FOR THE 2020 HOLIDAY, A SERIES OF BESPOKE COFFRETS TAILORED BY CLIENTS TO MARK LIFE’S OCCASIONS
Taking the client on a celebratory journey,The Gift Collection provides a unique opportunity to enjoy a drop of LOUIS XIII honoring a French Art de Vivre for every occasion. Each coffret unveils new experiences, allowing clients to personalized them with their own desire and to be enchanted by the complexity and richness of each LOUIS XIII moment.
A CHOICE OF 6 COFFRETS COMPOSED OF 3 COMPARTMENTS
The Gift Collection is composed of six coffrets, inviting each client to a different LOUIS XIII experience imagined for them and by them, magnified by accessories in relation to the ritual or the tasting, such as bellota ham or caviar. Each coffret from The Gift Collection delivers a timeless treasure ready to be explored. With a contemporary design, and in LOUIS XIII’s signature red, the gift box is fastened with an elegant sheath presenting the fleur-de-lys seal. As the client opens the coffret, they will reveal three separate compartments, with the largest chamber holding a classic decanter of LOUIS XIII cognac, and the top drawer holding two cognac glasses engraved with a fleur de lys, designed by French designer Christophe Pillet. Both can be inscribed with a special message, name or date.
BESPOKE RANGE OF COFFRETS
Opening the lower drawer will unveil a selection of gifts and accompaniments, designed in collaboration with French Houses Bernardaud, Christofle and S.T. Dupont to complement the decanter and glasses. Each gift has been imagined based on each client’s personal desire to thank or honor somebody else. There is also the opportunity to offer an invitation to discover the House of LOUIS XIII, based in Cognac, and take a journey through time with an exclusive initiation tasting. Moreover, they can add experiences such as an Opening Ceremony by a dedicated Brand Ambassador or a LOUIS XIII tasting in a prestigious bar, hotel or palace.
COFFRETS DESCRIPTION, COMPOSITION
To accompany the LOUIS XIII decanter (70cl) and its two crystal glasses, the coffrets are composed as follows:
The Expert set – engraved pipette, white gloves and a quiz set (with 10 secrets on LOUIS XIII).
The Cigar set – fleur de lys engraved S.T. Dupont lighter and chrome-plated cigar cutter.
The Caviar set – fleur de lys engraved Christofle silver-plated caviar serving set and five mother-of-pearl caviar spoons.
The Bellota Bellota set – white bellota ham porcelain volcano plate with 22 carats gold-plating fleur de lys made by Bernardaud.
The Serving set – fleur de lys engraved silver-plated tray and coasters set from Christofle.
The Souvenir set – fleur de lys engraved Christofle silver photo frame and Baccarat crystal fleur de lys paperweight.
Celebrate the Season With Wine Tastings, Cooking Demos and Special Appearances Featuring Kwame Onwuachi, Brooke Williamson, Jesse Tyler Ferguson, Douglass Williams, Linda & Drew Scott, Alexander Smalls and More
Meredith Corporation‘s FOOD & WINE will host its second virtual FOOD & WINE Classic at Home event, offering a special culinary experience to celebrate the holiday season on December 5 at 5 pm ET, with tickets on sale now at foodandwine.com/ClassicAtHome.
Hosted by FOOD & WINE Culinary Editor at Large Justin Chapple, the FOOD & WINE Classic at Home: Holiday Edition will include cooking demonstrations by renowned chefs Kwame Onwuachi, Brooke Williamson and Douglass Williams; wine pairings with wine experts Ray Isle of FOOD & WINE and Leslie Sbrocco; and special appearances by Jesse Tyler Ferguson, Linda & Drew Scott, Alexander Smalls, Marissa Mullen, FOOD & WINE Editor in Chief Hunter Lewis and more. FOOD & WINE will make a contribution to No Kid Hungry to further support their mission of ending child hunger. To learn more about No Kid Hungry, visit: www.nokidhungry.org/foodandwine.
Hunter Lewis said, “We’re excited to bring the pages of FOOD & WINE to life and partner with our friends in the food world to kick off the holidays in style. No matter how you’ll be celebrating this season, we’ll offer up smart ideas for holiday cooking, advice for finding the perfect wines to pair and pour, and tips for small-scale entertaining. We’ll also be making a donation to an important cause, No Kid Hungry, and we hope that those who are able to will join us in donating to No Kid Hungry to support their mission of ending childhood hunger.”
Wine packages are available for purchase to the sip along with the live tastings and to enjoy throughout the holiday season at www.wine.com/classicathome.* The two featured wine seminars with corresponding wine packages available for purchase are Cozy Winter Reds with Leslie Sbrocco and Spectacular Sparklingfor the Holidays with Ray Isle.
On September 3, the Whitney will debut Around Day’s End: Downtown New York, 1970–1986. The exhibition pays homage to Gordon Matta-Clark’s legendary Day’s End (1975) and features works by twenty-two artists who engaged with the Meatpacking District and West Side piers, among other downtown Manhattan locations, in the 1970s and early 1980s. Around Day’s End also anticipates David Hammons‘s monumental public artwork Day’s End, to be completed in late fall 2020 and located directly across from the Whitney in Hudson River Park. Drawn primarily from the Whitney’s collection, the exhibition is organized by Laura Phipps, assistant curator, with Christie Mitchell, senior curatorial assistant, and runs through October 25, 2020.
In 1975, Matta-Clark created Day’s End in a former shipping warehouse on Pier 52, which stood on the Hudson River across from the Museum’s current home. Matta-Clark cut massive openings into the dilapidated pier shed’s walls, roof, and floor. He wanted to transform the building into a “temple to sun and water.” Also titled Day’s End, Hammons’s sculpture is a meditation on Matta-Clark’s intervention. Hammons first proposed his sculpture to the Museum in 2014 and it is nearing completion this fall during a period of profound crisis and uncertainty. While it conjures the layered history of the neighborhood and the river, Hammons’s project acts as an evocative landmark for the reimagining of the site and serves as a powerful testament to the tenacity and resilience of New York.
“David Hammons’s much anticipated public art project provides a unique opportunity to not only think about the complex history of the Pier 52 site, but to also consider the time and conditions that existed when Matta-Clark’s Day’s End was conceived in 1975. Around Day’s End explores these related stories,” explained assistant curator Laura Phipps, an organizer of the exhibition. “While there is something disquieting about today’s parallels with many of issues and the conditions these artists were addressing at that time—economic uncertainty, crumbling infrastructure, disappearing public space—it can also be reassuring or inspiring to look back at the incisive approaches artists took with the physical material and ephemeral ideas of New York City to imagine ways through and forward.”
ARTISTS IN THE EXHIBITION
Alvin Baltrop (b. 1948; Bronx, NY, , d. 2004; New York, NY)
Jean-Michel Basquiat (b. 1960; Brooklyn, NY, d. 1988; New York, NY)
Dawoud Bey (b. 1953; Queens, NY)
Mel Bochner (b. 1940; Pittsburgh, PA)
Christo (b. 1935; Gabrovo, Bulgaria, d. 2020; New York, NY)
János Kender (b. 1938; Baja, Hungary; d. 2009; West Palm Beach, FL)
Gordon Matta-Clark (b. 1943; New York, NY, d. 1978; Nyack, NY)
Robert Morris (b. 1931; Kansas City, MO, d. 2018; Kingston, NY)
Martha Rosler (b. 1943; Brooklyn, NY)
Richard Serra (b. 1938; San Francisco, CA)
Harry Shunk (b. 1924; Leipzig, Germany, d. 2006; New York, NY)
Carol Goodden (b. 1940; London, United Kingdom)
David Hammons (b. 1943; Springfield, IL)
Peter Hujar (b. 1934; Trenton, NJ, d. 1987; New York, NY)
G. Peter Jemison (b. 1945; Silver Creek, NY, Seneca Nation of Indians, Heron Clan)
Joan Jonas (b. 1936; New York, NY)
Kiki Smith (b. 1954; Nuremberg, Germany)
Anton van Dalen (b. 1938; Amstelveen, Netherlands)
William Wegman (b. 1943; Holyoke, MA)
David Wojnarowicz (b. 1954; Red Bank, NJ, d. 1992; New York, NY)
Martin Wong (b. 1946; Portland, OR, d. 1999; San Francisco, CA)
Jimmy Wright (b. 1944; Union City, NJ)
The works featured in the exhibition intervene in the urban fabric of the city in various ways: Matta-Clark and Joan Jonas present the city itself as a character, pointing to New York as a place that embodies both presence and invisibility. For other artists, like Alvin Baltrop and Jimmy Wright, the periphery of the city became synonymous for historically marginalized populations; their depictions of the West Side piers and Meatpacking District reveal how queer life found community and intimacy in forgotten, and reclaimed, corners. Martin Wong and others made visceral works that looked at the ways particular downtown neighborhoods, like the Bowery and Lower East Side, were impacted by deteriorating economic conditions. For these artists the city was and remains material, inspiration, specter, and provocation.
The exhibition also includes an architectural model for Hammons’s public art project, which the Whitney is realizing with the Hudson River Park Trust. Around Day’s End is installed in the John R. Eckel, Jr. Foundation Gallery, on the Museum’s first floor, which is accessible to the public free-of-charge. All visitors and members must reserve timed tickets in advance at whitney.org.
Major support for Around Day’s End: Downtown New York, 1970–1986 is provided by the John R. Eckel, Jr. Foundation.
The Whitney Museum of American Art is located at 99 Gansevoort Street between Washington and West Streets, New York City. Beginning September 3, 2020, public hours are: Monday and Thursday: 11:30 am–6 pm; Friday: 1:30–9 pm; Saturday and Sunday: 1–6 pm. Member-only hours are: Monday and Thursday: 6–7 pm; Saturday and Sunday: 10:30 am–1 pm. Closed Tuesday and Wednesday. Admission is pay-what-you-wish through September 28, 2020. Visitors 18 years & under and Whitney members: FREE. Reserve timed-entry tickets in advance atwhitney.org. For more information on reopening visitwhitney.org. For general information please call (212) 570-3600 or visitwhitney.org.
Museum’s Grand Opening Film “August 28” To Air Publicly for 24 Hours
On August 28, 1963, more than 200,000 people gathered on the National Mall to March for Jobs and Freedom. This month, more than 50 years later, the Smithsonian’s National Museum of African American History and Culture will commemorate the March on Washington with a digital resource webpage exploring the historical significance of the march with collection objects, stories, videos and content related to the historic march. This page will include voices of A. Phillip Randolph, Rep. John Lewis, and many unsung activists and a performance by singer Marian Anderson. The resource webpage is available at nmaahc.si.edu/marchonwashington.
To mark the anniversary day (Aug. 28), the museum will also make available the film commissioned for its grand opening by Ava Duvernay,August 28: A Day in the Life of a People. The film will be available to view on the museum’s homepage and YouTube channel starting at 10:00 a.m. for 24 hours.
“This Friday marks the 57th anniversary of the March on Washington, which in 1963, brought together more than a quarter-million people advocating for racial justice,” said Spencer Crew, acting director of National Museum of African American History and Culture. “Demonstrations have long been a way for American citizens to help the nation live up to its stated ideals, making Friday’s anniversary and march not just a commemoration, but the continuation of an American tradition that began centuries ago.” Crew continued, “Evidence of not only how far we have come since 1963, but the long journey ahead to justice and equality.”
March on Washington Programming
NMAAHC Presents Why we march…(a short video)
Friday, Aug. 28
“Why we march…” is a three-minute video exploring the role of marching in social justice reform. The video uses photography from the museum’s collection to illustrate more than 50 years of community activism and protest movements for racial and social justice and equity in the United States to begin to answer the question, why we march. Click video below or visit @NMAAHC’s YouTube channel or the March on Washington webpage to see the video.
Cinema and Conversation—Black Journal: Black Women
Thursday, Aug. 27; 8 p.m. to 10 p.m.
This series will feature two rare films from the museum’s collection, The Black Woman and Alice Coltrane, from the seminal program Black Journal (1960–1970). Alice Coltrane is an intimate visit with musician Alice Coltrane at her home. The Black Woman focuses on—in the words of Black Journal host Tony Brown—one of the greatest institutions in the world: “The Black woman.” Curator of photography and film Rhea Combs will introduce the movie, followed by a discussion with scholar Philana Payton and journalist Joan Harris, who was interviewed in The Black Woman. Co-presented with Screen Slate, the films will be available for viewing at www.twitch.tv/screenslate.
