Elvis’ 85th Birthday Will Be Celebrated Over Four Days at Graceland

Celebration Will Include Multiple Concerts and Parties, One-of-a-kind Tours, The Auction at Graceland and Events With Priscilla Presley, Jerry Schilling and Elvis’ TCB Band

Music fans from around the world will travel to Elvis Presley’s Graceland® in January to celebrate the King of Rock ‘n’ Roll’s™ 85th birthday. Numerous events are scheduled for January 8-11, 2020, including the annual Elvis Birthday Proclamation Ceremony on January 8, The Auction at Graceland, an Elvis Birthday Bash and Evening Tour, a Birthday Celebration Concert featuring Terry Mike Jeffrey and the Memphis Symphony Orchestra, plus the fan-favorite concert Elvis: Live in Concert featuring TCB Band members James Burton, Glen Hardin and Ronnie Tutt, Priscilla Presley and Jerry Schilling. Many of the birthday celebration events will be held at The Guest House at Graceland™, the AAA Four Diamond-rated resort hotel located just steps from Graceland. For a complete day-by-day schedule and to purchase tickets visit Graceland.com.

Elvis Presley Graceland logo

The highlights of the four days of celebrations will be two concerts at the Soundstage at Graceland:

On Friday, January 10, the Memphis Symphony Orchestra brings their annual Elvis Pops Concert to Graceland. Musician and singer Terry Mike Jeffrey and his band join the orchestra for a special birthday salute featuring music from all facets of Elvis’ career. With performances featuring his greatest hits, movie songs and love ballads that will take you from Memphis to Las Vegas to Hawaii all in one evening.

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SFMOMA Presents Rafael Lozano-Hemmer and Tauba Auerbach Mixed Media Exhibitions in April 2020

Lozano-Hemmer’s First Major Survey in the U.S., Unstable Presence Features Large-Scale Participatory Installations and Immersive Environments

Auerbach’s First Museum Survey, S v Z Traverses the Boundaries Between Art, Design, Science and Craft

Also Opening at SFMOMA, Select Video Projections from Theaster Gates and Cauleen Smith Shown Together for the First Time

The San Francisco Museum of Modern Art (SFMOMA) will present two major exhibitions celebrating the mixed media work of contemporary artists Rafael Lozano-Hemmer and Tauba Auerbach this upcoming spring. The artist’s first major survey exhibition in the U.S., Rafael Lozano-Hemmer: Unstable Presence (April 25–November 1, 2020) will explore our presence in fundamentally turbulent environments through a focused selection of 16 engaging installations on the museum’s seventh floor. Simultaneously on the museum’s fourth floor, Auerbach’s first museum survey, Tauba Auerbach — S v Z (April 25–September 7, 2020), will highlight her prolific and varied output over the last 16 years.

San Francisco Museum of Modern Art logo

Also on view this spring will be select video projections from renowned interdisciplinary artists Cauleen Smith and Theaster Gates in Future Histories (April 25–November 1, 2020).

Rafael Lozano-Hemmer: Unstable Presence, April 25–November 1, 2020, Floor 7

Air and water, heartbeats and voices, text and light — these are the materials of media artist Rafael Lozano-Hemmer. Over the past few decades, the Mexico City–born, Montreal-based artist has earned international recognition for large-scale participatory installations that frequently incorporate technology and the architecture of public spaces. On view in the U.S. exclusively at SFMOMA, Rafael Lozano-Hemmer: Unstable Presence brings together recent sculptural installations and immersive environments realized on microscopic and macroscopic scales. These works engage visitors’ sense of play, and anxiety, as they experience the implications of technology and behaviors of participation in social and political contexts.

Rafael Lozano-Hemmer, Vicious Circular Breathing, 2014 (installation view, Pseudomatismos, Museo Universitario Arte Contemporáneo, Mexico City, 2015); Borusan Contemporary Art Collection; © Rafael Lozano-Hemmer / Artists Rights Society (ARS), New York / SOMAAP, Mexico City; photo: Oliver Santana

Unstable Presence refers to the dynamic, poetic, but also disturbing turbulence that characterizes social and technical interrelations,” said Rudolf Frieling, curator of media arts at SFMOMA. “Materializing on various scales, from the personal to the geopolitical, the instability of these layers of presence is powerfully echoed in the atmospheric but also sculptural installations.

