NEW YORK, NY.- The Museum of Modern Art presents Dalí: Painting and Film, the first exhibition to focus on the profound relationship between the paintings and films of Salvador Dalí (Spanish, 1904–1989). The exhibition proposes that Dalí’s personal engagement with cinema—as a filmgoer, a screenwriter, a filmmaker, and an art director—was fundamental to his understanding of modernism and deeply affected his art. Comprising a gallery presentation of more than 130 paintings, drawings, scenarios, letters, and films in The Joan and Preston Robert Tisch Gallery on the sixth floor of the Museum and a six-part program of more than 50 films in The Roy and Niuta Titus Theaters, the exhibition explores the central role of cinema in Dalí’s work as both an inspiration and an outlet for experimentation. The exhibition is on view from June 29 to September 15, 2008, with the first film program beginning on June 20.

The exhibition is organized by Tate Modern in collaboration with The Gala-Salvador Dalí Foundation. It is coordinated for MoMA by Jodi Hauptman, Curator, Department of Drawings; the film exhibition is organized by Anne Morra, Assistant Curator, Department of Film.

Ms. Hauptman states: “Dalí homed in on cinema’s seemingly contradictory ability to combine the real and the surreal, the actual and the imaginary, the objective and the imaginative, the prosaic and the poetic. Whether still or moving, painted or shot, Dali’s works are meant to wholly intoxicate their viewers, offering an experience provoked by an image but played out in the mind.”

Ms. Morra states: “The first cinema in Dalí’s home town of Figueres opened just seven months after he was born—a curious convergence that foreshadowed his enduring relationship with the cinema. The cross-fertilization of ideas, influences, and new cinematic technology created a truly modern means of artistic expression for Dalí and his colleagues; his was the first generation of artists who engaged the emergent medium as a fundamental component of their aesthetic process.”

Film was a passion for Dalí and cinematic vision became a model for his own work. In the sixth-floor galleries, collaborations between Dalí and legendary filmmakers, including Luis Buñuel, Walt Disney, and Alfred Hitchcock, are projected on large screens alongside his paintings to show the way ideas, iconography, and pictorial strategies are shared and transformed across mediums. The installation includes some of the most provocative films of the early twentieth century, including Un Chien andalou (1929), a film made with Buñuel, which features the almost unwatchable sequence of an eye being slit by a razor; L’Âge d’or (1930), another collaboration with Buñuel and one of the landmarks of Surrealist film; and such iconic paintings as The First Days of Spring (1929), Illumined Pleasures (1929), and The Persistence of Memory (1931).

MoMA’s presentation of Dalí: Painting and Film is distinguished by a six-part film program in the Museum’s theaters that features examples of the popular and avant-garde motion pictures Dalí treasured, those that he made, and the works his innovative aesthetic influenced. The six programs are:

• Salvador Dalí: Creator/Collaborator (June 20–28) includes such films as Hitchcock’s Spellbound (1945), which features a dream sequence by Dalí, and Manuel Cussó-Ferrer’s Babaouo (2000), a film based on Dalí’s 1932 Surrealist scenario.

• Dalí Laughs (July 7–16) features the comedies of Charlie Chaplin and Buster Keaton, whose bizarre slapstick humor Dalí loved, as well as a rare 1954 silent home movie of Dalí mimicking the mannerisms of film comedians.

• Salvador Dalí and Three American Surrealists (July 23–28) features films by Harpo Marx, Walt Disney, and Cecil B. DeMille.

• Salvador Dalí: Consumer/Consumed (August 4–24 and September 10–15) explores the pictorial and cinematic iconography produced by Dalí that also became the catalyst for a distinct visual language consumed by other filmmakers.

• Dalí in New York (September, dates to be announced), which focuses on Dalí’s curious personal and aesthetic relationship with New York City, includes footage of Dalí’s 1939 World’s Fair pavilion, The Dream of Venus, and Jack Bond’s Dalí in New York (1966).

• Salvador Dalí: Creator/Collaborator Redux (September 10 and 15) is an encore presentation of Un Chien andalou (1929) and L’Âge d’or (1930).

