James Ensor (Belgian, 1860-1949), Tribulations of Saint Anthony, 1887, Oil on canvas, 46-3/8 x 66", The Museum of Modern Art, New York. Purchase, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), Calvary, 1886, Pencil, crayon, and oil on paper, 6-3/4 x 8-3/4", Private collection, Belgium, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), Skeletons Fighting Over a Pickled Herring, 1891, Oil on panel, 6-5/16 x 8-7/16", Musées royaux des Beaux Arts de Belgique, Brussels, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Skate, 1892, Oil on canvas, 31-1/2 x 39-3/8", Musées royaux des Beaux Arts de Belgique, Brussels, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), Masks Mocking Death, 1888, Oil on canvas, 32 x 39-1/2", The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund, Photo credit: Thomas Griesel, Department of Imaging Services, The Museum of Modern Art, New York, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Dangerous Cooks, 1896, Pencil, gouache, and oil on board, 7-7/8 x 9-13/16", Private collection, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Skeleton Painter, 1895 or 1896(?), Oil on panel, 14-13/16 x 18-1/8", Koninklijk Museum voor Schone Kunsten, Antwerp, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Astonishment of the Mask Wouse, 1889, Oil on canvas, 42-5/16 x 51-9/16", Koninklijk Museum voor Schone Kunsten, Antwerp, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Frightful Musicians, 1891, Oil on panel, 6-5/16 x 8-1/4", Courtesy Patrick Derom Gallery, Brussels, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), Skeletons Trying to Warm Themselves, 1889, Oil on canvas, 29-1/2 x 23-5/8", Kimbell Art Museum, Fort Worth, Photo credit: Robert LaPrelle, courtesy Kimbell Art Museum, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Joan and Preston Robert Tisch Gallery, sixth floor
James Ensor
June 28–September 21, 2009

The Museum of Modern Art presents James Ensor— the first exhibition at an American institution to feature the full range of his media in over 30 years. James Ensor (Belgian, 1860-1949) was a major figure in the Belgian avant-garde of the late 19th century and an important precursor to the development of Expressionism in the early 20th. In both respects, he has influenced generations of later artists.

Approximately 120 of Ensor’s paintings, drawings, and prints are included in the exhibition, most of which date from the artist’s creative peak, 1880 to the mid-1890s. A number of them, including the first two drawings from his monumental Aureoles series of 1885-86, The Lively and Radiant: The Entry of Christ into Jerusalem and The Rising: Christ Shown to the People, have never before been seen in the United States.

Though perhaps best known for his evocative paintings of masks, in portraits and fictive dramas, Ensor’s wide-ranging oeuvre spans such traditional subject matter as still life, landscape, and religious symbolism to more singular visions, including fantastical scenes featuring skeletons and other startling figures, such as Skeletons Trying to Warm Themselves (1889) and Skeletons Fighting over a Pickled Herring (1891).

Ensor’s work also includes a wide range of styles and dimensions, from tiny prints of only a few inches to large-scale paintings and drawings. A restless and incessant experimenter with a variety of mediums and techniques including collage and hand-printed etching, Ensor even revisited works completed years earlier, adding colors and images that often radically transformed the originals.

The exhibition will produce a complete picture of Ensor’s daring, experiential body of work, and will elucidate Ensor’s contribution to modern art, his innovative and allegorical use of light, his prominent use of satire, his deep interest in carnival and performance, and his own self-fashioning and use of masking, travesty, and role-playing. Ultimately, the exhibition presents Ensor as a socially engaged and self-critical artist involved with the issues of his times and with contemporary debates on the nature of modernism.

James Sidney Edouard, Baron Ensor (April 13, 1860-November 19, 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for almost his entire life. He was associated with the artistic group Les XX.

Ensor's father was of English extraction, and his mother was Flemish. A poor student, he left school at the age of fifteen to begin artistic training with two local painters. From 1877 to 1880, he studied at the Académie Royale des Beaux-Arts in Brussels, where his classmates included Fernand Khnopff. He first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His only travels were three brief trips to Paris, London, and Holland.

During the late 1800s much of his work was rejected as scandalous, particularly his painting Entry of Christ into Brussels (1888-89), but his paintings continued to be exhibited, and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Even in the first decade of the 20th century, however, his production of new works was diminishing, and he increasingly concentrated on music — although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.

Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there after a short illness, on November 19, 1949.

While Ensor's early works, such as Russian Music (1881) and The Drunkards (1883), depict realistic scenes in a somber style, his palette subsequently brightened and he favored increasingly bizarre subject matter. Such paintings as The Scandalized Masks (1883) and Skeletons Fighting over a Hanged Man (1891) feature figures in grotesque masks inspired by the ones sold in his mother's gift shop for Ostend's annual Carnival. Subjects such as carnivals, masks, puppetry, skeletons, and fantastic allegories are dominant in Ensor's mature work. Ensor dressed skeletons up in his studio and arranged them in colorful, enigmatic tableaux on the canvas, and used masks as a theatrical aspect in his still lifes. Attracted by masks' plastic forms, bright colors, and potential for psychological impact, he created a format in which he could paint with complete freedom.

