Member Calendar MAR

APR Mar–Apr 2019

“I never get over wondering at your prodigiousness,” MoMA founding director Alfred H. Barr Jr. mused admiringly to Lincoln Kirstein in 1945. Indeed, the extent of Kirstein’s influence on American culture in the 1930s and ’40s is hard to overstate. Best known for having cofounded, with the Russian choreographer George Balanchine, the School of American Ballet and the New York City Ballet, Kirstein was also a key figure in MoMA’s early history. Organizing exhibitions, writing catalogue essays, donating works to the Museum, and making acquisitions on its behalf, Kirstein championed a vision of modernism that favored figuration over abstraction and argued for an interdisciplinary marriage between the arts.

Lincoln Kirstein’s Modern (Member Previews start March 13) invites you to rediscover rich areas of MoMA’s collection through the eyes of this impresario and tastemaker. The nearly 300 works on view include set and costume designs for the ballet; photography that explores American themes; sculpture that finds inspiration in folk art and classicism; finely rendered realist and magic-realist paintings; and the Latin American works that Kirstein purchased for the Museum in 1942.

Some of these works might be old favorites, while others may represent new discoveries. The same is true for the Museum’s wide-ranging offerings this spring: the objects in The Value of Good Design may be things you use in your daily life; the paintings in Joan Miró: The Birth of the World may be familiar friends; while the recent acquisitions in New Order: Art and Technology in the Twenty-First Century have mostly not been seen before. This dynamic mix of the familiar and the fresh is exactly what MoMA’s collection is all about. I never get over wondering at its prodigiousness.

Pull-out calendar: Art Lab: Nature. Photo: Martin Seck; Come Together 2018. Photo: Kevin Aranibar; Member Opening Reception. Photo: Christiana Rifaat; Painting and Sculpture Galleries. Shown: Marcel Duchamp. Bicycle Wheel. 1951 (third version, after lost original of 1913). Metal wheel mounted on painted wood stool, 51 × 25 × 16 1/2" (129.5 × 63.5 × 41.9 cm). The Sidney and Harriet Janis Collection. Samantha Friedman © 2019 Artists Rights Society (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp. Photo: Ryan Lowry; Family Art Workshops. Photo: Martin Seck; Member After Hours. Shown: Ursula von Rydingsvard. Bent Lace. 2014. Bronze. Gift of Agnes Gund in honor of David Associate Curator, Department of Drawings and Prints Rockefeller on his 100th birthday. Photo: Fiona Veronique A New MoMA 4–7

Nancy Spero 16

Highlights Mariette Rissenbeek 20

Lincoln Kirstein’s Modern 8–9

My Favorite Work 26–27

Programs 29–31 New Order 12 On October 21 we’ll open the new MoMA, with the stunning You’re part of a new moment galleries and spaces you helped make possible. As a member, you’ll experience our reimagined museum first.

With a third more gallery space, we’ll be able to share more art in new ways. Recognizing that there is no single history of modern and contemporary art, we’ll be mixing mediums— from painting to performance—and ideas to present an exhilaratingly broad view of the art of our time. You’ll still find Van Gogh’s The Starry Night and Picasso’s Les Demoiselles d'Avignon, but we’ll also celebrate more art by women and by artists from diverse backgrounds and geographies. A state- of-the-art studio will bring live and experimental programming to the heart of our galleries, including artist commissions, and you’ll be able drop in to a dedicated new space anytime for lively conversations and art making.

You’re going to find something new every time you visit.

4 5 You’ll see the new MoMA first And in the meantime...

Mark your calendars for an all-day member event on June 16 to help us celebrate this historic moment in MoMA’s evolution and future. After this, we’ll begin the exciting process of installation in preparation for our opening in October. During this period, the Museum will be closed to the public. Until then, join us for our spring season of must-see exhibitions, and visit MoMA PS1, which will remain open throughout 2019.

As always, you can ask us questions at [email protected]. You can also learn more about the project at moma.org/newmoma.

Your membership supports our mission and enlivens our community, and we’re thrilled you’ll be with us during the incredible year ahead. See you soon!

We reimagined the member experience, too. Not only will you see the new MoMA first, you’ll always enjoy it in the best way possible. Whether you’re spending the day—or an hour—at the Museum exploring the galleries, taking in a performance, making art, or relaxing, we always want you to feel at home.

Your membership includes:

— Opening events and early access to the new MoMA — Members-only entrance and coat check — Exclusive programs offering access to new exhibitions — Shopping and dining discounts

6 7 New

Paul Cadmus. Set design for the ballet Filling Station. 1937. Cut-and-pasted paper, gouache, and pencil on paper, 8 × 10 7/8" (20.3 × 27.6 cm). The Museum of Modern Art, New York. Gift of Lincoln Kirstein, 1941. © 2019 Estate of Paul Cadmus

Lincoln Kirstein’s Modern Mar 17–Jun 16

Member Previews: Mar 13–16 Member Early Hours: Mar 13–31, 9:30–10:30 a.m. Member Gallery Talk: Apr 3, 12:30 p.m.

“I have a live eye,” proclaimed Lincoln Kirstein, signaling his wide-ranging vision. Lincoln Kirstein’s Modern explores this polymath’s sweeping contributions to American cultural life in the 1930s and ’40s. Best known for cofounding the New York City Ballet with the choreographer George Balanchine, Kirstein (1907–1996), a writer, critic, curator, impresario, and tastemaker, was also a key figure in MoMA’s early history. With his prescient belief in the role of dance within the museum, his championing of figuration in the face of prevailing abstraction, and his position at the center of a New York network of queer artists, intimates, and collaborators, Kirstein’s impact remains profoundly resonant today.

Bringing together some 300 rarely seen artworks alongside materials drawn from the Museum’s Archives, the exhibition illuminates Kirstein’s influence on the Museum’s collecting, exhibition, and publication history. The wide array of works includes set and costume designs for the ballet by Paul Cadmus and Jared French, photographs by Walker Evans and George Platt Lynes, realist and magic- realist paintings by Honoré Sharrer and Pavel Tchelitchew, sculpture by Elie Nadelman and Gaston Lachaise, and Latin American art that Kirstein acquired for the Museum by artists such as Antonio Berni and Raquel Forner. Together, these works reveal an alternative and expansive view of modern art.

