On View in the Congress Centre Jan. 21 Through Jan. 24
Cooper Hewitt, Smithsonian Design Museum has announced that a special exhibition, “Partnering with Nature,” will be on view at the World Economic Forum’s 50th Annual Meeting, Jan. 21 through Jan. 24 in Davos-Klosters, Switzerland. Drawing from the “Nature—Cooper Hewitt Design Triennial” exhibition originally organized by Cooper Hewitt and Cube design museum, this adaptation is a collaboration between the Smithsonian and the World Economic Forum (WEF). This is the fourth year that the Smithsonian and the WEF have collaborated on bringing an exhibition to the Annual Meeting in Davos. Installed in the Congress Centre, the exhibition will be offered alongside panels, workshops and other sessions organized by the WEF that address the ecological crisis and the Forum’s major focus on sustainability.
“A global platform for design, Cooper Hewitt is delighted to once again collaborate with the World Economic Forum and highlight the power of design to address the most significant environmental issues of our time,” said Caroline Baumann, director of the museum. “Through this powerful, interactive exhibition, Cooper Hewitt will invite leaders to rethink our relationship to nature and jumpstart the dialogue on sustainability practices on an international scale.”
Brian Clarke: The Art of Light, March 21–August 23, 2020
From March 21 through August 23, 2020, the Museum of Arts and Design (MAD) will present a major exhibition of works by celebrated architectural artist and painter Brian Clarke (b. 1953, United Kingdom). The first museum exhibition in the U.S. of Clarke’s stained-glass screens, compositions in lead, and related drawings on paper, Brian Clarke: The Art of Light showcases the most considerable artistic and technical breakthrough in the thousand-year history of stained glass.
More than twenty stained-glass screens form the centerpiece of the exhibition. Begun in 2015, these works are described by Clarke as “the expression of ideas that started forming in my mind in the 80s. They possess a cinematic drama that, until now, we haven’t had the technology to express.” Produced using advances developed with and for them, the works dispense with the dividing lead support that has been a necessary component of stained glass through most of its existence. Merging the traditional techniques of glassblowing with the artist’s decades of exploration of the medium of glass, the screens are Clarke’s major independent work of the past four years.
“Brian joins a long and illustrious history of extraordinary glass artists that MAD has championed over the decades and this exhibition will reveal the technological innovation that is integral to Brian’s sublime artistry,” said Chris Scoates, MAD’s Nanette L. Laitman Director. “There is palpable excitement in the art world today for the creative breakthroughs currently happening in media such as glass and I am extremely excited to share what will be an unforgettable encounter with the union of art and design in contemporary stained glass.”
Consistently, Clarke has pushed the boundaries of stained glass, both in terms of technology and its poetic potential, in tandem with his investigations in painting. His practice in architectural and autonomous stained glass has led to successive innovation and invention in the fabrication of the medium and, through the production of leadless stained glass and the creation of sculptural works made primarily or wholly of lead, he has radically stretched the limits of what stained glass can do and express.
Brian Clarke (b. 1953, Oldham, Lancashire, England) is the world’s most widely recognized stained-glass artist. His meteoric rise to prominence in the late 70s—buoyed by the energy of the Punk movement—was as a painter and polemicist championing the integration of art and architecture. Described by Andy Warhol as “the most glamorous artist to come out of England since the sixties,” Clarke lived and worked in New York in the 80s and 90s, where he produced some of the most significant developments in his work. Clarke’s commitment to total art has developed into a Renaissance engagement with multiple media, from painting, sculpture, ceramics, mosaic and tapestry to sets for opera, the ballet, and stadia. His reputation is based on installations and individual works, ranging from intimate to monumental in scale, for hundreds of projects worldwide. Practicing in sacred and secular spaces, he has collaborated on projects and proposals with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, Renzo Piano, Future Systems, and other leading figures of Modern and contemporary architecture. Clarke’s work is represented in international public and private collections including the Tate, the Victoria and Albert Museum, the Bavarian State Painting Collections, and the Sezon Museum of Modern Art, and has been the subject of exhibitions at international museums including the Gemeentemuseum, The Hague; Munich Stadtmuseum; the Centre International du Vitrail, Chartres; the Corning Museum of Glass, USA; the Hessisches Landesmuseum, Darmstadt,Germany; and Vitromusée, Romont. He lives and works in London.
