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For ov er 60 million persons in the world today\, shelter is defined through const ant movement or escape. Insecurities: Tracing Displacement and Shelter< /em> explores the ways in which contemporary architecture and design have a ddressed notions of shelter in light of global refugee emergencies. From th e strengthening of international borders to the logistics of mobile housing systems\, how we understand shelter is ultimately defined through an engag ement with security. Refugee camps\, once considered temporary settlements\ , have become sites through which to examine how human rights intersect wit h the making of cities. Bringing together projects by architects\, designer s\, and artists\, working in a range of mediums and scales\, that respond t o the complex circumstances brought about by forced displacement\, the exhi bition focuses on conditions that disrupt conventional images of the built environment.

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Organized by Sean Anderson\, Associate Curator\, with Ariè\;le Dionne-Krosnick\, Curatorial Assis tant\, Department of Architecture and Design.

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This exhibition is part of Citizens and Borders\, a series of disc rete projects at MoMA related to works in the collection offering a critica l perspective on histories of migration\, territory\, and displacement.

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Major support for the exhibition is prov ided by The International Council of The Museum of Modern Art.

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Additional support is provided by the MoMA Annual Exhibition Fund.

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DTEND:20170122 DTSTAMP:20161001T103943 DTSTART:20161001 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Insecurities: Tracing Displacement and Shelter UID:429640 END:VEVENT BEGIN:VEVENT DTEND:20161001T173000 DTSTAMP:20161001T103943 DTSTART:20161001T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Insecurities: Tracing Displacement and Shelter UID:429641 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Since the Department of Architecture and D esign was first established in the early 1930s\, the Museum's curators\, gu ided by a belief in the power of design to shape everyday experiences and p erceptions\, have focused on the question &ldquo\;How should we live?&rdquo \; as one of the most vital issues in contemporary design.

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How Should We Live? explores the complex col laborations\, materials\, and processes that have shaped the modernist inte rior\, with a focus on specific environments&mdash\;domestic interiors\, re -created exhibition displays\, and retail spaces&mdash\;from the 1920s to t he 1950s. The exhibition brings together over 200 works\, drawn from MoMA's Architecture and Design collection as well as the Library\, Drawings and P rints\, Painting and Sculpture\, Film\, and Photography. Rather than concen trating on isolated masterworks\, attention is given to the synthesis of de sign elements within each environment\, and to the connection of external f actors and attitudes&mdash\;aesthetic\, social\, technological\, and politi cal&mdash\;that these environments reflect.

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The exhibition looks at several designers&rsquo\; own living spaces\ , and at frequently neglected areas in the field of design\, including text ile furnishings\, wallpapers\, kitchens\, temporary exhibitions\, and promo tional displays. Highlights include recent acquisitions from projects direc ted by major women architect-designers&mdash\;Eileen Gray furnishings for t he house E-1027 (1929)\, and Charlotte Perriand&rsquo\;s study bedroom from the Maison du Bré\;sil (1959)\, for example. Designs from other note d partnerships include Lilly Reich and Mies van der Rohe&rsquo\;s Velvet an d Silk Café\; (1927)\, Grete Lihotzky&rsquo\;s Frankfurt Kitchen (192 6&ndash\;27)\, and collaborations between Aino and Alvar Aalto\, Ray and Ch arles Eames\, Florence Knoll and Herbert Matter\, and Charlotte Perriand\, Pierre Jeanneret and Le Corbusier.

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Organized by Juliet Kinchin\, Curator\, and Luke Baker\, Curatorial Assis tant\, Department of Architecture and Design\, MoMA.

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The exhibition is made possible by Hyundai Card.

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Additional support is provided by the Annual Exhibition Fun d.

