Kathryn Bigelow on the set of The Hurt Locker. Photo: Jonathan Olley. © 2011 Summit Entertainment

Known for such viscerally evocative films as Near Dark (1987) and Point Break (1991), Kathryn Bigelow (American, b. 1951) received widespread critical distinctions for her most recent film, The Hurt Locker (2008). She began her career as a painter and conceptual artist, studying at the San Francisco Art Institute and the Whitney Museum of American Art and working with the artist collective Art & Language before segueing into film as another medium to explore her themes. Bigelow’s background reverberates throughout her directorial process—from pre-production, when she creates personal art based on works-in-progress, to the finished films, which are distinctive in their spatial and visual treatment of celluloid as canvas. This exhibition examines a filmmaker’s intuition and process, and includes paintings, concept art, film posters, drawings, storyboards, scripts, short films, and props that reveal Bigelow's singular methods and motifs. A film retrospective in MoMA's theaters accompanies the gallery installation.

Organized by Jenny He, Curatorial Assistant, Department of Film.

The exhibition is made possible by BNP Paribas.

If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

If you would like to license audio or video footage produced by MoMA, please contact Scala Archives (all geographic locations) at firenze@scalarchives.com.

If you would like to reproduce text from a MoMA publication or moma.org, please email text_permissions@moma.org. If you would like to publish text from MoMA's archival materials, please fill out this permission form and send to archives@moma.org.

This record is a work in progress. If you have additional information or spotted an error, please send feedback to digital@moma.org.