The four years between 1888 and 1892 mark a turning point in Ensor’s work. Ensor turned to religious themes, often the torments of Christ. Ensor interpreted religious themes as a personal disgust for the inhumanity of the world. In 1888 alone, he produced 45 etchings as well as his most ambitious painting, the immense The Entry of Christ into Brussels. In this composition, which elaborates a theme treated by Ensor in his drawing Les Aureoles du Christ of 1885, a vast carnival mob in grotesque masks advances toward the viewer. Identifiable within the crowd are Belgian politicians, historical figures, and members of Ensor's family. Nearly lost amid the teeming throng is Christ on his donkey; although Ensor was an atheist, he identified with Christ as a victim of mockery. The piece, which measures 99-½ by 169-½ inches, was rejected by Les XX and was not publicly displayed until 1929. After its controversial export in the 1960s, the painting is now at the J. Paul Getty Museum and is on display at the Getty Center in Los Angeles, California. Also known as Christ's Entry into Brussels in 1889, it is considered "a forerunner of 20th-century Expressionism."

As Ensor achieved belated recognition in the final years of the 19th century, his style softened and he painted less. Critics have generally seen Ensor's last 50 years as a long period of decline. The aggressive sarcasm and scatology that had characterized his work since the mid-1880s was less evident in his few new compositions, and much of his output consisted of mild repetitions of earlier works. Significant works of Ensor's late period include The Artist's Mother in Death (1915), a subdued painting of his mother's deathbed with prominent medicine bottles in the foreground, and The Vile Vivisectors (1925), a vehement attack on those responsible for the use of animals in medical experimentation.

James Ensor is considered to be an innovator in 19th century art. Although he stood apart from other artists of his time, he significantly influenced such 20th century artists as Paul Klee, Emil Nolde, George Grosz, Alfred Kubin, Wols, Felix Nussbaum, and other expressionist and surrealist painters of the 20th century.

His works are in many public collections, notably the Modern Art Museum of the Royal Museums of Fine Arts of Belgium in Brussels, the Royal Museum of Fine Arts in Antwerp, and the Museum voor Schone Kunsten in Ostend. Major works by Ensor are also in the Museum of Modern Art in New York, the Musée d'Orsay, Paris, and the Wallraf-Richartz Museum in Cologne. A collection of his letters is held in the Contemporary Art Archives of the Royal Museums of Fine Arts in Brussels.

Ensor has been paid homage by contemporary painters and artists in other media: he is the subject of a song, Meet James Ensor, recorded in 1994 by the alternative rock duo They Might Be Giants. The 1996 Belgian movie Camping Cosmos was inspired by drawings of James Ensor, in particular Carnaval sur la plage (1887), La mort poursuivant le troupeau des humains (1896), and Le bal fantastique (1889). The film's director, Jan Bucquoy, is also the creator of a comic Le Bal du Rat mort inspired by Ensor.The yearly philanthropic "Bal du Rat Mort" (Dead Rat Ball) in Ostend continues a tradition begun by Ensor and his friends in 1898.

The exhibition is accompanied by a fully illustrated catalogue edited by Anna Swinborne, Assistant Curator in the Department of Painting and Sculpture at MoMA. It includes essays by Anna Swinbourne; Susan M. Canning, Professor of Art History, College of New Rochelle, New York; Michel Draguet, Director, Musées royaux des Beaux-Arts de Belgique, Brussels; Robert Hoozee, Director, Museum voor Schone Kunsten, Ghent; and Herwig Todts, Curator, Koninklijk Museum voor Schone Kunsten, Antwerp; Laurence Madeline, Curator, Musée d’Orsay, Paris; and Jane Panetta, Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern Art. It is published by The Museum of Modern Art and is available at MoMA Stores and online at www.momastore.org. It is distributed to the trade through Distributed Art Publishers (D.A.P) in the United States and Canada, and Thames + Hudson outside North America. Hardcover: 208 pages, 165 color illustrations. $60.

James Ensor (Belgian, 1860-1949), The Strange Masks, 1892, Oil on canvas, 39-3/8 x 31-1/2", Musées royaux des Beaux Arts de Belgique, Brussels, Photo credit: Vincent Everarts Brussels, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Oyster Eater, 1882, Oil on canvas, 81-1/2 x 59-1/16", Koninklijk Museum voor Schone Kunsten, Antwerp, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), Skeleton Musicians. 1888, Black pencil and brown chalk on paper, mounted on panel, 8-1/4 x 6-5/16", Private collection, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

James Ensor (Belgian, 1860-1949), The Intrigue, 1890, Oil on canvas, 35-7/16 x 59-1/16", Koninklijk Museum voor Schone Kunsten, Antwerp, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels.

Installation view of Roman Ondák’s Measuring the Universe at Pinakothek der Moderne, Munich, 2007, Roman Ondák (Slovakian, b. 1966), Measuring the Universe, 2007, Performance and installation, Collections MoMA, New York, and Pinakothek der Moderne, Munich, Photo: Ernst Jank, Courtesy of the artist

Installation view of Roman Ondák’s Measuring the Universe at Pinakothek der Moderne, Munich, 2007, Roman Ondák (Slovakian, b. 1966), Measuring the Universe, 2007, Performance and installation, Collections MoMA, New York, and Pinakothek der Moderne, Munich, Photo: Haydar Koyupinar, Courtesy of the artist.

Installation view of Roman Ondák’s Measuring the Universe at Pinakothek der Moderne, Munich, 2007, Roman Ondák (Slovakian, b. 1966), Measuring the Universe, 2007, Performance and installation, Collections MoMA, New York, and Pinakothek der Moderne, Munich, Photo: Haydar Koyupinar, Courtesy of the artist.