Sir John Eliot Gardiner Curates Carnegie Hall Perspectives Series Featuring His Orchestre Révolutionnaire et Romantique Performing A Complete Beethoven Symphony Cycle on Period Instruments in Five Concerts, February 19-24
Winter Concerts Are Part of Carnegie Hall’s Beethoven Celebration in Honor of the 250th Anniversary of the Composer’s Birth
This February, Sir John Eliot Gardiner, Artistic Director and Conductor of the internationally acclaimed period instrument ensemble Orchestre Révolutionnaire et Romantique (ORR), curates a five-concert Perspectivesseries at Carnegie Hall, featuring a complete Beethoven symphony cycle performed as part of Carnegie Hall’s season-long celebration of the 250th anniversary year of Beethoven’s birth.
The five New York City concerts by Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique are part of Carnegie Hall’s season-long Beethoven Celebration featuring more than 35 events highlighting the immensity of the composer’s transformative impact on music, performed by a remarkable line-up of internationally renowned musicians.
Grounded in Maestro Gardiner’s exacting study of Beethoven’s original manuscripts, the symphonies will be performed as the composer would have experienced them, played on period instruments, including valveless brass, woodwinds without additional keys and levers, gut strings, and hide-covered timpani struck with hard sticks.
A key figure both in the early music revival and as a pioneer of historically informed performances, Maestro Gardiner kicks off the ORR’s five-concert series on Wednesday, February 19 at 8:00 p.m. with selections from Beethoven’s rarely heard ballet score, The Creatures of Prometheus; the concert aria, “Ah! perfido;” excerpts from Leonore; and the composer’s Symphony No. 1; Soprano Lucy Crowe joins the orchestra as soloist. On Thursday, February 20 at 8:00 p.m., the orchestra performs Beethoven’s Symphony No. 2 and Symphony No. 3, “Eroica.” The series continues Friday, February 21 at 8:00 p.m. with symphonies Nos. 4 and 5. On Sunday, February 23 at 2:00 p.m., the program includes Symphony No. 6, “Pastoral” and Symphony No. 7. For the series’ final concert on Monday, February 24 at 8:00 p.m. the ORR’s Beethoven cycle culminates with the symphonies Nos. 8 and 9, with the orchestra joined by soprano Lucy Crowe, contralto Jess Dandy, tenor Ed Lyon, and bass Tareq Nazmi, alongside The Monteverdi Choir. As a prelude to the cycle, Maestro Gardiner will be joined by distinguished Beethoven scholar William Kinderman for a discussion in Carnegie Hall’s Weill Recital Hall to illuminate Sir John Eliot’s approach to these symphonic masterworks (Tuesday, February 18 at 7:00 p.m.). In addition to the public discussion with Sir John Eliot on February 18, Carnegie Hall Debs Composer’s Chair Jörg Widmann will present a talk later this spring (Mar. 29, WRH), enabling audiences to gain greater insights into Beethoven’s music.
The ORR’s final February 24 concert will be heard by listeners around the world as part of the ninth annual Carnegie Hall Live broadcast and digital series with a live radio broadcast on WQXR 105.9 FM in New York and online at wqxr.org and carnegiehall.org/wqxr. Produced by WQXR and Carnegie Hall and co-hosted by WQXR’s Jeff Spurgeon and Clemency Burton-Hill, select Carnegie Hall Livebroadcasts featured throughout the season include special digital access to the broadcast team, from backstage and in the control room, connecting national and international fans to the music and to each other.
When asked to reflect on thirty years of music making with the ORR and his upcoming Beethoven symphony performances, Sir John Eliot Gardiner said “When we started the Orchestre Révolutionnaire et Romantique 30 years ago, our mission statement included trying to recover the world of Beethoven’s sound. Our aim was to provide bold new perspectives on the glorious orchestral works of the 19th and early 20th centuries. Since the ensemble’s inception, we have used our time together productively and creatively to explore fresh approaches to this much-loved music, some of it familiar but also some of it neglected or undervalued. Through the use and mastery of period instruments, the ORR musicians bring out the subtle and pervasive differences in the palette of sounds that composers as different as Beethoven, Berlioz, Schumann, Debussy, and Verdi were committed to revealing. Time and again, the players have shown vision and tenacity in demonstrating the techniques and sounds required to recapture the true essence of this music. Every time we embark on a fresh project together, I am amazed and touched by the way the players seem willing to put their necks on the block in order to bring this music back to intoxicating life once again.”