Elie Nadelman. Man in the Open Air. c. 1915. Bronze, 54 1/2" (138.4 cm) high, 11 3/4 � 21 1/2" (29.9 � 54.6 cm) at base. Gift of William S. Paley (by 8 The Museum of Modern Art, Floor 3 exchange). © 2019 Estate of Elie Nadelman 9 Lincoln Kirstein and Film Culture Apr 11–24

To Have and Have Not. 1944. USA. Directed by Howard Hawks. Courtesy Warner Bros/Photofest Modern Matinees B Is for Bacall The Public Enemy. 1931. USA. Directed by William A. Wellman. The Museum of Modern Art Film Stills Archive Mar 1–Apr 26

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

In 2016 Modern Matinees presented B Is for Bogart, so this tribute to Lauren Members can reserve free film tickets in person and at moma.org/film. Bacall (American, 1924–2014)—Humphrey Bogart’s partner in life and costar in four iconic films—is perhaps overdue. Bacall’s defining characteristics onscreen— Though Lincoln Kirstein is best known today for his vital role in establishing a strong, independent, smart, opinionated—mirrored her accomplishments in distinctively American idiom for ballet, his considerable contributions to film life as an actor, political activist, and author. culture are less well remembered. As editor of the influential little magazine Hound & Horn—one of the few publications of its kind to offer a sustained The Bronx native was famously “discovered” on the cover of Harperʼs Bazaar commentary on cinema—he provided an early platform to such era-defining in 1943 by Howard Hawks; she debuted in his To Have and Have Not the following critics as Harry Potamkin. year. Playing resolute women who held their own, spoke their minds, and guarded a tender heart in films like The Big Sleep (1946), Dark Passage (1947), and Key Kirstein, too, was a perspicacious writer on the movies, penning essays about Largo (1948), she became an enduring film noir icon. Meanwhile she and Bogart, everything from Hollywood stars like James Cagney and Marilyn Monroe to whom she married in 1945, were active politically, traveling to DC in 1947 to newsreels and French film under the Occupation. He was also among the founding oppose the House Un-American Activities Committee. directors of one of the first film societies in the country. That organization’s brief yet remarkable five-program run in 1933—a heterogeneous lineup in which Bacall never stopped evolving—her six-decade career was a varied, challenging pathbreaking avant-garde efforts commingled with documentary studies, Disney collage of projects with everyone from Barbra Streisand to Vincente Minnelli, cartoons, and even a silent serial episode—will be reconstructed as part of this and Robert Altman, Lars von Trier—but one thing remained constant: she could survey of Kirstein’s omnivorous cinephilia. always be counted on to class up the joint.

10 The Museum of Modern Art, Theaters The Museum of Modern Art, Theaters 11 Ask a Curator

Michelle Kuo is The Marlene Hess Curator of Painting and Sculpture and organizer of New Order: Art and Technology in the Twenty-First Century. We asked Michelle to tell us about her job and some of the unexpected materials in the exhibition.

Anicka Yi. Shameplex. 2015. Plexiglass, nickel-plated straight pins, ultrasonic gel, and LED strips, seven boxes; each box 24 × 48 × 24" (61 × 121.9 × 61 cm), overall dimensions variable. Fund for the Twenty-First Century What is the common thread among and forms of the works themselves. the works on view in New Order? And then thinking about how these forms will relate to each other and to New Order All the works are drawn from the viewers in space—to generate meaning Museum’s collection, and they all through collective perception. engage technology—particularly the Art and Technology in the physical dimensions of technology, Who was the first artist whose work whether tools, substances, machines, interested you, and why? Twenty-First Century or space. And so the exhibition also Mar 17–Jun 16 highlights the diversity of media and My uncle. He immigrated to the US materials that the Museum has been from Taiwan in the 1960s and felt he acquiring over the past two decades. had to study a practical field—physics— Member Previews: Mar 13–16 but changed course and became an Member Early Hours: Mar 13–Apr 30, 9:30–10:30 a.m. What’s the most surprising/exciting artist and commercial illustrator, Member Gallery Talk: Apr 17, 12:30 p.m. material in the exhibition? eventually moving to Nashville and creating everything from country Today, when technology seems utterly smooth and weightless—composed of Plastic. It’s old and ordinary, but it’s music album covers to paintings invisible waves, wireless signals, abstract codes—New Order explores the ways in also everywhere and extraordinary: a addressing Chinese American identity. which these systems are still stubbornly tied to the physical world. Drawn product of modern technology that entirely from MoMA’s collection, the works included highlight the uneasy has become utterly chameleonic and If you could “borrow” a work from coexistence of intelligent networks and dumb stuff, high tech and raw material, totally high-tech. Today, 3-D printing MoMA’s collection, what would it be? the fabricated and the readymade. Technology, they suggest, is always mired in makes use of new resins and polymers matter, friction, and failure. to create new kinds of geometries and That’s a tough one! I think Eva Hesse’s shapes, as seen in Tauba Auerbach’s Untitled (1966), which reads as both a Presenting a number of recent acquisitions and large-scale installations never Altar/Engine (2015). Plastic also takes two-dimensional picture and a before shown at the Museum, the exhibition showcases a diverse range of on a post-apocalyptic, foreboding sculpture in the round, as an organic techniques and media, from live digital simulation to industrial vacuum-formed quality in works by Rodney McMillian, shape subject to gravity and as a tool plastic to ultrasound gel. These pieces revel in the weird and unexpected, giving Josh Kline, and Sondra Perry. or device that could be activated. It rise to hybrid constellations of things and bodies and data. hangs from an elastic cord, so you feel What’s your favorite part of putting like it has this tensile agility: a live wire. New Order looks at the ways in which contemporary artists use and misuse tools together an exhibition? and forms. The show features works made since the turn of the millennium that push and challenge the boundaries of technology: upending systems, Spending time with conservators to Want to read more? The full interview experimenting with materials, and inventing novel techniques and substances. understand more about the materials can be found at moma.org/magazine.

12 The Museum of Modern Art, Floor 2 13 Simone Fattal. Horse. 2009. Glazed stoneware, 8 � 10 � 5" (20.32 � 25.4 � 12.7 cm). Courtesy of the artist and kaufmann repetto, Milan/New York; Balice Hertling, Paris; Karma International, Zurich/Los Angeles

Simone Fattal Works and Days Mar 31–Sep 2

MoMA PS1 presents the first solo museum exhibition in the United States of the work of Simone Fattal (Lebanese and American, b. 1942). This retrospective brings together a selection of over 100 abstract and figurative ceramic sculptures, paintings, and collages created over the last 40 years, drawing from a range of sources including war narratives, landscape painting, ancient history, Tickets for MoMA and Film Society members will go on sale on March 4. For full mythology, and Sufi poetry to explore the impact of displacement as well as the programming and ticketing information, please visit newdirectors.org. politics of archeology and excavation.

Now in its 48th edition, the New Directors/New Films festival is New York’s Fattal was born in Damascus, Syria, and raised in Lebanon, where she studied premier showcase for the work of emerging filmmakers from around the world. The philosophy at the École des Lettres in Beirut. She then moved to Paris, where she list of directors who have shown films at New Directors/New Films over the last continued her philosophical pursuits at the Sorbonne. In 1969 she returned to near half-century includes such artists as Pedro Almodóvar, Chantal Akerman, Beirut and began working as a visual artist, exhibiting her paintings locally until Andrea Arnold, Luca Guadagnino, Hou Hsiao-hsien, Kirsten Johnson, Terence the start of the Lebanese Civil War. She fled Lebanon in 1980 and settled in Nance, Christopher Nolan, Laura Poitras, Spike Lee, Sarah Polley, Kelly Reichardt, California, where she founded the Post-Apollo Press, a publishing house Guillermo del Toro, Joachim Trier, and Denis Villeneuve. Any of the filmmakers in dedicated to innovative and experimental literary work. In 1988 she enrolled in a this year’s lineup have the potential to be as important to the art of cinema as course at the Art Institute of San Francisco, which prompted a return to her these. Join us in celebrating the continued vitality and promise of the medium. artistic practice and a newfound dedication to sculpture and ceramics.