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DTEND:20170423 DTSTAMP:20161001T103943 DTSTART:20161001 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:How Should We Live? Propositions for the Modern Interior UID:429638 END:VEVENT BEGIN:VEVENT DTEND:20161001T173000 DTSTAMP:20161001T103943 DTSTART:20161001T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:How Should We Live? Propositions for the Modern Interior UID:429639 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Making Fa ces presents a selection of images from the Department of Film&rsquo\; s extensive collection of films stills that explore the representation of h istorical &ldquo\;otherness&rdquo\; onscreen. This exhibition examines the attempts of commercial film studios to aestheticize identity at various his torical moments. Photographic enlargements capture both conscious and uncon scious deviations from cultural\, social\, racial\, and gender expectations from the silent era through the Blaxploitation films of the 1970s.

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Organized by Ashley Swinnerton\, Collection Specialist\, and Dessane Cassell\, Curatori al Fellow\, Department of Film.

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\n DTEND:20170430 DTSTAMP:20161001T103943 DTSTART:20161015 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Making Faces: Images of Exploitation and Empowerment in Cinema UID:429636 END:VEVENT BEGIN:VEVENT DTEND:20161015T173000 DTSTAMP:20161001T103943 DTSTART:20161015T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Making Faces: Images of Exploitation and Empowerment in Cinema UID:429637 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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MoMA PS1 presents the first comprehensive survey in the United States of the pioneering British artist Mark Leckey\, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s\, Lecky&rsquo\;s dynamic and varied practice has combined formal experimentation with pointed explorations of class and history. His art has addressed the radical effect of technology on popular culture and art\, and given form to the transition from analog to digital culture\, pow erfully influencing younger generations of artists. Occupying two floors of MoMA PS1\, the exhibition brings together major bodies of Leckey&rsquo\;s work\, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highli ghts will be Leckey&rsquo\;s breakthrough film Fiorucci Made Me Hardcor e (1999)\, which uses sampled footage to trace dance subcultures in Br itish nightclubs from the 1970s to 1990s\; a selection of the artist&rsquo\ ;s Sound System sculptures (2001&ndash\;12)\, functioning stacks of audio s peakers that recall those used in street parties in London\; his pedagogica l lecture performances\; GreenScreenRefrigeratorAction (2010)\, a video and installation that considers &ldquo\;smart&rdquo\; objects and our increasingly technological environment\; and a new iteration of the instal lation UniAddDumThs (2014)\, which Leckey created as a &ldquo\;cop y&rdquo\; of a touring exhibition that he had curated the year before.

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The exhibition will also feature a newly expanded presentation of Dream English Kid 1964&ndash\;1999 AD (20 15)\, an autobiography told through what the artist calls &ldquo\;found mem ories&rdquo\; that have been compiled from sources like archival television clips\, YouTube videos\, and eBay ephemera\, as well as meticulous reconst ructions of specific memories using props and models. Combining deeply pers onal and popular subjects\, this amalgamation of media allows Leckey to inv estigate the pivotal moments in technology and culture that have occurred i n his lifetime.

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Organized by Peter Eleey\, Curator and Associate Director of Exh ibitions and Programs\, MoMA PS1\; and Stuart Comer\, Chief Curator\, Depar tment of Media and Performance Art\, The Museum of Modern Art.

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The exhibition is made possible by The Andy Warho l Foundation for the Visual Arts and by MoMA&rsquo\;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

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Major support is provided by The Internati onal Council of The Museum of Modern Art. Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

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DTEND:20170305 DTSTAMP:20161001T103943 DTSTART:20161023 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Containers and Their Drivers at MoMA PS1\, Mark Leckey UID:429634 END:VEVENT BEGIN:VEVENT DTEND:20161023T173000 DTSTAMP:20161001T103943 DTSTART:20161023T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Containers and Their Drivers at MoMA PS1\, Mark Leckey UID:429635 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art&rsquo\;s multifaceted collection of photography. Borrowing its title f rom the eponymous work by Carrie Mae Weems\, the exhibition is drawn entire ly from works acquired over the past 40 years with the support of Robert B. Menschel\, telling the story of photography from its beginnings.

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Covering more than 150 years of photography&md ash\;from an 1843 view of Paris by William Henry Fox Talbot\, the English f ather of photography\, to Andreas Gursky&rsquo\;s contemporary monumental l andscapes\, the exhibition underscores an equal attention to the past and t he present\, and a strong belief that they complement each other\; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977\, over 500 works have entered the collectio n through his support\, including 162 photographs he recently donated from his personal collection.