The films are drawn from MoMA’s collection as well as from the collections of film studios such as Twentieth Century-Fox, Walt Disney Co., Paramount Pictures, and Universal Pictures. Film archives such as the George Eastman House (Rochester, NY), Filmoteca de Catalunya (Barcelona) and the UCLA Film and Television Archives have generously agreed to loan films.

GALLERY EXHIBITION:
Dalí was part of the first generation of artists for whom film was both a formative influence and a creative outlet. Throughout his career, and in many mediums, he frequently referenced elements of cinema, including its episodic nature, popular appeal, narrative structure, and techniques like fades and dissolves, and the strong characterization of its stars.

The exhibition comprises six galleries, most of which include very large projections of films on screens measuring 10 feet high by 13 feet wide. The projections are presented alongside paintings, drawings, and ephemera pertaining to the films shown.

The first two galleries feature two of Dalí and Buñuel’s collaborations: Un Chien andalou (1929) and L’Âge d’or (1930). Exploiting film’s potential to manipulate reality and evoke the sensation of dreaming, montage is the primary cinematic strategy in Un Chien andalou. The film’s provocative imagery, also found in Dalí’s paintings of the time, creates a shocking vision of physical desire. Imagery seen in the film, such as a disembodied hand, infestations of ants, putrefying donkeys, and such unexpected transformations as a hairy armpit into a sea urchin and a cloud into a razor, can be found in various paintings shown in this gallery, including Apparatus and Hand (1927) and The Accommodations of Desire (1929). The film put Dalí and Buñuel at the center of the Surrealist community in Paris, and also confirmed the potential of film to secure the movement’s goals.

This first gallery also includes an early series of drawings about Spanish nightlife from 1922–23, including Madrid Suburb and Madrid Night Scene. These works illustrate Dalí’s appreciation of the strong graphic aesthetic of the silent Expressionist films of that era. Other paintings like The First Days of Spring (1929) reveal his interest in filmic perspective and in creating compositions that dissolve into other images. Illumined Pleasures (1929), which features luminous imagery projected on or performed within the theater-like boxes that dominate the composition, illustrated the shooting script for Un Chien andalou.

More complicated, polemical, and bitter than Un Chien andalou, L’Âge d’or was Dalí and Buñuel’s second collaboration. The film’s prologue, an excerpt from a preexisting scientific film, shows a scorpion killing a rat, heralding the violence that, together with the irresistible power of desire, drives the storyline. Lovers are immediately torn from each other and spend the rest of the film in frustrated attempts to reunite. Dark and threatening in tone, L’Âge d’or reflects the sense of unease at the time among Surrealists—and Europeans in general—sparked by the rise of the political right.

The third gallery of the exhibition comprises Dalí’s film projects and paintings that incorporate filmic elements, including his collaboration with the Marx Brothers and his work on the film Moontide (1942). Dalí associated the Marx Brothers’ combination of humor and mayhem with his own practice as a Surrealist. Dalí met Harpo Marx in 1936 and soon began work on a film project known as Giraffes on Horseback Salad or The Surrealist Woman, a motion picture he hoped would rival the Marx Brothers’ film Animal Crackers (1930). Although the film never reached production, the imagery and ideas survive in two manuscripts (one of which is on view in this gallery) that illuminate Dalí’s writing style and his process of revision and in a series of drawings that offer views of the production’s atmosphere and scenery. Paintings in this gallery, such as Autumnal Cannibalism (1936) and Metamorphosis of Narcissus (1937), demonstrate Dalí’s ability to imply animated movement and narrative in a static image.

By the beginning of the 1940s, Dalí’s name had become synonymous with Surrealism in the United States, through exhibitions, publicity, and his own eccentric showmanship. In 1940 Dalí traveled to California and moved beyond the realm of avant-garde films to work on major studio productions. Soon after his arrival, he was hired by Twentieth Century-Fox to design a threeminute
nightmare sequence for Moontide, a film to be directed by the legendary Austrian-born director Fritz Lang and starring the French actor Jean Gabin in his first English-language picture. The script told the story of a longshoreman named Bobo (Gabin) who fears he may have committed murder during a drunken binge. Dalí’s job was to visually describe Bobo’s hallucinatory descent into drunkenness. In drawings and paintings, a selection of which can be seen in this gallery, he turned a harbor into a Surrealist landscape, complete with a monumental sewing machine and a combination brothel-slaughterhouse where naked women wear shark heads, a gutted shark rests on a table, and sailors metamorphose into a skull. After the attack on Pearl Harbor in December 1941, the project was deemed too pessimistic: Lang was replaced by director Archie Mayo and Dalí’s vision was abandoned.