Rafael Lozano-Hemmer: Unstable Presence additionally examines the concept of “co-presence” by highlighting how our physical presence and the natural and technological spaces we inhabit form a continuous stream of interaction. Lozano-Hemmer noted, “Presence is often associated with existence, continuity in time or material reality. The ‘unstable’ in the exhibition’s title refers to interaction, improvisation and performance. The instability brought by participation allows constant reinterpretation of the work, where many outcomes are co-present.”

The exhibition focuses on three major themes in Lozano-Hemmer’s work: observation and surveillance; text-based poetic work; and the instability of systems. Highlights of the presentation include the following installations, the majority of which encourage visitor participation:

(Left) Rafael Lozano-Hemmer, Airborne Newscast, 2013 (installation view, Unstable Presence, Museo de Arte Contemporáneo de Monterrey, 2019–20); courtesy the artist and bitforms gallery; © Rafael Lozano-Hemmer / Artists Rights Society (ARS), New York / SOMAAP, Mexico City; photo: Roberto Ortíz Giacomán
(Right) Rafael Lozano-Hemmer, Sphere Packing: Bach, 2018 (installation view, Unstable Presence, Musée d’art contemporain de Montréal, 2018); Borusan Contemporary Art Collection; © Rafael Lozano-Hemmer / Artists Rights Society (ARS), New York / SOMAAP, Mexico City; photo: Guy L’Heureux

Airborne Newscast (2013) projects live news feeds from prominent international news outlets, such as Reuters, Agencia EFE, Notimex, AlterNet and AP. When visitors enter the space, their shadows disrupt the projections and dissolve the projected words into smoke-like patterns, creating an unstable atmospheric effect.

Call on Water (2016) is a fountain from which words emerge as plumes of vapor, produced by hundreds of computer-controlled ultrasonic atomizers. Fragment by fragment, poems by the celebrated Mexican writer Octavio Paz briefly materialize in the mist before dissipating in turbulence.

Pulse Spiral (2008) consists of hundreds of incandescent lightbulbs hanging from the ceiling in a three-dimensional spiral. This participatory installation records and responds to the heart rates of visitors holding sensors, transforming their heartbeats into mesmerizing flashes of light.

Sphere Packing: Bach (2018), the largest in Lozano-Hemmer’s Sphere Packing series, is a three-meter spherical frame supporting 1,128 loudspeakers, each simultaneously playing a different composition by Johan Sebastian Bach. Visitors can enter the sphere and be surrounded by the cacophonous crescendo of Bach’s entire musical output.

Vicious Circular Breathing (2013) is a large sculptural installation featuring brown paper bags that inflate and deflate at human breathing rates; a set of motorized bellows and valves that control the bags; and a sealed glass room with a decompression chamber. Visitors are invited to enter the glass room to breathe the air that was previously breathed by earlier participants. The piece includes warnings about the risks of asphyxiation, contagion and panic, offering a statement on the limits of the planet’s resources as well as a commentary on participation, which in this case makes the air more toxic for future visitors.

Voz Alta [Out Loud] (2008)commemorates the 40th anniversary of the massacre of hundreds of students in Tlatelolco, Mexico City, on October 2, 1968. The original site-specific “anti-monument” is presented in the gallery as a functional prototype: participants are invited to step up to a megaphone and speak freely, their speech translated into light flashes via a miniature searchlight. An FM radio transmitter relays the sounds to which the light corresponds, and an archival recording of the 2008 memorial plays after a participant has finished speaking. In this way, the memory of the tragedy in Tlatelolco is mixed with live participation.

Zoom Pavilion (2015) is an interactive installation created in collaboration with artist Krzysztof Wodiczko. Consisting of projections fed by computerized surveillance footage, the work uses face recognition and other tracking algorithms to detect the presence of participants and record their spatial relationships. Independent cameras zoom in to amplify images with up to 35x magnification. The zooming sequences become disorienting as they change the image landscape from easily recognizable wide shots of the crowd to abstract close-ups.

Rafael Lozano-Hemmer was born in Mexico City in 1967, and lives and works in Montreal. He was the first artist to represent Mexico at the Venice Biennale, with an exhibition at the Palazzo Van Axel in 2007. He has also shown at biennials and triennials in Cuenca, Havana, Istanbul, Kōchi, Liverpool, Melbourne, Montreal, Moscow, New Orleans, New York, Seoul, Seville, Shanghai, Singapore, Sydney and Wuzhen. Lozano-Hemmer’s works have been featured in solo exhibitions and performances in numerous institutions, including the Museo Universitario Arte Contemporáneo (MUAC) in Mexico City (2015); SFMOMA (2012); the Museum of Contemporary Art, Sydney (2011); the Manchester Art Gallery (2010); the Guggenheim Museum, New York (2009); and the Barbican Centre, London (2008).