The Carnegie Hall performances are part of Maestro Gardiner and the ORR’s Beethoven 250, a yearlong celebration of the composer’s milestone anniversary, and are also part of the ORR’s 30th anniversary season. The orchestra’s transatlantic tour, February 9-June 27, also includes engagements and complete symphony cycles at Chicago’s Harris Theater, London’s Barbican Hall, and Barcelona’s Palau de la Música.
SIR JOHN ELIOT GARDINER ON THE BEETHOVEN SYMPHONIES
Tuesday, February 18, 2020 at 7:00 PM, Weill Recital Hall
Sir John Eliot Gardiner, Speaker
with William Kinderman, Moderator
Robin Michael, Principal Cello
Anneke Scott, Principal Horn
BEETHOVEN’S SYMPHONIES AND THE EMPIRE OF THE MIND
Sir John Eliot Gardiner’s groundbreaking interpretations of Beethoven’s music have cast this magnificent body of work in a new light. Joined by distinguished Beethoven scholar William Kinderman and ORR principals Robin Michael and Anneke Scott for this illuminating discussion, Gardiner shares his insights about his approach to this immortal music. Tickets: $25
ORCHESTRE RÉVOLUTIONNAIRE ET ROMANTIQUE
Wednesday, February 19, 2020 at 8:00 PM
Stern Auditorium / Perelman Stage
Sir John Eliot Gardiner, Artistic Director and Conductor
Lucy Crowe, Soprano
Overture, Introduction, and Act I from The Creatures of Prometheus, Op. 43
“Ah! perfido,” Op. 65
Symphony No. 1 in C Major, Op. 21
Leonore Overture No. 1, Op. 138
“Ach, brich noch nicht, du mattes Herz!” – “Komm, Hoffnung, lass den letzten Stern” from Act II of Leonore, Op. 72
With approximately 200 works by sixty U.S. and Mexican artists, Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will reveal the profound impact of Mexico’s three leading muralists—José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945.
Organized by curator Barbara Haskell, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant, Vida Americana will be on view at the Whitney from February 17 through May 17. During a special event held today in the Museum’s lobby, Museum visitors were greeted with a surprise celebration at noon, complete with free ticket giveaways and an Instagram-worthy photo opportunity.
At the event, Haskell highlighted the murals and easel paintings that will be on loan from Mexico, Japan, Argentina, and the United Kingdom for the exhibition. These include works that are rarely exhibited in the United States, including Rivera’s 1932 studies for his destroyed and infamous Rockefeller Center mural, Man at the Crossroads, on loan from the Museo Anahuacalli in Mexico City; María Izquierdo’s My Nieces (1940) and Siqueiros’s Proletarian Mother (1929), on loan from the Museo Nacional de Arte; and two paintings by Japanese-born artist Eitarō Ishigaki, on loan from Japan’s Museum of Modern Art in Wakayama.
Guerrero then discussed the Museum’s ongoing initiative to improve access for Spanish-speaking visitors.
For Vida Americana, a number of resources will be available in both English and Spanish, including all exhibition texts, the mobile guide, exhibition tours, and a Family Guide that will feature texts and in-gallery activities. The guide is available free of charge to all families who visit the Whitney as well as to elementary school-aged students who visit the Museum. The Museum also announced programs being organized by its education department on the occasion of the exhibition, including a full-day symposium featuring artists, curators, educators, and scholars presenting new perspectives on the role of Mexican Muralism in the United States. Other programming highlights include Tours for Immigrant Families, Teen Night, and a Community Partnership Mural Project with The Door and artist Sophia Dawson. Additional details and the full lineup of programs can be viewed below.
By presenting the art of the Mexican muralists alongside that of their American contemporaries, Vida Americana reveals the influence of Mexican art, particularly on those looking for inspiration and models beyond European modernism and the School of Paris, during the interwar period. Works by both well-known and underrecognized American artists will be exhibited, including those by Thomas Hart Benton, Elizabeth Catlett, Aaron Douglas, Marion Greenwood, William Gropper, Philip Guston, Eitarō Ishigaki, Jacob Lawrence, Harold Lehman, Fletcher Martin, Jackson Pollock, Ben Shahn, Thelma Johnson Streat, Charles White, and Hale Woodruff. In addition to Orozco, Rivera, and Siqueiros, other key Mexican artists included in the exhibition include Miguel Covarrubias, María Izquierdo, Frida Kahlo, Mardonio Magaña, Alfredo Ramos Martínez, and Rufino Tamayo. Tickets for Vida Americana are now available at whitney.org.