Following its temporary closure on March 13, 2020, as a result of the COVID-19 pandemic, the Whitney Museum of American Art today announced its plans to reopen to the public on September 3, 2020. Prioritizing the health and safety of its visitors and staff, the Museum will operate at no more than twenty-five percent of its total capacity to ensure proper physical distancing.
The Museum also announced that pay-what-you-wish admission will be offered to all through September 28, 2020. Due to limited capacity and to facilitate contactless entry into the Museum, all visitors and members will need to reserve timed-entry tickets in advance on whitney.org.
“Cultural institutions like the Whitney are an essential part of the fabric of New York and are integral to its successful and safe reopening,” said Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum. “Our priority is the health and safety of our staff and visitors. Over the past few months, our internal team has carefully developed safety protocols with guidance from health experts and collaboratively working with peer institutions across the city through the NYC Museums Reopening Task Force. We look forward to welcoming visitors back to the Museum with confidence that they can safely engage with our exhibitions and collection. I am especially pleased that we will be able to offer pay-what-you-wish admission during the month of September, making the Museum more accessible to New Yorkers.”
Enhanced sanitizing and cleaning protocols, state-of-the-art air filtration systems, one-way directional signage, and ground markings are among the new safety measures that have been implemented throughout the building. In accordance with city and state guidelines, all staff, volunteers, and visitors will be required to wear face coverings and practice physical distancing while in the Museum.
The Whitney also announced today the extension of critically acclaimed exhibitions. Vida Americana: Mexican Muralists Remake American Art, 1925–1945and Cauleen Smith: Mutualities have been extended through January 31, 2021. Agnes Pelton: Desert Transcendentalist, which originally opened on March 13 when the Museum’s temporary closure began, has been extended to November 1, 2020. The Museum’s billboard project at 95 Horatio featuring Jill Mulleady’s We Wither Time into a Coil of Frighthas been extended through January 2021. The collection installations,Making Knowing: Craft in Art, 1950–2019and The Whitney’s Collection: Selections From 1900 to 1965 will also welcome visitors back to the Museum.
MoMA Temporarily Closes Museums and Stores in New York
MoMA announced today that it will close The Museum of Modern Art on 53rd Street, MoMA PS1 in Queens, and the MoMA Design Stores on 53rd Street and in Soho, effective immediately and through March 30. MoMA will continue to monitor developments with COVID-19 and regularly reassess this temporary closure.
Glenn D. Lowry, The David Rockefeller Director of The Museum of Modern Art, said: “Nothing is more important to MoMA than the health and safety of our community. We take seriously our responsibility as a civic institution to serve the public good. With that in mind, as it is more and more challenging to predict the impacts of the novel coronavirus (COVID-19) outbreak, we have decided to temporarily close MoMA.”
MoMA has been prepared for this possibility for several weeks and made the decision in ongoing consultation with public health experts, city and state officials, peer institutions, and the Boards of The Museum of Modern Art and MoMA PS1. There have been no confirmed cases of COVID-19 among MoMA employees. Plans are in place to continue to support employees and MoMA’s better than best practice cleaning and sanitization protocols.
MoMA plans to re-open at the first opportunity that ensures the health and safety of all visitors and employees.
All Events at Carnegie Hall from Friday, March 13 through Tuesday, March 31, 2020 are Cancelled
All March events cancelled in effort to reduce spread of COVID-19
With the health and safety of its public, artists, and staff as its foremost priority, Carnegie Hall today announced that it will be closed for all public events and programming through the end of March, effective midnight tonight, in an effort to reduce the spread of the new coronavirus (COVID-19).
All events and programming at Carnegie Hall from Friday, March 13 through Tuesday, March 31, 2020 have been cancelled. For a list of performances at Carnegie Hall that are affected, please see the attached list or click here. Carnegie Hall events on Thursday evening, March 12 will take place as scheduled.
Upcoming education programming presented by Carnegie Hall’s Weill Music Institute—whether taking place at Carnegie Hall or in off-site locations—is suspended through March 31. All free Carnegie Hall Citywide performances in venues throughout New York City are cancelled through March 31.
All other scheduled concerts and programming starting on April 1, 2020 and beyond remain on the schedule pending the reopening of Carnegie Hall. The general public is encouraged to check carnegiehall.org/events for the most up-to-date programming information.
Patrons who purchased tickets by credit card from Carnegie Hall for a performance that has been canceled will receive automatic refunds; those who purchased by cash at the Box Office may email a scan or photo of the tickets to email@example.com, along with complete contact details (name, mailing address, and phone number), through June 30, 2020, for a refund. Those who purchased tickets directly from other concert presenters should contact that presenter for refund information.
Patrons who have any further questions should contact CarnegieCharge at 212-247-7800 or email firstname.lastname@example.org. Please note that email and call volume may be high with limited in-house staff, and tickets may be refunded on a delayed schedule. We thank you for your patience as we navigate this evolving situation together.
Asian Art Museum, Fine Arts Museums of San Francisco and San Francisco Museum of Modern Art Announce Temporary Closure Effective March 14, 2020
The Asian Art Museum, the Fine Arts Museums of San Francisco (FAMSF), comprising the de Young Museum and the Legion of Honor, and the San Francisco Museum of Modern Art (SFMOMA) collaboratively announce a temporary closure to the public effective at 5 pm PST on Friday, March 13. With their united focus on the health and safety of their visitors and staff members, the museums made this decision to align with local and federal guidelines and social distancing recommendations for the containment of the coronavirus.
The Asian Art Museum and SFMOMA will tentatively reopen to the public on Saturday, March 28, 2020, and the FAMSF museums will reopen on Tuesday, March 31, 2020. The museums will individually evaluate whether the closure timeframe needs to be extended.
ASIAN ART MUSEUM
The closure of the Asian Art Museum includes the museum, its café (Sunday at the Museum) and its store. More information can be found at asianart.org.
SFMOMA’s closure includes the museum, its restaurants (In Situ, Cafe 5 and Sightglass coffee bars), stores (museum and SFO store) and the Artists Gallery at Fort Mason. For the most up-to-date information including information on rescheduling a visit, go to sfmoma.org/coronavirus-update.
Born in Mozambique, Malangatana Ngwenya (1936-2011) was a painter, a poet, a revered national hero, and a pioneer of modern African art.
Opening March 21 and on view through July 5, the Art Institute of Chicago will be showcasing Malangatana: Mozambique Modern, an exhibition that brings together over 40 key paintings and drawings that highlight the years between 1959 and 1975. It was during this time that Malangatana developed a signature painting style, characterized by a dense assembly of figures on the picture plane, the phantasmagoric depiction of animals, humans and supernatural creatures, and a composite palette of bright and dark colors. Moreover, in this period Malangatana imbued his paintings and drawings with social commentary and critique of the colonial situation in Mozambique.
Malangatana: Mozambique Modern is organized by Hendrik Folkerts, Dittmer Curator of Contemporary Art; Felicia Mings, Academic Curator; and Constantine Petridis, Chair of the Department of Arts of Africa and the Americas.
In choosing the subjects of his work, Malangatana took a decidedly allegorical approach, taking inspiration from local religious practices, his own cultural background, and life under Portuguese rule. As such, many of the symbols in Malangatana’s paintings show the artist’s early exposure to Christian education and motifs that reference religious and cultural practices of the Ronga people to which he belonged.
Hendrik Folkerts, Dittmer Curator of Contemporary Art at the Art Institute of Chicago mentions: “The work of Malangatana presents an exceptional opportunity for the Art Institute to think more globally and critically about international modernisms, in both our exhibition program and the museum’s collection. Malangatana: Mozambique Modern proposes that modern art is an inherently unstable art-historical category that requires constant revision and questioning.”
Though largely self-taught, Malangatana took painting classes in the late 1950s at the Industrial School and the Núcleo de Arte da Colónia de Moçambique (Colonial Arts Center of Mozambique)—the latter a center of artistic activity in the capital Maputo (then Lourenço Marques). In this period, Malangatana became active in the artistic and cultural milieu of Maputo and found his first teachers and sponsors in artists and architects João Ayres, Augusto Cabral, and Pancho Guedes. While his first paintings show traces of the styles of European modernism he encountered in his art education and through the interaction with his mentors, Malangatana soon established his unique aesthetic, ranging from his distinct color palette to the inclusion of elements from daily life in fantastical scenes.
“Malangatana’s stunning aesthetic will captivate audiences. This, paired with the social impulse of these works as well as his larger oeuvre and life, make him a truly prolific, civically engaged artist––someone that we can all learn from. He is also a figure that had a tremendous impact on Mozambican art history, so I am delighted to be part of a team that is bringing further visibility to his work,” says Felicia Mings, Academic Curator at the Art Institute of Chicago.
The changes in Mozambique’s political history during the 1960s and 1970s significantly impacted Malangatana’s life and work. A Portuguese colony until 1975, Mozambique was among the last African countries to gain independence from colonial rule. As the quest for liberation grew with the formation of the Front for the Liberation of Mozambique (FRELIMO) in 1962 and the beginning of the armed resistance against the Portuguese in 1964, a strong anticolonial sentiment and a need for new artistic and cultural forms emerged. Malangatana had touched on social and political themes in earlier work, but from the mid-1960s through the 1970s he articulated them more explicitly, while always retaining an allegorical tendency in his approach.
Constantine Petridis, Chair of the Department of Arts of Africa and the Americas states: “The vibrant paintings of Malangatana provide a window into the political and cultural milieu in which the artist established himself as a pioneering modernist. Marked by both decolonization and nationalism, Malangatana’s oeuvre compels us to revisit the prevailing Eurocentric definition of the art-historical canon.”
Pomellato and an impressive cast of Hollywood artists, fashion headliners, and diversity activists collaborate for the 3rd annual ‘Pomellato For Women’video (and the full video here), promoting inclusivity, environmentalism, equality, and our need to act now. Starring actress and political activist Jane Fonda for the third year in a row, as well as award-winning actress and humanitarian Cate Blanchett, the 2020 Pomellato For Women Godmother, the video also features 2020’s Academy Awards-winning and outspoken actress Laura Dern, comedic actress and philanthropist Tiffany Haddish, lauded French actress Isabelle Huppert, LGBTQ+ activist and social media sensation Max Emerson, French founder of the Maison des Femmes and sexual violence activist Dr. Ghada Hatem, Irish writer, broadcaster and activist Sinéad Burke, acclaimed Canadian filmmaker David Cronenberg, Chinese actress Huang Xiang Yi, Italian actress Alba Rohrwacher, Canadian transgender model Krow Kian, and Pomellato Group CEO Sabina Belli, as they announce themselves hopeful and united in the belief that we can effect change. Speaking in a choral message on their hope for equality and inclusivity, they prompt us to ask ourselves, ‘Who is not in the room?’ Understanding the power of luxury brand visibility, Pomellato uses the Pomellato For Women platform to ignite and promote change, underscoring the Maison’s values of empowerment, environmentalism and inclusivity, as it projects a message of hope.
The Pomellato For Women initiative was first developed in 2017 to highlight the importance of female leadership and a more authentic idea of natural beauty. Founded by a cross-section of women from various disciplines, ages and arts, these ambassadors act as the bearers of Pomellato values. A true woman’s affair, most of Pomellato’s clients are women buying jewels for themselves, thus Pomellato’s workforce is 74% female, and has been headed by CEO Sabina Belli since 2015.
Pomellato was founded by Pino Rabolini in 1967 under the concept of prêt-à-porter jewelry for the liberated woman during an important era for women’s emancipation. Pomellato recognized that the independent woman would need a more functional jewel to wear from workday to evening, and the ready-to-wear jewelry concept was born. Since, Pomellato has been known as the brand that designs for women, promoting the unity, strength and equality of womenkind. The mission of Pomellato For Women and its ambassadors is to listen, to empower, to promote inclusiveness, and to achieve equality.