14 The Museum of Modern Art, Theaters MoMA PS1 15 Nancy Spero Paper Mirror Mar 31–Jun 23

Lobby card for The Scarlet Empress. 1934. USA. Directed by Josef von Sternberg. Courtesy of the Ira M. Resnick collection

What Price Hollywood Mar 30–Jun 16

Members can reserve free film tickets in person and at moma.org/film. Nancy Spero. Sheela-Na-Gig. 1991. Handprinted collage on paper, 25.5 x 18.5 (64.8 x 47 cm). © 2019 The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA at ARS, NY, courtesy Galerie Lelong & Co. Photo: Christopher Burke Studio Beyond the nostalgia that colors how we think about classical Hollywood films, there is also what critic Parker Tyler once described as its “monstrous and pernicious” influence on society and culture. And since relations between female Though she began her career in the 1950s as a figurative painter, the atrocities of and male characters figure heavily in virtually all of the studio system’s feature the Vietnam War led artist and activist Nancy Spero (American, 1926–2009) to films and promotional materials, now more than ever it’s worth looking closely conclude that painting had become “too conventional, too establishment.” From at the different ways gender roles and behavior were portrayed. 1966 onward, she worked primarily on paper—pinning her fragile compositions directly to the wall—and women’s history became the central subject of her art. What Price Hollywood presents a wide range of movie posters, from the silent era through the 1960s, that epitomize the Hollywood marketing machine’s Over the ensuing decades she produced a radical body of work that confronted deployment (and occasional subversion) of masculine and feminine stereotypes. oppression and inequality while challenging the orthodoxies of contemporary art. The exhibition highlights ways in which these graphic and photographic She drew on archetypal representations of women across various cultures and representations shaped—and continue to shape—the moviegoing public’s times in an attempt to reframe history itself from a perspective that she termed understanding of romance and sexuality; how the studios’ formulaic use of body “woman as protagonist.” Paper Mirror traces the full arc of Spero’s artistic language between male and female performers defined “standard” couplings; evolution, bringing together more than 100 works made over six decades in the and how certain genres allowed subversive female agency and queer first major museum exhibition in the US since the artist’s death in 2009. The perspectives to sneak into poster art. MoMA PS1 presentation of the exhibition includes the artist’s monumental work Notes in Time on Women (1979–81)—a 200-foot-long frieze from the collection Along with the poster exhibition, a film series reveals how Hollywood manipulated of The Museum of Modern Art, on view for the first time in more than a decade— erotic imagery onscreen, and how subtle, empowering performances by Barbara and the large-scale installation Maypole: Take No Prisoners (2007), the last major Stanwyck, Louise Brooks, Marlon Brando, and Gloria Grahame simultaneously work the artist completed before her death. upheld gender norms and hinted at alternative models of sexual identity.

16 MoMA PS1 The Museum of Modern Art, Theater Galleries 17 More Restorations and Rediscoveries from the Fox Film Corporation Mar 1–26

Gina Beavers. Local Pasteurized Beef. 2014. Acrylic on canvas. Courtesy the artist

Gina Beavers The Life I Deserve Pilgrimage. 1933. USA. Directed by John Ford Mar 31–Sep 2

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

Founded in 1915 by the self-educated entrepreneur William Fox, the Fox Film In her visceral, vexing, often grotesque paintings, New York–based artist Gina Corporation became home to the most dazzling lineup of directorial talent in Beavers (American, b. 1974) transforms images sourced from the Internet into the studio era. As silent film transitioned into sound, Fox’s roster of directors painted reliefs composed from thick layers of acrylic medium. Born from the included Frank Borzage, Allan Dwan, John Ford, Howard Hawks, William K. online world yet stubbornly physical, Beavers’s paintings condense the ether of Howard, Henry King, William Cameron Menzies, F. W. Murnau, Alfred Santell, digital images into bodily objects that convey both sensuality and abjection. Raoul Walsh, and many others. Yet this legacy was almost lost when a 1937 vault Confronting questions of consumption, desire, and self-fashioning, she gravitates fire at Fox’s New Jersey storage facility destroyed all of the Fox Film negatives toward a repertoire of recurring subjects that reflect everyday life in the age and most of the positive prints. That any of the Fox Film inventory survives today of social media, such as “food porn,” bodybuilder selfies, and makeup tutorials. is largely thanks to Eileen Bowser, the former head of MoMA’s Department of Film, who worked with the producer Alex Gordon to rescue the nitrate work Rendered with an unsettling degree of realism, Beavers’s work is always more prints and reference copies stored at the Fox studio in Los Angeles. than merely representational. Whether depicting a painter’s palette or the fluorescent green of a bulbous tennis ball, her high-relief paintings protrude Following last summer’s three-week program of rarely seen Fox films, we’re obscenely into the space of the viewer, insisting on their status as tactile things. offering another selection of Fox gems from the MoMA vault, including new In her more recent work, the artist both parodies and venerates iconic figures digital restorations of several important titles like Frank Borzage’s 1928 from the history of art, from Vincent van Gogh to Piet Mondrian, pointing to a masterpiece Street Angel, as well as archival prints not publicly screened deep engagement both with painting’s legacies and its continued relevance as a in decades. critical lens on contemporary culture.

18 The Museum of Modern Art, Theaters MoMA PS1 19 Carte Blanche Roberto GavaldÓn Mariette Rissenbeek Night Falls in Mexico Mar 1–12 Apr 25–May 5

The Chambermaid Lynn. 2014. Germany. Directed by Ingo Haeb. Cinematography by Sophie Maintigneux. Photo: Olaf Hirschberg

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

In 2020, Mariette Rissenbeek will become the first woman to lead the Berlin

Film Festival (as Executive Director, with newly appointed Artistic Director La noche avanza (The Night Falls). 1952. Mexico. Directed by Roberto Gavaldón Carlo Chatrian)—and, by extension, any of the “big three” European festivals (including Cannes and Venice). This milestone, which took 69 years to achieve, is cause for long-overdue celebration. Rissenbeek began her career in production, before becoming familiar to lovers of German cinema through her Members can reserve free film tickets in person and at moma.org/film. work as head of the film-promotion agency German Films. Following our retrospectives devoted to the Mexican filmmakers Julio Bracho In celebration of her staunch support for women throughout the industry, (2017) and Emilio Fernández (2018), we once again join with Mexico’s Cineteca MoMA has invited Rissenbeek to select 11 must-see films shot by German Nacional, Filmoteca de la UNAM, and the Morelia International Film Festival, women cinematographers. “It was very exciting but at the same time quite this time to present a series devoted to the stylized, turbulent work of Roberto challenging when MoMA offered me a Carte Blanche to present a number of Gavaldon, the director of 55 feature films between 1938 and 1979. recent German films,” Rissenbeek says. “For me personally, the female view on society and its topics has always played a crucial role. From its very Consumed by themes of fate, obsession, and madness, Gavaldón, perhaps beginnings, cinema tells its stories in pictures, and they are right at the the most profoundly noir of Mexico’s epoca de oro directors, worked center of cinematographic art. So it seemed not only natural but, rather, with cinematographers Gabriel Figueroa and Alex Phillips to create shadowy mandatory to work with exactly that point of view: pictures made by women, labyrinths populated by such stars as María Félix, Dolores del Rio, Pedro women behind the camera.” Armendáriz, and Mexico’s tortured everyman, Arturo de Córdova.