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Organized by Quentin Bajac\, The Joel and Anne Ehrenkranz Chief Curator\, with Katerina Stathopoulou\, Curatorial Assistant\, Department of Photography.

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DTEND:20170527 DTSTAMP:20161001T103943 DTSTART:20161029 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:The Shape of Things: Photographs from Robert B. Menschel UID:429632 END:VEVENT BEGIN:VEVENT DTEND:20161029T173000 DTSTAMP:20161001T103943 DTSTART:20161029T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:The Shape of Things: Photographs from Robert B. Menschel UID:429633 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Edited by Anne Umland and Cathé\;rine Hug\, 2016
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Fran cis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is a comprehensive survey of Picabia&rsquo\;s audacious\, irreverent\, and profoundly influential work across mediums. This will be the first exhibiti on in the United States to chart his entire career.

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Among the great modern artists of the past century\, Francis Picabia (French\, 1879&ndash\;1953) also remains one of the most elusive. He vigorously avoided any singular style\, and his work encompassed paintin g\, poetry\, publishing\, performance and film. Though he is best known as one of the leaders of the Dada movement\, his career ranged widely&mdash\;a nd wildly&mdash\;from Impressionism to radical abstraction\, from Dadaist p rovocation to pseudo-classicism\, and from photo-based realism to art i nformel. Picabia&rsquo\;s consistent inconsistencies\, his appropriati ve strategies\, and his stylistic eclecticism\, along with his skeptical at titude\, make him especially relevant for contemporary artists\, and his ca reer as a whole challenges familiar narratives of the avant-garde.

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Francis Picabia features over 200 wo rks\, including some 125 paintings\, key works on paper\, periodicals and p rinted matter\, illustrated letters\, and one film. The exhibition aims to advance the understanding of Picabia&rsquo\;s relentless shape-shifting\, a nd how his persistent questioning of the meaning and purpose of art ensured his iconoclastic legacy&rsquo\;s lasting influence.

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Francis Picabia: Our Heads Are Round so Our Thoughts Can Ch ange Direction is organized by The Museum of Modern Art\, New York\, a nd the Kunsthaus Zü\;rich.

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Organi zed by Anne Umland\, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture\, The Museum of Modern Art\, and Cathé\;rine Hug\, Cura tor\, Kunsthaus Zü\;rich\; with Talia Kwartler\, Curatorial Assistant\, Department of Painting and Sculpture.

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Major support for the New York presentation is provided by The Internatio nal Council of The Museum of Modern Art.

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Generous funding is provided by Lawrence B. Benenson.

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This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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Additional support is provided by the Annual Exhibition Fund.

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DTEND:20170319 DTSTAMP:20161001T103943 DTSTART:20161121 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Our Heads Are Round so Our Thoughts Can Change Direction\, Francis Picabia UID:429630 END:VEVENT BEGIN:VEVENT DTEND:20161121T173000 DTSTAMP:20161001T103943 DTSTART:20161121T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Our Heads Are Round so Our Thoughts Can Change Direction\, Francis Picabia UID:429631 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Josef Albers (American\, born Germany\, 18 88&ndash\;1976) is a central figure in 20th-century art\, both as a practit ioner and as a teacher at the Bauhaus\, Black Mountain College\, and Yale U niversity. Best known for his iconic series Homages to the Square\, Albers made paintings\, drawings\, and prints and designed furniture and typograph y. The least familiar aspect of his extraordinary career is his inventive e ngagement with photography\, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photogra phs he made at the Bauhaus between 1928 and 1932. At once expansive and res trained\, this remarkable body of work anticipates concerns that Albers wou ld pursue throughout his career: seriality\, perception\, and the relations hip between handcraft and mechanical production.