Sabina Belli explains, “In today’s tumultuous social climate, we have a responsibility to do what we can. As head of a luxury brand company designed for women, of course Pomellato will use its forum to call for change and promote inclusivity. We stand in defiance to gender inequality, bigotry, sexism, homophobia, transphobia, xenophobia, to any fear of ‘the other.’ We raise our voices loud and our spirits high. We are hopeful for a healthier, more unified, more inclusive future. Pomellato For Women, in the spirit of International Women’s Day, celebrates the achievements of womenkind in its proud pursuit for a better tomorrow.”
The Runway Afternoon Tea, Inspired By The Exhibition “Lagerfeld: The Chanel Shows,” Launches At Four Seasons Hotel London At Ten Trinity Square
The Exhibition Offers An Access All Areas Experience Of Karl Lagerfeld’s Most Influential And Monumental Fashion Shows Will Exhibit For The First Time In The Uk At The Forbes 5-Star Hotel
Widely regarded as one of the most outstanding photographers of his generation, Simon Procter’s exhibition features images captured backstage at Lagerfeld’s shows, providing a glimpse through his lens into the inner world of Chanel and the celebrated designer.
Following the Fall 2020/Winter 2021 shows at Paris Fashion Week, Four Seasons Hotel London at Ten Trinity Square and Art Photo Expo will present the UK debut of Lagerfeld: The Chanel Shows– an exhibition of photographs by renowned British artist Simon Procter, celebrating the work of the late Karl Lagerfeld. The exhibition will launch on March 18, 2020, and will be on display in the Rotunda Bar and Lounge at Four Seasons Hotel London at Ten Trinity Square.
Widely respected in today’s contemporary art scene and acclaimed as one of the most outstanding photographers of his generation, Procter was also one of Karl Lagerfeld’s most trusted documentary photographers, having been granted unprecedented backstage access at the Chanel shows. For more than a decade, Procter’s daring camerawork captured the energy and essence of the Chanel shows, visually recreating the epic sets. From a luscious forest scene to a rocket launch, Procter combines multiple photographs to illustrate in a single image the many perspectives of the intense but fleeting spectacle. Procter also captured images of Lagerfeld preparing models backstage, a privilege afforded to few, offering a unique glimpse into the inner sanctum of the fashion house.
Following Lagerfeld’s death in 2019, Rizzoli devoted a book comprising Procter’s photographs and candid never-before-seen images of Lagerfeld backstage entitledLagerfeld: The Chanel Shows.
Bringing the book to life, the large-scale photographs will line the circular perimeter of the Hotel’s Rotunda Bar and Lounge, and the exhibition will include some never-before-seen artworks. Guests will be offered an unparalleled look into the wide-ranging creativity of one of history’s most respected and iconic designers, making it essential viewing for all lovers of fashion and admirers of Chanel and Lagerfeld’s incomparable legacy.
In addition to the works showcased in Rotunda, limited edition artworks will be available to view and purchase in an adjacent gallery for the duration of the exhibition, with prices starting from GBP 5,500. The Lagerfeld: The Chanel Shows books will also be available for purchase in the gallery, including a limited number of copies signed by Procter himself.
Running until June 30, 2020, visitors can also enjoy The Runway Afternoon Tea inspired by Lagerfeld: The Chanel Shows by Simon Procter and a cocktail crafted by Director of Mixology Harry Nikolaou in celebration of the exhibition.
Historian and Narrator John Monsky Captures the Dramatic Final Months of World War II With Multimedia Production Featuring 35-Piece Orchestra and Leading Broadway Artists, Historic Video, Original American Flags From Normandy Beach and Beyond, and Images from the Archives of Legendary Photojournalists
Historian and narrator John Monskybrings his groundbreaking American History Unbound series back to Zankel Hall on Saturday, June 6 and Tuesday, June 9 with The Eyes of the World: From D-Day to VE Day—an exciting multimedia production that tells the powerful story of the American landing on the Normandy beaches and subsequent 11 months of battle that finally secured victory in Europe.
On June 5, 1944, on the eve of D-Day, Major General Dwight D. Eisenhower told American forces, “The eyes of the world are upon you. The hopes and prayers of liberty-loving people everywhere march with you.” While D-Day marked a turning point and pathway to victory, the landings and eleven months of battle that followed would be among the most brutal for the American troops and Allied forces.
This immersive concert experience, presented with the New-York Historical Society in the 75th anniversary year of VE Day, recounts this period through striking photography from the archives of American photojournalist Lee Miller, who, reporting for Vogue magazine, was among the 127 accredited female journalists covering the war, as well as letters home from a young American intelligence officer who landed at Normandy and fought with the army through VE day. Along the way, they connected with legendary American writer Ernest Hemingway and photojournalist Robert Capa. The paths of these four remarkable figures intersect and intertwine as they served as the “eyes for the world” from D-Day to eventual victory.
The program features the Orchestra of St. Luke’s, conducted by music supervisor Ian Weinberger (Hamilton), joined by leading Broadway vocalists including Nick Cordero (Waitress, A Bronx Tale), Kate Rockwell (Mean Girls), Tony LePage (Come From Away), and Bryonha Parham (After Midnight) performing evocative music of the era—from La Vie en Rose and Woody Guthrie’s What Are We Waiting On to signature songs of legendary bandleader Glenn Miller who volunteered for the Army at the height of his career—and selections from the film soundtracks of Saving Private Ryan and Band of Brothers. Tickets for the June 6 and 9 performances are on sale to the general public now.
The American History Unbound series, exploring watershed moments in American history, combines live music performed by celebrated Broadway actors and a full orchestra, incorporating film, photography, historic flags and material culture from Monsky’s personal collection. Narrated by Monsky with a script punctuated with his own memories and observations, each production includes powerful examinations of singular and pivotal events—from the Revolutionary War and Civil War to D-Day—turning points in history that changed America.
Decades ago, Monsky’s mother bought her 12-year-old son his first “flag,” a red kerchief (an artifact from Theodore Roosevelt’s unsuccessful 1912 presidential bid), to appease his boredom while on a routine shopping outing. Today, his collection of flags and textiles — tangible artifacts that connect us to our history — has become one of the finest in the country. As his collection grew, so did annual Flag Day presentations held in Monsky’s apartment. As the events grew larger in scope—adding bands and Broadway singers to accent his talks—they eventually required portal-widening-living room-construction to accommodate friends and family, all riveted by Monsky’s storytelling. Sought-after invitations to these informal gatherings attracted the attention of The New Yorker in 2012, when Monsky took a second look at the War of 1812, with a presentation that included the commissioning pennant from the great wooden frigate, the USS Constitution. Louise Mirrer, the President and CEO of the New-York Historical Society, where Monsky is a trustee, recalled, “I attended the Flag Day celebrations and was absolutely dazzled. One of those years after viewing…a really exceptional explication of history, I said to John, ‘you know, you should do that in our auditorium.’” She has since called his D-Day production “the most moving event ever presented on the Society’s stage.”
Monsky has been creating and performing his American History Unbound productions for over a decade and was recently honored by the New-York Historical Society. After two previous sold-out productions—The Vietnam War: At Home and Abroad (2018) and We Chose To Go To The Moon (2019)—The Eyes of the World is the third installment of American History Unbound to be presented at Carnegie Hall.
“John has a passion for combining storytelling, music, visuals, and film in unique and creative ways that bring history to life and that connect emotionally with his audiences,” said Clive Gillinson, Executive and Artistic Director of Carnegie Hall. “We look forward to this next edition which will take us through some of the most important moments of World War II, traveling on a journey that is sure to be powerful as well as illuminating.”
Like Monsky’s previous productions, The Eyes of the World includes tangible historic objects woven into the storytelling narrative, some of which have been in storage and not seen by the public for more than 75 years. His presentation includes the flag famously placed by Rudder’s Rangers on the rocks of Pointe du Hoc to mark the command post; a rarely-seen divisional color of the US 29th Infantry Division, which suffered tremendous losses on the beaches of Normandy; the flag from landing craft LCI 94, which picked up photojournalist Robert Capa from Omaha Beach on D-Day; community “service banners” hung in schools and churches across America, with blue stars indicating the number of their “boys” in service, plus more.
“I did not start out looking for the figures we follow in this production—Hemingway, Capa, Miller, and a young intelligence officer who landed on D-Day,” said John Monsky. “They revealed themselves as we researched a single flag flown on a Higgins boat and the boys it carried to the beaches. Every twist and turn surprised us as the story unfolded, with its conclusion making the hair on the back of my neck stand on end, as Lee Miller and others come together in some of the War’s most dark and haunting places.”
“We are grateful for the contributions of historian and author Alex Kershaw, the staff of the American Battle Monuments Commission and The National World War II Museum, as well as Katie Couric and John Molner for their encouragement and passion to tell the stories of American history. It’s also been an extraordinary privilege to work with Lee Miller’s family—her son Antony Penrose and granddaughter Ami Bouhassane—to expose her work to the wider audience it deserves.”
Joined by World-Class Musicians, Rosenwinkel Performs Songs from his Brazilian Inspired Album Caipi
On Saturday, March 21 at 9:00 p.m., renowned jazz guitarist Kurt Rosenwinkelperforms in Zankel Hall as part of the Joyce and George T. Wein Shape of Jazz series. With a career spanning 25 years, Rosenwinkel is widely considered one the most important and influential jazz guitarists of his generation. For this special performance, Rosenwinkel’s talents will be on display as he sings and plays guitar, joined by musical collaborators from both Brazil and the United States—Pedro Martins(Guitar and Vocals), Frederico Heliodoro(Electric Bass), Antonio Loureiro(Keyboards), Felipe Viegas(Keyboards), and Bill Campbell(Drums)—to perform songs from Caipi, an album described as “immediately gripping” by Jazz Times.
The conceptual influence of Kurt Rosenwinkel’s music can be readily observed on a global scale. Whether in concert halls, basement jazz club wee hours jam sessions, conservatory practice rooms or radio station airwaves, Rosenwinkel’s distinctive voice as a composer and guitarist has had an undeniable impact on music in the 21st century.
The American multi-instrumentalist, composer, and producer has gained international recognition for his deft artistry and unabated individualism since he first appeared on the New York music scene in 1991. His legacy as the pre-eminent jazz guitar voice of his generation is plainly evident on his eleven albums as a leader, each one the inspiration for legions of musicians young and old across the globe. Rosenwinkel’s aesthetic vision and multi-genre facility has caught the ear of some of modern music’s most prominent stars; collaborations with Eric Clapton, Q-tip, Gary Burton, Paul Motian, Joe Henderson, Brad Mehldau, and Donald Fagen are but a few highlights from a remarkably diverse and extensive catalogue of over 150 sideman recordings.
“There are a lot of prizes today, but very few women [get them],” Aware cofounder Camille Morineau says. “A few years ago we launched a French Aware Prize in Paris, and when I was invited by the Armory to walk through the fair [around then], I became conscious that there were quite a lot of women in the fair and solo booths, and this felt new, interesting and strong.”
At the 2020 Armory Show, Edmonds was unanimously selected by the jurors who coalesced around the discovery of her flag paintings – a new body of work presented by Luis De Jesus Los Angeles at this year’s Armory Show. “We were all flabbergasted by Edmond’s work. I think that’s what fairs are about, discovering work and having strong experiences of the art that is beyond words,” Morineau says. “I didn’t know June’s work well, and fairs are a place of surprises and a place to learn. I hope that the prize will be about sharing these surprising and strong moments with other people.“
June Edmonds was born 1959 in Los Angeles, where she lives and works. She received her MFA from Tyler School of Art, Philadelphia, and a bachelor’s degree from San Diego State University. She also attended Skowhegan School of Painting and Sculpture and is the recipient of a 2018 City of Los Angeles Individual Artist Grant (COLA) and Exhibition at the Los Angeles Municipal Art Gallery; a California Arts Council Individual Artist Grant; Paducah Artist Residency in Kentucky; Helene Wurlitzer Foundation artist residency in Taos, NM; and Dorland Mountain Community artist residency in Temecula, CA. Edmonds has exhibited at the California African American Museum, the Los Angeles Municipal Art Gallery, Luckman Fine Art Gallery at CalState Los Angeles, Watts Tower Art Center in Los Angeles, CA; Angels Gate Art Center in San Pedro, CA; and the Manhattan Beach Art Center in Manhattan Beach, CA. Edmonds has completed several works of public art with the city of Los Angeles and the Department of Cultural Affairs, including an installation at the MTA Pacific Station in Long Beach, CA.. Her paintings are held in collections throughout the United States including the Davis Museum, Wellesley College, Wellesley, MA; California African American Museum, Los Angeles, CA; The Pizzuti Collection, Columbus, OH; as well as Rodney M. Miller Collection, New York, NY; and Kelly Williams Collection, New York, NY, among others.
