#MB&F : announcing MusicMachine 3 !!!

MB&F celebrates its 10th anniversary this year with the tagline “A creative adult is a child who survived”. One film that marked our childhood was Star Wars… MusicMachine 3 is unmistakably inspired by the saga’s legendary TIE-Fighters, and naturally plays the Star Wars theme – but this Machine’s twin cylinders will also play the unforgettable themes from James Bond, Mission Impossible, The Godfather, Merry Christmas Mr. Lawrence and The Persuaders.

Created by MB&F, MusicMachine 3 may appear to come from a galaxy far, far away; however, its origins are much older and closer to home. The engineering and manufacturing are the works of Reuge – quite simply the only remaining luxury music box manufacturer in the world. Impeccably finished, MusicMachine 3 features all the traditional elements of a beautifully arranged, high-end mechanical music box. Its striking lateral wings play a vital role in transmitting sound vibrations from the twin movements to the naturally amplifying resonant base, manufactured by JMC Lutherie. The result is revolutionary: beautiful sound, louder and richer than any other comparable music box.

MusicMachine 3 is a limited edition of 99 pieces, including 33 pieces with white finish, 33 in black, and 33 ‘chrome’ pieces.

#WillowSmith | Is Male Bisexuality the Last Taboo? | American Beauty

willow smith: fluorescent adolescent Willow Smith is one of the most interesting young minds making music today, creating a dialogue less concerned with self-involved selfies and more about pushing the female and African-American agenda. enter willow's world

grime: the sound of britain today  As the scene hits its teenage years and returns to its roots, we investigate the past, present and future of grime. long live grime real american beauty, part one  In episode one of our exploration of American beauty, we go to a South Central, LA salon for the best weave in town. hit the salon is male bisexuality the last taboo?  From dismissing it as a phase to wanton discrimination, we investigate the stigma surrounding male bisexuality. be curious i-D mix returns this week We're back at Shapes in Hackney this Thursday. Come watch Jammer, Logan Sama, Bonkaz and more, for free. rsvp here

#Whitney to Debut Frank Stella: A Retrospective

CONTACT
Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Press Office: (212) 570-3633
pressoffice@whitney.org
General Information: (212) 570-3600
whitney.org