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The first serious exploration of Albers&rsquo\;s photographic p ractice occurred in a modest exhibition at MoMA in 1988\, The Photographs of Josef Albers. In 2015\, the Museum acquired 10 photocollages by Albers&mdash\;adding to the two donated by the Josef and Anni Albers Found ation almost three decades ago&mdash\;making its collection the most signif icant anywhere outside the Foundation. This installation celebrates both th is landmark acquisition and the publication of One and One Is Four: The Bauhaus Photocollages of Josef Albers\, which focuses exclusively on this deeply personal and inventive aspect of Albers&rsquo\;s work and makes many of these photocollages available for the first time.

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Organized by Sarah Hermanson Meister\, Curator\, with Kristen Gaylord\, Beaumont and Nancy Newhall Curatorial Fellow\, Departmen t of Photography.

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DTEND:20170402 DTSTAMP:20161001T103943 DTSTART:20161120 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY: One and One Is Four: The Bauhaus Photocollages of Josef Albers \, Josef Albers UID:429628 END:VEVENT BEGIN:VEVENT DTEND:20161120T173000 DTSTAMP:20161001T103943 DTSTART:20161120T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY: One and One Is Four: The Bauhaus Photocollages of Josef Albers \, Josef Albers UID:429629 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Covering the period of artistic innovation between 1912 and 1934\, A Revolutionary Impulse: The Rise of the Russi an Avant-Garde traces the arc of the pioneering Russian avant-garde fr om World War I through the 1917 Revolution and the completion of the first Five-Year Plan. Bringing together major works from MoMA&rsquo\;s extraordin ary collection\, the exhibition features breakthrough experimental projects in painting\, drawing\, sculpture\, prints\, book and graphic design\, fil m\, photography\, and architecture by leading figures such as Alexandra Ext er\, Natalia Goncharova\, El Lissitzky\, Kasimir Malevich\, Vladimir Mayako vsky\, Lyubov Popova\, Alexandr Rodchenko\, Olga Rozanova\, Vladimir and Ge orgii Stenberg\, and Dziga Vertov\, among others.

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Coinciding with the centennial of the Russian Revolution\, thi s exhibition examines key developments in the conception of Cubo-Futurism\, Suprematism\, Transrational Language\, and Constructivism\, as well as ava nt-garde film and photomontage. The remarkable sense of creative urgency\, radical cross-fertilization\, and synthesis within the visual arts&mdash\;a s well as aspirations among the Russian avant-garde to affect unprecedented sociopolitical transformation&mdash\;wielded an influence on modes of art production in the 20th century and changed the course of modern history.

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Organized by Roxana Marcoci\, Senior Cu rator\, Department of Photography and Sarah Suzuki\, Curator\, Department o f Drawings and Prints\; with Hillary Reder\, Curatorial Assistant\, Departm ent of Drawings and Prints.

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DTEND:20170312 DTSTAMP:20161001T103943 DTSTART:20161204 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:A Revolutionary Impulse: The Rise of the Russian Avant-Garde\, Alex andra Exter\, Natalia Goncharova\, El Lissitzky\, Kasimir Malevich\, Vladim ir Mayakovsky\, Lyubov Popova\, Alexandr Rodchenko\, Olga Rozanova\, Vladim ir and Georgii Stenberg\, Dziga Vertov UID:429626 END:VEVENT BEGIN:VEVENT DTEND:20161204T173000 DTSTAMP:20161001T103943 DTSTART:20161204T103000 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:A Revolutionary Impulse: The Rise of the Russian Avant-Garde\, Alex andra Exter\, Natalia Goncharova\, El Lissitzky\, Kasimir Malevich\, Vladim ir Mayakovsky\, Lyubov Popova\, Alexandr Rodchenko\, Olga Rozanova\, Vladim ir and Georgii Stenberg\, Dziga Vertov UID:429627 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Through a multidisciplinary practice that bridges performance\, music\, video\, installation\, sound\, and poetry\, N á\;stio Mosquito (Angolan\, born 1981) tackles formidable subjects\, from identity to faith to the complicated history of colonialism in his nat ive country. Projects 104: Ná\;stio Mosquito comprises a new work\, Respectable Thief\, that investigates the act and effects of appropriation&mdash\;the ways in which both individuals and cultures &ld quo\;take possession of what is useful\,&rdquo\; as he has described\, to c onstruct identity\, to maintain relationships\, and to gain power. Mosquito is interested in the fluid possibilities of language both as a means of ex pression and as a tool for empowerment. Respectable Thief&rsquo\;s text-based visual and sonic elements recur and recombine across the Projec t&rsquo\;s three components: a single performance on September 23\, 2016\, in the Roy and Niuta Titus Theaters\; a video installation\; and several in terventions across MoMA&rsquo\;s existing media platforms\, including the d isplay screens in the lobby\, the Kids audio tour\, and select social media channels. This is Mosquito&rsquo\;s first solo exhibition in a US museum.< /p>\n

