| "All the Wrong Art": Juxtapoz Magazine on Film |
| February 7–14 |
The San Francisco–based arts and culture journal Juxtapoz was founded in 1994 by painter Robert Williams as a response to the dominant critical aesthetic of the New York art scene, which he saw as favoring abstraction and Minimalism over representational forms of art. This series presents seven documentary features about artists championed by the publication, along with in-person appearances by artists, filmmakers, and special guest speakers, including a pair of Modern Mondays events. Several of the films will be East Coast premieres.
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| Modern Mondays |
| February 7 & 14 |
 MoMA's ongoing showcase for innovation on screen, Modern Mondays allows contemporary filmmakers and moving image artists to present their work directly to audiences. A pair of upcoming events are held in conjunction with the "All the Wrong Art": Juxtapoz Magazine on Film exhibition: on February 7 the East Coast premiere of Robert Williams Mr. Bitchin' is followed by a conversation between Williams and Carlo McCormick, culture critic and senior editor of Paper magazine; and on February 14, filmmaker Harry Kim presents his documentary Dirty Hands: The Art and Crimes of David Choe, followed by a conversation between Choe, Kim, and New York artist Ron English.
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| Richard Kaplan: Wayfarer and Truth-Teller |
| February 7–14 |
 Richard Kaplan's 60 years of nonfiction filmmaking have taken him around the world and into situations of staggering moral complexity and social ambiguity. This exhibition presents a selection of Kaplan's signature documentary features—including The Eleanor Roosevelt Story, which won the 1965 Academy Award for Best Documentary, King: A Filmed Record...Montgomery to Memphis, and Varian and Putzi: A 20th-Century Tale—along with several shorts.
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| Abstract Expressionism and Film |
| February 13–April 23 |
Presented in conjunction with the exhibition Abstract Expressionist New York, Abstract Expressionism and Film comprises six programs of short and feature-length films, all drawn from the Museum's collection, that were both developed simultaneously with and inspired by the radical formal innovations of the New York School.
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| Documentary Fortnight 2011: MoMA's International Festival of Nonfiction Film and Media |
| February 16–28 |
 Established in 2001, MoMA's annual two-week showcase of recent nonfiction film and media takes place each February. This international selection of films presents a wide range of creative categories that extend the idea of the documentary form, examines the relationship between contemporary art and nonfiction practices, and reflects on new areas of nonfiction practice. This year's program includes an international selection of 20 feature films; independent films from China; a look at the legacy of New Day Films, one of the first DIY film cooperatives; and two documentary performance programs.
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| On Line: Drawing and Film |
| Through February 6 |
Held in conjunction with the gallery exhibition On Line: Drawing Through the Twentieth Century, this series presents films from MoMA's collection by artists whose work redefines the very parameters of drawing through an investigation of the line, both static and kinetic. From 19th-century animation to experimental film and computer-generated images, the films in this exhibition reveal the intersection between the world and the line, both as a visual element and a rich metaphor for life.
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| Oscar's Docs, 1964–85: The Front Lines at Home and Abroad |
| Through February 7 |
 MoMA's annual Doc Month celebration kicks off with Oscar's Docs, a yearly survey of the Oscar-nominated documentaries that have had a major impact over the years. This year we explore an age of front-line coverage of conflicts both domestic and international. The "embeds" of their time, these Oscar nominees and winners used vérité techniques, activist narratives, and inspirational film-portraiture to expose transitional, often violent events of the recent past, from armed conflicts in Vietnam and Eastern Europe to ongoing struggles for emancipation and basic human rights at home.
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| Weimar Cinema, 1919–1933: Daydreams and Nightmares |
| Through March 7 |
Organized in association with the Friedrich Wilhelm Murnau Foundation in Wiesbaden and in cooperation with the Deutsche Kinemathek in Berlin, this exhibition—the most extensive ever mounted in the United States of German films made between the world wars—includes 75 feature-length films and 6 shorts, along with a gallery exhibition of Weimar-era film posters and stills. In addition to classic films by Fritz Lang, F. W. Murnau, and G. W. Pabst, among others, the exhibition includes many films, unseen for decades, that were restored after German reunification. A fully illustrated catalogue accompanies the exhibition.
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| An Auteurist History of Film |
| Ongoing |
 This ongoing screening cycle explores the evolution of film as a medium by charting the careers of several key directorial figures—not in order to establish a formal canon, but to develop one picture of cinematic history. Upcoming screenings focus on animated shorts by Walt Disney, Max Fleischer, and Ub Iwerks, and on films by Sergei Eisentein. Be sure to check out curator Charles Silver's Auteurist History posts at MoMA's Inside/Out blog.
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| Film Plus Membership |
| An Exclusive Group for Film Lovers |
 Film Plus members enjoy all the benefits of regular MoMA membership—unlimited free admission, 1,500 free film screenings a year, $5 guest tickets, and more—PLUS:
+Private previews of major films
+Conversations with actors and directors
+Special film-related discounts and offers
And more!
Visit MoMA.org/filmplus to learn more or join today!
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