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THE WHITNEY TO DEBUT FRANK STELLA: A RETROSPECTIVE, OPENING OCTOBER 30
NEW YORK, August 11, 2015—The most comprehensive career retrospective in the U.S. to date of the work of Frank Stella, co-organized by the Whitney Museum of American Art and the Modern Art Museum of Fort Worth, will debut at the Whitney this fall. Frank Stella: A Retrospective brings together the artist’s best-known works installed alongside lesser known examples to reveal the extraordinary scope and diversity of his nearly sixty-year career. Approximately 100 works, including icons of major museum and private collections, will be shown. Along with paintings, reliefs, sculptures, and prints, a selection of drawings and maquettes have been included to shed light on Stella’s conceptual and material process. Frank Stella: A Retrospective is organized by Michael Auping, Chief Curator, Modern Art Museum of Fort Worth, in association with Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art, New York, with the involvement of Carrie Springer, Assistant Curator, Whitney Museum of American Art, New York.
The exhibition will be on view at the Whitney from October 30, 2015 through February 7, 2016, and at the Modern Art Museum of Fort Worth from April 17 through September 4, 2016; it will subsequently travel to the DeYoung Museum, San Francisco. This will be the inaugural special exhibition and the first career retrospective devoted to a living artist in the Whitney’s new downtown home on Gansevoort Street. It will fill the entire 18,000-square-foot fifth floor—the Museum’s largest gallery for temporary exhibitions. Annabelle Selldorf, Selldorf Architects, is doing the exhibition design for the Whitney installation.
This is the first comprehensive Stella exhibition to be assembled in the United States since the 1987 retrospective at The Museum of Modern Art, New York. “A Stella retrospective presents many challenges,” remarks Michael Auping, “given Frank’s need from the beginning of his career to immediately and continually make new work in response to previous series. And he has never been timid about making large, even monumental, works. The result has been an enormous body of work represented by many different series. Our goal has been to summarize without losing the raw texture of his many innovations.”
“It’s not merely the length of his career, it is the intensity of his work and his ability to reinvent himself as an artist over and over again over six decades that make his contribution so important,” said Adam D. Weinberg. “Frank is a radical innovator who has, from the beginning, absorbed the lessons of art history and then remade the world on his own artistic terms. He is a singular American master and we are thrilled to be celebrating his astonishing accomplishment.”
Throughout his career, Stella has challenged the boundaries of painting and accepted notions of style. Though his early work allied him with the emerging minimalist approach, Stella’s style has evolved to become more complex and dynamic over the years as he has continued his investigation into the nature of abstract painting.
Adam Weinberg and Marla Price, Director of the Modern Art Museum of Fort Worth, note in the directors’ foreword to the catalogue, “Abstract art constitutes the major, and in many ways, defining artistic statement of the twentieth century and it remains a strong presence in this century. Many artists have played a role in its development, but there are a few who stand out in terms of both their innovations and perseverance. Frank Stella is one of those. As institutions devoted to the history and continued development of contemporary art, we are honored to present this tribute to one of the greatest abstract painters of our time.”
The exhibition begins with rarely seen early works, such as East Broadway (1958), from the collection of Addison Gallery of American Art, which show Stella’s absorption of Abstract Expressionism and predilections for colors and composition that would appear throughout the artist’s career.
Stella’s highly acclaimed Black Paintings follow. Their black stripes executed with enamel house paint were a critical step in the transition from Abstract Expressionism to Minimalism. The exhibition includes such major works as Die Fahne hoch! (1959), a masterpiece from the Whitney’s own collection, and The Marriage of Reason and Squalor II (1959) from The Museum of Modern Art’s collection. A selection of the artist’s Aluminum and Copper Paintings of 1960–61, featuring metallic paint and shaped canvases, further establish Stella’s key role in the development of American Minimalism.
Even with his early success, Stella continued to experiment in order to advance the language of abstraction. The chronological presentation of Stella’s work tracks the artist’s exploration of the relationship between color, structure, and abstract illusionism, beginning with his Benjamin Moore series and Concentric Square Paintings of the early 1960s and 70s—including the masterpiece Jasper’s Dilemma (1962). In his Dartmouth, Notched V, and Running V paintings, Stella combines often shocking color with complex shaped canvases that mirror the increasingly dynamic movement of his painted bands. These were followed by the even more radically shaped Irregular Polygon Paintings, such as Chocorua IV (1966) from the Hood Museum, with internally contrasting geometric forms painted in vibrant fluorescent hues; and the monumental Protractor Paintings, such as Harran II (1967) from the Guggenheim's collection, composed of curvilinear forms with complex chromatic variations.
The Polish Village series marks the beginning of Stella’s work in collage. He begins to increasingly incorporate various materials into large scale constructions in order to further probe questions of surface, line, and geometry. In Bechhofen (1972), from the San Francisco Museum of Modern Art, the interlocking geometric planes of unpainted wood stretch the purely pictorial into literal space.
The work of the mid-1970s and 1980s constitutes yet another form of expressive abstraction and illustrates Stella’s absolute insistence on extending his paintings into the viewer’s space. During his tenure as the Charles Eliot Norton Professor in Poetry at Harvard University (1983–4), Stella said that “what painting wants more than anything else is working space—space to grow with and expand into, pictorial space that is capable of direction and movement, pictorial space that encourages unlimited orientation and extension. Painting does not want to be confined by boundaries of edge and surface.” Works from the artist’s Brazilian; Exotic Bird; Indian Bird; Circuit; and Cones and Pillars series, including St. Michael’s Counterguard (1984) from the Los Angeles County Museum of Art, address this interest. In these works, sheets of cut metal project out from the picture plane, creating gestures that are further activated with drawing and the addition of various reflective materials. The radical physical and material nature of these works was quite influential to a younger generation of painters in the 1980s.
In the last thirty years, much of Stella’s work has been related in spirit to literature and music. The large-scale painted metallic reliefs in the Moby Dick series (1985–97), titled after each of the chapters of Melville’s novel, exemplify Stella’s idea of “working space.” The complexity of this series, made primarily in metallic relief with fabricated, cast, and found parts; prints; and freestanding sculpture, is a tour de force. Extraordinary abstractions such as Loomings (S-7, 3X—1st version) (1986) from the Walker Art Center and The Grand Armada (IRS-6, IX) (1989) from the Fondation Beyeler, Riehen/Basel, suggest visual elements, such as waves and fins, which recur in Melville’s narrative.
Since the 1990s Stella has explored this concept in increasingly complex two- and three-dimensional works of various materials, such as the large-scale aluminum and steel sculpture Raft of the Medusa (Part I) (1990) from the collection of The Glass House, and the mural-size painting Earthquake in Chile (1999), part of the artist’s Heinrich von Kleist series (1996–2008), which take as their point of departure the writings of the early nineteenth-century German author. Paintings from Stella’s Imaginary Places series (1994–2004), extraordinary metal reliefs from his Bali series (2002–2009), as well as the lightweight and dynamic sculpture from his Scarlatti Sonata Kirkpatric series (2006–present), whose delicacy and intricacy suggest the musical compositions of the Baroque master, represent the final segment of the exhibition. In many of these works Stella has used computer generated images and modeling to extend the complexity, layers, and allusions of his material process well beyond traditional media for painting and sculpture.
Frank Stella: A Retrospective underscores the important role Stella’s work plays within the art historical framework of the last half century. It provides a rare opportunity for viewers to discover the visual and conceptual connections within the extraordinarily expansive and generative body of work of an artist restless with new ideas.