Edmonds’s Flag Paintings explore the American flag as a malleable symbol of ideals, promises, and identity and create space for the inclusion of multivalent identities that consider race, nationality, gender, and political leanings. Each flag is associated with the narrative of an African American, past or present, a current event, or an anecdote from American history.
Spencer Crew, interim director of the Smithsonian’s National Museum of African American History and Culture, released the following statement on the death of noted mathematician and one of NASA’s “human computers,” Katherine Johnson.
It is with deep sadness that we at the National Museum of African American History and Culture mourn the passing of noted NASA mathematician Katherine Johnson. She played a key role on the 1969 Apollo 11 space team, calculating the precise trajectories that would make it possible for the U.S. to land a crew safely on the moon. The critically important work she performed moved our country forward in a compelling way as we charted a bold course in space travel. It also broke barriers for women in science and mathematics.
From her earliest childhood Johnson counted things. “I counted everything: the steps, the dishes, the stars in the sky,” Johnson once said, recalling her youth. The youngest of four children of a farmer and a schoolteacher, Johnson was born into a household that valued education. Since there was no school for African American children in White Sulphur Springs, West Virginia, Johnson and her siblings attended a laboratory school at West Virginia State Institute, a historically black college. At 15, Johnson enrolled at West Virginia State earning a degree in math education and French.
Johnson was one of three black students selected to integrate West Virginia University’s graduate program. After a brief time, she left school to start family and to teach. In 1952, Johnson learned about a program that would change the course of her life. The National Advisory Committee for Aeronautics’ Langley Aeronautical Laboratory (now known as NASA and the Langley Research Center) was hiring black women mathematicians to be “human computers” to check calculations for technological developments. In 1953, Johnson began her new job working as a member of a computing group; however, her inquisitive nature and boldness won her a place in Langley’s flight research division. Known for her mathematical accuracy, Johnson performed calculations for several historic NASA missions, including the first manned mission to the moon.
Despite being born into an era when professional opportunities for women of color were scarce, Johnson quietly rose above the odds stacked against her. She and other African American women at NASA were consigned to a separate office, dining and bathroom facilities, but over time Johnson’s work won her acceptance. When recalling her time at NASA, Johnson insisted that she never struggled with feelings of inferiority. She knew she was just as good as the next person.
After retiring from NASA, Johnson became a strong advocate for mathematics education. She is the recipient of several awards, including the Presidential Medal of Freedom from President Barack Obama, and a NASA research facility is named in her honor. Her story has been told in the bestselling book and feature-length film Hidden Figures.
Johnson will forever be remembered for her work with NASA and as a pioneering force for women of color in science, technology, engineering and math.
Since opening Sept. 24, 2016, the National Museum of African American History and Culture has welcomed more than 6 million visitors. Occupying a prominent location next to the Washington Monument on the National Mall in Washington, D.C., the nearly 400,000-square-foot museum is the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and showcasing the African American story and its impact on American and world history. For more information about the museum, visit www.nmaahc.si.edu, follow @NMAAHC on Twitter, Facebook and Instagram, or call Smithsonian information at (202) 633-1000.
Performances to Feature Two Exciting Double Bills: Legendary Producers and Songwriters T Bone Burnett and Joe Henry on November 13; and Grammy Award-Winning Artists The Fairfield Four and Ranky Tanky on February 25
Carnegie Hall has announced the all-star lineup of artists for two exciting double-bill American Byways concerts to be presented in Zankel Hall in the 2020–2021 season. Curated and hosted by singer-songwriter Rosanne Cash (who was a Carnegie Hall Perspectives artist in the 2015–2016 season), these one-of-a kind performances take New York audiences on a journey through American roots music, featuring Appalachian traditions, the blues, and more.
On Friday, November 13, 2020 at 9:00 p.m., Cash brings together two iconic producers and songwriters––T Bone Burnett and Joe Henry—for a very special concert. Renowned for producing ground-breaking albums by artists including Robert Plant, Alison Krauss, Willie Nelson, and Elton John, Burnett was also behind the soundtrack for films like Walk the Line and O Brother, Where Art Thou?. Mentored in part by Burnett, Joe Henry has earned acclaim for producing albums by artists including Bonnie Raitt, Allen Toussaint, and Rhiannon Giddens (whom Burnett has worked with as well). For this rare double bill performance, Burnett’s fluid guitar-playing and thoughtful songwriting is paired with Henry’s deeply personal and marvelously eclectic style of storytelling with inflections of rock, folk, country, and jazz.
Multiple Grammy and Academy Award winner Joseph Henry “T Bone” Burnett is a producer, musician and songwriter. Known recently for composing and producing music for the critically acclaimed HBO series True Detective, his film work includes the five-time Grammy winning soundtrack for O Brother, Where Art Thou?, The Big Lebowski, Cold Mountain, The Hunger Games, Crazy Heart and Walk The Line, amongst others. He has collaborated with numerous artists including Bob Dylan, Elvis Costello, Roy Orbison and won Album of the Year and Record of the Year Grammy Awards for Robert Plant and Alison Krauss’s Raising Sand.
In a career spanning more than 30 years, Joe Henry has left an indelible and unique imprint on American popular music. As a songwriter and artist, Mr. Henry is celebrated for his exploration of the human experience. A hyper-literate storyteller, by turns dark, devastating, and hopeful, he draws an author’s eye for the overlooked detail across a broad swath of American musical styles—rock, jazz and blues—rendering genre modifiers useless.
Mr. Henry has collaborated with many notable artists on his own body of work, including Don Cherry and T Bone Burnett (Shuffletown, 1990), Victoria Williams and the Jawhawks‘s Gary Louris and Marc Perlman (Kindness of the World, 1993), guitarists Page Hamilton (Trampoline, 1996), Daniel Lanois and Jakob Dylan (Fuse, 1999), Ornette Coleman, Brad Mehldau, Marc Ribot, Brian Blade, and Meshell Ndegeocello (Scar, 2001), Bill Frisell and Van Dyke Parks (Civilians, 2007), Jason Moran (Blood From Stars, 2009), Lisa Hannigan (Invisible Hour, 2014).
Celebrated Trumpeter Sean Jones Leads Ensemble with Grammy Award-Winning Vocalist Dianne Reeves as Special Guest
First-Ever Tour to Africa by One of Carnegie Hall’s Three Acclaimed National Youth Ensembles to Include Debut Performances in Cape Town, Johannesburg, Makhanda, and Bloemfontein, June 24-July 7, 2020
This June and July, Carnegie Hall’s critically-acclaimed national youth jazz orchestra—NYO Jazz—returns for its third season of extraordinary music-making, highlighted by its first-ever tour to South Africa from June 24-July 7, 2020. This remarkable ensemble, created by Carnegie Hall’s Weill Music Institute in 2018, annually brings together some of the most outstanding teen jazz musicians from across the United States to train, perform, and tour with some of the world’s greatest artists while also serving as music ambassadors for their country.
NYO Jazz’s historic visit to South Africa—to include debut performances in Cape Town, Johannesburg, Makhanda, and Bloemfontein—marks the first time that one of Carnegie Hall’s three acclaimed national youth ensembles will perform on the African continent. It follows successful international tours by NYO Jazz to some of Europe’s most prestigious concert halls and music festivals in 2018, and the ensemble’s debut tour to Asia in 2019.
Celebrated trumpeter Sean Jones returns to lead NYO Jazz in 2020. He is joined by iconic jazz vocalist Dianne Reeves as special guest. These NYO Jazz concerts will offer a rare chance to hear the five-time Grammy Award winning vocalist performing with a big band, singing jazz standards in arrangements that have been especially made for her. The ensemble’s diverse repertoire will also feature a new composition by John Beasley, commissioned by Carnegie Hall for this tour, and other contemporary pieces that explore jazz’s influence on hip-hop, R&B, and pop music alongside big band standards.
“We are thrilled to have NYO Jazz make its debut in South Africa this summer—the first visit to Africa by any of our national youth ensembles” said Clive Gillinson, Executive and Artistic Director of Carnegie Hall. “Given South Africa’s extraordinarily rich music traditions, which include a deep passion for jazz, we know this tour will be a tremendous opportunity for musical and cultural discovery for these amazing young players. We are proud to showcase their incredible depth of talent and the high level of musicianship found across the United States as we find ways to connect the members of NYO Jazz with young musicians and music lovers across the country.”
NYO Jazz’s 2020 tour will offer America’s finest young musicians the opportunity to experience the richness of South Africa’s culture and history while sharing their remarkable artistry with audiences throughout the country. Complementing their performances, the players’ schedule will also include exciting opportunities for cultural exchange and peer-to-peer activities with local young people, an element that has become a hallmark of international tours by all three of Carnegie Hall’s national youth ensembles.
In Fall 2020, A Lifetime Retrospective Dedicated To Jasper Johns Will Be Presented Simultaneously In New York And Philadelphia
In an unprecedented collaboration, this major exhibition is jointly organized by the Whitney Museum of American Art and the Philadelphia Museum of Art
October 28, 2020–February 21, 2021
The most ambitious retrospective to date of the work of Jasper Johns, organized by the Philadelphia Museum of Art and the Whitney Museum of American Art, will be presented simultaneously in New York and Philadelphia this fall. A single exhibition in two venues, this unprecedented collaboration, Jasper Johns: Mind/Mirror, will be the artist’s first major museum retrospective on the East Coast in nearly a quarter century. It opens concurrently in Philadelphia and in New York on October 28, 2020. Visitors who attend the exhibition at one venue will enjoy half-price adult admission at the other when presenting their ticket. And throughout the duration of the exhibition, members of each institution will receive free admission at both venues. (Additional details will be available at whitney.org and philamuseum.org.)
Filling almost 30,000 combined square feet across the two venues, the exhibition will contain nearly 500 works. It is the most comprehensive exhibition ever devoted to Johns, creating an opportunity to highlight not only his well-known masterpieces but also many works that have never been exhibited publicly. Conceived around the principles of mirroring and doubling that have long been a focus of the artist’s work, this two-part exhibition, which follows a loose chronological order from the 1950s to the present, offers an innovative curatorial model for a monographic survey. It will chronicle Johns’s accomplishments across many mediums—including paintings, sculpture, drawings, prints, working proofs, and monotypes—and highlight the complex relationships among them.
Adam D. Weinberg, the Whitney’s Alice Pratt Brown Director, commented, “We are delighted to present this unique retrospective together with the Philadelphia Museum of Art, an important occasion for both museums, which have had connections with the artist going back decades. The Whitney has been collecting and showing Johns since the 1960s and we are thrilled to honor his ninetieth birthday in 2020, which also marks the ninetieth anniversary of the Whitney’s founding. Enigmatic, poetic, rich, and profoundly influential, Johns’s work is always ripe for reexamination.”
“Given the crucial place that Jasper Johns holds in the art of our time, this collaboration enables our two museums, together, to examine the artist’s vision in all its multiplicity and depth,” added Timothy Rub, the George D. Widener Director and CEO, Philadelphia Museum of Art. “The Philadelphia Museum of Art has long dedicated a gallery to the display of Johns’s work, which, given his admiration of Cézanne and Duchamp, richly resonates with our collection. Along with our colleagues at the Whitney, we hope to introduce a new generation of visitors in our respective cities to the exceptional achievements of this artist over the course of a career that now spans nearly seven decades.”
