 p.m. T2 featured in the exhibition The Long Run. Prime Time is an initiative to engage older New Yorkers at MoMA Phil Tippett is a two-time Academy Award– and in the community. For more information and to register, visit Join us for a day of community and Presenters include Lynda Benglis on her own winning visual effects and animation artist who moma.org/primetime. conversation. Staff members choose path, Abraham Cruzvillegas on David has brought radical innovations in screen artworks of special meaning for them, and Hammons, and David Reed on Joan Mitchell. technology—and an imaginative wit—to speak about the ways that art makes a Tickets $15; $10 members and Corporate members; $5 students, fantastical movie creatures in everything from difference in the world. seniors, and staff of other museums the Star Wars trilogy to the Jurassic Park Prime Time: Free for members and Museum admission ticket holders franchise. In addition to a discussion with Tippett and filmmaker Lucy Raven, this evening Gallery Conversation features a look at his in-progress project Mad Tue, Oct 30, 2:00–3:30 p.m. Judson Church God, and his recent collaborations with Raven. Bodys Isek Kingelez: A screening of Starship Troopers with 30 Interactive tours highlight a variety of artists, Reassembled minutes of rare production footage precedes movements, and themes represented in Perspectives Sat, Oct 13, 11:00 a.m., Judson Memorial the program. MoMA’s collection and exhibitions. Mon, Oct 1, 6:30 p.m., T3 Church, 55 Washington Square West Registration opens October 2 at 9:30 a.m. An Evening with Shambhavi Kaul Prime Time is an initiative to engage older New Yorkers at MoMA Organized in collaboration with Judson Mon, Oct 22, 7:00 p.m., T2 and in the community. For more information and to register, visit Drawing from Kingelez's interests in national moma.org/primetime. identity, urban planning, and his experiences in Memorial Church, this full-day event includes Applying deep research, precise editing, and then-Zaire (now the Democratic Republic of a screening of Shirley Clarke’s The Connection fine-tuned humor to a combination of her own Congo), this event features a range of (1961), a discussion about the mutual influence cinematography and found footage, Shambhavi perspectives on the artist’s work, including of art and religion, and performances Kaul depicts landscapes and figures that exist photographer Sammy Baloji and anthropologist co-organized with the dance organization between imagination and reality. Her work uses Filip de Boeck, co-authors of Suturing the City: Movement Research. cultural tropes from places like Hong Kong, India, and Mexico to reveal the ambiguous Living Together in Congo’s Urban Worlds (2016); Free. No advance registration required Chika Okeke-Agulu, Professor, Art and meanings behind loaded popular signifiers. Archaeology, Princeton University; and others. Kaul presents a selection of her films, including new work, followed by a conversation. Tickets $15; $10 members and Corporate Members; $5 students, seniors, and staff of other museums

32 33 Shop Books

Members now receive FREE SHIPPING on Judson Dance all orders of $20 or more, every day. Theater: The Work Is Never Done By Ana Janevski and Thomas J. Lax

Paperback, 200 pages, 227 illustrations $35/Members $31.50 Published in conjunction with the exhibition, this lushly illustrated catalogue charts the development of Judson through photographs, film stills, choreographic scores, architectural drawings, and other archival materials, as it celebrates the group’s multidisciplinary and collaborative ethos and its reverberant achievements.

MEMBERSHIP

Grandpa and the Library: How Charles White Learned to Paint By C. Ian White

Hardcover, 40 pages, illustrated throughout $19.95/Members $17.95 This charming children’s book follows the young Charles White as he goes to the library every day to look at picture books and watch the people around him. Later he draws what he has seen on scraps of paper, and over time he learns how to mix and use oil paints. As he grows up, Charles creates powerful portraits of the figures he sees and admires—of his family and of African American musicians, thinkers, scientists, and civil rights leaders. Written and illustrated by his son, C. Ian White, this deeply personal story traces the childhood influences that inspired young Charles to become an artist and a Free standard shipping every day for shipments to the contiguous US for members at the Global teacher. Available in English and in Spanish ($70) category and above on purchases over $20. Surcharges may apply for oversized or special items. Excludes international and additional shipping charges. Additional exclusions may apply.