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ABOUT FRANK STELLA
Born in Malden, Massachusetts, in 1936, Stella attended Phillips Academy, Andover, and then Princeton University, where he studied art history and painting. In college, he produced a number of sophisticated paintings that demonstrated his understanding of the various vocabularies that had brought abstract painting into international prominence. After graduating in 1958, Stella moved to New York and achieved almost immediate fame with his Black Paintings (1958–60), which were included in The Museum of Modern Art’s seminal exhibition Sixteen Americans in 1959–60.
The Leo Castelli Gallery in New York held Stella’s first one-person show in 1962. The Museum of Modern Art, under William Rubin’s stewardship, presented his first retrospective only a few years later, in 1970, when Stella was only thirty-four years old. A second retrospective was held at MoMA in 1987. Since then, Stella has been the subject of countless exhibitions throughout the world, including a major retrospective in Wolfsburg in 2012. Frank Stella: A Retrospective is the first survey of the artist’s career in the U.S. since 1987. He was appointed the Charles Eliot Norton Professor of Poetry at Harvard University in 1983. “Working Space,” his provocative lecture series (later published as a book), addresses the issue of pictorial space in postmodern art. Stella has been the recipient of numerous awards and honors, including the 2009 National Medal of Arts and the 2011 Lifetime Achievement in Contemporary Sculpture Award from the International Sculpture Center, as well as the Isabella and Theodor Dalenson Lifetime Achievement Award from Americans for the Arts (2011) and the National Artist Award at the Anderson Ranch Arts Center in Aspen (2015).

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ABOUT THE CATALOGUE
The exhibition is accompanied by a fully illustrated scholarly catalogue, published by the Modern Art Museum of Fort Worth, the Whitney Museum of American Art, and Yale University Press. The publication addresses in depth such themes as the artist’s complex balancing of expressionist gesture and geometric structure, his catholic referencing of the history of art (abstract, figurative, and decorative), the importance of seriality in Stella’s process, and his work’s impact on subsequent generations of American artists.
The catalogue includes an essay by Michael Auping that encompasses Stella’s entire artistic output and connects the many different series and transitions in the artist’s 60-year career. Adam Weinberg addresses Stella’s formative years at Andover and Princeton and his earliest influences. Art historian and artist Jordan Kantor contributes an essay about the artist’s more recent work, and artist Laura Owens interviews Stella. Stella’s highly articulate Pratt Lecture (1960) is also included. The book concludes with a substantial chronology.

