To many of us who love the idea of vampires and Dracula, the notion of a Transylvanian International Film Festival (TIFF) sounds like something dreamed up by Mel Brooks, funny and weird. But surprise, this festival in Cluj, a city—at once medieval, Austro-Hungarian, and modern—of about 350,000 by the foothills of the Carpathian mountains, not only celebrated its 10th anniversary this week, but is a knockout of a film festival.

These notes accompany the screenings of Leo Hurwitz and Paul Strand’s </i>Native Land</a> on June 15, 16, and 17 in Theater 2.</p>

For a number of reasons, I had some hesitation about including Native Land in our series. First of all, with two directors, it tends to undermine the argument that film art is a medium with a single primary creator.

Among his many contributions to photography in a long and productive life, Edward Steichen (1879-1973) was a master portraitist, capturing, in now-iconic images, sitters as diverse as Gloria Swanson,  Winston Churchill, and Walt Disney (and friends).

How well do you know your MoMA? If you think you can identify the artist and title of each of these works—all currently on view in the Museum’s Painting and Sculpture galleries—please submit your answers by leaving a comment on this post. We’ll provide the answers—along with some information about each work—in one month (on Friday, July 8).

ANSWERS TO THE MAY 13 CHALLENGE:

You can’t drive very far in most American cities before you see the effects of the foreclosure crisis. Recent foreclosure statistics reflect a landscape of individual stories of crisis. Collectively, these narratives have influence that extends far beyond those most affected.

Admittedly, I was extremely anxious about traveling to Cuba. But now, having returned from a trip to Havana made possible through MoMA’s 12-month internship program, I feel enlivened. Although complicated politics  still surround Cuban-American relations, Cuba has much to offer. The beaches are as beautiful as the vistas in Old Havana. Music and dance can be heard and seen in the city as well as in its surrounding regions, making for a lively experience despite the visibility of poverty. Havana’s charmingly dilapidated urban landscape is speckled with a mix of Lada automobiles from the 1970s and modern Peugeots. And while Cuba’s backdrop may sometimes seem a little dated, its arts culture, and more specifically its contemporary printmaking scene, is far beyond its time.

These notes accompany the screenings of Frank Capra’s </i>Why We Fight</a> WWII propaganda films on June 8, 9, and 10 in Theater 3.</p>

Because everyone went to the movies during World War II, the American government found the film industry to be more helpful in propagandizing the populace than at any time before or since. Americans were movie-mad and generally believed whatever they saw at the local theater.

Kathryn Bigelow, the Academy Award–winning director of The Hurt Locker (2008) (and the subject of MoMA’s current exhibition Crafting Genre: Kathryn Bigelow), boasts an accomplished oeuvre of engrossing and exhilarating films that are unified in their defiance of genre expectations, their sensual and visceral imagery, and their examination of societal mores and individual psyches. Every distinguished filmmaker starts somewhere, and before Bigelow made her first feature film, she studied painting at the San Francisco Art Institute and film scholarship and criticism at Columbia University.

We’re taking a short break from posting while we perform some site upgrades. </p>

Check back on Monday for new content and a new look for the Inside/Out homepage.</b>

The artists who first glimpsed Picasso’s cardboard Guitar around 1912 marveled—and sometimes scoffed—at its fragility and seeming impermanence, but almost 100 years later its continued survival, while miraculous, is not its only notable quality. What do artists, in 2011, standing in front of the cardboard Guitar and its sheet-metal counterpart have to say? With this question in mind, curator Anne Umland and I asked a diverse group to visit Picasso: Guitars 1912–1914 and share their impressions.