Installation view of Roman Ondák’s Measuring the Universe at Pinakothek der Moderne, Munich, 2007, Roman Ondák (Slovakian, b. 1966), Measuring the Universe, 2007, Performance and installation, Collections MoMA, New York, and Pinakothek der Moderne, Munich, Photo: Haydar Koyupinar, Courtesy of the artist.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
Contemporary Galleries,
second floor
Performance 4: Roman Ondák
June 24-September 14, 2009

The fourth installment of the Performance Exhibition Series features Roman Ondák’s (Slovakian, b. 1966) Measuring the Universe (2007), a recent acquisition by MoMA. The work, first enacted in the Pinakothek der Moderne, Munich, in 2007, is a performance-based work in which the height of each visitor to the exhibition is recorded on the gallery’s wall by a museum attendant, eventually creating a unique wall drawing and a visual record of thousands of museum visitors. Measuring the Universe is the second work solely based on performance to enter MoMA’s collection, following the 2008 acquisition of Tino Sehgal’s The Kiss (2003). The exhibition is organized by Klaus Biesenbach, Chief Curator, with Jenny Schlenzka, Assistant Curator for Performance, Department of Media and Performance Art, The Museum of Modern Art.

Klaus Biesenbach says: “Ondák is an important emerging artist who carries forward the transition of conceptual art coming out of Central Europe, and is known for installations, drawings, and performances that draw from this rich history. Measuring the Universe combines many of the characteristics in Ondák’s oeuvre, most importantly the practice of involvement and participation with the spectator, collapsing the usual distinction between performer and audience, professional and amateur, production and reception.”

The work is brought into existence by simple and minimal means: an empty white cube gallery, museum attendants who are equipped with black felt tip pens, and museum visitors. The interaction among these elements is scripted as follows: once a visitor enters the gallery, he/she is approached by a museum attendant who asks the visitors if he is interested in having his height measured. If the visitor agrees to participate, the attendant then marks the height with a black line onto the wall, and writes the visitor’s first name and the date the measurement took place. This procedure is repeated continuously with every visitor who enters the gallery for the duration of the exhibition.

After a short period of time a distinctive wall drawing appears, consisting of the ghostly traces of thousands of visitors. The three dimensions of the gallery are eventually expanded by a fourth dimension: a recording of time.

The result can be understood in reference to others’ works in MoMA’s collection, including Sol LeWitt’s wall drawings, which are similarly based on a set of simple instructions carried out by someone other than the artist, or Felix Gonzalez-Torres’s Untitled (Placebo) (1991), which also converts the passive onlooker into an active participant by inviting visitors to pick up silver-wrapped candies from the Museum floor.

Installation view of Roman Ondák’s Measuring the Universe at Pinakothek der Moderne, Munich, 2007, Roman Ondák (Slovakian, b. 1966), Measuring the Universe, 2007, Performance and installation, Collections MoMA, New York, and Pinakothek der Moderne, Munich, Photo: Ernst Jank, Courtesy of the artist

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Yoshiko and Akio Morita Gallery, second floor
Looking at Music: Side 2
June 10-November 30, 2009

The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti-establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non-profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates.

Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s.

The exhibition spans numerous forms of media by a diverse group of artists including: drawings by Patti Smith and photography by Dan Graham, Nan Goldin, and Jimmy DeSana; experimental video by James Nares; issues of influential zines and magazines including •Search & Destroy•, •Interview•, and •Punk•; posters designed by Adrian Piper and Collaborative Projects, Inc. (Colab); prints by Jenny Holzer, Betsey Johnson, and Bern Boyle; music videos with songs by Blondie and Suicide; record covers designed by Kim Gordon, Jean-Michel Basquiat, and Raymond Pettibon; music from Television, The Ramones, and Talking Heads; and live band footage from performances at Max’s Kansas City.

Barbara London states: “This exhibition shows how musicians and artists coalesced at a time when New York City, while financially struggling, seemed to incubate innovative ideas and facilitate the phenomenal success of a few, marking the transition into the next, more commercial decade of artists in New York City.”

Outside The Yoshiko and Akio Morita Gallery, Looking at Music: Side 2 is introduced through a title wall designed by the New York artist Laurie Anderson. Within the exhibition James Nares’s video, Game (1975), greets viewers at the exhibition’s entrance. Active in the 1970s on the Lower East Side as a Super 8 filmmaker and member of The Del-Byzanteens, Nares concocted a percussive, imaginary board game, performed with Seth Tillett, which he turned into the subject of his experimental film. Nares’s work is accompanied by a monitor displaying segments from Glenn O’Brien’s late 1970s Manhattan Public Access television show, TV Party. Equal parts party, talk show, video art, concert, and political action, TV Party took live television to a place it had never been before, including interviews with a number of the artists included in the exhibition. Also on display are drawings by Patti Smith and an audio station playing her song Hey Joe/Piss Factory (1974), considered to be the first punk rock record and funded by the photographer Robert Mapplethorpe. Two tracks from The Ramones, widely cited as the first punk rock group, play at a nearby audio station, including Beat on the Brat and Blitzkrieg Bop (1976). In vitrines, poetry from the musician Richard Hell and a record from the German artist Martin Kippenberger’s short-lived musical project with Christine Hahn and Eric Mitchell are on display.

The exhibition next focuses on the work of New York based Colab, a non-profit artist collective distinguished for political engagement and the co-opting of public spaces, including an abandoned building in the heart of Times Square in 1980. In a set of video monitors, works from Colab artists are on display, including Coleen Fitzgibbon, a founding Colab member and instigator of the Times Square Show, which housed socially themed artworks in a derelict Times Square building. With a background in 1960s structuralist cinema, Fitzgibbon’s Super 8 film transferred to video, Time (1975), is a nonstop visual flow of headlines and text, all drawn from an issue of Time magazine, with the effect of an incessant restlessness of the filmic frame. On a nearby monitor, the music video Frankie Teardrop (1978), set to the New York-based band Suicide, is on display. This coarsely-textured film-video hybrid combines super-imposed projector manipulations and high-end video post-production. An insightful collaboration between videomaker Paul Dougherty and Art-Rite zine editors Walter Robinson and Edit DeAk, the work interprets a strident song by Suicide about a poverty-stricken Vietnam vet pushed to the edge. These works are surrounded by posters, audio, and a video by Judith Barry, Richard Kern, and the New York band Sonic Youth and the work of Beth and Scott B.