20 The Museum of Modern Art, Theaters The Museum of Modern Art, Theaters 21 Ongoing

Charles Eames, Ray Eames. Prototype for Chaise Longue (La Chaise). 1948. Hard rubber foam, plastic, wood, and metal, 32 1/2 � 59 � 34 1/4" (82.5 � 149.8 � 87 cm). Gift of the designers Joan MirÓ: Birth of the World Through Jun 16 Member Early Hours: Through Jun 16, 9:30–10:30 a.m. Member Gallery Talk: Mar 20, 12:30 p.m. Value of Good Design The Museum of Modern Art, Floor 3 Through Jun 16 Member Early Hours: Through Mar 12; Apr 1–30, 9:30–10:30 a.m. Member Gallery Talk: Mar 6, 12:30 p.m. “You and all my writer friends have given me much help and improved my The Museum of Modern Art, Floor 3 understanding of many things,” Joan Miró told the French poet Michel Leiris in the summer of 1924, writing from his family’s farm in Montroig, a small village “Is there art in a broomstick? Yes, says Manhattan’s Museum of Modern Art, if it nestled between the mountains and the sea in his native Catalonia. The next is designed both for usefulness and good looks.” This quote, from a 1953 Time year, Miró’s intense engagement with poetry, the creative process, and material magazine review of one of MoMA’s mid-century Good Design exhibitions, gets to experimentation inspired him to paint The Birth of the World. the heart of a question the Museum has been asking since its inception: What is good design and how can it enhance everyday life? In this signature work, Miró covered the ground of the oversize canvas by applying paint in an astonishing variety of ways that recall poetic chance procedures. The Value of Good Design explores the democratizing potential of design, He then added a series of pictographic signs that seem less painted than drawn, beginning with MoMA’s Good Design initiatives from the late 1930s through the transforming the broken syntax, constellated space, and dreamlike imagery 1950s, which championed well-designed, affordable contemporary products. of avant-garde poetry into a radiantly imaginative and highly inventive form of The concept of Good Design also took hold well beyond the Museum, and this painting. He would later describe this work as “a sort of genesis,” and his global scope is reflected in many of the items on view, from a mass-market Surrealist poet friends titled it The Birth of the World. Italian Fiat Cinquecento automobile and a Soviet-era East German Werra camera to a Japanese poster for a Mitsubishi sewing machine and a Brazilian bowl chair. Drawn from MoMA’s unrivaled collection of Miró’s work, augmented by several These works join both iconic and unexpected items made in the US, such as the key loans, this exhibition situates The Birth of the World in relation to other major Eames La Chaise, a Chemex Coffee Maker, and Irwin Gershen’s Shrimp Cleaner. works by the artist. It presents some 60 paintings, works on paper, prints, illustrated books, and objects—made primarily between 1920, the year of Miró’s The exhibition also raises questions about what Good Design might mean today, first, catalytic trip to Paris, and the early 1950s, when his unique visual language and visitors are invited to judge for themselves by trying out a few “good design” became internationally renowned—to shed new light on the development of his classics still in production. poetic process and pictorial universe.

Gerhard Richter. October 18, 1977 (one panel of 15). 1988. Oil on canvas, 15 panels, installation variable. The Sidney and Harriet Janis Collection, gift of Philip Johnson, and acquired through the Lillie P. Bliss Bequest (all by exchange); Enid A. Haupt Fund; Nina and Gordon Bunshaft Bequest Fund; and gift of Emily Rauh Pulitzer. © 2019 Gerhard Richter

The Long Run Through May 5 Constantin Brancusi Sculpture The Museum of Modern Art, Floor 4 Through Jun 16 The Museum of Modern Art, Floor 2 Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows. The Long Run provides Constantin Brancusi (1876–1957) first showed his work in the United States at another view: by chronicling the continued experimentation of artists long after the 1913 Armory Show in New York. Reflecting on the presentation, one critic their breakthrough moments, it suggests that invention results from sustained described his sculptures as “disturbing, so disturbing indeed that they completely critical thinking, persistent observation, and countless hours in the studio. Each altered the attitude of a great many New Yorkers towards a whole branch of work in this presentation exemplifies an artist’s distinct evolution. For some, this art.” Brancusi’s beguilingly simple forms looked like nothing else, then or since. results from continually testing the boundaries of a given medium, for others it reflects the pressures of social, economic, and political circumstances. Often, Rather than modeling clay like his peers, Brancusi carved his work directly from it is a combination of both. wood or stone, and cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named This new iteration of The Long Run includes monographic galleries and rooms in their titles, such as Bird in Space or Fish. He made bases for many of his that bring together artists across a broad range of backgrounds and approaches. sculptures, themselves complex constructions that became part of the work. All the artists in this presentation—drawn entirely from MoMA’s collection—are united by a ceaseless desire to make meaningful work, year after year, across This exhibition celebrates MoMA’s holdings of Brancusi’s work—11 sculptures decades. They include Louise Bourgeois, Fischli/Weiss, Philip Guston, David accompanied by a selection of drawings, photographs, and rare films. What Hammons, Joan Jonas, On Kawara, Agnes Martin, Joan Mitchell, Gerhard emerges is a rich portrait of an artist whose risk-taking and inventive approach Richter, and many others. to form changed the course of the art that followed.

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.

Lee Bontecou Untitled 1980–98

Chosen by Takashi Yoshizaki, Individual member since 2016

My favorite work is Untitled, by Lee Bontecou. Hanging from the gallery ceiling, the sculpture appears incredibly intricate and almost perfectly balanced, and Lee Bontecou. Untitled. 1980–98. Welded steel, porcelain, wire mesh, canvas, grommets, and wire, 7 � 8 � 6' (213.4 � 243.8 � 182.9 cm). the lights from above create layered shadows of intriguing geometric patterns Gift of Philip Johnson (by exchange) and the Nina and Gordon Bunshaft Bequest Fund. © 2019 Lee Bontecou beneath. Bontecou combined a number of porcelain orbs, metal wires, mesh in several colors, and more into a cohesive whole. She must’ve produced several smaller trial kits during her studio time; I can’t help but imagine the amount of effort she put into discovering the right combination, one that works both aesthetically and mechanically. “Heuristic” could be the word to describe it; a trial-and-error process informed by skill and intuition. I imagine there was no simple formula, but she knew she would find pathways. The sculpture seems more expansive than its size, and resembles a sailing ship on an unfamiliar voyage.