34 store.moma.org moma.org/books 35 Thank You to Our Partners The Museum of Modern Art We are proud to thank our major Corporate Partners, whose generosity and dedication to our 11 West 53 Street, New York, NY 10019 mission make possible so many important programs at both the Museum and MoMA PS1. Your Visit Shopping Open daily, 10:30 a.m.–5:30 p.m. All members save 10%. UNIQLO Free Friday Nights, 4:00–8:00 p.m. Museum Store (floor 2) A series of exhibitions and programs MoMA Audio is supported by UNIQLO Free Friday Nights are at The Museum of Modern Art and Bloomberg Philanthropies. made possible by a partnership Closed Thanksgiving Day and Christmas Open during Museum hours MoMA PS1 is supported by a partnership with UNIQLO. with Volkswagen of America. Members free ($5 guest tickets available on Bookstore (floor 2) each visit). Adults $25; seniors (65 and over Open during Museum hours with ID) $18; students (full-time with current ID) $14; children (16 and under) free MoMA Design Store 44 West 53 Street. (212) 767-1050

A series of special exhibitions is Target School and Teacher Programs Open daily, 9:30 a.m.–6:30 p.m. sponsored by Hyundai Card. are sponsored by Target®. Dining Fridays, 9:30 a.m.–9:00 p.m. Members receive 10% off during Museum hours. MoMA Design Store, Soho Cafe 2 (floor 2) features sharable 81 Spring Street. (646) 613-1367 Italian-inspired plates, wine, and beer. Open daily, 10:00 a.m.–8:00 p.m.; Special Program Sponsors Saturday–Thursday, 11:00 a.m.–5:00 p.m. Sunday, 11:00 a.m.–7:00 p.m. Friday, 11:00 a.m.–7:30 p.m. Order online Terrace 5 (floor 5) is a full-service café. store.moma.org Outdoor seating is available in season. Judson Dance Theater: The Work Is Never Order by phone Done is made possible by Hyundai Card. Bruce Nauman: Disappearing Acts is Education at MoMA is made possible by Saturday–Thursday, 11:00 a.m.–5:00 p.m. made possible by the Laurenz Foundation, a partnership with Volkswagen of America. (800) 447-6662 Leadership support is provided by Monique Schaulager Basel. Friday, 11:00 a.m.–7:30 p.m. M. Schoen Warshaw, The Jill and Peter Kraus Family Programs are made possible by The Endowed Fund for Contemporary Leadership support is provided by The William Randolph Hearst Endowment Fund. Cafe 2 Espresso Bar and Garden Bar (seasonal) Exhibitions, and by MoMA’s Wallis Annenberg Sandra and Tony Tamer Exhibition Fund. Generous funding is provided by Brett and Film Tickets Fund for Innovation in Contemporary Art Daniel Sundheim. Saturday–Thursday, 10:30 a.m.–3:30 p.m. through the Annenberg Foundation. Major support is provided by The Friday, 10:30 a.m.–5:30 p.m. International Council of The Museum of Art Lab is generously supported by Mrs. Members receive free film admission Major support is provided by Jody and John Modern Art and by The Jill and Peter Kraus Ronnie F. Heyman. The Modern (9 West 53 St.) and $5 guest admission, but must still Arnhold and by The Contemporary Arts Endowed Fund for Contemporary obtain a ticket. Council of The Museum of Modern Art. Exhibitions. Major support for Adult and Academic is a two-Michelin-starred restaurant. Member Programs is provided by the Estate of discount does not apply. Generous funding is provided by The Generous funding is provided by The Hayden Susan Sabel. Generous funding is provided by Tickets are released two weeks in advance, Harkness Foundation for Dance. Family Foundation, Sully Bonnelly and Robert endowments established by Agnes Gund and Lunch Monday–Friday, 12:00–2:00 p.m. R. Littman, Ellen and William Taubman, and Daniel Shapiro, The Junior Associates of The and are available online, at the ticketing by The Contemporary Arts Council of The Museum of Modern Art, Walter and Jeanne Dinner Monday–Saturday, 5:00–10:30 p.m. Museum of Modern Art. Thayer, and by the gifts of Alan Kanzer. desk, and at the Education and Research The Modern Bar Room Building lobby desk. Additional support is provided by the Community Programs are made possible by Charles White: A Retrospective is supported MoMA PS1 Annual Exhibition Fund and the Werner and Elaine Dannheisser Fund for Member discount available 3:00–5:00 p.m. only. at The Museum of Modern Art and at the by The Museum of Modern Art's Annual Older Adults. Additional support is provided Monday–Thursday, 11:30 a.m.–10:30 p.m. Art Institute of Chicago by the Terra Exhibition Fund. by Karen Bedrosian Richardson and Foundation for American Art with The The Elroy and Terry Krumholz Foundation. Friday–Saturday, 11:30 a.m.–11:00 p.m. Membership Richard H. Driehaus Foundation. Rockaway! is made possible through Sunday, 11:30 a.m.–9:30 p.m. the generous support of Bloomberg Education at MoMA is supported by (888) 999-8861 Major support for the New York presentation Philanthropies and The Secunda Family the Annual Education Fund. is provided by The Contemporary Arts Foundation. [email protected] Council of The Museum of Modern Art. Exhibitions at MoMA are supported by the Annual Exhibition Fund. Generous funding is provided by The Friends of Education of The Museum of Modern Art. Film exhibitions at MoMA are supported MoMA PS1 by the Annual Film Fund. 22-25 Jackson Ave, Queens, NY 11101

