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MoMA

GALLERY SESSIONS

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Gallery Sessions are creative exploratory experiences facilitated by Museum educators that allow visitors a unique perspective on works in the galleries, art history, and the creative process. Groups meet in the galleries noted on the daily schedule. Gallery Sessions are free with Museum admission. No registration is required.

FM headsets for sound amplification are available for all talks.

Be part of the conversation. Follow us on Twitter @MuseumModernArt and on Tumblr at MoMA.tumblr.com to get an inside look at our programs and process.


Panels & Symposia

118586

Close Conversation: Rashid Johnson and Naomi Beckwith

Monday, March 9, 2015, 6:30 p.m.
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118586

Join us for a series of one-on-one conversations between curators and painters in front of their paintings on view in the exhibition The Forever Now: Contemporary Painting in an Atemporal World. All conversations take place in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor, unless otherwise noted. Seating is extremely limited.

Program

Close Conversations

When

Monday, March 9, 2015, 6:30 p.m.

Where
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
Speakers
Rashid Johnson and Naomi Beckwith, Marilyn and Larry Fields Curator, Museum of Contemporary Art Chicago
Fees
Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program. Seating is extremely limited. Ticket purchase limited to two per person.
116351

Close Conversation: Oscar Murillo and Naima Keith

Thursday, March 12, 2015, 6:30 p.m.–8:00 p.m.
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116351

Join us for a series of one-on-one conversations between curators and painters in front of their paintings on view in the exhibition The Forever Now: Contemporary Painting in an Atemporal World. All conversations take place in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor, unless otherwise noted. Seating is extremely limited.

Galleries open at 6:30pm, conversation begins at 7pm

Program

Close Conversations

When

Thursday, March 12, 2015, 6:30 p.m. –8:00 p.m.

Where
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
Speakers
Oscar Murillo and Naima Keith, Associate Curator at The Studio Museum in Harlem
Fees
Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program. Seating is extremely limited. Ticket purchase limited to two per person.
116276

Close Conversation: Charline von Heyl and Mark Godfrey

Tuesday, March 24, 2015, 3:00 p.m.
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116276

Join us for a series of one-on-one conversations between curators and painters in front of their paintings on view in the exhibition The Forever Now: Contemporary Painting in an Atemporal World. All conversations take place in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor, unless otherwise noted. Seating is extremely limited.

Program

Close Conversations

When

Tuesday, March 24, 2015, 3:00 p.m.

Where
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
Speakers
Charline von Heyl and Mark Godfrey, Curator of International Art, Tate Modern, London
Fees
Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program. Seating is extremely limited.

MoMA Forum on Contemporary Photography

Thursday, March 26, 2015, 6:00 p.m.–8:00 p.m.
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Conceived as an experimental platform for free-form critical discussions, the Forums are designed to foster debate among leading artists, curators, and theorists about the perspectives and scope of contemporary photography.

For the upcoming session we have invited Kaja Silverman, the Keith L. and Katherine Sachs Professor of Contemporary Art at the University of Pennsylvania, to lead a discussion about her new book The Miracle of Analogy, the first in a two-volume reconceptualization of photography, published by Stanford University Press. Silverman is the author of eight books: Flesh of My Flesh (2009); James Coleman (2002); World Spectators (2000); Speaking about Godard (with Harun Farocki, 1998); The Threshold of the Visible World (1996); Male Subjectivity at the Margins (1992); The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (1988); and The Subject of Semiotics (1983). Her new book argues that photography originates in what is seen, rather than in the human eye or the camera lens, and that this is the world's primary way of revealing itself to us. Neither an index, representation, nor copy, as conventional studies would have it, the photographic image is an analogy.

We have invited as lead speakers Andre Dombrowski, Associate Professor of History of Art at the University of Pennsylvania; Eve Meltzer, Associate Professor of Visual Studies and Visual Culture in the Gallatin School of Individualized Study at New York University; and Howard Singerman, the Phyllis and Josef Caroff Professor of Fine Arts, Department Chair, Hunter College, City University of New York, to join Silverman in a discussion of her present volume, which focuses on photographic practices of the 19th century and some of their contemporary progeny. The book begins with the camera obscura—which morphed into chemical photography and lives on today in digital form—and ends with Walter Benjamin. Key figures discussed along the way include Nicéphore Niépce, Louis Daguerre, William Fox-Talbot, John Dugdale, Jeff Wall, Joan Fontcuberta, and Abelardo Morell.