#Guggenheim Advances Contemporary Chinese Art Initiative With Appointment of Curators Hou Hanru and Xiaoyu Weng

Guggenheim Advances Contemporary Chinese Art Initiative With Appointment of Curators Hou Hanru and Xiaoyu Weng

Curators to organize two exhibitions of commissioned works for The Robert H. N. Ho Family Foundation Chinese Art Initiative

View a PDF of the release in English, Simplified Chinese, and Traditional Chinese.
(NEW YORK, NY—August 12, 2015)—The Solomon R. Guggenheim Foundation strengthened its longstanding commitment to the study and support of contemporary Chinese artists with the appointment of Hou Hanru as Consulting Curator, The Robert H. N. Ho Family Foundation Chinese Art Initiative, and Xiaoyu Weng as The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art. Led by Alexandra Munroe, the Guggenheim’s Samsung Senior Curator of Asian Art and newly named Senior Advisor, Global Arts, they will work as a team to develop the next two exhibitions scheduled as part of The Robert H. N. Ho Family Foundation Chinese Art Initiative, which was launched in 2013. The next exhibition, a thematic group show of newly commissioned works, will open at the Solomon R. Guggenheim Museum in November 2016.
“We are delighted to welcome Hou Hanru and Xiaoyu Weng, who will move this initiative into its next phase,” said Richard Armstrong, Director of the Solomon R. Guggenheim Foundation and Museum. “Their contributions will broaden our curatorial purview as the Guggenheim, through its global arts initiatives, continues to engage with and present the creative achievements and fresh perspectives of artists working around the world. Distinguished by direct commissions of new work, this program relies on a highly collaborative method between the curators and artists. We are fortunate to have such a seasoned global arts curator as Hou Hanru to advance the initiative with Xiaoyu Weng. We are grateful to The Robert H. N. Ho Family Foundation for their inspired dedication to expanding international awareness of contemporary Chinese art and culture.”
Conceived to enhance and extend the work of the Guggenheim’s Asian Art Initiative, founded in 2006 and the first of its kind at a contemporary art museum in the West, this program has allowed the museum to contribute to both Chinese and international scholarship while further developing the Guggenheim’s related global arts initiatives. The first exhibition, Wang Jianwei: Time Temple, opened at the Guggenheim in October 2014 and featured a sculptural installation, paintings, a film, and a performance by Wang Jianwei, one of China’s leading conceptual artists.
The Robert H. N. Ho Family Foundation Chinese Art Initiative enables the Guggenheim to commission major works from individual artists or groups of artists born in mainland China, Taiwan, Hong Kong, or Macao and presents them in exhibitions at the Guggenheim in New York. An expansive offering of publications, lecture series, education programs, and public interactions with the artists is developed for each exhibition. The commissioned works will enter the Guggenheim’s permanent collection as The Robert H. N. Ho Family Foundation Collection.
“We are thrilled that Hou Hanru will join the Guggenheim as a consulting curator to guide our intellectual approach to contemporary Chinese art in an international context. Xiaoyu Weng’s scholarship and bold curatorial insight will help realize the potential of this significant exhibition and collections-building project, and will further, in exciting ways, the Guggenheim’s engagement in and thinking about the region,” stated Alexandra Munroe. “This program, together with our Asian Art Initiative and Guggenheim UBS MAP Global Arts Initiative, is encouraging innovative practices that promote the study and awareness of contemporary global arts and new models for transnational art history.”
About the Curators