COMMUNITY AND ACCESS PROGRAMS
Tours for Immigrant Families, Feb 1, March 7, April 4, May 2, 2020
Bring your family to the Museum for a free tour and fun activities! We welcome immigrant families who speak any language and level of English. Spanish-speaking staff will be on the tour and two-trip MetroCards will be provided.
Immigrant Justice Night, April 29, 2020, 6–8 pm
Jointly organized with community partners, the Whitney will host its third Immigrant Justice Night. Join the museum for an evening of resource-sharing and artmaking dedicated to immigrant and undocumented communities. Youth, families, teachers, and community members are invited to connect with NYC immigrant justice organizations, participate in a “know your rights” training and explore Vida Americana. Spanish and English language guided tours of the exhibition will be offered throughout the evening.
“When all her influences click into place, the result is like little else, in any genre. The pileup of melody often feels luxuriously imaginative.” —Pitchfork
Celebrated as a trailblazing guitarist and formidable band leader as well as an unparalleled jazz artist, improviser, and composer, Mary Halvorson performs with her band Code Girl in concert with singular vocalist Amirtha Kidambi (singing Halvorson’s lyrics), saxophonist and vocalist María Grand, and trumpeter Adam O’Farrill. Bassist Michael Formanek and drummer Tomas Fujiwara (her bandmates from Thumbscrew) also join in. All of the music performed will be from Code Girl’s new album set to be released this fall.
As Halvorson’s songs slip between diverse sonic nodes and songwriting modes, her musical messages offer both encryption and revelation. The bristling collective power trio Thumbscrew, a cooperative in the truest sense, opens.
Guitarist and composer Mary Halvorson has been described as “a singular talent” (Lloyd Sachs, JazzTimes), “NYC’s least-predictable improviser” (Howard Mandel, City Arts), “one of the most exciting and original guitarists in jazz—or otherwise” (Steve Dollar, Wall Street Journal), and “one of today’s most formidable bandleaders” (Francis Davis, Village Voice). In recent Downbeat Critics Polls Halvorson has been celebrated as guitarist, rising star jazz artist, and rising star composer of the year, and in 2019 she was awarded a MacArthur Fellowship.
Halvorson has released a series of critically acclaimed albums on the Firehouse 12 label, from Dragon’s Head (2008), her trio debut featuring bassist John Hébert and drummer Ches Smith, expanding to a quintet with trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon on Saturn Sings (2010) and Bending Bridges (2012), a septet with tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik on Illusionary Sea (2014), and finally an octet with pedal steel guitarist Susan Alcorn on Away With You (2016). She also released the solo recording Meltframe (2015), and most recently debuted Code Girl (2018), a new ensemble featuring vocalist Amirtha Kidambi (singing Halvorson’s own lyrics), trumpeter Adam O’Farrill, saxophonist and vocalist María Grand, bassist Michael Formanek, and drummer Tomas Fujiwara.
One of New York City’s most in-demand guitarists, over the past decade Halvorson has worked with such diverse musicians as Tim Berne, Anthony Braxton, Taylor Ho Bynum, John Dieterich, Trevor Dunn, Bill Frisell, Ingrid Laubrock, Jason Moran, Joe Morris, Tom Rainey, Jessica Pavone, Tomeka Reid, Marc Ribot and John Zorn. She is also part of several collaborative projects, most notably the longstanding trio Thumbscrew with Michael Formanek on bass and Tomas Fujiwara on drums.
The concert takes place on Saturday, February 8, at 8 pm in the McGuire Theater. Tickets are $26 ($20.80 Walker members).
This winter, travelers at Ronald Reagan Washington National Airport can view the Smithsonian poster exhibition “City of Hope: Resurrection City and the 1968 Poor People’s Campaign.” The exhibition is on view through April 30 in the Gallery Walk located in Historic Terminal A between the Historic Lobby and the present-day ticketing lobby. “City of Hope” honors Martin Luther King Jr.’s vision for economic justice and opportunity for every U.S. citizen. It examines the Poor People’s Campaign—a grassroots, multiracial movement that drew thousands of people to Washington, D.C. For 43 days between May and June 1968, demonstrators demanded social reforms while living side-by-side on the National Mall in a tent city known as Resurrection City.
Organized by the Smithsonian Institution Traveling Exhibition Service (SITES) in collaboration with the Smithsonian’s National Museum of African American History and Culture, “City of Hope” highlights a series of newly discovered photographs and an array of protest signs and political buttons collected during the campaign. Featuring 18 posters, the exhibition can help visitors engage and contextualize the Poor People’s Campaign’s power, impact and historical significance.