This event is invitation only, but we are very pleased to present a live stream of the forum, which will allow remote friends and colleagues to participate in the conversation.

The MoMA Forums on Contemporary Photography are organized by Roxana Marcoci, Senior Curator.

The Forum on Contemporary Photography is made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

When

Thursday, March 26, 2015, 6:00 p.m. –8:00 p.m.

119186

Learning from/in Latin America: Part One

Thursday, April 2, 2015, 6:00 p.m.–7:30 p.m.
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119186

In conjunction with the exhibition Latin America in Construction: Architecture 1955-1980, organized by The Museum of Modern Art, Learning from/in Latin America will expand on the exhibition’s curatorial framework and further explore key positions, debates, and architectural activity arising from Mexico to Cuba and the Southern Cone over three decades of development between 1955 and the early 1980s. Practitioners, planners, architecture and urban design historians, humanities scholars, curators and critics will contribute to a polyphonic conversation about architecture in Latin America, its social and political implications, and the persistent legacies of modernization.

Learning from/in Latin America is jointly organized by The Museum of Modern Art and the Princeton-Mellon Initiative in Architecture, Urbanism and the Humanities at Princeton University.

Part One: Roundtable
This roundtable conversation brings together contemporary architects from Brazil, Mexico, and Colombia to reflect on their current activity in relation to the quarter-century of architectural and urban development featured in the exhibition. Participants include Angelo Bucci, SPBR Arquitetos, São Paulo, Brazil; Tatiana Bilbao, Tatiana Bilbao SC, Mexico City, Mexico; and Felipe Mesa, Planb: Arquitectos, Medellín, Colombia. Barry Bergdoll, Department of Architecture and Design, MoMA introduces the roundtable program and Fabrizio Gallanti, Princeton-Mellon Initiative, Princeton University moderates.

Ticket reservation is required for each of the two parts of this program. Please go to Learning from/in Latin America: Part Two to purchase tickets for Part Two.

When

Thursday, April 2, 2015, 6:00 p.m. –7:30 p.m.

Where
Theater 2 (The Roy and Niuta Titus Theater 2), T2
Fees

Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program.

119186

Learning from/in Latin America: Part Two

Friday, April 3, 2015, 10:00 a.m.–6:00 p.m.
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119186

In conjunction with the exhibition Latin America in Construction: Architecture 1955-1980, organized by The Museum of Modern Art, Learning from/in Latin America will expand on the exhibition’s curatorial framework and further explore key positions, debates, and architectural activity arising from Mexico to Cuba and the Southern Cone over three decades of development between 1955 and the early 1980s. Practitioners, planners, architecture and urban design historians, humanities scholars, curators and critics will contribute to a polyphonic conversation about architecture in Latin America, its social and political implications, and the persistent legacies of modernization.

Learning from/in Latin America is jointly organized by The Museum of Modern Art and the Princeton-Mellon Initiative in Architecture, Urbanism and the Humanities at Princeton University.

Part Two: Symposium
Established and emerging scholars of architecture and urbanism will convene for a day-long symposium to discuss ideas central to the formulation of the exhibition: campuses as urban laboratories, the image and imaginary of the city, and the concept of the informal city.

Welcome and Introduction
Stan Allen, School of Architecture, Princeton University Bruno Carvalho, Spanish and Portuguese Languages and Cultures, Princeton University

Session One: The Campus as a Laboratory for the Ideal City
Moderator: Carlos Eduardo Comas, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil
Respondent: Anita Berrizbeitia, Harvard Graduate School of Design

Panelists:
Eduardo Luis Rodríguez, independent scholar, Havana, Cuba
Sylvia Ficher, University of Brasilia, Brazil
Cristina López Uribe, Universidad Nacional Autónoma de México, Mexico City
Fernando Pérez-Oyarzun, Pontificia Universidad Católica de Chile, Santiago