Hou Hanru
A prolific writer and curator based in Rome, Paris, and San Francisco, Hou Hanru is the Artistic Director of MAXXI, National Museum of the 21st Century Arts, Rome. Educated at the Central Academy of Fine Arts in Beijing in the 1980s, Hou moved to France in 1990, and after a period as an independent curator and critic, he became Director of Exhibitions and Public Programs and Chair of Exhibition and Museum Studies at the San Francisco Art Institute (2006–12). Over the past two decades, he has curated and cocurated more than one hundred exhibitions at institutions and events around the world, including biennials and triennials in Shanghai, Guangzhou, Gwangju, Istanbul, Venice, Lyon, Auckland and Johannesburg. Hou consults for numerous cultural institutions, frequently contributes to journals on contemporary art and culture, and lectures at many international institutions. He is the author of such publications as Curatorial Challenges: Correspondences between Hou Hanru and Hans-Ulrich Obrist (2013), On the Mid-Ground (2012), and Paradigm Shifts (2011). He is also a founding member of the Guggenheim’s Asian Art Council, a curatorial think tank.
Xiaoyu Weng
Xiaoyu Weng served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco. There, she launched the Kadist Curatorial Collaboration, which organizes exhibitions that stimulate cultural exchange, and she also oversaw artist residencies and the building of the contemporary Asian art collection. Previously, she worked as Program Director of the Asian Contemporary Art Consortium in San Francisco and as a curator at the Wattis Institute for Contemporary Arts at the California College of the Arts (CCA). Educated at the Central Academy of Fine Arts (CAFA) in Beijing and the CCA in San Francisco, she has organized exhibitions and public programs for venues including the Asian Art Museum of San Francisco; CAFA Art Museum, Beijing; Guangdong Times Museum, Guangzhou; Minsheng Art Museum, Shanghai; University of California, Berkeley Art Museum and Pacific Film Archive; Witte de With Center for Contemporary Art, Rotterdam; and Yerba Buena Center for the Arts, San Francisco. She is a contributing editor of Leap, a bilingual magazine dedicated to contemporary Chinese art. Her essay “Working with Archive” won the Artforum Critical Writing Award in 2011. Her writing also appears in prominent art periodicals, books, and exhibition catalogues, including those published for the 5th Auckland Triennial, 2012 Gwangju Biennial, and 7th Shenzhen Sculpture Biennial. As The Robert H. N. Ho Associate Curator of Chinese Art charged with implementing the project, Weng will be based at the Guggenheim Museum, New York.
Collaboration History
The Robert H. N. Ho Family Foundation focuses much of its philanthropy on Chinese and Buddhist visual art and culture, from ancient to contemporary periods. The Guggenheim’s Asian Art Initiative explores and presents modern and contemporary Asian art and contributes to the ongoing development of a global curatorial vision for the museum. Through their collaboration, the two institutions have significantly enhanced one another’s programs, exploring Chinese contemporary art today and offering an intellectual framework within a global context.
The first exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative, Wang Jianwei: Time Temple, was presented at the Guggenheim from October 31, 2014–February 16, 2015, and included seven sculptures, two paintings, one film, and a two-part performance piece. The commissioned works entered the Guggenheim’s collection, and editions of Wang Jianwei’s film The Morning Time Disappeared (2014) will be donated to the following four museums: M+, Hong Kong; Vancouver Art Gallery; Centre Pompidou, Paris; and MAXXI, Rome.
Over the course of the fifteen week installation, the exhibition attracted almost a quarter million visitors. More than a thousand distinguished guests from China, the United States, and Europe attended the opening events and the culminating performance sold out. Nearly a thousand guests participated in public programs and educational activities organized around the exhibition. Wang Jianwei: Time Temple was organized by Dr. Thomas J. Berghuis, the first Robert H. N. Ho Family Foundation Curator of Chinese Art.
Previously, The Robert H. N. Ho Family Foundation was the lead sponsor of the Guggenheim’s 2008 exhibition Cai Guo-Qiang: I Want to Believe and supported the 2009 exhibition The Third Mind: American Artists Contemplate Asia, 1860–1989, both award-winning projects.
The Robert H. N. Ho Family Foundation
Established in Hong Kong in 2005 by Robert Hung Ngai Ho as a private philanthropic organization, The Robert H. N. Ho Family Foundation works to foster and support Chinese arts and culture and to promote a deeper understanding of Buddhist teachings and their application in everyday life. The Foundation supports efforts that make traditional Chinese arts accessible and relevant to audiences worldwide. The Foundation also supports the creation of new works that bring innovative perspectives to the history of Chinese art, and that improve the quality and accessibility of scholarship on Chinese art. Guided by a belief that the insights of Buddhism have a vital role to play in approaching the challenges facing contemporary society, The Robert H. N. Ho Family Foundation has committed substantial resources to expanding the understanding, interpretation, and application of Buddhist philosophy.
The Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, expanded to include the Guggenheim Museum Bilbao, which opened in 1997, and the Guggenheim Abu Dhabi, currently in development. The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture and design within and beyond the walls of the museum, including The Robert H. N. Ho Family Foundation Chinese Art Initiative and the Guggenheim UBS MAP Global Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

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Manicure Mix: Cool off by #chanel