26 27 Member Events Programs

Member Spring Exhibition Gallery Sessions Prime Time Early Hours Celebration Daily Studio Workshop Daily, 9:30–10:30 a.m. Wed, Mar 13, 7:00-10:00 p.m. Join us for lively conversations and engaging Thu, Mar 28, 10:00 a.m.–12:30 p.m. & activities, facilitated by Museum educators, 2:00–4:30 p.m. Open to all members (with the exception of Fellow ($360) and Supporting ($600) members that offer insightful and unusual ways to engage Global and MoMA NYC) and accompanying are invited to a spring exhibition celebration of with collections and special exhibitions. Use liquid watercolor, ink, and vellum to create

guests. Present your membership card and/ Constantin Brancusi Sculpture, Joan Miró: Groups meet in the Marron Atrium on Floor 2. Gallery Sessions are free layered images that explore color. All materials or member guest admission ticket at the Birth of the World, Lincoln Kirstein’s Modern, for members and Museum admission ticket holders. No registration is are provided and no experience is necessary. Museum entrance. New Order: Art and Technology in the Twenty- required. This workshop is offered twice. Registration First Century, and The Value of Good Design. opens Thursday, February 28, at 9:30 a.m. Through Mar 12; Apr 1–30 Participants may only register for one session.

The Value of Good Design Prime Time is an initiative to engage older New Yorkers at MoMA and in the community. For more information and to register, visit Through Jun 16 Member moma.org/primetime. Joan Miró: Birth of the World After Hours Mar 13–31 Wed, Mar 20 & Thu, Apr 4, 6:30–9:30 p.m. Lincoln Kirstein’s Modern Prime Time: Every month, enjoy an exclusive evening Mar 13–Apr 30 viewing of current exhibitions. All galleries will Gallery Conversation New Order: Art and Technology in the remain open to members, with educators on Wed, Apr 10, 2:00–3:30 p.m., Twenty-First Century hand to offer insight on the art. Museum galleries

Photo: Alycia Kravitz Interactive tours highlight a variety of artists, movements, and themes represented in Member Member MoMA’s collection and exhibitions. Registration Quiet Mornings opens Wednesday, March 13, at 9:30 a.m. Previews Gallery Talks Wed, Mar 6 & Wed, Apr 3, 7:30–9:00 a.m. Prime Time is an initiative to engage older New Yorkers at MoMA Starting at 10:30 a.m. 12:30 p.m. and in the community. For more information and to register, visit See your favorite works from MoMA’s moma.org/primetime. Enjoy exclusive Member Previews of all major Free, one-hour tours just for members on the collection and take in new exhibitions, all exhibitions before they open to the public. first and third Wednesday of each month. without the crowds. Guided meditation takes place at 8:30 a.m.

Wed, Mar 13–Sat, Mar 16 Wed, Mar 6 Free for members, and member guests are $5. Adults $15, seniors $12, Lincoln Kirstein’s Modern The Value of Good Design full-time students with current ID $10, children (16 and under) free

Wed, Mar 13–Sat, Mar 16 Wed, Mar 20 New Order: Art and Technology in the Joan Miró: Birth of the World Twenty-First Century Drop-in Drawing Wed, Apr 3 Apr 15, 17, 19, 22, 24 & 26, 1:30–3:30 p.m. Lincoln Kirstein’s Modern Museum Galleries Member Wed, Apr 17 Join us for a relaxed drop-in drawing session Photo: Beatriz Meseguer New Order: Art and Technology in the where you can explore artworks through Shopping Days Twenty-First Century drawing and conversation. Materials are Sat, Mar 9–Tue, Mar 12 provided.

Fri, Apr 19–Mon, Apr 22 Free for members and with Museum admission.

Save 20% on all products at the Design Stores, at store.moma.org, and in our catalog, including furniture and sale items (cannot be combined with any other offer or discount).

28 29 Modern Mondays VW Sunday Sessions Building upon the Museum’s eight-decade at MoMA PS1 tradition of fostering cinematic innovation and experimentation, Modern Mondays invites MoMA PS1’s acclaimed VW Sunday Sessions artists working in the expanded field of film, welcomes visitors to experience art live and in video, performance, and sound to present real time. Embracing performance, music, their work in an intimate setting. Each evening dance, conversations, and film, the program is a unique opportunity for audiences to vividly demonstrates how these art forms engage in dialogue with artists, along with can push us to engage with our contemporary curators and other guests. world in creative, illuminating ways. With an emphasis on artistic practices that blur

For an up-to-date schedule, visit and break traditional genre boundaries, Tchaiko Omawale. Still from Solace. 2018. Cinematography by Bruce Photo: Alexis Ruiseco-Lombera. Courtesy of Jonathan González moma.org/modernmondays. VW Sunday Sessions supports and commissions Francis Cole

Members and children (16 and under) free. Tickets $12, seniors $10, new work, inviting artists, curators, and full-time students with current ID $8 other cultural instigators to share their Black Women’s Film Conference Jonathan González, Lucifer Landing I latest projects. An Evening with Jeff Preiss Sun, Mar 17, 1:00–9:00 p.m., MoMA PS1 Fri, Apr 19, Sat, Apr 20 & Sun, Apr 21, Admission to VW Sunday Sessions is $13 for members ($15 for 12:00–6:00 p.m., MoMA PS1 Mon, Mar 18, 7:00 p.m. T2 nonmembers) and includes admission to MoMA PS1. Presented with The New Negress Film Society, Experimental filmmaker Jeff Preiss joins us to this conference explores the current Lucifer Landing I, a new commission by present his newest film, 14 STANDARD 8mm landscape of Black women’s cinema as a vital Jonathan González, is the first in a series of REELS 1981–1988. Preiss has been making alternative to the mainstream film industry. works that conceptualize blackness and films and living in New York City since the post-anthropocentrism. González takes the 1980s, when he was working with the ideas of poet June Jordan and CHARAS—a renowned Collective for Living Cinema and Come Together: Music Festival and collective formed in the 1970s founded on the Films Charas. A selection of his 8mm works Label Market ideas of Buckminster Fuller—as starting points from that period was included in The Museum Sat, Mar 23, 12:00–9:00 p.m. to create an immersive environment in the of Modern Art’s 1998 survey of the medium, Sun, Mar 24, 12:00–6:00 p.m., MoMA PS1 VW Dome intended to function as an Big as Life: An American History of 8mm Film. interactive model for sustainable living. A few years ago, Preiss had the rare chance to This season’s two-day event includes more live

salvage a selection of 8mm reels from his Doreen Garner. Invisible Man Tattoo. 2018. Art21 Inc, 2019. Photo: performances, films, workshops, and panels, archive; 30 years after it was first shot, this Amitabh Joshi as well as a market featuring over 75 labels. lovingly refashioned material returns as both a luminescent ode to the friends, filmmakers, Doreen Garner and artists with whom Preiss lived and Sun, Mar 3, 3:00–6:00 p.m., MoMA PS1 worked during that time, and a considered meditation on the evolution of diaristic In this new commission, tattoo artist and filmmaking. sculptor Doreen Garner explores the pain and trauma bodies endure during tattooing as ink and needles penetrate human skin.