Looking at Music: Side 2 next examines the cross-influence of hip hop and art in New York City, including the video of Rapture (1981) by Blondie. Rapture, the first video to incorporate elements from rap on MTV, opens with choreographer William Barnes dancing in a white suit and top hat in New York’s Upper East Side. Barnes is joined by Debbie Harry and her bandmates — easy-going, cross-over artists who bridged uptown and downtown scenes. In the final sequence of the music video, the band dances down a street passing Fab 5 Freddy and graffiti artists Lee Quiñones and Jean-Michel Basquiat in action. The video is accompanied by photographs of Basquiat’s graffiti work from the 1970s, by Peter Moore and Stephanie Chernikowski, and a large-scale drawing by the artist, Untitled (1981).

The exhibition concludes with images from five rock n’ roll photographers. Adjacent to a large-scale photographic collage of the work of Bob Gruen, adapted from the 2007 installation Rock and Roll Teenager's Bedroom and measuring 7.5’ x 22.5’, the exhibition includes vitrines with photographs of Suicide by Godlis and Sonic Youth by Stephanie Chernikowski, along with additional photographs by Roberta Bayley and Marcia Resnick. On a monitor beside these works is Bob Gruen’s New York Death Cult (Live at Max’s Kansas City) (1976), featuring grainy footage from famed music club Max’s Kansas City, which captures the raw, immersive spirit of up-and-coming musicians of that era such as Patti Smith.

Jean-Michel Basquiat (American, 1960-1988), Untitled. 1981, Oilstick on paper. 40 x 60", The Museum of Modern Art, New York. Fractional and promised gift of Sheldon H. Solow, 1991, © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris.

Nan Goldin (American, born 1953), Nan and Brian in Bed, New York City, 1983, Silver dye bleach print (printed 2006), 15-9/16 x 23-1/4", The Museum of Modern Art, New York. Acquired through the generosity of Jon L. Stryker, © 2009 Nan Goldin.

Edit deAk (American, born Hungary 1948), Paul Dougherty, and Walter Robinson (American, born 1950), Frankie Teardrop, 1978, Video (color, sound).10:25 min., Music by Suicide, The Museum of Modern Art, New York, Gift of Red Star Records, Photo credit: Paul Dougherty.

Stephanie Chernikowski (American, born 1941), Sonic Youth, 1983, Black-and-white photograph, The Museum of Modern Art Library. Gift of the artist.

Laurie Anderson (American, born 1947), O Superman, 1983, Video (color, sound). 8 min., The Museum of Modern Art, New York. Gift of Warner Bros. Records, © 2009 Laurie Anderson.

James Nares (British, born 1953), Game, 1975, Video (black and white, sound). 3:05 min., Courtesy the artist and Paul Kasmin Gallery.

Marcia Resnick (American, born 1950), TV Party. Glenn O'Brien's TV Party, NYC. 1980, Black-and-white photograph, The Museum of Modern Art Library. Gift of the artist.

Jim Jarmusch (American, born 1953), Stranger Than Paradise, 1984, USA/West Germany. 35mm print, black and white, sound, 89 min., MoMA Collection, Acquired from the artist.

Patti Smith (American, born 1946), Self Portrait, 1971, Pencil, ballpoint pen, colored pencil, charcoal, and gouache with black-and-white instant print on paper. The Museum of Modern Art, New York. Gift of the artist, 1988, © 2009 Patti Smith.

Godlis (American, born 1951), Blondie, CBGB’s. 1977, Black-and-white photograph, The Museum of Modern Art Library, Gift of the artist.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Roy and Niuta Titus Theaters
Looking at Music:
Side 2 Film Series
September-November 2009

FILM AND VIDEO PROGRAM:
A film-and-video series which features works by a selection of video artists and film directors will be screened in The Roy and Niuta Titus Theaters between September and November 2009. The program is organized by Ms. London.

Films
Taxi Driver. 1976. Directed by Martin Scorsese. A Vietnam war veteran works as nighttime taxi driver in NYC, whose perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process. Monday, September 21, 7:00 p.m. T2; Sunday, September 27, 5:00 p.m. T2.

New York Dolls – All Dolled Up. 2005. Directed by Bob Gruen and Nadya Beck. This documentary captures the band during early performances in New York at Kenny's Castaways and Max's Kansas City, then follows the Dolls on their tour of the west coast, including footage from the Whisky A Go Go, the Real Don Steele Show, Rodney Bingenheimer's E Club, and much more. Wednesday, September 23, 4:00 p.m. T2; Monday, September 28, 7:00 p.m. T2.

The Blank Generation.1976. Directed by Ivan Kral, Amos Poe. Amos Poe and Ivan Kral married silent footage with live tapes or demo recordings of bands (most of whom had yet to release a record) to create a deliberately rough audio-visual record of the burgeoning punk scene, including bands such as Blondie, Talking Heads, The Ramones, and The Heartbreakers. Saturday, September 26, 4:00 p.m. T2; Wednesday, September 30, 4:00 p.m. T2.