#MoMA Announces Events and Exhibitions for September 2015

Transmissions: Art in Eastern Europe and Latin America, 1960–1980
September 5, 2015–January 3, 2016
The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Transmissions: Art in Eastern Europe and Latin America, 1960–1980 focuses on the parallels and connections among an international scene of artists working in—and in reference to—Latin America and Eastern Europe during the 1960s and 1970s. The radical experimentation, expansion, and dissemination of ideas that marked the cultural production of these decades (which flanked the widespread student protests of 1968) challenge established art-historical narratives in the West. Artists from Prague to Mexico City developed alternative and ever-expanding networks of distribution and organization, via Paris, Vienna, and Venice, to circumvent the borders established after World War II, local forms of state and military repression, and Western accounts of artistic mastery and individualism. One major transformation across Latin American and Eastern European art scenes was the embrace of institutional critique and an emphasis on the creation of art outside a market context.

Press release and images

Perspectives on From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola
Thursday, September 10, 6:00 p.m.
The Celeste Bartos Theater, mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building

In this panel discussion, presented in conjunction with the exhibition From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola, scholars and artists discuss the work and accomplishments of German-born Grete Stern and Argentine Horacio Coppola, whose work represents a critical new chapter in the history of transnational modernism. Participants include Andrea Geyer, artist and Associate Professor, New Genres, Parsons The New School for Design; Elizabeth Otto, Executive Director, Humanities Institute, and Associate Professor of Modern and Contemporary Art History, The State University of New York at Buffalo; Jorge Macchi, visual artist; and Veronica Tell, scholar of Latin American photography. Exhibition curators Roxana Marcoci and Sarah Meister moderate.

More information

Picasso Sculpture
September 14, 2015–February 7, 2016
The Alfred H. Barr, Jr. Galleries for Painting and Sculpture

Picasso Sculpture is a sweeping survey of Pablo Picasso's profoundly innovative and influential work in three dimensions. The largest museum exhibition of Picasso's sculptures to take place in the United States in nearly half a century, the exhibition brings together around 150 sculptures from Picasso's entire career via loans from major public and private collections in the U.S. and abroad, with the largest selection of works coming from the Musée national Picasso-Paris. With many works on view for the first time in the U.S., the exhibition provides an opportunity to explore a rarely seen aspect of Picasso's large and prolific career. MoMA is the sole venue.

Press release and images

Afterlives: The Persistence of Performance
September 25–26
The Roy and Niuta Theater Titus 2

In conjunction with the French Institute Alliance Française's Crossing the Line festival, and in collaboration with Columbia University School of the Arts as part of Curating the Ephemeral, MoMA's Department of Media and Performance Art hosts three talks for Afterlives: The Persistence of Performance. Convened by Adrian Heathfield and André Lepecki, Afterlives addresses the ways in which so-called ephemeral art persists over time. Performance is increasingly documented, archived, institutionally incorporated, and globally disseminated. While its ephemeral nature is often celebrated, its inherent transience binds it to its many returns—its mediations and afterlives. Today, criticism is focused more on the recurrence and persistence of performance than on its disappearance. Performance's material remains linger as vague memories, oral legend, transmitted techniques, or infrastructures of feeling.

More information

What Lies Beneath: The Films of Robert Zemeckis
September 29–October 18
The Roy and Niuta Titus Theaters

Robert Zemeckis, creator of some of the most iconic films of the last 40 years, including Romancing the Stone (1984), Back to the Future (1985), Forrest Gump (1994), and Cast Away (2000), will be honored with a major career retrospective at The Museum of Modern Art from September 29 through October 18, 2015. Opening on September 29 with a special screening of Zemeckis' latest film, The Walk (2015), the retrospective will include all of Zemeckis' feature films as well as a selection of his television work and student films. Zemeckis will participate in a post-screening Q&A on September 29 following the screening of The Walk, the PG-rated, all-audience 3D motion picture experience that retells Philippe Petit's high wire walk between the World Trade Center towers. On October 3, MoMA will celebrate the 30th anniversary of the release of Back to the Future by screening all three Back to the Future films in succession, just in advance of October 21, 2015, the date that Marty McFly travels to the future in Back to the Future II (1989).