Jasper Johns (b. Augusta, Georgia, 1930) grew up in South Carolina where he pursued an interest in art at an early age. He attended the University of South Carolina before moving to New York in 1948, and briefly attended Parsons School of Design. For two years he served in the army and was stationed in South Carolina and Japan. He returned to New York in 1953, where he met Robert Rauschenberg, John Cage, and Merce Cunningham, with whom he would famously collaborate. His work has been the subject of numerous retrospectives and solo shows, including Jasper Johns: A Retrospective at the Jewish Museum (1964), Jasper Johns at the Whitney (1977), Jasper Johns: Works Since 1974 at the PMA (1988–89, which traveled to the Venice Biennale, where Johns was awarded the Golden Lion Award for Lifetime Achievement), Jasper Johns: A Retrospective at the Museum of Modern Art, New York (1996–97, the last comprehensive East Coast survey), and most recently Jasper Johns: ‘Something Resembling Truth’ at the Royal Academy, London, and The Broad, Los Angeles (2017–18). The innovative collaboration and structure of the Whitney and PMA’s retrospective distinguishes it from these previous shows and will account not only for the complexity and originality of Johns’s body of work at a new scale, but also will seek to test some of the conventional perceptions of it.
Since the early 1950s, Jasper Johns (b. 1930) has produced a radical and varied body of work distinguished by constant reinvention. In his twenties, Johns created his now-canonical Flag (1954–55), which challenged the dominance of Abstract Expressionism by integrating abstraction and representation through its direct, though painterly, deadpan visual power. His works have continued to pose similar paradoxes—between cognition and perception, image and object, painting and sculpture—and have explored new approaches to abstraction and figuration that have opened up perspectives for several generations of younger artists. Over the course of his career, he has tirelessly pursued an innovative body of work that includes painting, sculpture, drawing, prints, books, and the design of sets and costumes for the stage.
The exhibition is conceived as a unified whole, comprising two autonomous parts, and is co-curated by two longtime scholars who each has a close relationship with the artist: Carlos Basualdo, The Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the PMA, and Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator at the Whitney. Basualdo noted, “We attempted to create an exhibition that echoes the logic of Johns’s work, and it is structured in a mimetic relation to his practice. Galleries at each venue will serve as cognates, echoes, and inversions of their counterparts at the other, allowing viewers to witness and experience the relationships between continuity and change, fragment and whole, singularity and repetition which Johns has used throughout his career to renew and transform his work.”
Rothkopf said, “One of our primary aims was to revivify the incredible sense of daring and discovery at the heart of Johns’s art. He stunned the establishment as a young man but continues to astonish audiences with surprising new ideas as he nears ninety. Surveying the whole of his career, we see an artist propelled by curiosity, constantly challenging himself—and all of us.”
March 17 Concert Includes New York Premiere of Music by John Adams, Cellist Gautier Capuçon Playing Saint-Saëns, and Stravinsky’s The Firebird
March 18 Performance of Mahler’s Sixth Symphony to be Heard by Listeners Everywhere via Carnegie Hall Live Broadcast and Digital Series
This March, acclaimed conductor Michael Tilson Thomas leads the San Francisco Symphony in his final Carnegie Hall concerts as the orchestra’s music director.
The orchestra’s program on Tuesday, March 17 at 8:00 p.m. includes the New York premiere of John Adams’s I Still Dance(co-commissioned by San Francisco Symphony and Carnegie Hall as part of the Hall’s 125 Commissions Project) as well as Saint-Saëns’s Cello Concerto No. 1 with Gautier Capuçon and Stravinsky’s The Firebird.Throughout his tenure, Mr. Tilson Thomas has championed the work of groundbreaking American composers including John Adams, whose relationship with the San Francisco Symphony (SFS) spans nearly four decades. Mr. Adams’s new work, which opens the program, is dedicated to Mr. Tilson Thomas and his husband, Joshua Robison.
The following evening–Wednesday, March 18 at 8:00 p.m.–features a performance of Mahler’s Symphony No. 6. Mr. Tilson Thomas and the San Francisco Symphony’s recording of this work was the first to be released on the orchestra’s in-house SFS Media label and was recognized with a 2002 Grammy Award for Best Orchestral Performance, the first of seven Grammys to be received for their complete recordings of Mahler’s symphonies. This March 18 concert will be heard by listeners everywhere as part of the Carnegie Hall Livebroadcast 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.
Mr. Tilson Thomas made his Carnegie Hall debut leading the Boston Symphony Orchestra in 1969. He has since performed more than 100 times at the Hall, curating two extended Carnegie Hall Perspectives series. He last led the San Francisco Symphony at Carnegie Hall in October 2018, when the orchestra opened the Hall’s 2018-2019 season.
Mr. Tilson Thomas concludes his tenure as SFS Music Director in June 2020 with performances of Mahler’s Symphony No. 8 at Davies Symphony Hall in San Francisco. Upon concluding the final concert, he becomes the orchestra’s first Music Director Laureate.
Michael Tilson Thomas assumed his post as the San Francisco Symphony’s 11th Music Director in 1995, consolidating a relationship with the orchestra that began with his debut in 1974. Since then, he and the orchestra have formed a musical partnership hailed as one of the most inspiring and successful in the country. His tenure has been praised for outstanding musicianship, innovative programming, highlighting the works of American composers, and bringing new audiences to classical music. In addition, the orchestra has been recognized nationally and internationally as a leader in music education and pioneer in using digital technology to widen the reach of classical music.
A Los Angeles native, Mr. Tilson Thomas studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at nineteen. He worked with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts and was pianist and conductor for the Piatigorsky and Heifetz master classes. In 1969, Mr. Tilson Thomas was appointed Assistant Conductor of the Boston Symphony Orchestra. Ten days later, he came to international recognition after replacing Music Director William Steinberg mid-concert at Lincoln Center. He made his Carnegie Hall debut days later replacing Mr. Steinberg leading the BSO. He went on to become the BSO’s Principal Guest Conductor, and he has also served as Music Director of the Buffalo Philharmonic, and as a Principal Guest Conductor of the Los Angeles Philharmonic. With the London Symphony Orchestra, he has served as Principal Conductor and Principal Guest Conductor; he is currently Conductor Laureate. He is Artistic Director of the New World Symphony, America’s Orchestral Academy, which he co-founded in 1987. The NWS has helped launch the careers of more than 1,200 alumni worldwide, including more than 15 members of the SFS.
Evgeny Nikitin stars in the title role and Anja Kampe makes a notable Met debut as Senta
François Girard returns to the Met for the first time since his acclaimed production of Wagner’s Parsifal
Der Fliegende Holländer will be transmitted live to movie theaters around the world on Saturday, March 14, as part of The Met: Live in HD series
A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; The Abu Dhabi Festival; and Opéra de Québec
The Metropolitan Opera presents a new production of Wagner’s early masterpiece Der Fliegende Holländer tonight, with performances continuing through March 27. Valery Gergiev conducts the new staging from director François Girard, whose interpretation is centered on the young woman Senta’s obsession with a portrait of the Dutchman.
Girard, whose revelatory 2013 take on Parsifal set the recent Met standard for Wagner stagings, now unveils a spellbinding new vision of the composer’s tale of a cursed sea captain doomed to sail the open ocean for eternity. With sweeping sets by John Macfarlane, Girard’s new production turns the Met stage into a rich, layered tableau reminiscent of a vast oil painting. Valery Gergiev conducts a brilliant cast led by bass-baritone Evgeny Nikitin as the Dutchman, with German soprano Anja Kampe making her anticipated Met debut as the devoted Senta, whose selfless love is what the Dutchman seeks. Bass Franz-Josef Selig is her father, Daland, and tenor Sergey Skorokhodov is her deserted former lover, Erik. Mihoko Fujimura makes her Met debut as Senta’s nurse, Mary, and David Portillo sings the role of the Steersman.
The creative team includes set designer John Macfarlane, costume designer Moritz Junge, lighting designer David Finn, projection designer Peter Flaherty, choreographer Carolyn Choa, and dramaturg Serge Lamothe.
The performances on March 24 and 27 will be conducted by Patrick Furrer, making his debut. At the performance on March 24, the role of the Steersman will be performed by Alok Kumar.
Richard Wagner (1813–1883) was the controversial creator of music-drama masterpieces that stand at the center of today’s operatic repertory. An artistic revolutionary who reimagined every supposition about theater, Wagner insisted that words and music were equals in his works. This approach led to the idea of the Gesamtkunstwerk, or “total work of art,” combining music, poetry, architecture, painting, and other disciplines, a notion that has had an impact on creative fields far beyond opera.
The score of Der Fliegende Holländer is an extraordinary combination of operatic lyricism, dramatic insight, and magnificent effects. At the time it was written, Wagner had not yet developed his theories of music-drama, which would form the basis for his later works. Many of the features of conventional opera (recitatives, arias, ensembles), therefore, can still be found, but the way Wagner integrates them into the fabric of the score clearly foreshadows his later technique of a continuous musical flow.
The final phase of competition is the public Grand Finals concert on the Met stage, accompanied by the Metropolitan Opera Orchestra conducted by Bertrand de Billy, on Sunday, March 1
Winners will receive individual cash prizes of $20,000 and invaluable exposure in the opera world
Finals concert to be broadcast live on the Met’s website and SiriusXM
Following February 24th’s semi-final competition, nine young singers have advanced to the final round of the Metropolitan Opera’s 2020 National Council Auditions. In the public concert, finalists perform on the Met stage Sunday, March 1 at 3 p.m., for an audience of judges, agents, industry leaders, and the general public (in the auditorium and live on the radio). The finalists, chosen by a panel of opera administrators from the Met and other companies, each perform two arias with the Met Orchestra conducted by Bertrand de Billy. Prize money will increase for the first time in 20 years, with the winners receiving individual cash prizes of $20,000 (previously $15,000), and the prestigious and potentially career-launching title of National Council Auditions Winner. The remaining finalists receive $10,000 (previously $7,500).
The concert will be hosted by soprano Lisette Oropesa, a 2005 National Council Auditions winner, and will also feature a performance by tenor Javier Camarena, while the judges deliberate.
The concert will be broadcast live on Metropolitan Opera Radio on SiriusXM Channel 75, and streamed live on the Met’s web site, www.metopera.org.
The 2020 finalists, the regions they represent in the competition, and their hometowns are:
Grammy Award-Winning Choir Performs New York Premiere of Michael Gordon’s Travel Guide to Nicaragua Featuring Cellist Maya Beiser
On Wednesday, March 25 at 7:30 p.m. in Zankel Hall. Grammy Award-winning new music choir The Crossing, led by Donald Nally, performs the New York premiere of Michael Gordon’s Travel Guide to Nicaraguawith cutting-edge cellist Maya Beiser, a work co-commissioned by Carnegie Hall as part of its 125 Commissions Project.
Travel Guide to Nicaragua is inspired by Gordon’s hazy memory of his first eight years of life living on the outskirts of Managua, Nicaragua with his Eastern European parents who had emigrated to the country. In writing this third substantial work for The Crossing, Gordon—one of the founding members of Bang on a Can—also reaches beyond his childhood memories, pondering the world of the Maya and Aztecs and drawing on the words of poet Rube´n Dari´o and Mark Twain, who visited the country in the mid-1860s.
There’s a pre-concert talk at 6:30 p.m.: Conductor Donald Nally and composer Michael Gordon in conversation with John Schaefer, host of WNYC’s New Sounds and Soundcheck. Support for the 125 Commissions Project is provided by members of Carnegie Hall’s Composer Club.
Hailed as “America’s most astonishing choir” (The New York Times) and “ardently angelic,” (The Los Angeles Times), The Crossing is a Grammy-winning professional chamber choir conducted by Donald Nally and dedicated to new music. It is committed to working with creative teams to make and record new, substantial works for choir that explore and expand ways of writing for choir, singing in choir, and listening to music for choir. Many of its nearly 90 commissioned premieres address social, environmental, and political issues. With a commitment to recording its commissions, The Crossing has issued 19 releases, receiving two Grammy Awards for Best Choral Performance (2018, 2019), and five Grammy nominations in three years. They have presented nearly 90 commissioned world premieres.
The Crossing collaborates with some of the world’s most accomplished ensembles and artists, including the New York Philharmonic, LA Phil, the American Composers Orchestra,Network for New Music, Lyric Fest, Piffaro, Tempesta di Mare Baroque Chamber Orchestra, the Annenberg Center, Beth Morrison Projects, The Rolling Stones, the International Contemporary Ensemble (ICE), and more. The Crossing holds an annual residency at the Warren Miller Performing Arts Center in Big Sky, Montana where they are working on an extensive, multi-year project with composer Michael Gordon and filmmaker Bill Morrison. Their concerts are broadcast regularly on WRTI 90.1FM, Philadelphia’s Classical andJazz Public Radio.