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R espectable Thief is commissioned by The Museum of Modern Art in conjun ction with Projects 104: Ná\;stio Mosquito.

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Organized by Cara Manes\, Assistant Curator\, Departm ent of Painting and Sculpture.

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The El aine Dannheisser Projects Series is made possible in part by the Elaine Dan nheisser Foundation and The Junior Associates of The Museum of Modern Art. Special thanks to Corpus\, a network for performance practice\, and Vooruit Arts Centre.

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DTEND:20161030 DTSTAMP:20161001T103943 DTSTART:20160918 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Projects 104: Nástio Mosquito\, Nástio Mosquito UID:429594 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;Within an environment envisioned b y the artist upon seeing the gallery allotted to him\, he arranges work ste mming from his early youth to the very present\, in a manner of a child bei ng handed toys\, new and old: some are cherished and idolized\, some are se mi-precious in rank\, some are abandoned and neglected in slumber of increa sing hate generating towards them. Some are loved to the utmost\, so much h e&rsquo\;d want to hold onto them until the very last moment before death\, and beyond.

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&ldquo\;The work being t reated as such will be comprised of fragments of former larger scale enviro nments\, drawings\, paintings\, objects found and fabricated. In &lsquo\;an d then leave me to the common swifts&rsquo\;\, nothing is an attempt of rec reating the original composition of when these works were displayed each fo r its first time. Instead the artist gives in to whatever his innate forces originating in his emotions command him to do upon the encounter with this work\, his very own\, for the most part. The result is further also constr ained by time or its lack\, and the pressure created by complex sociologica l processes\, which sometimes leads the artist to surrender to a fatalism o therwise strongly fought.&rdquo\;

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Organized by Laura Hoptman\, Curator\, and Margaret Ewing\, Curatorial Ass istant\, Department of Painting and Sculpture.

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Generous funding for the exhibition is provided by the Ringier Co llection\, The International Council of The Museum of Modern Art\, and MoMA &rsquo\;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

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Special tha nks to Craig Robins and Jackie Soffer and to Erik Bruce Fabrik.

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Additional support is provided by the Annual Exh ibition Fund.

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DTEND:20170122 DTSTAMP:20161001T103943 DTSTART:20160918 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:and then leave me to the common swifts (und dann überlasst mich den Mauerseglern) \, Kai Althoff UID:429593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for conversations arou nd a dinner table with 33 Chinese and Asian-American chefs. Sour\, Swee t\, Bitter\, Spicy \;weaves together complex stories through a dyn amic video installation featuring pioneering chefs such as Cecilia Chiang\, Ken Hom\, Anita Lo\, Ming Tsai\, and Martin Yan\; new restaurateurs like P eter Chang\, Vivian Ku\, and Danny Bowien\; and persevering home cooks like Biying Ni\, Yvette Lee and Ho-chin Yang.

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In Chinese the saying Sour\, Sweet\, Bitter\, Spicy refers n ot only to the delicate balance of flavors that defines Chinese cooking but also the ups and downs of life. Set in an immersive video installation\, t he tapestry of tales that emerges will be rich with immigration experiences \, food memories\, favorite dishes and cooking inspirations that define the culinary&mdash\;and personal&mdash\;identities of these chefs\, drawing vi sitors into the middle of a conversation about how food defines Chinese in America. In the center of the gallery will be a monumental dinner table\, w ith each chef represented by personally selected artifacts from their kitch ens and place settings featuring unique ceramic vessels that will link cook ing styles to regional culinary traditions.