Blank City. 2009. Directed by Celine Danhier. A documentary about New York City in the late 1970s, when underground filmmakers collaborated with experimental musicians and vanguard performance artists, all on a shoestring budget, to create the most daring work of their generation. Thursday, October 1, 7:00 p.m., T2.

Deadly Art of Survival. 1979. 58 min. Directed by Charlie Ahearn. Charlie Ahearn's first Super-8 feature is a Bruce Lee-style docu-epic, shot in the housing projects of the Lower East Side, with a story revolving around the real and imaginary rivals of an idealistic martial arts school led in actual life by the star of the flick, Nathan Ingram. Underground USA. 1980, 85 min. Directed by Eric Mitchell. In this 16 millimeter film, Victor (played by Eric Mitchell), a street hustler, meets Vicki (played by Patti Astor), a Manhattan movie star who has fallen from fame, at New York venue the Mudd Club. The two entertain each other for a while, but Victor betrays Vicki, leading to a bleak ending. Monday, October 5, 7 p.m., T2; Wednesday, October 7, 4 p.m. T2.

Downtown 81/ New York Beat Movie. 1981 and 2000. Directed by Edo Bertoglio, written by Glenn O’Brien, and produced by O'Brien and Maripol. The story of a charismatic artist (Jean-Michel Basquiat) who attempts to sell a painting amidst the
rappers, junkies, strippers, models and art-world matriarchs on the Lower East Side. With music by Kid Creole and the Coconuts, Tuxedomoon, The Plastics, DNA, The Lounge Lizards, and Basquiat's own band, Gray. Friday, October 2, 7 p.m., T2; Sunday, October 11, 5 p.m., T2.

Men in Orbit. 1979, 33 min. Directed by Lydia Lunch, written by John Lurie. A “sci-fi povera” film shot on Super-8, “Men In Orbit” features musician John Lurie and Eric Mitchell as chain-smoking astronauts occupying a decrepit New York living room transformed into a spacecraft. •G Men•. 1978, 40 min. Directed by Beth and Scott B. An exploration of social schizophrenia in which terrorists consult their mothers before planting bombs, and the head of the NYC bomb squad succumbs to his dominatrix. With Bill Rice and Marcia Resnick. She Had Her Gun All Ready. 1978, 28 min. Directed by Vivienne Dick. With Lydia Lunch and Pat Place, this film, set in the Lower East Side, is about unequal power between two people (of any gender), or the repressive side of a person in conflict with the sexual powerful side.
Wednesday, October 7, 7 p.m., T2; Sunday, October 18, 5:30, T1.

Rome 78. 1978. Directed by James Nares. A noted classic of the “New Cinema” of underground East Village filmmakers, this color Super-8 film presents a narrative surrounding the Roman Emperor Caligula set in a shabby New York apartment. Ultimately, James Nares proposes an analogy between ancient Rome and modern America as cultural empires. Monday, October 12, 7 p.m., T2; Saturday, November 28, 7:30 p.m., T2.

Stranger than Paradise. 1984. Directed by Jim Jarmusch. A self-styled New York hipster (John Lurie of the Lounge Lizards) is paid a surprise and quite unwelcome visit by his sixteen-year-old Hungarian cousin. From initial hostility and indifference a strange affection grows between the two exiles. Saturday, October 17, 8 p.m., T1; Sunday, November 29, 2 p.m., T2.

Variety. 1984, 100 min. Directed by Bette Gordon. In Bette Gordon's pioneering indie film about voyeurism from a female perspective, a young woman (played by Sandy McLeod) works as a ticket taker in a porn theater, and her curiosity leads her to shadow a male patron. Friday, November 27, 7 p.m., T2; Monday, November 30, 4 p.m., T2.

Godlis (American, born 1951), Suicide, CBGB’s. 1977, Black-and-white photograph, The Museum of Modern Art Library, Gift of the artist.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Philip Johnson Architecture and Design Galleries, third floor
What was Good Design?
MoMA’s Message 1944-56
May 6, 2009-November 30, 2009

At mid-century, The Museum of Modern Art played a leading role in the definition and dissemination of ‘Good Design,’ a concept that started taking shape in the 1930s and emerged with new relevance and currency in America and Europe in the decades following World War II. What was Good Design? MoMA’s Message 1944-56 presents over 100 selections from the Museum’s collection — ranging from domestic furnishings and appliances, to textiles, sporting goods, and graphics — to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores. Iconic pieces by designers including Marcel Breuer, Charles and Ray Eames, Eero Saarinen, and Hans Wegner are shown alongside more unexpected items such as a hunting bow and a plumb bob, as well as everyday objects including an iron, a hamper, a rake, a cheese slicer, and Tupperware. The exhibition is organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

“Is there art in a broomstick?” asked Time magazine in 1953; “Yes, says Manhattan's Museum of Modern Art, if it is designed both for usefulness and good looks.” The article’s title, “Good Design,” was a ubiquitous term, invoked frequently in advertising, academic journals, women’s magazines, and government reports. Eager to shape postwar consumer culture, MoMA championed its own brand of Good Design founded on the modernist precepts of functionalism, simplicity, and truth to materials.

Though MoMA’s voice was resonant, the concept of Good Design extended far beyond Fifty-third Street. From the beginning of mass production in the mid-nineteenth century, thorny questions of design standards and popular taste were raised by design reformers in Europe and America. At mid-century, an international network of authorities — design councils, department stores, and other museums — heightened this debate.