Rafael Lozano-Hemmer: Unstable Presence is accompanied by a catalogue featuring full-color illustrations of works in the exhibition and contributions covering a range of topical approaches. It includes a curatorial introduction and four essays from Olivier Asselin, Sean Cubitt, Tatiana Flores and Gloria Sutton that explore the poetic and political dimensions of the artist’s work, along with in-depth examinations of four major works — Zoom Pavilion, Vicious Circular Breathing, Voz Alta and Pulse Room. Edited by Rudolf Frieling and François LeTourneux, the catalogue is published by the San Francisco Museum of Modern Art in association with Delmonico Books/Prestel.

Rafael Lozano-Hemmer: Unstable Presence is co-organized by the San Francisco Museum of Modern Art and the Musée d’art contemporain de Montréal. The exhibition is co-curated by Lesley Johnstone, curator and head of exhibitions and education, François LeTourneux, associate curator at the MAC and Rudolf Frieling, curator of media arts at SFMOMA.

Generous support for Rafael Lozano-Hemmer: Unstable Presence is provided by Debbie and Andy Rachleff and Carlie Wilmans.

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National Museum of African American History and Culture Presents Latest Exhibition “Now Showing”

Exhibition About African American Movie Posters On View Through Nov. 1, 2020

United States Student Association Poster for No Vietnamese Ever Called Me Nigger 1968. lithographic ink on paper H x W: 35 x 22 in. (88.9 x 55.9 cm) Collection of the Smithsonian National Museum of African American History and Culture

Now Showing: Posters from African American Movies” opened at the Smithsonian’s National Museum of African American History and Culture, Nov. 22. The temporary exhibition will be on display until November 2020 and showcases how movie poster design has been used to frame ideas, create moods and stoke interest in films and characters. More than 40 objects and graphics celebrating black films, filmmakers and actors from the museum’s expansive poster collection will be on display in the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA) gallery.

Poster for The Black Moses of Soul, Isaac Hayes Special 1973. Collection of the Smithsonian National Museum of African American History and Culture, Gift of Leith Adams

Now Showing” is the first exhibition in the National Museum of African American History and Culture to feature augmented reality (AR). Through AR, visitors will have the unique opportunity to have an interactive experience with objects inside the gallery by using their mobile devices. Once inside the exhibition, visitors will go to hi.si.edu on their mobile web browser from their smart device and view exclusive content on various objects inside the exhibition.

Claire Trevor, 20th Century Fox Film Corporation. H x W (image): 38 1/4 × 25 1/2 in. (97.2 × 64.8 cm), H x W (sheet): 41 1/16 × 27 1/16 in. (104.3 × 68.7 cm) Collection of the Smithsonian National Museum of African American History and Culture

Many of the items featured in “Now Showing” are from the Larry Richards Collection, a poster collection acquired by the museum in 2013 that includes more than 700 objects. This exhibition features original posters, lobby cards and select ephemera highlighting more than 70 years of African American image making.

Poster for Pinky, 1949 ink on paper (fiber product), H x W (image): 39 × 25 1/2 in. (99.1 × 64.8 cm), H x W (sheet): 40 15/16 × 27 1/16 in. (104 × 68.7 cm) Collection of the Smithsonian National Museum of African American History and Culture

The exhibition is divided into four sections: Film Pioneers, The Problem of the Color Line, A Star Is Born and Black Power & “Blaxploitation”. Each thematic category highlights the role African American films have played on the perception of African American culture and society as a whole.

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Philadelphia Museum of Art will Kick Off the Holidays with its Annual Tree Lighting on Wednesday, November 27, at 5 P.M.

All are welcome to kick off the holiday season with the much-anticipated Tree Lighting against the skyline at the Philadelphia Museum of Art on Wednesday, November 27. Enjoy free live music, complimentary candy canes and warm beverages on the East Terrace starting at 5:00 p.m. With the official countdown set for 5:50 p.m., 12,000 LED lights will illuminate the stately 55-foot-tall white fir on the terrace.

The tree aglow on the museum’s East Terrace with the city skyline in the distance. Photo by Tim Tiebout, courtesy Philadelphia Museum of Art, 2019.