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Annual Education Fund Edith Cooper and Robert Taylor, GS Gives Brett and Daniel Sundheim Open daily, 12:00–6:00 p.m. M. Wells Dinette is a cafeteria-style restaurant Volkswagen of America Paula and Jim Crown Karen and Gary Winnick Closed Tuesdays and Wednesdays by Hugue Dufour and Sarah Obraitis. Lewis B. and Dorothy Cullman Kathy and Richard S. Fuld, Jr. The Marella and Giovanni Agnelli Fund Sarah Arison Marlene Hess and James D. Zirin for Exhibitions Edward John Noble Foundation The James and Judith K. Dimon Foundation Oya and Bülent Eczacıbaşı Members free ($5 guest tickets available on The Ford Foundation Gretchen S. Jordan each visit). Adults $10; seniors (65 and over Trustee Committee on Education Marie-Josée and Henry Kravis Annual Film Fund Shopping Crown Family Education Fund Lily Auchincloss Foundation, Inc. Kate W. Cassidy Foundation with ID) $5; students (full-time with current ID) $5; Stavros Niarchos Foundation Audrey and Danny Meyer Steven Tisch children (16 and under) free. Admission Artbook @ MoMA PS1 The Enoch Foundation Jerry I. Speyer and Katherine G. Farley Jo Carole and Ronald S. Lauder General Education Endowment Tiger Baron Foundation, Inc. Association of Independent Commercial fees are suggested. The most vibrant source for cutting-edge Elyse and Lawrence B. Benenson Kathryn T. Farley Producers (AICP) Admission to MoMA PS1 is currently free for all NYC residents, contemporary art books and magazines on Debra and Leon Black David and Susan Rockefeller Yuval Brisker Charitable Foundation courtesy of the Anna-Maria and Stephen Kellen Foundation. The LOVE Fund for Education The Brown Foundation, Inc., of Houston the East Coast. Epstein Teicher Philanthropies Annual Exhibition Fund Marlene Hess and James D. Zirin Leo and Julia Forcheimer Foundation Estate of Ralph L. Riehle The Junior Associates of The Museum of The Contemporary Arts Council of The Alice and Tom Tisch Modern Art Museum of Modern Art Mimi and Peter Haas Fund Karen and Gary Winnick Member Calendar SEP OCT

Joan Baker. Ritual. 1963. Performed at Concert of Dance #13, Judson Memorial Church, November 20, 1963. Photo: Peter Moore. © Barbara Moore/Licensed by VAGA at ARS, NY. Courtesy Paula Cooper Gallery, New York

Judson Dance Theater The Work Is Never Done Sep 16–Feb 3 The Museum of Modern Art, Floor 2 & Marron Atrium 14 FRI 18 TUE 23 SUN 27 THU Member Previews 6:30 Event 10:20 Family 10:00 & 2:00 Judson Dance Member After Hours Tours for Fours Event Theater: The Work Is Prime Time: Studio Never Done WED 10:20 Family Workshop 19 A Closer Look for Kids Member FRI Shopping Days 12:30 Event 10:30 Family Save 20% Member Gallery Tours for Tweens 28 Talk: The Long Run 9:30 Event Now Playing 11:00 Event Member Early Hours* The Eye of Iran: 6:30 Event NY Art Book Fair. Cinematographer Curatorial MoMA PS1 SAT Mahmoud Kalari Walk-Through: 29 Constantin Brancusi MON SAT 7:30 Event TUE S SAT Sculpture 10:20 Family Quiet Mornings 24 1 11 15 Tours for Fours THU 7:00 Event 12:00 Event 12:30 Event Member Member Previews Modern Mondays: 10:20 Family Warm Up. MoMA PS1 Member Gallery Shopping Days Judson Dance 20 An Evening with A Closer Look for Kids Talk: Constantin Save 20% Theater: The Work Is 9:30 Event Xu Bing SUN Brancusi Sculpture Never Done Member Early Hours* SUN 5:30 Event TUE 2 THU Member Collection 30 10:20 Family FRI 9:30 Event Tour 25 Tours for Fours 10:20 Family Member Early Hours* 6 21 11:00 Event Tours for Fours 9:30 Event 6:30 Event 10:20 Family 9:30 Event #ArtSpeaks MON Member Early Hours* Member After Hours A Closer Look for Kids Member Early Hours* 10:20 Family 3 WED A Closer Look for Kids FRI WED 12:00 Family 1:00 Event Exhibition Closing Family Films NY Art Book Fair. 26 Reza Abdoh. 7 12 MoMA PS1 9:30 Event MoMA PS1 9:30 Event Member E SUN Member Early Hours* Member Early Hours* Shopping Days Exhibition Closing Save 20% 16 SAT Rockaway! 2018: SAT 22 Narcissus Garden by THU 10:20 Family 8:00 Family Yayoi Kusama 8 Tours for Fours 13 Little Member Morning 9:30 Event TUE Member Early Hours* Member Previews 10:20 Family 10:20 Family Judson Dance A Closer Look for Kids 4 Tours for Fours SUN Theater: The Work Is 9:30 Event Never Done MON 10:20 Family Member Early Hours* 9 17 A Closer Look for Kids 9:30 Event Member WED Member Early Hours* Shopping Days 6:30 Event 10:30 Family Save 20% Evening Premium 5 Tours for Tweens MON Viewing Hours Now Playing 10 11:00 Event Modern Matinees: 7:00 Event P NY Art Book Fair. Vincent Price 9:30 Event Modern Mondays: MoMA PS1 Member Early Hours* An Evening with Yvonne Rainer

