Museum hours

Please keep the following information in mind as you plan your visit.

• Visitors should be aware that this is a dark installation featuring falling water. It is possible that you may get slightly wet.
• In order for the technology to work most effectively, visitors are discouraged from wearing dark, shiny, reflective fabrics, fabrics made of raincoat material, or skinny high heels.
• Children must be closely supervised at all times and visitors should proceed slowly through the installation.
• Rain Room is subject to close for brief periods during the day if maintenance is required.
• Photography is encouraged in Rain Room. Post your photos or videos on Twitter, Instagram, and Flickr with the hashtag #RainRoom, and they will appear in a live stream atMoMAPS1.org/expo1.

Only three hours from my summer stomping grounds. Trying to figure out how to get there...

Seances is a film shoot, an experience and an installation, which will subsequently become a film and an interactive work. The basic premise of Seances is that most silent filmmakers lost at least one film to a twist of fate. Ever since, these films have hovered like ghosts in search of their final resting place. And now Guy Maddin has decided to recreate these lost films. Every day, he will call on the spirits to take hold of the actors, plunging them into a deep trance that will enable them to act out the lost film of the day.

The most amazing part: the public is invited to attend these Seances of cinematic spiritualism. Cameras will be set up to transmit—live and in closed circuit—the shoot taking place inside the Phi Centre.

THE 18TH ANNUAL BOSTON FRENCH FILM FESTIVAL 

Thursday, July 25, 2013  8:00 pm - 9:30 pm  Remis Auditorium, 161

The Dandelions (Du vent dans mes mollets) by Carine Tardieu (France, 2012, 89 min.). Sassy nine-year-old Rachel lives with her adoring but overprotective mother (Agnès Jaoui) and distracted Holocaust survivor father (Denis Podalydès) in 1980s provincial France. Rachel forms a bond with her eccentric child psychologist Madame Trebla (Isabella Rossellini) and a new best friend, wild-child classmate Valérie.

Proposed Cover Letters For Marina Abramovic's Summer Intern

• "Dear Marina, in addition to being familiar with Microsoft Office suite, and various social media platforms, I also happen to have the same blood type as you, which could be very convenient if you ever happened to need a transfusion."

• Save your nail clippings for 83 days. Mail them in an envelope with a single match.

• Send coordinates to a spot in the middle of the Black Sea, along with a time and date. Go there in a rowboat. She’ll come.

Like Finster, Sherer had grown up on a farm in rural Alabama. When he and his buddies arrived, almost immediately Sherer and the preacher wandered off to inspect the garden’s late-summer bounty, discussing how to prune grape vines and leaving Sherer’s bewildered city friends behind. Near the end of the day, Finster, who appreciated help making the wooden cutouts that were his hallmark, turned to Sherer and said, “So you’re pretty good with tools? What about a jigsaw?” Turns out the lanky kid with the New Wave haircut had grown up using jigsaws.

For the next few years, Sherer spent weeks at a time in the garden, camping out in a sweltering room inside the rickety World’s Folk Art Church, the grand four-tiered, wedding cake–shaped chapel that is the garden’s signature structure. He planted flowers, pruned vines, and dodged snakes. (After one harrowing escape, the trembling Sherer ran to warn Finster about a copperhead the size of a man’s arm. “Oh, him,” Finster replied.) The college dropout taught Finster art history from a tattered copy of Janson’s History of Art. Finster taught the young rebel about tolerance, ingenuity, and creative marketing—deliberately misspelling signs like “Seppents of the Wilderness” to amp up his kitsch appeal.

The visits served as rehab for Sherer, a refuge from the drugs and frenetic life of Midtown Atlanta. AIDS was starting to claim his friends—former classmates from the Atlanta College of Art, neighbors at Pershing Point, employees at Lefont—terrifying Sherer almost to the point of suicide. But in tending to Paradise, Sherer found salvation, if not of the eternal variety Finster espoused.

For a long time Finster didn’t suspect Sherer was gay. Once, Finster asked him to plant flowers around a little shack festooned with verses condemning sodomy. With passive-aggressive aplomb, Sherer ringed it with touch-me-nots. But the day Finster finally recognized the nature of Sherer’s relationship with his then-partner, the ever-garrulous preacher grew quiet. Finally, at the end of the day, Sherer says Finster came to him and announced, “A man has needs. I’m not sure it’s up to we mortals to sort all that out. It’s God’s work.”

...As he described his mentor nearly thirty years ago, “This is what you get when you cross an extraterrestrial with a Southern Baptist minister.”

One of my favorite museum spaces may be the inside of Joanne McNeil's brain:

As many pointed out after the Coachella performance, “hologram” is not quite the proper way to describe what occurred on stage. The projection was an updated Pepper’s Ghost parlour trick, like the kind you see in the Haunted Mansion at Walt Disney World®. The Musion Eyeliner begins with a projection from above facing down on a mirrored floor surface, which is then reflected on a transparent foil, angled forward away from the stage so it will appear invisible to the audience. Airport virtual assistants aren’t quite holograms either, but less complicated, these are rear projections upon flat sheets of glass.

The spectacle of an airport virtual assistant seems even more unsettling than Tupac beamed back to life from the dead. For rather than stagecraft, it is an object right in front of you, taking up space in the environment no different from an actual human being. It is easy to see why airports would favour these human-like models instead of simply broadcasting video recordings on ordinary flat screens. There’s something infectious about the hologram’s upbeat energy. One is tempted to smile back at the machine. And the novelty keeps your eyes on it. When I came upon another airport hologram more recently in Athens, I watched a small child run to it and try to reach up to grab it.

There is the pretence of a hologram as an individual—without a twin, either as a living person or as a duplicate product.

PUBLIC CINEMA DANCE PARTY!!!