The Tree Lighting once again headlines the museum’s holiday program, which continues through the close of 2019 with events ranging from holiday card making, caroling through the galleries, and celebratory dining to a Feliz Navidad Fiesta and a Festival of Lights.

It promises to be a spectacular Tree Lighting, and we invite everyone to join us here at the museum, where admission—following the countdown—will be Pay-What-You-Wish until 8:45 p.m., as it is every Wednesday evening,” said Timothy Rub, the museum’s George D. Widener Director and CEO, who will officiate with the Honorable Jim Kenney, Mayor of Philadelphia. “This event brings out so many families and friends – last year’s Tree Lighting drew a record 3300 well-wishers—and we invite everyone to join us for what promises to be a festive evening full of community spirit.”

The tree aglow on the museum’s East Terrace with the city skyline in the distance. Photo by Tim Tiebout, courtesy Philadelphia Museum of Art, 2019.

Mayor Kenney said, “This Tree Lighting ceremony has become a Philadelphia tradition that attracts so many people to our historic museum every year. It looks spectacular, high above the Ben Franklin Parkway. From the look on kids’ faces, it has to be one of the happiest occasions in our city that every Philadelphian can enjoy the day before the iconic Thanksgiving Day Parade. I look forward to taking part in this year’s festivities.”

We’ve been rehearsing our classics like Let It Snow and Jingle Bells but also some of the lesser known Christmas songs, by Louis Armstrong and Ella Fitzgerald,” said Chelsea Reed of Chelsea Reed and the Fairweather Nine. “I’m so excited to share all of these with the people of Philadelphia!”

Chelsea Reed and the Fair Weather Nine will perform on the museum’s East Terrace during the Tree Lighting Celebration, November 27, 2019. Photo courtesy of the artist.

Inside the museum, right after the Tree Lighting, visitors will be able to stroll through the galleries and public spaces adorned with seasonal decorations and enjoy festive foods and beverages. “Sister Cities Girlchoir is looking forward to performing inside the museum,” said founder Alysia Lee. “There’s no better way to top off Philadelphia’s Tree Lighting than to get warm and cozy in the Great Stair Hall, where the girls will bring their unique blend of songs of empowerment, celebration, and meditation as they perform with such grace under the majestic gilded statue of the Roman goddess Diana.”

Sister Cities Girlchoir will perform in the museum’s Great Stair Hall during the Tree Lighting Celebration, November 27, 2019. Photo courtesy of the artist.

Down at the street level next to Kelly Drive, the newly reopened North Entrance, leading to the celebrated Vaulted Walkway, is already decorated with evergreens for the holidays. Visitors may enter there any time during museum hours and begin their holiday shopping, too, in the new Main Store, access to which paid admission is not required. On November 27, the Store will offer a 20 percent discount from 5 p.m. until 8:45 p.m.

(The museum’s East Entrance remains open during public hours and the West Entrance is now closed until fall 2020.)

A view at sundown of the tree, facing the museum’s East facade. Photo by Tim Tiebout, courtesy Philadelphia Museum of Art, 2019.

Each year, the holiday tree provides a magnificent spectacle overlooking the Benjamin Franklin Parkway. Planning for its placement requires exceptional coordination. The Philly-bound evergreen makes a 300-mile trip, wheeling in from Hornell, New York, on a flatbed truck. The 7500-pound tree is craned upright upon a platform; it is then unwrapped, branching out to a 25 foot-wide-spread. Next, it is adorned with thousands of lights, each one at .144watts, all powered by (2) 20amp circuits. High on the apex of the tree, a star is placed, measuring 6 feet in diameter and containing 175 lights itself.

Visitors and the tree aglow on the museum’s East Terrace during the Tree Lighting Celebration, 2018. Photo courtesy Philadelphia Museum of Art, 2019.

Acquiring and installing the tree and generating the lighting would not be possible without dedicated support. Seasonal decor is generously provided by IBEW, Local 98, Dougherty Electric, Inc., PMC Property Group, and the Women’s Committee of the Philadelphia Museum of Art. Holidays at the Museum is sponsored by LF Driscoll, with additional support from Dan Lepore & Sons Company, The Berlin Steel Construction Company, JPC Group, Inc., Thomas Company, Tracey Mechanical, Inc., ARC, D.M. Sabia & Company, Inc., Colonial Electric Supply, and Crescent Designed Metals.

Below Is The Full Schedule Of Holiday Events At The Museum To Close Out 2019:

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