MoMA promoted modern design starting in the 1930s, but it was in the decade following World War II that a discernible Good Design program matured. Competitions run by MoMA for printed textiles (1946), low-cost furniture (1948), and lighting (1950), stimulated new works of Good Design. Furnished houses assembled in The Abby Aldrich Rockefeller Sculpture Garden (1949-50) showcased complete Good Design environments. The exhibition Design for Use, USA (1950-52) toured Europe to broadcast Good (American) Design for the U.S. State Department. If Good Design was MoMA’s doctrine, its preacher was Edgar Kaufmann, Jr. A curator with a family background in retail, Kaufmann wrote the defining text, What Is Modern Design? (1950) and directed MoMA’s famous Good Design exhibition series (1950-55), the ultimate expression of its message. On the basis of “eye appeal, function, construction and price,” furniture, textiles, and domestic products were selected annually for two installations at the Chicago Merchandise Mart and a culminate exhibition at MoMA.

Say the curators: “For over 60 years, MoMA’s mid-century message of Good Design has been critiqued as both elitist and crassly commercial — and not without cause. But, however problematic, these exhibitions succeeded in forging unprecedented connections between designers, manufacturers, retailers, and consumers. With sincere conviction, the Museum raised the profile of modern design at home and abroad.”

A range of materials — some “classic,” some unexpected — from the Museum’s collection are presented in this installation to illuminate this vital moment in MoMA’s history. Charles Eames’s (American, 1907-1978) Full Scale Model of Chaise Longue (La Chaise) was entered in MoMA’s International Competition for Low-Cost Furniture in 1948, and shown in Prize Designs for Modern Furniture in 1950. This chaise longue was inspired by and nicknamed after Gaston Lachaise’s 1927 sculpture Reclining Nude. It did not receive a prize because it was considered too “specialized in use” and too expensive to manufacture at the time. However, it was highlighted by the judges, who admired its "striking, good-looking and inventive” molded construction. La Chaise finally went into production in 1990 and is now one of Eames’ most recognizable works.

The Chemex Coffee Maker (1941) by inventor and chemist Peter Schlumbohm (American, born Germany, 1896-1962) was shown in MoMA’s exhibition Useful Objects in Wartime (1942). In developing its form Schlumbohm was inspired by the modern spirit of the inter-war period and particularly the Bauhaus. He was inclined to adapt scientific principles and laboratory equipment — in this case an Erlenmeyer flask — to the design of domestic objects. Other objects in the exhibition include chairs by Alexey Brodovitch, Donald R. Knorr, William H. Miller, Jr., George Nakashima, and Davis J. Pratt; lamps by Greta Von Nessen and Gilbert A. Watrous; textiles by Eszter Haraszty and Alexander Girard; a teapot by Edith Heath; tableware by Kaj Franck; as well as an ax, a sewing machine, knives, kitchen tools, a pressure cooker, a cocktail shaker, a fishing rod, and a wastebasket.

Hans Wegner, Armchair, 1949, Oak and cane. 30 x 24-5/8 x 21-1/4", Manufactured by Johannes Hansen, Denmark, The Museum of Modern Art. Gift of Georg Jensen, Inc.

F. Lerner, Presto Cheese Slicer (designed by John Carroll), c.1944, Silver gelatin photograph, 4-1/2 x 3-3/4", The Museum of Modern Art.

Göran Hongell, Bowl, 1930s, Crystal. 3-5/8 x 7-3/8”, Manufactured by Karhula Glassworks, The Museum of Modern Art. Gift of Finland Ceramics & Glass Corp.

Charles Eames and Ray Eames, Full Scale Model of Chaise Longue (La Chaise), 1948, Hard rubber foam, plastic, wood, and metal. 32-1/2 x 59 x 24-1/4”, The Museum of Modern Art. Gift of the designer.

Gšran Hongell, Bowl, 1930s, Crystal. 3-5/8 x 7-3/8", Manufactured by Karhula Glassworks, The Museum of Modern Art. Gift of Finland Ceramics & Glass Corp.

Installation view of the exhibition Good Design, The Museum of Modern Art, November 27, 1951 through January 27, 1952, Photographic Archive. The Museum of Modern Art Archives, New York, Photo by Soichi Sunami.

Alexey Brodovitch, Floor Chair (model 1211-C), c. 1950, Plywood, wood dowels, and plastic-covered cord. 23-3/4 x 23-1/2 x 28”, Museum of Modern Art. Gift of the designer.

O.J. Kuker, Plumb Bob, c.1948, Brass and steel, 7-3/8”, Manufactured by O.J. Kuker, The Museum of Modern Art. Gift of Arthur Brown, Inc.

Jan Lenica, 1928-2001, Wizyta Starszej Pani (The Visit), 1958. Poster for play by the Swiss dramatist, Friedrich Dürrenmatt. Offset lithograph. 34 x 24”, The Museum of Modern Art. Gift of the Triton Gallery.

