Matt Mullican. Untitled (installation view, Magasin, Grenoble, 1990). 1990. Nylon applique, four parts; each: 44 x 22'
   Icon Culture: Lingua Franca for a Global Culture
Wednesday, May 14, 2008, 6:30 p.m.
Theater 3 (The Celeste Bartos Theater), mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building

Icons are a language of their own in contemporary society, transcending linguistic boundaries with simple graphic imagery. In this program, Bruce Mau and Matt Mullican discuss how they use iconic language as a means of communication.

Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased online, or at the Museum at the lobby information desk and the Film desk.
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Blow-Up. 1966. United Kingdom/Italy/USA. Directed by Michelangelo Antonioni		   Blow-Up
Friday, May 23, 2008, 7:00 p.m.
Saturday, May 24, 2008, 3:00 p.m.
Theater 1, T1

1966. United Kingdom/Italy/USA. Directed by Michelangelo Antonioni. Screenplay by Antonioni. Music by Herbie Hancock. With David Hemmings, Vanessa Redgrave, Jane Birkin. Antonioni's foray into Swinging Sixties London is as metaphysical as it is sexy. This spellbinding picture-puzzle of a film derives its erotic charge as much from photographer Hemmings's determined pursuit of the ever-elusive "truth" contained in his grainy images—most mysteriously, a lovers' tryst in a deserted park that may or may not have ended in murder—as it does from his unfailing seduction of statuesque fashion models. Antonioni's sudden cuts in mid-action give Blow-Up the nervous rhythmic quality of jazz, and Herbie Hancock's exploration of piano and organ chords in their upper and lower registers bridges his hard-bop collaborations with Miles Davis in the early 1960s and his soul-funk-fusion excursions of the 1970s. 111 min.

Herbie. 1966. USA. Directed by George Lucas, Paul Holding. A University of Southern California student film of abstracted, gleaming car surfaces, edited to the music of Herbie Hancock. 3 min.

This film program is part of the Jazz Score exhibition.

Enter to win one of five pairs of tickets to this film! To enter, send your name and e-mail address to poprally@moma.org. Winners will be notified by e-mail.

 

       
 
Ellen Altfest. Rotting Gourd. 2007. Oil on canvas, 11 x 11'		   SkowheganTALKS: Ellen Altfest
Saturday, May 31, 3:00p.m.
P.S. 1

The fourth installment of SkowheganTALKS features international curator Robert V. Storr in conversation with painter Ellen Altfest. The discussion explores the artists’ current and past work, as well as the challenges and opportunities that are characteristic of working as an artist today.

       
 
Hans Richter. Still from Filmstudie. 1926. 35mm film transferred to video; black and white, silent. The Museum of Modern Art, New York		   Geometry of Motion 1920s/1970s
March 19–June 23
The Yoshiko and Akio Morita Media Gallery, second floor

This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or "New Vision," generation of artists, among them László Moholy-Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta-Clark, Robert Smithson, and Anthony McCall in the 1970s. Drawing attention to the conditions and complexities of perception—both within the framework of institutional display and in other surroundings—these artists have redefined the social potential of visual agency.