Dalí’s dreamlike vision seemed an ideal fit for the 1940s movie industry and for the cinema screen, where total immersion in Dalí’s imagination became possible for a mass audience. Dalí seized the opportunity to work on Hitchcock’s Spellbound (1945), which is the focus of the fourth gallery. The famous dream sequence for Hitchcock’s thriller recreated the disquieting universe of Dalí’s contemporary paintings on a grand scale. On view in this gallery are four grisaille paintings and one color study for the five scenes of the dream sequence, which is also shown here on a continuous loop. Technical difficulties necessitated revisions to the film without Dalí’s and Hitchcock’s participation, and only three scenes survive in the finished film: the gambling house, the rooftop, and the slope. In the end the artist received a limited credit—“based upon the designs by Salvador Dalí”—but Spellbound provided one of his most remarkable encounters with a mass audience.

The next gallery features the animated film Destino (2003). Towards the end of 1945, Walt Disney invited Dalí to work on a six-minute short that was to combine real images with animated drawings and be set to the ballad “Destino” by Armando Dominguez, a Mexican songwriter. Dalí’s episode was intended to be part of a composite animated feature along the lines of Fantasia (1940). In January 1946, Dalí began an intense eight-month period at the Disney studio, working with the classically trained animator John Hench. Dalí produced numerous color sketches and storyboard drawings to tell a tale of star-crossed lovers: Chronos, the god of time, and a mortal girl. Only about 15 to 18 seconds of the film—the section with two tortoises—was completed before the project was abandoned, due to either a lack of finances or the controversial nature of Dalí’s imagery. Using this short sequence as a guide and relying on Hench’s memories, a new team of Disney animators completed the film in 2003. Various paintings, sketches, and
storyboard drawings by Dalí of scenes from this film, along with the 2003 film, are included in this gallery.

The final gallery of the exhibition focuses on Dalí’s late projects and his engagement with popular cinema. Chaos and Creation (1960), a documentary he made with photographer Philippe Halsman, is considered to be one of the first artist’s videos ever made. Unable to give a speech at a convention, Dalí sent this video to address the attendees remotely. Loosely structured as a lecture and a performance in which the creation of an artwork is the result, the video shows
Halsman, who often worked with Dalí, playing the role of commentator, translator, and straight man to the artist’s frenzied presence.

Like many other Surrealists, Dalí was fascinated by the world seen through the microscope, because it offered an alternate reality akin to dreams or the unconscious. Dalí’s painting technique, with its inclusion of minute detail, reflects this interest, as does his film Impressions of Upper Mongolia—Homage to Raymond Roussel, made for Spanish television in 1975. Presented as a documentary about a trip to “Upper Mongolia” to find a hallucinogenic mushroom, much of the film is composed of extreme close-ups of the corroded brass band of a pen. This 70-minute film is shown in its entirety in this gallery.

In the 1960s Dalí split his time between Paris, New York, and his home in Port Lligat, in the Catalan region of Spain. With the emergence of Pop art in New York, Dalí’s particular blend of showmanship, irreverence, and extravagance won him new connections with young American artists, including Andy Warhol. In 1966 Warhol asked Dalí to be the subject of one of his short film portraits; called Screen Tests, these portraits were meant to be projected backdrops for Warhol’s Exploding Plastic Inevitable multimedia events, featuring the band the Velvet
Underground. The screen tests that Warhol made of Dalí are included in this final gallery. Later paintings included in this gallery, like Portrait of Colonel Jack Warner (1951) and Portrait of Laurence Olivier in the role of Richard III (1955), also show Dali’s interest in popular cinema, and how the idea and techniques of film moved from being an influence on his work to forming its very subject.