Tadeuz Trepkowski, 1914-1954. Nie! (Never!), 1952. Lithograph. 39 3/8 x 27 5/8”, The Museum of Modern Art. Gift of The Lauder Foundation, Leonard and Evelyn Lauder Fund.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Philip Johnson Architecture and Design Galleries, third floor
Polish Posters 1945-89
May 6-November 30, 2009

Polish Posters 1945-89, is drawn from the Museum’s collection of 24 posters from the Cold War era of the Polish Poster School, which attracted international attention and admiration. Drawing on a rich Central European tradition in graphic arts, designers like Henryk Tomaszewski, Roman Cies´lewicz, Jan Lenica, and Franciszek Starowieyski developed a sophisticated visual language characterized by surreal and expressionist tendencies, a bold use of color, and macabre, often satirical humor. Polish posters were generally created to promote cultural events — opera, theatre, films and exhibitions. These posters’ images frequently contained explicit evocations of violence and sexuality and appeared at a time when there was little or no advertising. The Communist state maintained a strict censorship policy and monopolized the commissioning and distribution of all printed media in that period, yet bureaucratic patrons colluded in turning a blind eye to the oblique but powerful critical commentaries contained in many of the posters. The exhibition is organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Of all the Eastern Bloc countries, Poland maintained the most consistent and broad-based resistance to Soviet control — from the hard-line Stalinist years (1945-53), through the so-called “Thaw” after 1956, to the rise of the “Solidarity” movement (1980-89). The violence that erupted in different parts of the Soviet Bloc in 1956, 1968, and in 1989 was linked to events in Poland. Hostility to the Communist party and the regime was never far below the surface and was easily read into all forms of entertainment. Posters were among the most topical and subversive means through which Polish designers expressed their opposition to the state apparatus.

Examples on view include Tadeuz Trepkowski’s dynamic bomb and building composition for Nie! (Never!) (1952), which captures the memory of the devastation wrought by World War II; Roman Cies´lewicz’s Wiezien (The Prisoner) (1962), which contains a figure constrained with an armored shell and suffocating from an eruption of flames and blood, for a production of Luigi Dallapiccola’s opera; Jan Lenica’s Wozzeck (Woyzeck) (1964), which uses a psychedelic aesthetic to convey the psychological torment that resonated in the atmosphere of escalating tension within the Communist Block; and Franciszek Starowieyski’s Lulu (1980), which depicts a hybrid figure comprising a bird’s head and wings with a naked female torso that is simultaneously erotic and macabre. In 1985, Starowieyski was the first Polish artist to have a solo exhibition at MoMA.

Jan Sawka, born 1947, Exodus, 1974. Poster for STU’s premiere of Leszek Moczulski’s alternative theatre production. Offset lithograph. 38 5/8 x 26 3/4” (98 x 67.8 cm). The Museum of Modern Art. Gift of the artist.

Aernout Mik, (Dutch, b. 1962), Osmosis and Excess. 2005, Single-channel video installation (color, silent), looped, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
Various locations
within the Museum
Aernout Mik
May 6-July 27, 2009

The Museum of Modern Art presents the exhibition Aernout Mik. In this first North American survey of the artist’s work, MoMA will have on view eight installations in gallery and non-gallery spaces throughout the Museum, ranging from Mik’s first filmed work Fluff (1996) to Schoolyard (2009), which was commissioned by the Museum for the exhibition. In his work Mik is distinguished for his ability to combine, shift, and transform artistic practices and upend traditional modes of artistic presentation. He accomplishes this by creating installations that integrate moving images, sculpture, and architecture into single constructions, specifically designing and building structures that hold his silent, looped films. The resulting installations are innovative in their design and unsettling as an experience.

In the main lobby of the Museum, the single-screen floor piece Middlemen (2001) will greet visitors. As with his other works, Mik subtly choreographs viewers through the shape and size of the construction, both in determining where they will stand and how viewers engage with the moving images as well as with other observers of the work.

The essential component in each of Mik’s installations is the projected image, each elaborately devised and filmed by the artist. In his moving images Mik implies current societal issues, from economic crises and immigration struggles to parliamentary clashes and outright warfare. Although Mik’s films appear to document actual events, the scenes are often fully staged by the artist, challenging viewers’ systems of belief and interrogating the viewer’s ideas of narrative and reality. In Middlemen, Mik portrays a stock market floor or commodities exchange peopled with workers who appear to be nervously awaiting something unknown. Capturing the internal anxieties of these “middlemen,” the camera’s movements — long pans mixed with close-up details that jump to wider views of the room — mimic the motions of the bodies and emphasize the jittery atmosphere felt within the space.

Another major installation is Vacuum Room (2005), on view in the Special Exhibitions gallery on the Museum’s second floor. The work comprises a freestanding architectural structure that displays a six-channel installation projected onto six walls that delineate an interior space scattered with floor pillows and chairs. The silent, looped films document an ambiguous conflict among a band of rebels within a legislative or judicial chamber. However, as with most of Mik’s works, the exact setting of the film is left unclear. Mik’s 2006 installation Training Ground will also be on display within the same gallery. Also on view at MoMA are Raw Footage (2006), his only piece edited from actual newsreel tapes; Scapegoats (2006); and Osmosis and Excess (2006).

The exhibition was organized by Laurence Kardish, Senior Curator, Department of Film.

Aernout Mik, (Dutch, b. 1962), Vacuum Room (detail). 2005, Six-channel video installation (color, silent), looped. Six rear-projection screens embedded in temporary architecture, Courtesy the artist, carlier | gebauer, Berlin and The Project, New York, © 2009 Aernout Mik.

Aernout Mik, (Dutch, b. 1962), Schoolyard. 2009, Two-channel video installation (color, silent), looped, Commissioned by The Museum of Modern Art, New York, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik. Shown: Set photograph courtesy Florian Braun.

Aernout Mik, (Dutch, b. 1962), Osmosis and Excess, 2005, Single-channel video installation (color, silent), looped, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik.

Aernout Mik, (Dutch, b. 1962), Training Ground. 2006, Two-channel video installation (color, silent), looped. Two rear-projection screens embedded in temporary architecture, Courtesy the artist, carlier | gebauer, Berlin and The Project, New York, © 2009 Aernout Mik. Shown: Set photograph courtesy Florian Braun.