NIC Kay, Sloth-ish: Where Does It Hurt? Vaquera spring/summer 2019 collection. Photo: Alex Rotondos. Sun, Mar 10, 3:00–4:30 p.m., MoMA PS1 Courtesy of Vaquera

Sloth-ish: Where Does It Hurt? began as a Vaquera’s Ding Dong the Witch Is Dead joke between artist NIC Kay and keyon gaskin, Klein. Photo: Bernice Mulenga. Courtesy of Klein Sun, Apr 28, 4:00–6:00 p.m., MoMA PS1 and morphed into an experimental performance meditation that moves through Klein New York City–based fashion collective themes of urban geography, objecthood, Vaquera and director Leah Victoria Hennessey, human supremacy, “animality,” repose, and the Sun, Apr 14, 3:00–6:00 p.m., MoMA PS1 accompanied by an ensemble of artists and surreal. The performance immerses its collaborators, present a play inspired by the audience in movement and sound, set within a Composer and playwright Klein presents Broadway musical Wicked. Known for creating colorful world of scaffolding, stanchions, a newly commissioned sound-based Jeff Preiss. 14 STANDARD 8mm REELS 1981–1988. 2019. Standard “fashion fan fiction,” Vaquera aims to subvert 8mm to DCP, 90 min. Courtesy the artist beauty supplies, and detritus. performance for the VW Dome, collaging luxury and tell stories with clothing. recordings of her own vocals and instrumentation.

30 31 For Families Family Films Shhh! Silent Films Sat, Mar 9, 12:00–1:00 p.m., T3

Enjoy new and classic family-friendly short films, engaging discussions, and suggestions for follow-up activities in the Museum’s galleries. This program is for individual families of up to two adults and up to three kids.

For kids ages six and up and their adult companions. Free tickets are distributed, first come, first served, at 10:00 a.m. on the day of the program. For details, visit moma.org/family.

Photo: Martin Seck Family Films Real and Imagined Places Sat, Apr 13, 12:00–1:00 p.m., T3

Photo: Martin Seck Enjoy new and classic family-friendly short

Photo: Martin Seck films, engaging discussions, and suggestions for follow-up activities in the Museum’s Art Lab Tours for Fours galleries. This program is for individual families of up to two adults and up to three kids. Saturdays and Sundays, Family Art Nature For kids ages four and up and their adult companions. Free tickets are Mar 2–31 & Apr 6–28, 10:20–11:15 a.m., distributed, first come, first served, at 10:00 a.m. on the day of the Daily, 10:30 a.m.–4:30 p.m. Education and Research Building Workshops program. For details, visit moma.org/family. Fri, 10:30 a.m.–6:30 p.m. Select Saturdays and Sundays, Education and Research Building Look, listen, and share ideas while you explore 10:30 a.m.–12:30 p.m. & 2:00–4:00 p.m., modern and contemporary art. Movement, Education and Research Building Discover how artists and designers are inspired drawing, and other gallery activities Tours for Tweens by the natural world in our multisensory give everyone the chance to participate. Explore works in MoMA’s collection and Sat, Mar 16, Sun, Mar 17, Sat, Apr 13 & installation. Create a nature-inspired design, March’s theme is Creative Combinations. special exhibitions, then use your experience Sun, Apr 14, 10:30 a.m.–12:00 p.m., draw and arrange with natural materials, April’s theme is What’s the Story? in the galleries as inspiration for art making in Education and Research Building and explore nature discovery boxes. All ages For kids age four and their adult companions. Free tickets are the studio. are welcome. 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. Share ideas and consider different perspectives For more information, please call (212) 708-9805 or email Color Mixing about works of art. Kids and adults participate. [email protected]. March 2, 3, 9, 10, 16, 17, 23, 31; ages 5–7 March’s theme is The Innovative Art of Joan Miró. April’s theme is Focus on Artists. A Closer Look Discover what happens when colors mix For kids ages 11 to 14 and their adult companions. Advance registration required; begins March 6 for The Innovative art of Joan Miró and April 3 together on your palette, then look to modern for Focus on Artists. For details, visit moma.org/family. for Kids and contemporary masters for inspiration in Saturdays and Sundays, this painting workshop. Mar 2–31 & Apr 6–28, 10:20–11:30 a.m., Kids and adults participate. Advance registration required; register Education and Research Building beginning February 20. For details, visit moma.org/family.

Engage in lively discussions and fun activities Mixed Materials while looking closely at modern masterpieces April 6, 7, 13, 20, 27, 28; ages 8–10 and cutting-edge contemporary art. Each month a new theme is introduced. Kids and Visit the exhibition Joan Miró: Birth of the adults participate. March’s theme is All About World to see how the artist combined

Photo: Martin Seck Abstraction. April’s theme is Artful Objects. materials, then experiment with materials and For kids ages five to 10 and their adult companions. Free tickets are composition in the studio. distributed on a first-come, first-served basis starting at 10:00 a.m. Kids and adults participate. Advance registration required; register on the day of the program. For details, visit moma.org/family. beginning March 27. For details, visit moma.org/family.

Photo: Martin Seck

32 33 Shop Books

What’s Fresh for Spring Lincoln Kirstein’s Modern By Jodi Hauptman and Samantha Friedman, with essays by Lynn Garafola, Michelle Greet, Michelle Harvey, Richard Meyer, and Kevin Moore

Hardcover, 208 pages, 264 illustrations $55/members $50 Lincoln Kirstein was a polymathic writer, critic, curator, and impresario, a key connector and an indefatigable catalyst whose sweeping contributions to American cultural life in the 1930s and 1940s shaped artists and institutions. Published in conjunction with an exhibition devoted to Kirstein’s expansive view of modern art, this richly illustrated catalogue explores his wide-ranging and overlapping professional and social networks in New York City and beyond.

Frances Benjamin Johnston: The Hampton Album By Sarah Hermanson Meister, with a contribution from LaToya Ruby Frazier

Deluxe Edition, 344 pages, 173 illustrations $175/members $158 Hardcover, 200 pages, 173 illustrations $50/members $45 Frances Benjamin Johnston, credited as the first female photojournalist in the US, was commissioned in 1899 to photograph the Member Shopping Days: Mar 9–12, Apr 19–22 Hampton Institute, a school for young African American and Native American men and women that was founded shortly after the end of the The new assortment of design objects has arrived at MoMA Design Store and Civil War. Johnston’s mesmerizing depictions they’re sure to give you lots of ideas for outdoor entertaining, rethinking your of the students became known as the Hampton home and office spaces, and fashion accessorizing. These Swirl Enamelware Album, and remains a touchstone for contemporary artists and historians. This is the pieces are made in Turkey and designed by sisters Oyku Thurston and Gurpinar. first time the album is available to the public in Each piece is finished in hand-dipped and swirled enamel. its entirety.