Session Two: Urban Imaginaries
Moderator: Patricio del Real, Department of Architecture and Design, MoMA
Respondent: Diana Agrest, Cooper Union

Panelists:
Guillermo Barrios, Universidad Central de Venezuela, Caracas
Luis Castañeda, Syracuse University
Beatriz Jaguaribe, Universidade Federal do Rio de Janeiro, Brazil

Session Three: The Form of the Informal
Moderator: Jorge Francisco Liernur, Universidad Torcuato di Tella, Buenos Aires, Argentina
Respondent: Helen Gyger, Columbia University

Panelists:
Sharif S. Kahatt, Pontificia Universidad Católica de Perú, Lima
Felipe Correa, Harvard Graduate School of Design
Gabriel Duarte, Pontifícia Universidade Católica do Rio de Janeiro, PUC-Rio, Brazil

Additional program information for this event, including ticket sales, can be found at http://soa.princeton.edu/learning-from-in-latin-america. Ticket reservation is required for each of the two parts of this program. Please go to the program page for Learning from/in Latin America: Part One to purchase tickets for Part One.

When

Friday, April 3, 2015, 10:00 a.m. –6:00 p.m.

Where
Princeton University School of Architecture, Betts Auditorium
Performances & Readings

Stratocaster Sessions

Tuesday, March 10, 2015, 12:30 p.m.
In conjunction with the exhibition Making Music Modern: Design for Ear and Eye
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Join us for a pop-up Stratocaster Session in the exhibition Making Music Modern: Design for Ear and Eye. Come see a MoMA musician demonstrate our recently acquired 1957 Fender Stratocaster and 1959 Bassman amp live in the gallery.

Can't make this event? This event also occurs on:

When

Tuesday, March 10, 2015, 12:30 p.m.

Stratocaster Sessions

Tuesday, March 24, 2015, 12:30 p.m.
In conjunction with the exhibition Making Music Modern: Design for Ear and Eye
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Join us for a pop-up Stratocaster Session in the exhibition Making Music Modern: Design for Ear and Eye. Come see a MoMA musician demonstrate our recently acquired 1957 Fender Stratocaster and 1959 Bassman amp live in the gallery.

Can't make this event? This event also occurs on:

When

Tuesday, March 24, 2015, 12:30 p.m.

120611

Projects 101: Rabih Mroué

Tuesday, April 21, 2015, 7:30 p.m.
In conjunction with the exhibition Projects 101: Rabih Mroué
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120611

Initiated by The Museum of Modern Art in 1971 as a platform for new and experimental art, the renowned Elaine Dannheisser Projects Series returns in 2015 at both MoMA and MoMA PS1, providing a forum for the most urgent international voices in contemporary art.

Projects 101 features the United States premiere of Riding on a Cloud, a new piece by artist and theater director Rabih Mroué (Lebanese, b. 1967). Based on his brother Yasser Mroué’s personal experiences in the aftermath of the Lebanese civil war, this performance combines prerecorded video and spoken word in a parafictional meditation on the relationship between lived experience and representation. Performed by Yasser himself, this poetic mixture of fact and fiction deconstructs biography, questions our relationship to images, and interrogates the space between political reality and memory. Living in Beirut and Berlin, Mroué works both in the visual and performing arts and has exhibited at numerous venues internationally including at the 11th International Istanbul Biennial and Documenta(13), Kassel. His work is currently on view at MoMA in the exhibition Scenes for a New Heritage: Contemporary Art from the Collection.

Can't make this event? This event also occurs on:

When

Tuesday, April 21, 2015, 7:30 p.m.

Where
Theater 1 (The Roy and Niuta Titus Theater 1), T1
Fees
Tickets ($12; free for members and corporate members; $10 seniors; $8 students) can be purchased online or at the information desk, at the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program.
120611

Projects 101: Rabih Mroué

Wednesday, April 22, 2015, 7:30 p.m.
In conjunction with the exhibition Projects 101: Rabih Mroué
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120611

Initiated by The Museum of Modern Art in 1971 as a platform for new and experimental art, the renowned Elaine Dannheisser Projects Series returns in 2015 at both MoMA and MoMA PS1, providing a forum for the most urgent international voices in contemporary art.