Aernout Mik, (Dutch, b. 1962), Schoolyard. 2009, Two-channel video installation (color, silent), looped, Commissioned by The Museum of Modern Art, New York, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik. Shown: Set photograph courtesy Florian Braun.

Aernout Mik, (Dutch, b. 1962), Fluff, 1996, Single-channel video (color, silent), looped, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik.

Aernout Mik, (Dutch, b. 1962), Raw Footage. 2006, Two-channel video installation (color, sound), looped, Images from found documentary material available from Reuters and ITN, ITN Source, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik.

Aernout Mik, (Dutch, b. 1962), Scapegoats, 2006, Single-channel video installation (color, silent), looped. Free-standing screen, Courtesy the artist and carlier | gebauer, Berlin, © 2009 Aernout Mik.

Alighiero e Boetti, Italian, 1940-1994, I sei sensi (The Six Senses), 1973, Ballpoint pen on six pieces of paper, 39 ½” x 14’ (100.3 x 426.7 cm), The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Estate of Alighiero e Boetti.

Mario Merz, Italian, 1925-2003, Untitled from Noi giriamo intorno alle case o girano intorno a noi? (Do We Surround The Houses, Or Do The Houses Surround Us?), 1982, Spray paint and charcoal on transparentized paper with bamboo and clothespins, 48” x 13’ 5 ¼” (121.9 x 409.6 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Estate of Mario Merz.

Alighiero e Boetti. Italian, 1940-1994, Aerei (Airplane), 1983, Ballpoint pen on three sheets of printed paper on paper on canvas, 9 1/8 x 19 1/4" (23.2 x 48.9 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Estate of Alighiero e Boetti.

Amelie von Wulffen, German, born 1966, Untitled, 2003, Cut-and-pasted chromogenic color print, synthetic polymer paint, and ink on paper, 47 x 68 1/2" (119.4 x 174 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Amelie von Wulffen.

Cady Noland. American, born 1956, Untitled Xerox Cut-Out (Squeaky Fromme / Gerald Ford), 1993-94, Printed paper with paper clips and pencil on paper, 14 x 14" (35.6 x 35.6 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Cady Noland.

Nick Mauss, American, born 1980, Untitled, 2003, Synthetic polymer paint on printed paper, 11 x 8 1/2" (27.9 x 21.6 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Nick Mauss.

Neo Rauch, German, born 1960, Verrat (Treason), 2003, Oil on paper, 8’ 4 3/8” x 6’ 3/8" (255 x 199 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Neo Rauch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany.

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
Contemporary Galleries,
second floor
Compass in Hand:
Selections
from The Judith Rothschild Foundation Contemporary Drawings Collection
April 22-July 27, 2009

Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection is the first comprehensive presentation of the collection and includes more than 300 works, a donation of approximately 2,500 works on paper by more than 650 artists that entered the Museum’s collection in May 2005. Assembled over a two-year period and ranging from the 1930s to 2005 with a heavy focus on contemporary practice, the collection provides a unique panorama of the state of drawing today. The collection was formed by the Foundation’s sole trustee, Harvey S. Shipley Miller, who is also a MoMA Trustee, in consultation with Gary Garrels, who was MoMA's Chief Curator of Drawings and Curator of Painting and Sculpture from 2000 to 2005. Compass in Hand is organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art.

This exhibition, the largest drawings exhibition ever mounted at MoMA, will survey the collection and show the various methods and materials within the styles of gestural and geometric abstraction, representation and figuration, and systems-based and conceptual drawings. Brought together are historical works by Lee Bontecou and Joseph Beuys, Minimalist and Conceptual works by Donald Judd and Hanne Darboven, detailed narrative drawings by Elizabeth Peyton and John Currin, collages by Amelie von Wulffen, Mona Hatoum, and Lucy McKenzie and Paulina Olowska, and large-scale installations by Nate Lowman and Ján Mancuska, to name just a few. A publication on the exhibition will be available as well as a catalogue raisonné on the entire collection.

The exhibition was organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art.

Elizabeth Peyton, American, born 1965, Hockney at the RCA, 1997, Pencil on notebook paper, 13 7/8 x 11" (35.2 x 27.9 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Elizabeth Peyton.

Chloe Piene, American, born 1972, Thirty Years Old, 2002, Charcoal on transparentized paper, 46 x 30" (116.8 x 76.2 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Chloe Piene.

Paul McCarthy, American, born 1945, Penis Hat, 2001, Cut-and-pasted printed paper, charcoal, pencil, and oil pastel on cut-and-pasted paper, 13’ 11 3/8” x 8’ 4" (425.1 x 254 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Paul McCarthy.

Jo Baer. American, born 1929, Sex Symbol, 1961, Gouache and pencil on paper, 6 x 3 1/4" (15.3 x 8.3 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift (purchase, and gift, in part, of The Eileen and Michael Cohen Collection), © 2009 Jo Baer.

Öyvind Fahlström, Swedish, born Brazil 1928-1976, Sketch for World Map, 1972. Ink on paper, 19 x 37" (48.3 x 94 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Öyvind Fahlström / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany.

Franz West, Austrian, born 1947, Sammler und Jäger (Winterkirschenernte) (Hunters and Gatherers [Winter Cherries Harvest), 1983, Gouache and synthetic polymer paint on printed paper in artist's frame, 18 7/8 x 34 1/2 x 3/4" (47.9 x 87.6 x 1.9 cm), The Museum of Modern Art. The Judith Rothschild Foundation Contemporary Drawings Collection Gift, © 2009 Franz West.