The Crossing’s recordings of Robert Convery and Benjamin Boyle’s Voyages (August 2019, Innova) and Kile Smith’s The Arc in the Sky (July 2019, Navona) were both nominated for 2020 Grammy Awards for Best Choral Performance. Lansing McLoskey‘s Zealot Canticles won the 2019 Grammy; The Crossing’s collaboration with PRISM, Gavin Bryars’ The Fifth Century (ECM, October 2016), won the 2018 Grammy Award; and Thomas Lloyd’s Bonhoeffer (Albany 2016) was nominated for the 2017 Grammy, all for Best Choral Performance. The Crossing, with Donald Nally, was the American Composers Forums’ 2017 Champion of New Music. The Crossing’s 2014 commission Sound from The Bench by Ted Hearne was named a 2018 Finalist for the Pulitzer Prize in Music. Learn more at www.crossingchoir.org.
Hailed for her “stirring emotional power” by The New York Times, Maya Beiser has been called a “cello rock star” by Rolling Stone, praised as “a force of nature” by The Boston Globe, and dubbed “the queen of Avant-garde cello” by The Washington Post.
Raised on a Kibbutz in the Galilee Mountains in Israel, by her Argentinean father and French mother, Beiser was discovered at the age of twelve by the late violinist Isaac Stern. Upon graduating from Yale University, she embarked on a rebellious career, passionately forging her artistic path through uncharted territories, expanding her art form and bringing a bold and unorthodox presence to contemporary classical music.
Beiser is a featured performer on the world’s most prestigious stages including Lincoln Center, Carnegie Hall, BAM, The Kennedy Center, BBC Proms, London’s Southbank Centre, Royal Albert Hall and the Barbican, Sydney Opera House, Barcelona’s L’auditori, Paris’ Theatre de La Ville, Stockholm’s Concert Hall, and in major venues and festivals across five continents.
Among the wide range of artists she has collaborated with are Philip Glass, Louis Andriessen, Erin Cressida-Wilson, Brian Eno, Shirin Neshat, Steve Reich, Lucinda Childs, Michael Gordon, Julia Wolfe, Mark Anthony Turnage, David Lang, Bill Morrison, and Wendy Whelan.
Beiser’s discography includes twelve solo albums, many of them topping the classical music charts. In the summer of 2019, she launched her own record label – Islandia Music records – and released delugEON, a concept album that deconstructs the classical canon. On January 10 2020, she released “Bowie Cello Symphonic: Blackstar” – a reimagination of David Bowie’s last album – topping the Classical Crossover charts and receiving rave reviews. Beiser is the featured soloist on many film soundtracks, including an extensive collaboration with James Newton Howard.
Maya Beiser is a United States Artists Distinguished Fellow in Music and was a Mellon Distinguished Visiting Artist at MIT. Her mainstage TED Talk has been watched by over one million people. (www.mayabeiser.com)
Over the past 30 years, Michael Gordon has produced a strikingly diverse body of work, ranging from large-scale pieces for high-energy ensembles and major orchestral commissions to works conceived specifically for the recording studio and kaleidoscopic works for groups of identical instruments. Transcending categorization, his music represents the collision of mysterious introspection and brutal directness.
This season, the San Francisco Contemporary Music Players with Roomful of Teeth and Splinter Reeds premiere the concert-length In a Strange Land, the Strings of Autumn festival in Prague feature Gordon as composer-in-residence and perform Timber plus all of Gordon’s string quartets; and the percussion/piano/bass trio Bearthoven premieres a new work.
Travel leader also introduces Norway and Slovenia adventures, expands cycling and Grand Canyon collections
REI Co-op‘s adventure travel company has introduced its first active trips in Shenandoah National Park, along with new trips in Norway and Slovenia. The global leader in small group active travel also announced its first international backpacking trip in Patagonia and continued expansion of its Grand Canyon and cycling collections.
“We intentionally design every active adventure to connect with local communities in a meaningful way that only REI can offer,” said Mark Seidl, REI divisional vice president of Experiences. “By doing so, we want our guests to gain a broader perspective of the world and be transformed through the experience.”
On REI’s multisport trip, guests hike to Shenandoah’s highest point and through deep caverns with streams and anthodite formations, zipline through the treetops, and float down the South Fork of the Shenandoah River. Star-filled evenings at camp are complete with hearty meals to refuel guests. The company’s lodge-to-lodge itinerary hikes a section of the Appalachian Trail from the doorsteps of iconic lodges that boast unique histories. The company’s cycling weekend stays at charming inns and lodges, providing a welcome reward from vigorous daily rides of 40 to 60 miles along the spine of the Blue Ridge Mountains.
Adding to REI’s postcard-perfect national parks adventures is its expansion in the Grand Canyon. The company recently added six itineraries for a total of 14 adventures Grand Canyon National Park that range from three to eight days of hiking, backpacking and cycling. With so many options, adventurers can confidently select a trip based on his/her available time, interests and ability.
Backpacking Patagonia – Where Nature Reigns Supreme Building on REI’s widely popular North America backpacking trips, the company is introducing its first international itinerary to explore the undiscovered heart of Patagonia’s remote and rugged beauty. On Backpacking Patagonia – Fitz Roy and Los Glaciares National Park, the eight-day adventure starts in the small outpost of El Chalten known as the region’s trekking capital. Guests hike through meadows and lenga forests, across moraines and glaciers, and up to breathtaking vistas. A trip highlight is a trek past iceberg-laden bays and over high passes to reach the unparalleled views of the second-largest non-polar ice mass in the world.
The co-op now offers seven itineraries in Patagonia ranging in length from seven to 13 days for hiking, cycling, kayaking and volunteer trail maintenance to protect the famous “W” trail.
New Europe trips: Norway and Slovenia Known as the “land of the midnight sun” because one-third of the country is in the Arctic Circle, REI is expanding its classic Norway offering with the launch of two more itineraries – Norway Lofoten Islands Hiking and Norway Fjords Cycling. The nine-day archipelago hiking trip offers unparalleled beauty as guests hike up glacier-carved mountains to the reward of epic views, kayak “little Hawaii,” and experience life in remote fishing communities. Highlights also include a cruise through one of the country’s steepest and narrowest fjords in search of Europe’s largest eagle, a visit to the outermost and wildest islands of Værøy, and plenty of opportunities for traditional cold-water swims.
On REI’s Slovenia Hiking – The Alps to the Adriatic trip guests venture into the quiet solitude of the Julian Alps and more. The rugged Julian Alps are just as awe-inspiring as their Swiss and French cousins, with a big difference: far fewer hikers. Over eight days, marvel at high limestone peaks and dense spruce forests; raft the Soča River and swim in its pools and waterfalls; take a private tour of the subterranean chambers of the UNESCO World Heritage site of the Škocjan Caves; and discover the region’s wine, olive oil and local cuisine with visits to a prosciutto producer and local beekeeper farm. For such a small country, its beekeepers produce up to 2,500 tons of honey a year.
An Expanded Range of Sketchers Styles Feature Goodyear Rubber Technology Outsoles For Enhanced Grip, Stability And Durability
Global footwear powerhouse Skechers is building on the technology in its footwear through a new collaboration with The Goodyear Tire & Rubber Company. Select styles across multiple categories for men, women and kids will utilize Goodyear rubber technology in custom Skechers outsoles that will deliver increased grip, stability and durability.
“This collaboration is an example of two trusted brands coming together to create a high-tech product that will truly benefit our consumer,” said Michael Greenberg, president of Skechers. “Through this effort, select products will feature Goodyear Performance Outsoles, offering that extra edge where it’s needed most—be it enhanced stability on a run, excellent grip over slippery surfaces in the workplace, or durability on the playground for long-lasting wear. We expect this will resonate with our customers who need these innovations in the comfortable Skechers footwear that they love.”
“Goodyear has always worked to create innovative products that provide consumers with high-performance tires, and now we’re using that same ingenuity to enable consumers to wear high-performance shoes,” said Christian Jurado, Goodyear’s global director of licensed products.
The shoes, featuring Goodyear Performance Outsoles, are designed for durability with long-lasting wear, excellent grip on a variety of surfaces and weather conditions and enhanced stability through exceptional traction. This is made possible with Goodyear-developed rubber technology that contains a special polymer including sustainable soybean oil—a renewable, bio-based material used in some of the company’s top-performing tires – available in the U.S. and Canada – the Assurance® WeatherReady®, Eagle® Exhilarate® and Eagle® Enforcer® All Weather® and the Assurance ComfortDrive®.
The Virginia Museum of Fine Arts is pleased to announce the 2020-21 recipients of VMFA fellowships. Twenty-six students and professional artists were selected from more than 500 applicants to receive a total of $146,000 towards professional advancements in the arts. The VMFA Fellowship Program has awarded more than $5.8 million to over 1,395 artists since 1940. Recipients must be Virginia residents and may use the award as desired, including for education and studio investments. Each year, professional curators and working artists serve as jurors to select fellowship recipients.
“The Virginia Museum of Fine Arts Fellowship Program is proud to support student and professional artists working across the Commonwealth,” said Alex Nyerges, VMFA director and CEO. “We offer one of the largest fellowship programs of its kind in the United States and recognize this effort as a core part of our mission.”
VMFA awarded ten professional fellowships of $8,000 each this year. Professional fellowship recipients are:
Paul Finch, New & Emerging Media, Richmond;
Emma Gould, Photography, Richmond;
Sterling Hundley, Drawing, Chesterfield;
Sue Johnson, Mixed Media, Richmond;
Abigail Lucien, Sculpture, Richmond;
Margaret Meehan, Sculpture, Richmond;
David Riley, Film/Video, Richmond;
Dash Shaw, Drawing, Richmond;
Jon-Philip Sheridan, New & Emerging Media, Richmond; and
Susan Worsham, Photography, Richmond.
Veronica Roberts, curator of modern and contemporary art at the Blanton Museum of Art, was the juror for the professional fellowship entries.
Undergraduate fellowships of $4,000 went to ten students this year. The recipients are:
Tatyana Bailey, Photography, Virginia Commonwealth Univeristy (VCU), Richmond;
Emma Carlson, Film/Video, VCU, Des Moines, IA;
Nicolas Fernandez, Photography, VCU, Fredericksburg;
“Jitish Kallat: Return to Sender” March 13–June 28, 2020
The Frist Art Museum presents Return to Sender, an exhibition of immersive installations created by the celebrated Indian artist Jitish Kallat. The dramatic works, which engage both mind and body, are inspired by historic messages that reveal the best and worst of humanity. The exhibition will be on view in the Frist’s Upper-Level Galleries from March 13 through June 28, 2020.
Jitish Kallat is a Mumbai native who produces installations, paintings, photographs, and sculptures that often recall historic acts of speech. Return to Sender brings together two works based on missives: Kallat’s widely exhibited work titled Covering Letter (2012), which was selected for India’s pavilion at the 58th Venice Biennale (2019), and a new project called Covering Letter (terranum nuncius) (2019). “Kallat’s explorations of the epistolary mode are well suited to our museum as our building is the former main post office of Nashville,” says Frist Art Museum Curator Trinita Kennedy. “From here countless letters have been sent and received.”
Covering Letter is a haunting interactive digital projection of a 1939 typewritten letter from Mahatma Gandhi to Adolf Hitler, sent just a few weeks before the outbreak of World War II. The letter is seen on a curtain of traversable dry-fog in the dark. “Gandhi makes a radical appeal for peace, anticipating the brutal bloodshed that the impending war would unleash,” says Kennedy. In the spirit of his doctrine of universal friendship, Gandhi uses the salutation “Dear Friend…” and urges Hitler to resist “reducing humanity to a savage state.” Visitors walk through the screen of descending mist, simultaneously inhabiting and dissipating the moving text. Kallat describes the letter as “a space for self-reflection; a petition from one of the greatest proponents of peace to one of the most violent individuals who ever lived. It can also be read as an open letter from the past destined to carry its message into our turbulent present, well beyond its delivery date and intended recipient.” Kennedy hopes the work will have special resonance in Nashville. “This exhibition marks the first time that Covering Letter has been exhibited in the American South, a place where Gandhi’s ideas about of nonviolent resistance were a vital part of the Civil Rights Movement.”