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Sour\, Sweet\, Bitter\, Spicy is an imaginary banquet in w hich featured guests represent diverse histories\, cuisines\, and geographi c regions. By understanding these elements\, we can start to identify what Annie Hauck-Lawson and Jonathan Deutsch might call a &ldquo\;food voice&rdq uo\; for Chinese in America. They write: &ldquo\;The concept of the food vo ice means that what people choose to procure\, prepare\, and eat&mdash\;and what they do not eat&mdash\;can reveal much about their identity and cultu re. Often\, the food voice expresses what the spoken voice struggles to art iculate.&rdquo\;

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What does Chinese f ood in America\, in its dizzying variety\, say about who we are&mdash\;or a re not&mdash\; today?

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#SourSweetBitterS picy

DTEND:20170326 DTSTAMP:20161001T103943 DTSTART:20161006 GEO:40.719339;-73.9990364 LOCATION:MOCA - Museum of Chinese in America\,215 Centre Street \n New York \, NY 10013 SEQUENCE:0 SUMMARY:Sour\, Sweet\, Bitter\, Spicy: Stories of Chinese Food and Identity in America UID:429591 END:VEVENT BEGIN:VEVENT DTEND:20161006T210000 DTSTAMP:20161001T103943 DTSTART:20161006T110000 GEO:40.719339;-73.9990364 LOCATION:MOCA - Museum of Chinese in America\,215 Centre Street \n New York \, NY 10013 SEQUENCE:0 SUMMARY:Sour\, Sweet\, Bitter\, Spicy: Stories of Chinese Food and Identity in America UID:429592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

How tall can New York building s be? How wide? Where can developers build homes\, factories\, offices\, or stores? Where do New Yorkers live\, work\, and play? The character of New York&rsquo\;s varied neighborhoods is governed by a novel set of rules firs t envisioned by New York reformers 100 years ago &ndash\; the groundbreakin g Zoning Resolution of 1916. Zoning\, which was designed to tame the unruly process of free-market real estate development\, has continued to shape th e city we know today in countless\, often unseen\, ways.

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This landmark law gave birth to the iconic &ldquo\;setb ack&rdquo\; skyscraper and the modern skyline\; to special neighborhoods li ke the Theater District\; to public amenities like pedestrian plazas\, and to residential neighborhoods of all shapes and sizes. On the 100th annivers ary of America&rsquo\;s first comprehensive zoning resolution\, Masteri ng the Metropolis: New York and Zoning\, 1916-2016 \;will examine the effects of the evolving law and chart the history of the city&rsquo\;s zoning rules and debates to the current day\, illuminating how the tools of zoning have reflected a century of evolving ideas about what constitutes a n &ldquo\;ideal&rdquo\; city.

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Join th e conversation. #Zoning100

DTEND:20170304 DTSTAMP:20161001T103943 DTSTART:20161109 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:Mastering the Metropolis: New York and Zoning\, 1916-2016 UID:429589 END:VEVENT BEGIN:VEVENT DTEND:20161109T180000 DTSTAMP:20161001T103943 DTSTART:20161109T100000 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:Mastering the Metropolis: New York and Zoning\, 1916-2016 UID:429590 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Celebrating an often-hidden side of the history of N ew York City.

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New York has long been a beacon for lesbian\, gay\, bisex ual\, and transgender artists seeking freedom\, acceptance\, and community. Gay Gotham: Art and Underground Culture in New York brings to lif e the queer creative networks that sprang up in the city across the 20th ce ntury&mdash\;a series of artistic subcultures whose radical ideas had lasti ng effects on the mainstream.

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Peeling back the layers of New York&rsquo\ ;s LGBT life that thrived even in the shadows\, this groundbreaking exhibit ion reveals an often-hidden side of the history of New York City and celebr ates the power of artistic collaboration to transcend oppression. Visitors will encounter well-known figures\, from Mae West to Leonard Bernstein to A ndy Warhol\, and discover lesser-known ones\, such as feminist artist Harmo ny Hammond\, painter and writer Richard Bruce Nugent\, and transgender arti st Greer Lankton. Surprising relationships emerge: Warhol and Mercedes de A costa\; Robert Mapplethorpe and Cecil Beaton\; George Platt Lynes and Gertr ude Stein.