Although President Lyndon B. Johnson declared a “war on poverty” in 1964, tens of millions of Americans were denied livable wages, adequate housing, nutritious food, quality education and health care. Led by King and Ralph David Abernathy, the Southern Christian Leadership Conference declared poverty a national human rights issue and organized the Poor People’s Campaign. Stretching 16 acres along the National Mall between the Lincoln Memorial and the Washington Monument, Resurrection City housed 3,000 protesters with structures for essential services like sanitation, communications, medical care and childcare. It included a dining tent, cultural center and a city hall on a “Main Street” where groups would gather.
The Poor People’s Campaign marked a key moment in U.S. history and set the stage for future social justice movements. Within months after Resurrections City’s evacuation, major strides were made toward economic equality influencing school lunch programs, rent subsidies and home ownership assistance for low-income families, education and welfare services through the Bureau of Indian Affairs, and more.
“City of Hope: Resurrection City and the 1968 Poor People’s Campaign” is on view through the Metropolitan Washington Airports Authority’s Art and Exhibits program.
SITES has been sharing the wealth of Smithsonian collections and research programs with millions of people outside Washington, D.C., for more than 65 years. SITES connects Americans to their shared cultural heritage through a wide range of exhibitions about art, science and history, which are shown wherever people live, work and play. For exhibition description and tour schedules, visit sites.si.edu.
McElroy and Orfeh Perform Alongside Previously Announced Special Guests Jane Krakowski and Lillias White
Loretta Devine Will No Longer Appear Due to Scheduling Conflict
On Saturday, February 1 at 8:00 p.m. Tony Award nominees Michael McElroyand Orfehjoin Tituss Burgessin his Carnegie Hall debut in Stern Auditorium / Perelman Stage with a tribute concert to the music of Stephen Sondheim. Titled Take Me to the World, previously announced guest artists include Tony Award winners Jane Krakowskiand Lillias White. Due to scheduling conflicts, Loretta Devine will no longer appear on the program. Directed by Gabriel Vega Weissmanwith music direction by Charlie Rosen, the program focuses on the music of Sondheim and its singular impact on Burgess’s life and artistic trajectory.
Emmy and Screen Actors Guild nominated actor, musician, and writer Tituss Burgess is quickly emerging as one of the entertainment industry’s most versatile and dynamic performers, with his work in television and theater generating both critical and commercial acclaim.
Most notably, Burgess stars as Titus Andromedon in the Emmy-nominated comedy series Unbreakable Kimmy Schmidt, opposite Ellie Kemper, Jane Krakowski, and Carol Kane. The show follows a young woman named Kimmy Schmidt as she adjusts to life in New York City after living in a doomsday cult for 15 years. Burgess’s character becomes a friend, roommate, and mentor to Kimmy while he pursues his dreams of Broadway superstardom and becomes a viral sensation on YouTube. Tina Fey created Burgess’s outrageous character specifically for him. For the actor’s extraordinary performance on the series, Burgess has been nominated for two Emmy Awards for Outstanding Supporting Actor in a Comedy Series, a SAG Award for Outstanding Performance by a Male Actor in a Comedy Series and two Critics’ Choice TV Awards for Best Supporting Actor in a Comedy Series. He was also awarded Best Actor at the 2015 Webby Awards and Best Supporting Actor in a Comedy at the 2015 Gold Derby TV Awards.
The actor was first introduced to television audiences in Tina Fey’s Emmy-winning NBC series 30 Rock, where he played the scene-stealing ‘D’Fwan,’ a vivacious hairdresser and the sidekick of Angie Jordan (Sherri Shepherd). Burgess quickly became a breakout star in the series’ fifth and sixth seasons. His other television credits include A Gifted Man, Blue Bloods, and Royal Pains. On the big screen, Burgess recently lent his voice to two major studio films: The Angry Birds Movie and Smurfs: The Lost Village – and appeared in this year’s Dolemite is My Name alongside Eddie Murphy
A veteran of the stage, Burgess made his Broadway debut in 2005 as Eddie in Good Vibrations. Since, he has held many memorable roles on the Broadway stage including Hal Miller in Jersey Boys, Sebastian the Crab in The Little Mermaid, and Nicely-Nicely Johnson in the 2009 revival of Guys and Dolls. Burgess has also performed in regional theater productions such as The Wiz and Jesus Christ Superstar.