Covering Letter (terranum nuncius) commemorates and reinvokes the Golden Record, sent as time capsules aboard the Voyager 1 and 2 space probes launched by NASA in 1977. For those expeditions, select sounds, music, and images were placed on two gold-plated phonographic records with the intent to represent life on Earth to any extraterrestrial discoverer. Currently located over 13 billion miles away from planet Earth, they are expected to continue their cosmic journey well beyond the probable extinction of our species and our planet.
Upon entering this installation, visitors will hear a chorus of humanity greeting the universe in 55 languages. There is a projection of a map indicating Earth’s position in our solar system and a large round table with over a hundred images printed on parallax lenses, which are illuminated by lights that pulsate at the rate of human breath. The images, drawn from the Golden Record, include scientific and cosmological diagrams, representations of our genetic makeup and anatomy, as well as other life forms, and architecture, often annotated with measurements. “This is an epic presentation of Earth to an unknown other,” says Kennedy. At a time when we find ourselves in a deeply divided world, Kallat foregrounds these sounds and images for a collective meditation on ourselves as united residents of a single planet.
In Covering Letter (terranum nuncius) there is also a bench shaped like the hands of the Doomsday Clock. This symbolic clock, updated annually by the Bulletin of Atomic Scientists, represents a hypothetical human-made global catastrophe as midnight, and the proximity of the world to apocalypse as a number of minutes or seconds to twelve. “The Golden Record’s presentation of unity and harmony among earthlings is belied by the actual state of the world,” says Kennedy. “The reality is that our planet hangs in the balance through circumstances of our own making, and the clock bench is an ominous metaphor that differs from the euphoria and optimism associated with the midnight on occasions such as New Year’s Eve.” Woven into the hour are humankind’s worst fears and greatest hopes.
This exhibition marks the first time that Kallat’s two Covering Letter installations will be shown together. Exhibited in darkened galleries and open ended in meaning, they are intended to provoke contemplations of our world and the universe.
Born in India in 1974, Kallat has exhibited his work widely across the world in contexts such as galleries, museums, and biennials. In 2017, the National Gallery of Modern Art (New Delhi) presented a mid-career retrospective of his work titled Here After Here, 1992–2017, curated by Catherine David. Kallat has had solo exhibitions at the Art Gallery of New South Wales (Sydney), the Art Institute of Chicago, the Bhau Daji Lad Museum (Mumbai), the Philadelphia Museum of Art, and other museums.
He has exhibited widely, at Martin-Gropius-Bau (Berlin), the Mori Art Museum (Tokyo), Serpentine Galleries (London), Tate Modern (London), the Valencia Institute of Modern Art (Spain), and other institutions. His work has been part of the Asian Art Biennial, the Asia Pacific Triennial, the Curitiba Biennial, the Gwangju Biennale, the Havana Biennial, the Kyiv Biennial, and the Venice Biennale, among others. Kallat also served as the curator and artistic director of the Kochi-Muziris Biennale’s second edition, in 2014.
Thursday, March 12
Artist’s Perspective: Jitish Kallat
6:30 p.m., Frist Art Museum Auditorium
Free; first come, first seated
Mumbai-based artist Jitish Kallat will share a cross section of his work, exploring the many processes, themes, and ideas that recur throughout his wide-ranging artistic practice. Kallat’s works often engage with the ideas of time, transience, sustenance, the ecological, and the cosmological. These explorations take the form of investigative animation videos, photo-works, paintings, sculptures, and elemental drawings that participate in atmospheric phenomena such as wind and rain. In works such as Covering Letter (2012), which will be on view at the Frist, a historic moment is invoked, prompting a contemplation on our present by mediating it through the past. This artist-talk may unfold into a dialogue, as a Q&A session will follow Kallat’s lecture.
The Exhibition Features Quilts And Wall Hangings By The Artist That Showcase Her Expressive And Narrative Approach To Quiltmaking.
A new exhibition at the Milwaukee Art Museum presents colorful quilts and wall hangings made by artist Pauline Parker (1915-2013), who used fabric and stitching as a platform for storytelling.
Opening March 20, 2020, The Quilts of Pauline Parker features more than thirty objects that showcase her expressive approach to quiltmaking, illustrating how Parker transformed a traditionally domestic craft into one that highlighted current events, historical and Biblical figures, and her own travels and experiences.
“Parker’s works are a wonderful result of her training as a painter, her exquisite eye for pattern, and her ability to create beautifully cohesive compositions from disparate parts,” said Margaret Andera, Curator of Contemporary Art. “The Milwaukee Art Museum has a long and rich history of presenting quilt exhibitions, dating back to the 1930s, and we are pleased to continue that tradition by presenting the work of this talented artist.”
Parker studied painting at the School of the Art Institute of Chicago, but her work in fabric began in Wisconsin, where she moved upon retirement. She initially worked with traditional patterns and used techniques she had learned from her mother and aunts, before expanding her subject matter, stitching more freely and exploring a less traditional approach to quiltmaking.
Many of Parker’s narrative quilts, or “fabric collages” as she termed them, resemble paintings in their construction, use of perspective and three-dimensionality. Each quilt was inspired by a personal experience, a poem or a misprinted piece of fabric, which could often lay the groundwork for a story. The artist layered fabrics and materials, including netting, buttons and shells, to build her compositions. Parker made the more than thirty fabric collages featured in the exhibition between the late 1980s and early 2000s.
The Quilts of Pauline Parker runs from March 20 through July 19, 2020, in the Bradley Family Gallery, and is organized by the Milwaukee Art Museum and curated by Margaret Andera, Curator of Contemporary Art.
The McCombe and Pfeifer Families and the Gottlob Armbrust Family Fund in Memory of Helen Louise Pfeifer is the Presenting Sponsor of this exhibition. The Milwaukee Art Museum’s Garden Club is the Contributing Sponsor.
Exhibitions are made possible by the Milwaukee Art Museum’s Visionaries: Debbie and Mark Attanasio, Donna and Donald Baumgartner, John and Murph Burke, Sheldon and Marianne Lubar, Joel and Caran Quadracci, Sue and Bud Selig and Jeff Yabuki and the Yabuki Family Foundation.
Tues, 1:30 p.m.
March 24, April 28, May 12
With Margaret Andera, Curator of Contemporary Art
Free with Museum admission, free for Members
Gallery Talk with Special Guest
Thurs, March 19, 6:15 p.m.
Discover the stories behind the works in the exhibition during this in-gallery conversation with the artist’s daughter, Margaret Parker, and Margaret Andera, Curator of Contemporary Art.
Sun, 1-4 p.m.
March 22, March 29, April 5
Bring your sewing project to the East End to sew and socialize with (and get tips from!) the guest artist. Museum admission is not required.
Met Music Director Yannick Nézet-Séguin to lead orchestra with stops in London, Paris, and Baden-Baden
The Metropolitan Opera today announces that the Met Orchestra will tour Europe in the summer of 2021, immediately following its annual residency at Carnegie Hall. With all performances conducted by the Met’s Jeanette Lerman-Neubauer Music Director, Yannick Nézet-Séguin, the tour includes stops at the Barbican Centre in London on June 29, 2021; the Philharmonie in Paris on June 30 and July 1, 2021; and the Festspielhaus in Baden-Baden, Germany, on July 3 and 4, 2021. Four of the world’s leading opera stars join the Met Orchestra: mezzo-soprano Joyce DiDonato, who will sing selections from Berlioz’sLes Troyens, and soprano Christine Goerke, tenor Brandon Jovanovich, and bass Günther Groissböck, who will perform the first act of Wagner’s Die Walküre.
The Met Orchestra last toured in 2002, when it performed in Salzburg, Austria; Lucerne, Switzerland; and Baden-Baden and Wiesbaden, Germany.
The tour also features performances of American composer Missy Mazzoli’s Sinfonia (for Orbiting Spheres). Nézet-Séguin and the Met Orchestra will perform Mazzoli’s chamber opera Breaking the Waves at the Brooklyn Academy of Music in the summer of 2020, and Mazzoli has been commissioned to compose an opera for a future season at the Met. The complete itinerary and programming for the tour is below.
“These concerts will show off the Met Orchestra at full capacity under Yannick,” said Met General Manager Peter Gelb, “demonstrating their dual strengths in symphonic and operatic repertoire.”
“This is a major milestone in the Met’s recent history. I am very grateful for the music we make all season long at the Met, and I cannot wait to have European audiences experience the Met Orchestra’s brilliant artistry in person. And what better way to celebrate their excellence than to bring along dear friends Joyce, Christine, Brandon, and Günther as collaborators?” said Nézet-Séguin. “I am proud that the Met is continuing to reach audiences beyond Lincoln Center. This European tour is the perfect capstone to the coming season.”
The Metropolitan Opera Orchestra 2021 European Tour
Tuesday, June 29, 2021, at 7:30 p.m.
Barbican Centre, London
Yannick Nézet-Séguin, conductor
Berlioz: Les Troyens, “Chers Tyriens,” featuring Joyce DiDonato
Berlioz: Les Troyens, Royal Hunt and Storm
Berlioz: Les Troyens, “Adieu, fière cite,” featuring Joyce DiDonato
Berlioz: Symphonie fantastique, Op. 14
Wednesday, June 30, 2021, at 8:30 p.m.
Yannick Nézet-Séguin, conductor
R. Strauss: Don Juan, Op. 20
Missy Mazzoli: Sinfonia (for Orbiting Spheres)
Wagner: Die Walküre, Act I, featuring Christine Goerke, Brandon Jovanovich, and Günther Groissböck
Thursday, July 1, 2021, at 8:30 p.m.
Yannick Nézet-Séguin, conductor
Berlioz: Les Troyens, “Chers Tyriens,” featuring Joyce DiDonato
Berlioz: Les Troyens, Royal Hunt and Storm
Berlioz: Les Troyens, “Adieu, fière cite,” featuring Joyce DiDonato
Berlioz: Symphonie fantastique, Op. 14
Saturday, July 3, 2021, at 6:00 p.m.
Yannick Nézet-Séguin, conductor
Berlioz: Les Troyens, “Chers Tyriens,” featuring Joyce DiDonato
Berlioz: Les Troyens, Royal Hunt and Storm
Berlioz: Les Troyens, “Adieu, fière cite,” featuring Joyce DiDonato
Artistic Director Harry Christophers Will Celebrate Final Season With a Powerful Line-up of Favorites, Major Choral Works
The Handel and Haydn Societywill celebrate Artistic Director Harry Christophers’s 12th and final season with nine major subscription concerts at Symphony Hall and the New England’s Conservatory’s Jordan Hall and select other venues. The 2020-21 season, the 206th in the organization’s history, will feature a host of Christophers’s favorite compositions and a powerful line-up of major choral works featuring the Handel and Haydn Society Orchestra, Chorus and notable guest artists.
Boston’s Handel and Haydn Society is dedicated to performing Baroque and Classical music with a freshness, a vitality, and a creativity that inspires all ages. H+H has been captivating audiences for 205 consecutive seasons (the most of any performing arts organization in the United States). Today, H+H’s Orchestra and Chorus delight more than 50,000 listeners annually with a nine-week subscription series at Boston Symphony Hall and other leading venues.
The season will feature guest conductors Harry Bicket, Jonathan Cohen, Laurence Equilbey, Raphaël Pichon, and Václav Luks. Special guest soloists will include sopranos Amanda Majeski, Amanda Forsythe, Carolyn Sampson, and Mary Bevan; mezzo-soprano Catherine Wyn-Rogers; tenors Nicholas Phan, James Way, Jeremy Budd, and Robert Murray; baritones Ryan McKinny, Tyler Duncan, and Sumner Thompson; countertenors Anthony Roth Costanzo, Iestyn Davies; and bass-baritones Henry Waddington and Matthew Brook.