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 programs at The Museum MoMA Audio is supported by UNIQLO Free Friday Nights are of Modern Art and MoMA PS1 is Bloomberg Philanthropies. made possible by a partnership Closed Thanksgiving Day and Christmas Open during Museum hours supported by a partnership with with UNIQLO. 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 sponsored by Hyundai Card. are sponsored by Target®. Open daily, 9:30 a.m.–6:30 p.m. 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 Special Program Sponsors Italian-inspired plates, wine, and beer. Open daily, 10:00 a.m.–8:00 p.m.; Saturday–Thursday, 11:00 a.m.–5:00 p.m. Sunday, 11:00 a.m.–7:00 p.m. Lincoln Kirstein’s Modern, New Order: Art and Constantin Brancusi Sculpture is made Friday, 11:00 a.m.–7:30 p.m. Technology in the Twenty-First Century, and possible by Monique M. Schoen Warshaw. Order online The Value of Good Design are supported by store.moma.org the Annual Exhibition Fund. Major support is provided by The Terrace 5 (floor 5) is a full-service café. Contemporary Arts Council of The Museum Outdoor seating is available in season. Order by phone Major support for Simone Fattal: Works and of Modern Art, and by Jack Shear with The Saturday–Thursday, 11:00 a.m.–5:00 p.m. Days is provided by The Contemporary Arts International Council of The Museum of Education at MoMA is made possible by (800) 447-6662 Council of The Museum of Modern Art. Modern Art. a partnership with Volkswagen of America. Friday, 11:00 a.m.–7:30 p.m.

Additional funding is provided by the MoMA Major support for Adult and Academic PS1 Annual Exhibition Fund and the Cultural Programs is provided by the Estate of Susan Cafe 2 Espresso Bar and Garden Bar (seasonal) Services of the French Embassy. Sabel. Generous funding is provided by Saturday–Thursday, 10:30 a.m.–3:30 p.m. Film Tickets endowments established by Agnes Gund Friday, 10:30 a.m.–5:30 p.m. Nancy Spero: Paper Mirror is made possible and Daniel Shapiro, The Junior Associates of Members receive free film admission by the MoMA PS1 Annual Exhibition Fund. The Museum of Modern Art, Walter and and $5 guest admission, but must still VW Sunday Sessions and the VW Dome at Jeanne Thayer, and by the gifts of Alan Kanzer. The Modern (9 West 53 St.) Major support for Gina Beavers: The Life I MoMA PS1 are made possible by a partnership obtain a ticket. Deserve is provided by Robert Blumenthal, with Volkswagen of America, who have Community Programs are made possible by is a two-Michelin-starred restaurant. Member The Junior Associates of The Museum of supported the program since its inception. the Werner and Elaine Dannheisser Fund for discount does not apply. Modern Art and by The Tom Slaughter Older Adults. Additional support is provided Lunch Monday–Friday, 12:00–2:00 p.m. Tickets are released two weeks in advance, Exhibition Fund. Major support is provided by the Anna-Maria by Karen Bedrosian Richardson, and by The and are available online, at the ticketing and Stephen Kellen Foundation. Elroy and Terry Krumholz Foundation. Dinner Monday–Saturday, 5:00–10:30 p.m. Additional funding is provided by the MoMA desk, and at the Education and Research PS1 Annual Exhibition Fund. Dance programming as part of VW Sunday Family Programs are made possible by Sessions at MoMA PS1 is supported in part by The Samuel and Ronnie Heyman Family The Modern Bar Room Building lobby desk. Joan Miró: Birth of the World is made possible the Mertz Gilmore Foundation. Endowment Fund. Generous funding is Member discount available 3:00–5:00 p.m. only. by the Kate W. Cassidy Foundation. provided by The William Randolph Hearst Endowment Fund and Brett and Daniel Monday–Thursday, 11:30 a.m.–10:30 p.m. Major support is provided by Sue and Sundheim. Friday–Saturday, 11:30 a.m.–11:00 p.m. Membership Edgar Wachenheim III and Monique M. Schoen Warshaw Education at MoMA is supported by the Sunday, 11:30 a.m.–9:30 p.m. Annual Education Fund. (888) 999-8861 Leadership support for The Long Run is [email protected] provided by the Kate W. Cassidy Foundation. Exhibitions at MoMA are supported by the Annual Exhibition Fund. Major support is provided by Denise Littlefield Sobel. Film exhibitions at MoMA are supported by MoMA PS1 the Annual Film Fund. 22-25 Jackson Ave, Queens, NY 11101 Major Donors to Programs Your Visit Dining Annual Education Fund The Contemporary Arts Council of Mimi and Peter Haas Fund Volkswagen of America The Museum of Modern Art Brett and Daniel Sundheim Lewis B. and Dorothy Cullman Education and Paula and James Crown Karen and Gary Winnick Open daily, 12:00–6:00 p.m. M. Wells Dinette is a cafeteria-style restaurant Research Endowment Kathy and Richard S. Fuld, Jr. The Marella and Giovanni Agnelli Fund for Closed Tuesdays and Wednesdays by Hugue Dufour and Sarah Obraitis. Sarah Arison Marlene Hess and James D. Zirin Exhibitions Edward John Noble Foundation The James and Judith K. Dimon Foundation Oya and Bülent Eczacıbaşı The Ford Foundation Gretchen S. Jordan Members free ($5 guest tickets available on Crown Family Education Fund Marie-Josée and Henry R. Kravis Annual Film Fund each visit). Adults $10; seniors (65 and over Stavros Niarchos Foundation Lily Auchincloss Foundation, Inc. Kate W. Cassidy Foundation Shopping Trustee Committee on Education Agnes Martin Foundation Steven Tisch with ID) $5; students (full-time with current ID) $5; The Enoch Foundation Audrey and Danny Meyer Jo Carole and Ronald S. Lauder children (16 and under) free. Admission Artbook @ MoMA PS1 General Education Endowment Jerry I. Speyer and Katherine G. Farley Association of Independent Commercial Debra and Leon D. Black Tiger Baron Foundation, Inc. Producers (AICP) fees are suggested. The most vibrant source for cutting-edge The LOVE Fund for Education Susan and David Rockefeller, Jr. Yuval Brisker Charitable Foundation Admission to MoMA PS1 is currently free for all NYC residents, contemporary art books and magazines on Epstein Teicher Philanthropies The Brown Foundation, Inc., of Houston courtesy of the Anna-Maria and Stephen Kellen Foundation. Leo and Julia Forchheimer Foundation Annual Exhibition Fund Marlene Hess and James D. Zirin the East Coast. Elyse and Lawrence B. Benenson Estate of Ralph L. Riehle Karen and Gary Winnick Edith Cooper and Robert Taylor, GS Gives Alice and Tom Tisch The Junior Associates of The Museum of Modern Art The Museum of Floor3 ModernArt, Through Jun 16 oftheWorldBirth Joan Miró Society (ARS),New York/ADAGP, Paris Joan Miró. The Hunter (Catalan Landscape). 1923–24. Oiloncanvas, 1/2"� 391/2" 25 (64.8 � 100.3cm). Purchase. ©2019 Successió Miró/Artists Rights