Projects 101 features the United States premiere of Riding on a Cloud, a new piece by artist and theater director Rabih Mroué (Lebanese, b. 1967). Based on his brother Yasser Mroué’s personal experiences in the aftermath of the Lebanese civil war, this performance combines prerecorded video and spoken word in a parafictional meditation on the relationship between lived experience and representation. Performed by Yasser himself, this poetic mixture of fact and fiction deconstructs biography, questions our relationship to images, and interrogates the space between political reality and memory. Living in Beirut and Berlin, Mroué works both in the visual and performing arts and has exhibited at numerous venues internationally including at the 11th International Istanbul Biennial and Documenta(13), Kassel. His work is currently on view at MoMA in the exhibition Scenes for a New Heritage: Contemporary Art from the Collection.

Can't make this event? This event also occurs on:

When

Wednesday, April 22, 2015, 7:30 p.m.

Where
Theater 1 (The Roy and Niuta Titus Theater 1), T1
Fees
Tickets ($12; free for members and corporate members; $10 seniors; $8 students) can be purchased online or at the information desk, at the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program.
120596

Debut Reading of the Migration Series Poetry Suite

Friday, May 1, 2015, 6:30 p.m.
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120596

In conjunction with One-Way Ticket: Jacob Lawrence's Migration Series and Other Works, MoMA has commissioned ten celebrated poets, selected by Elizabeth Alexander, to write poems inspired by Jacob Lawrence’s Migration Series, which are included in the exhibition catalogue and website. This event, moderated by Alexander, presents debut readings of these poems by Rita Dove, Nikky Finney, Terrance Hayes, Tyehimba Jess, Yusef Komunyakaa, Patricia Spears Jones, Natasha Trethewey, Lyrae Van Clief-Stefanon, Crystal Williams, and Kevin Young.

When

Friday, May 1, 2015, 6:30 p.m.

Where
Theater 1 (The Roy and Niuta Titus Theater 1), T1
Fees

Tickets will be available for purchase online on April 1.

Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program.

120566

The Concept of Dust, or How do you look when there's nothing left to move? (Moving On)

Tuesday, June 9, 2015, 8:00 p.m.
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120566

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s (American, b. 1934) The Concept of Dust, or How do you look when there's nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. The power of language as a trajectory that runs parallel to the music (Gavin Bryars's "The Sinking of the Titanic”) and the dance movement, at times interrupting the latter in medias res, continues to be an important coordinate in Rainer's work. All three elements combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions and exercising options throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

When

Tuesday, June 9, 2015, 8:00 p.m.

120566

The Concept of Dust, or How do you look when there's nothing left to move? (Moving On)

Wednesday, June 10, 2015, 8:00 p.m.
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120566

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s (American, b. 1934) The Concept of Dust, or How do you look when there's nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. The power of language as a trajectory that runs parallel to the music (Gavin Bryars's "The Sinking of the Titanic”) and the dance movement, at times interrupting the latter in medias res, continues to be an important coordinate in Rainer's work. All three elements combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions and exercising options throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

When

Wednesday, June 10, 2015, 8:00 p.m.

120566

The Concept of Dust, or How do you look when there's nothing left to move? (Moving On)

Saturday, June 13, 2015, 8:00 p.m.
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120566

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s (American, b. 1934) The Concept of Dust, or How do you look when there's nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. The power of language as a trajectory that runs parallel to the music (Gavin Bryars's "The Sinking of the Titanic”) and the dance movement, at times interrupting the latter in medias res, continues to be an important coordinate in Rainer's work. All three elements combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions and exercising options throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

When

Saturday, June 13, 2015, 8:00 p.m.

120566

The Concept of Dust, or How do you look when there's nothing left to move? (Moving On)

Sunday, June 14, 2015, 8:00 p.m.
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120566

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s (American, b. 1934) The Concept of Dust, or How do you look when there's nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. The power of language as a trajectory that runs parallel to the music (Gavin Bryars's "The Sinking of the Titanic”) and the dance movement, at times interrupting the latter in medias res, continues to be an important coordinate in Rainer's work. All three elements combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions and exercising options throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

When

Sunday, June 14, 2015, 8:00 p.m.