The Handel and Haydn Society brings Classical and Baroque music to life on period instruments in historically informed performances. For the 2020-21 season, Harry Christophers has selected a series of acclaimed choral and orchestral works, rarely performed in one season. The selected compositions will highlight the immense talent of the Handel and Haydn Society Orchestra and Chorus. Christophers will conduct Handel’s Messiah and Israel in Egypt; and Haydn’s The Creation, Drum Roll symphony, and Theresienmesse.
Christophers was appointed Artistic Director at H+H in 2009, the thirteenth artistic director in the organization’s history. During his tenure, the organization has been transformed. H+H has grown to be regarded as one of the finest Baroque and Classical ensembles in the nation. Christophers led the organization through its 2015 Bicentennial. He has hired more than 60% of the current roster of musicians, whom he has led in 13 commercial recordings, the most of any H+H artistic director. There has been an increase in touring, sharing the H+H magic with audiences at Tanglewood and in New York City. During his tenure, subscription sales have risen more than 70%, and philanthropic support has risen significantly, including an increase in the endowment from $3 million to $11 million.
“Since his initial appointment, Harry Christophers has been the accomplished artistic beacon of the Handel and Haydn Society. Under his leadership, we’ve expanded, taking the Orchestra and Chorus to new heights and delivering one exceptional performance after another,” said David Snead, president and CEO of the Handel and Haydn Society. “In the upcoming season, we’ll celebrate his legacy, showcasing the compositions he loves best and shining a spotlight on the H+H Chorus. It will be a monumental season, not to be missed.”
The 2020-21 Season
The Handel and Haydn Society’s 2020-21 season begins on September 25 and 27, 2020 at Boston’s Symphony Hall with Brahms A German Requiem. Led by conductor Harry Bicket, the performance will open with the H+H premiere of Abendfeier in Venedit, Op. 19 from Clara Schumann, a close friend of Brahms and regarded as one of the most distinguished pianists and composers of the Romantic era. This composition, for an a capella chorus, will be followed by Brahms’s Ein deutsches Requiem, featuring soprano Amanda Majeski, baritone Ryan McKinny and the H+H Orchestra and Chorus.
The season continues with Bach + Vivaldi Gloria on October 23 and 25, 2020, at Symphony Hall. Conductor Jonathan Cohen will lead the H+H Orchestra in a rousing performance of J.S. Bach’s Orchestral Suite No. 1, BWV 1066 followed by C.P.E. Bach’s Magnificat, featuring festive trumpets and drums, and Vivaldi’s sunny Gloria, RV 589. Soprano Amanda Forsythe, countertenor Anthony Roth Costanzo, tenor Nicholas Phan, and baritone Tyler Duncan will join the H+H Orchestra and Chorus for the concert.
Massachusetts College of Art and Design (MassArt) held the opening of MassArt Art Museum (MAAM), Boston’s newest, free contemporary art museum this past weekend. MAAM will offer an accessible contemporary art experience for all, partnering with emerging and established artists to bring diverse perspectives to Boston. As a teaching museum, MAAM will educate MassArt students about the professional museum field and bring inspirational and aspirational exhibitions to campus.
After extensive renovations, MAAM opened in the space formerly known as the Bakalar & Paine Galleries at the heart of MassArt‘s campus on the Avenue of the Arts. MAAM will be a kunsthalle, or non-collecting museum, showing temporary exhibitions that feature the work of emerging and established artists to bring fresh, diverse perspectives to Boston. As MassArt’s teaching museum, MAAM will be a resource for MassArt students and faculty, educating students about contemporary art, partnering with faculty to support the curriculum, and preparing students for careers in the museum field. As an extension of the College’s public mission, the Museum will also be a vital resource to the community, offering a pathway to education in the arts and free, unique educational programming to Boston-area public schools and community groups. Always free, MAAM will be open year-round to the public. (To learn more visit maam.massart.edu.)
MAAM’s inaugural exhibitions will feature the U.S. solo premiere of internationally-renowned artist Joana Vasconceles; a group exhibition titled Game Changers: Video Games & Contemporary Art; and a site-specific installation by artist duo Ghost of a Dream.
Joana Vasconcelos: Valkyrie Mumbet (On View: February 22 – August 2, 2020)
To mark the grand opening of MAAM, Vasconcelos’ new Valkyrie commission, Valkyrie Mumbet, honors a courageous American – Elizabeth “Mumbet” Freeman – the first woman of African descent to sue for her freedom in Massachusetts and win, starting the chain of events that helped make slavery illegal in Massachusetts. The work is tailored to fit exclusively in the MAAM space, highlighting the myriad possibilities of the new gallery’s 37 foot high ceiling and 40 foot wide second level art viewing balcony. These distinctive architectural attributes will allow visitors to see the work from different vantage points – beneath the sculpture from the gallery floor, and from over 20 feet high from the balcony.
Game Changers: Video Games & Contemporary Art (On View: February 22 – April 19, 2020)
The Game Changers: Video Games & Contemporary Art exhibition features works by a group of artists (Paloma Dawkins, Cao Fei, Tracey Fullerton, Dan Hernandez, Nyamakop, MassArt professor Juan Obando, Momo Pixel, Skawennati and Brent Watanabe) who are creating at the confluence of contemporary art and video games.
From 1994-2010, the Walker Art Center presented an annual month-long screening series featuring women directors, starting with a touring program “Women in the Director’s Chair (WIDC): Homegirls”, which blossomed into the Walker’s very own “Women With Vision” (WWV) festival. This March, the Walker Art Center will celebrate the legacy and influence of these groundbreaking programs that both launched and inspired so many women directors from our region.
Celebrate the legacy and influence of the Walker’s Women with Vision programs, which supported female filmmakers and sought to bring their experiences and perspectives to the forefront. Celebrated international directors screened side by side with local artists at all stages of their careers. Two past participants, Melody Gilbert and Kelly Nathe, guest curate and pay tribute to this era of film programming, largely helmed by Senior Curator Sheryl Mousley.
“My indie filmmaking career kicked off in 2002 when Sheryl Mousley selected my first indie doc Married at the Mall to screen at the Walker in the Women with Vision program. I was so honored, and I know there are so many other women in our region who came up through this program just like me. Finding those filmmakers and having a reunion as well as celebrating the up-and-coming women filmmakers of today are reasons why I wanted to guest curate this program with Kelly Nathe. We both had life-changing experiences by screening films at the Walker, and we wanted to find out what happened to the others. And with the Academy Awards leaving women off the best director list again, we thought now would be a good time to do this.” —Melody Gilbert
The four-day program includes shorts screenings, on-stage conversations, introductions of new films by emerging local directors and a celebratory reception.
“I have always believed that filmmaking is women’s work. When I came to the Walker in 1998, I took on the annual film program that had started in 1994 called “Women in the Director’s Chair” which had a local sidebar called “Homegirls.” I turned the program into Walker’s “Women With Vision” film festival, always keeping the local filmmakers at the center,” states Sheryl Mousley, Senior Curator, Moving Image. “After my eleven years with the festival, and only when a woman, Katherine Bigelow, in 2010 finally won the Oscar for Best Picture and Best Director, did I hear the shout, “We’ve won!” While ending the series on a high note, I vowed to continue showing women filmmakers at Walker throughout all our programs. I am proud to say that 25% of the Walker Dialogues are women, and the year-round cinema program continues to give voice to local filmmakers and celebrate the legacy and influence of women in international cinema. I am proud of all the Minnesota filmmakers who have shown their films at Walker. It is a wonderful history and confirmation of home-based talent.”
“My very first short film, Rock-n-Roll Girlfriend, screened in the WIDC: Homegirls program back in 1995 when I was still a student, and I can’t begin to explain how much my inclusion in the program meant to me back then. It remains a badge of honor to this day! I’ve always wondered what happened to all the women who started here. Where did they end up and how did the Walker program that focused on women directors shape their careers? Melody Gilbert and I were co-chairs of Film Fatales in Minnesota, an international organization of women and non-binary directors of feature films, and we both pondered that question and decided to go on a journey together to find these women as well as celebrate the emerging filmmakers in our region.” adds Kelly Nathe
Enjoy a sampling of recent works directed by MN women and selected by Film Fatales, a national organization of women and non-binary filmmakers advocating for intersectional parity in the film industry. The evening’s screening is followed by an onstage conversation led by Film Fatales about making the leap to feature filmmaking in our region.
Film Fatales Twin Cities Reel, 10 min
Santuario, Christine Delp & Pilar Timpane, 3 min. (excerpt)
A Winter Love, Rhiana Yazzie, 4 min. (excerpt)
Master Servant, Julie Anne Koehnen, 3 min. (excerpt)
North Side Boxing Club, Carrie Bush and Amanda Becker, 3 min.
Peeled, Naomi Ko, 2 min.
Muslim Sheroes of MN: Nimo Omar, Ariel Tilson, 4 min. (excerpt)
The Coyote Way, Missy Whiteman, 4 min. (trailer)
Oh My Stars, Cynthia Uhrich, 3 min. (excerpt)
Happily Married After, Alison Guessou, 3 min. (excerpt)
Little Men, Ayesha Adu, 3 min. (excerpt)
Untitled Hmong Doc, Joua Lee Grande, 3 min. (excerpt)
The Frist Art Museum presents Mel Ziegler: Flag Exchange, an installation of fifty American flags—one from each state—suspended row after row from the ceiling. The exhibition invites consideration of the American flag as a symbol of national identity and ideals, and it will be on view in the Frist’s Upper-Level Galleries from March 13 through June 28, 2020.
Mel Ziegler (b. 1956), the Paul E. Shwab Chair of Fine Arts Professor at Vanderbilt University, is renowned as a social and community engagement artist whose work seeks to foster discourse and the sharing of ideas relating to history, politics, and society. He divides his time between Nashville and rural Nebraska, where he is the founder and executive director of the Sandhills Institute, a grassroots organization dedicated to civically engaged art, in part by connecting local ranchers and farmers with artists around the world.
During his travels across the United States, Ziegler frequently saw the American flag on display in front of schools, homes, small businesses, construction sites, or simply alongside the road. Many were in poor condition—often ragged, faded, or torn. “Mel was intrigued that these expressions of national pride were kept on view by people who either couldn’t afford to replace them or in many cases hadn’t noticed or cared whether theirs had gotten shabby,” says Frist Art Museum Chief Curator Mark Scala. “And he wondered if their owners might be willing to trade theirs for a fresh new flag.”
So, from 2011 to 2016, in what Ziegler calls “inquisitive travels,” he visited all fifty states, with a supply of American flags, and offered to replace old flags with new ones, renewing people’s outdoor displays while acquiring the materials for the exhibition.
“Flag Exchange is simultaneously a physical installation, an expression of an idea, and a site for performance,” says Scala. “The flags themselves symbolize a nation that has survived tumult and stress.” Displayed in the gallery, the rows of flags create a dense spatial layering. “The effect is optically powerful, as the inherent beauty of the flags’ patterns is intensified through repetition and the irregularity of the damaged cloth,” says Scala.
Flag Exchange has been installed in large spaces, often surrounding or hanging behind a stage or podium. At the Frist, a stage will be part of the installation and may be used for speeches, readings, musical performances, and discussions about the relationship between people and their ideas of democracy. The overall experience is one in which the civic realm is re-imagined in an atmosphere committed to the respectful exchange of viewpoints.
The symbolism of frayed and worn flags in Flag Exchange raises questions about the capacity of the American experiment to be sustained through national triumphs and shortcomings, including our own time of extreme political divisiveness. Ziegler writes that when he started acquiring the flags, “I could have never known what the political climate in the United States might be like today. It seems rather significant and pertinent that this project should help develop open, unpartisan dialogue at a moment when it seems to be needed most.”
Throughout the process of gathering and showing the flags, Ziegler was careful to follow the dictates of the U.S. Flag Code regarding their proper handling and display. In thus demonstrating that respect for the flag should rise above partisanship, he hopes to inspire viewers to find common ground in the vision of indivisibility for which the flag stands.
“In the end, it is the act of collecting the flags—the openness and vulnerability of an artist who is keenly interested in interacting with people in all corners of the country—that will inspire the trust and enthusiasm of all participants as they work to find common ground in the meaning of the flag and the promise of the nation,” says Scala.