Nick Adams and Andy Griffith in No Time for Sergeants. 1958. USA. Directed by Mervyn LeRoy
I may be a film curator, but I certainly haven’t seen every film ever made. First, such an aspiration is impossible. When do you do the laundry? Second, discovering a film one has not yet seen is too much fun to give up.
Installation view of Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets. August 12, 2012–January 7, 2013. The Museum of Modern Art, New York. Photograph by Thomas Griesel
Montgomery Clift collection film cans. Photo by Art Wehrhahn, Celeste Bartos Film Preservation Center manager
The provenance of a work of art is an important part of the acquisition process. What is a provenance? By definition, the noun provenance—with respect to art and archeological specimens—is a place or source of origin.
In the video interview above, filmmaker Raja Amari talks about the making of Buried Secrets, her second feature film set in Tunisia, which premiered at the Venice International Film Festival in 2009.
In the video interview above, artist Ali Cherri describes the conceptual approach framing his exhibition Bad, Bad, Images, that opened this past winter in Paris. Pipe Dreams was “extracted” from this exhibition installation, and here the artist explains how he came to transform a two-channel video installation into single-channel video.
In the video interview above, filmmaker Youssef Chebbi shares some of the behind-the-scenes stories around Babylon, the feature-length non-fiction film he co-directed with ismaël [sic] and Ala Eddin Slim.
Robert Brownjohn. Preparatory study for Goldfinger title sequence. 1964. Silver-gelatin print. Photograph by Herbert Spencer. The Museum of Modern Art, New York. Gift of Don Goeman. © 2012 Eliza Brownjohn
The 1964 James Bond film Goldfinger is not only an exhilarating classic of the spy genre, but also a recurring influence in art and popular culture. During the month of October, visitors to MoMA can experience the Goldfinger phenomenon in a variety of distinct configurations.
Last year my colleagues Juliet Kinchin and Aidan O’Connor invited me to think about organizing a discrete film exhibition in conjunction with their gallery exhibition, Century of the Child: Growing by Design, 1900–2000.
Poster for Casablanca. 1943. USA. Directed by Michael Curtiz
In conjunction with MoMA’s current Cindy Sherman retrospective (on view through June 11), the artist selected films that have informed her artistic practice for a special </i>Carte Blanche: Cindy Sherman</a> film series (which runs April 2–10 in MoMA’s theaters). Below are Cindy Sherman’s comments on the films, as told to Lucy Gallun.</small>
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