4 THU 7 SUN 13 SAT 18 THU Member Previews Member 10:20 Family Member Previews Charles White: Shopping Days Tours for Fours Bruce Nauman: A Retrospective Save 20% Disappearing Acts 10:20 Family 5:30 Event 10:20 Family A Closer Look for Kids FRI Member Collection Tours for Fours 19 MON Tour 11:00 Event 1 10:20 Family Judson Church Member Previews 6:30 Event A Closer Look for Kids Reassembled. Bruce Nauman: 6:30 Event Member After Hours Judson Memorial Disappearing Acts TUE 10:20 Family Bodys Isek Kingelez: MON Church, 55 Washington 23 A Closer Look for Kids Perspectives 7:00 Event 8 Square West Now Playing Deborah Hay: Karpo Godina 8:00 Event MON 7:00 Event A Lecture on the Member 12:00 Family Morning Premium 29 Modern Mondays: Performance of Shopping Days Family Films SAT Viewing Hours Phil Tippett in Beauty Save 20% 20 9:30 Event Conversation with SUN WED Member Early Hours* Lucy Raven FRI 9:30 Event 14 Member Previews 24 Member Early Hours* O Bruce Nauman: TUE 5 TUE 10:20 Family Disappearing Acts 9:30 Event 30 2 Member Previews TUE Tours for Fours Member Early Hours* Charles White: 9 10:20 Family 11:00 Event 7:00 Event A Retrospective 10:20 Family Tours for Fours THU #ArtSpeaks Opening Reception: 6:30 Event A Closer Look for Kids 10:20 Family Charles White: Member Supporting Member 25 A Closer Look for Kids A Retrospective Shopping Days Lecture: Judson MON Now Playing Save 20% Dance Theater: The Catalan Cinema’s 15 10:30 Family WED Work Is Never Done Radical Years, 9:30 Event Tours for Tweens 1968–1978 3 SAT Member Early Hours* WED 6 6:30 Event Member Previews FRI 10 TUE MoMA Family Festival Charles White: Member Previews 1:30 Art Making A Retrospective Charles White: 6:00 Event 16 26 Charles White SUN A Retrospective Artists and 9:30 Event Printmaking 6:00 Event 7:30 Event The Long Run Member Early Hours* Workshops Opening Reception: 21 Quiet Mornings Member C 10:20 Bruce Nauman: Family Shopping Days 2:00 Event THU Disappearing Acts Tours for Fours SAT 12:30 Event Save 20% Prime Time: Gallery Member Gallery 11 27 Conversation WED 10:20 Family Talk: Bodys Isek 10:20 Family 9:30 Event 10:20 Family A Closer Look for Kids Kingelez: City Dreams Tours for Fours Member Early Hours* 17 Tours for Fours WED Member Previews 10:30 Family 31 7:00 Event 10:20 Family 6:30 Event 10:20 Family Bruce Nauman: Tours for Tweens Member Opening: A Closer Look for Kids Curatorial A Closer Look for Kids 9:30 Event Disappearing Acts Charles White: Walk-Through: Charles Member Early Hours* MON A Retrospective White: A Retrospective 1:30 Art Making 12:30 Event Charles White Member Gallery 22 FRI Printmaking Talk: Charles White: 6:30 Event Workshops 12 A Retrospective Member After Hours Now Playing SUN 6:00 Event 7:00 Event Hammer Horror: A Member Opening: Modern Mondays: Frankenstein Septet T 28 Bruce Nauman: An Evening with 10:20 Family Disappearing Acts Shambhavi Kaul Tours for Fours

All events and programs at The Museum of Modern Art * Join us for Member Early unless otherwise noted. Hours every day! For For image captions, details, see page 28 or see inside front cover. For up-to-the-minute listings, film screenings, and program details, visit moma.org/calendar. visit moma.org.