MAR Member Calendar APR 1 FRI 6 WED 11 MON 16 SAT 19 TUE Now Playing 7:30 Event Member Member Previews 9:30 Event More Restorations Quiet Mornings Shopping Days Lincoln Kirstein’s Member Early Hours* and Rediscoveries Save 20% Modern 12:30 Event from the Fox Film Member Gallery Member Previews WED Corporation Talk TUE New Order: Art 20 Now Playing 12 and Technology in 12:30 Event Carte Blanche: the Twenty-First THU Member Member Gallery Mariette Rissenbeek Century 7 Shopping Days Talk Save 20% 10:20 Family 9:30 Event 6:30 Event SAT Tours for Fours Member Early Hours* Member After Hours SUN THU WED 2 10:20 Family 24 28 10:20 Family FRI 13 A Closer Look for Kids THU 10:20 Family 10:00 & 2:00 Event Tours for Fours 8 Member Previews M10:30 & 2:00 Family 21 Tours for Fours Prime Time: 10:20 Family Lincoln Kirstein’s Family Art Workshops Studio Workshop 9:30 Event 9:30 Event 10:20 Family A Closer Look for Kids Modern Member Early Hours* 10:30 Family Member Early Hours* A Closer Look for Kids FRI 10:30 & 2:00 Family Member Previews Tours for Tweens 12:00 Event Family Art Workshops New Order: Art SAT FRI VW Sunday Sessions 29 and Technology in SUN @ MoMA PS1: 9:30 Event 9 the Twenty-First 22 SUN 17 Come Together: Member Early Hours* Member Century 9:30 Event Music Festival and 3 Shopping Days Exhibition Opening Member Early Hours* 7:00 Event Label Market Exhibition Closing Save 20% Lincoln Kirstein’s SAT Spring Exhibition Looking at Jerry Lewis Modern SAT 30 10:20 Family Celebration The Nutty Professor MON Tours for Fours Exhibition Opening 10:20 Family Storyboards 23 25 THU New Order: Art Tours for Fours 10:20 Family 10:20 Family 10:20 Family and Technology in 9:30 Event A Closer Look for Kids Tours for Fours 10:20 Family Tours for Fours 14 the Twenty-First Member Early Hours* A Closer Look for Kids 10:30 & 2:00 Family Member Previews Century 10:20 Family 10:20 Family Family Art Workshops Lincoln Kirstein’s A A Closer Look for Kids TUE A Closer Look for Kids 10:20 Family Modern SUN 12:00 Family Tours for Fours 26 10:30 & 2:00 Family Family Films Member Previews 31 Family Art Workshops 10:20 Family 9:30 Event New Order: Art Exhibition Openings @ A Closer Look for Kids Member Early Hours* 3:00 Event SUN and Technology in MoMA PS1 VW Sunday Sessions the Twenty-First 10:30 & 2:00 Family Simone Fattal: Works @ MoMA PS1: 10 Century Family Art Workshops WED and Days; Nancy Doreen Garner Member 10:30 & 2:00 Family 27 Spero: Paper Mirror; 10:30 Family Shopping Days Family Art Workshops Gina Beavers: The Life FRI Tours for Tweens Now Playing MON Save 20% I Deserve 15 12:00 Event New Directors/New 1:00 Event 10:20 Family VW Sunday Sessions Films 2019 10:20 Family 4 Member Previews VW Sunday Sessions Tours for Fours @ MoMA PS1: Tours for Fours 9:30 Event Lincoln Kirstein’s @ MoMA PS1: Come Together: 9:30 Event Member Early Hours* 10:20 Family Modern Black Women’s Film 10:20 Family Music Festival and Member Early Hours* A Closer Look for Kids Conference A Closer Look for Kids Member Previews Label Market TUE 10:30 & 2:00 Family New Order: Art 10:30 & 2:00 Family Family Art Workshops and Technology in R MON Family Art Workshops 5 the Twenty-First 18 9:30 Event 3:00 Event 12:00 Event Century Member Early Hours* VW Sunday Sessions 9:30 Event VW Sunday Sessions @ MoMA PS1: Member Early Hours* @ MoMA PS1: NIC Kay Spring Open House

14 SUN 20 SAT 24 WED 28 SUN 10:20 Family Member 1:30 Art Making 10:20 Family Tours for Fours Shopping Days Drop-in Drawing Tours for Fours Save 20% 10:20 Family 10:20 Family THU A Closer Look for Kids 10:20 Family A Closer Look for Kids Tours for Fours 25 10:30 Family 10:30 & 2:00 Family Tours for Tweens 10:20 Family Now Playing Family Art Workshops A Closer Look for Kids Roberto Gavaldón: 3:00 Event 4:00 Event Night Falls in Mexico VW Sunday Sessions 10:30 & 2:00 Family VW Sunday Sessions @ MoMA PS1: Klein Family Art Workshops @ MoMA PS1: FRI Vaquera, Ding Dong 12:00 Event the Witch Is Dead MON VW Sunday Sessions 26 15 @ MoMA PS1: 1:30 Art Making Jonathan González, Drop-in Drawing MON 1:30 Art Making Lucifer Landing I 29 MON SAT WED Drop-in Drawing SAT 9:30 Event SUN 1 6 10 TUE 27 Member Early Hours* 9:30 Event 10:20 Family 2:00 Event A 21 10:20 Family Member Early Hours* Tours for Fours Prime Time: 16 Member Tours for Fours TUE Gallery Conversation 9:30 Event 10:20 Family Shopping Days 30 Member Early Hours* 10:20 Family TUE A Closer Look for Kids Save 20% 2 THU A Closer Look for Kids 9:30 Event WED 10:20 Family Member Early Hours* 11 10:30 & 2:00 Family 9:30 Event Tours for Fours Family Art Workshops Member Early Hours* Now Playing 17 10:20 Family Lincoln Kirstein and 12:30 Event A Closer Look for Kids WED Film Culture Member Gallery 3 Talk 12:00 Event 10:30 & 2:00 Family FRI VW Sunday Sessions 1:30 Art Making 7:30 Event Family Art Workshops @ MoMA PS1: Drop-in Drawing Quiet Mornings 12 Jonathan González, SUN 1:30 Event Lucifer Landing I 12:30 Event Prime Time Film THU Member Gallery 7 Screening: Talk 18 MON 10:20 P Family Meek’s Cutoﬀ 9:30 Event Tours for Fours 22 THU Member Early Hours* SAT Member 10:20 Family Shopping Days 4 A Closer Look for Kids 13 FRI Save 20% 6:30 Event 10:30 & 2:00 Family 10:20 Family 19 Member After Hours 1:30 Art Making Family Art Workshops Tours for Fours Member Drop-in Drawing 10:20 Family Shopping Days MON A Closer Look for Kids Save 20% TUE 8 10:30 & 2:00 Family 12:00 Event 23 Now Playing Family Art Workshops VW Sunday Sessions 9:30 Event What Price Hollywood? @ MoMA PS1: 10:30 Family Member Early Hours* Jonathan González, FRI Tours for Tweens 5 TUE Lucifer Landing I 12:00 Family 9 1:30 Art Making 9:30 Event Family Films Drop-inR Drawing Member Early Hours* 9:30 Event Member Early Hours*

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 XX or see inside front cover. For up-to-the-minute listings, film screenings, and program details, visit moma.org/calendar. visit moma.org.