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Comprising two full galleries\, Gay Gotham features the work of these artists\, including paintings and photographs\, as well a s letters\, snapshots\, and ephemera that illuminate their personal bonds a nd reveal secrets that were scandal-provoking in their time and remain larg ely unknown today.

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Join the conversation. #GayGotham

DTEND:20170226 DTSTAMP:20161001T103943 DTSTART:20161007 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:Gay Gotham: Art and Underground Culture in New York UID:429587 END:VEVENT BEGIN:VEVENT DTEND:20161006T210000 DTSTAMP:20161001T103943 DTSTART:20161006T180000 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:Gay Gotham: Art and Underground Culture in New York UID:429588 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Since its founding in 1923\, t he Museum of the City of New York has celebrated and interpreted the city a nd educated the public about New York&rsquo\;s heritage and distinctive cha racter. From Teaspoons to Titanic: Recent Acquisitions showcases a selection of new additions the museum&rsquo\;s collection\, including a de ck chair from RMS Titanic\, souvenir spoons depicting New York sce nes\, works by several notable photographers\, and Richard Haas&rsquo\;s&nb sp\; preparatory paintings for New York street murals&mdash\;all of which s peak to the life of the city.

DTEND:20161218 DTSTAMP:20161001T103943 DTSTART:20160804 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:From Teaspoons to Titanic: Recent Acquisitions UID:429586 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Explore the absurd ities and pleasures of daily life through the eyes&mdash\;and pen&mdash\;of Roz Chast.

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One of the most distinctive and complex American co mic voices to emerge in the last four decades is that of artist and New Yorker cartoonist Roz Chast (b. 1954). Since the 1970s\, Brooklyn-bor n Chast has chronicled the anxieties\, pleasures\, and perils of contempora ry life in a body of work that includes over 1\,200 cartoons published in < em>The New Yorker and other magazines\, several illustrated children&r squo\;s books\, and her award-winning 2014 visual memoir\, Can't We tal k About Something More Pleasant? Chast has developed a unique visual l anguage and a roster of familiar characters that explore universal experien ces of self-doubt and of finding joy in simple things.

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Roz Chast: Ca rtoon Memoirs features more than 200 works by this distinguished artis t\, showcasing her keen eye for the absurdities and insecurities that perme ate daily life&mdash\;including many situations that are particular to New York City. The exhibition was originally organized by the Norman Rockwell M useum in Stockbridge\, Massachusetts\, and is a co-presentation of the Muse um of the City of New York and the Norman Rockwell Museum.

DTEND:20161016 DTSTAMP:20161001T103943 DTSTART:20160414 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:Cartoon Memoirs\, Roz Chast UID:429585 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Scenes from the So uth Bronx\, 1976-82.

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The 1970s marked the start of a tumultuous period of decline in the South Bronx\, brought on by a loss of manufacturi ng jobs\, reductions in municipal services\, plummeting property values\, a mass exodus of its residents\, and rampant arson. Photographer Mel Rosenth al (b. 1940)\, who grew up in the South Bronx\, was determined to give a pu blic face\, and a voice\, to those who had been left behind by the area&rsq uo\;s evolution. In the South Bronx of America features images tak en by Rosenthal at the height of the area&rsquo\;s devastation\, focusing o n the resilient residents who refused to abandon their neighborhoods.

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Jo in the conversation. #MelRosenthal

DTEND:20161016 DTSTAMP:20161001T103943 DTSTART:20160507 GEO:40.792495;-73.951905 LOCATION:Museum of the City of New York\,1220 Fifth Avenue \nNew York\, NY 10029 SEQUENCE:0 SUMMARY:In the South Bronx of America\, Mel Rosenthal UID:429584 END:VEVENT END:VCALENDAR