Coronavirus (COVID-19) Closures and Update

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 feedback@carnegiehall.org, 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 feedback@carnegiehall.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.

FINE ARTS MUSEUMS (FAMSF)

Both the de Young and the Legion of Honor, including museum cafes and stores, will be closed. Please find the most up-to-date information at deyoungmuseum.org/coronavirus-response.

SAN FRANCISCO MUSEUM OF MODERN ART (SFMOMA)

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.

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‘Malangatana: Mozambique Modern’ at The Art Institute of Chicago

Born in Mozambique, Malangatana Ngwenya (1936-2011) was a painter, a poet, a revered national hero, and a pioneer of modern African art.

Malangatana Ngwenya. The Fountain of Blood (A fonte de sangue), 1961. The Cleveland Museum of Art, Gift of Dr. and Mrs. Lloyd H. Ellis Jr.

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.”

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Carnegie Hall Presents The Eyes of the World: From D-Day to VE Day Saturday, June 6 and Tuesday, June 9 in Zankel Hall

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 Monsky brings 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.

War photojournalist Lee Miller with American soldiers during World War II (photo taken by David Scherman)

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.”

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Carnegie Hall Presents Jazz Guitarist Kurt Rosenwinkel in Zankel Hall on Saturday, March 21 at 9:00 PM

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 Rosenwinkel performs 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.

Kur Rosenwinkel. Photo courtesy of Carnegie Hall.

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.

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Artist June Edmonds Wins Inaugural AWARE Prize at The Armory Show

$10,000 Award Recognizes Best Booth Devoted To A Woman Artist In The Fair’s Main Galleries Section

Luis De Jesus Los Angeles is proud to announce that June Edmonds has won the inaugural AWARE Prize at The Armory Show 2020 in New York. The juried award is presented by the Paris-based nonprofit Archives of Women Artists, Research and Exhibitions (AWARE) and the Aware Foundation in collaboration with The Armory Show. The $10,000 prize goes to a female artist whose work is shown as a solo booth presentation within the fair’s main Galleries section.

June Edmonds (left) and Nicole Berry, Director of The Armory Show, co-presenter of the AWARE Prize. (Image provided by Luis De Jesus Los Angeles/The Armory Show 2020/Pier 94 | Booth 827/New York City)

“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.”

June Edmonds at The Armory Show – Luis De Jesus Los Angeles, Booth 827. (Image provided by Luis De Jesus Los Angeles/The Armory Show 2020/Pier 94 | Booth 827/New York City)

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, Untitled Study for Flag Painting (2), 2020, acrylic on canvas, mounted on linen 20×16

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.

June Edmonds, Capitol Chasm Flag (2), 2020. acrylic on canvas 74×50
Capitol Chasm Flag is named for Mary Eliza Church Terrell. Terrell was born on September 23, 1863 in Memphis and was a well-known African American activist who championed civil rights and women’s suffrage in the late 19th and 20th century. An Oberlin College graduate, Terrell was a founder and charter member of the NAACP. She said: “Surely nowhere in the world do oppression and persecution based solely on the color of the skin appear more hateful and hideous than in the capital of the United States, because the chasm between the principles upon which this Government was founded, in which it still professes to believe, and those which are daily practiced under the protection of the flag, yawn so wide and deep.
June Edmonds in studio. Courtesy of the Luis De Jesus Los Angeles Gallery.

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.

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Smithsonian’s National Museum of African American History and Culture Statement on the Passing of Influential NASA Mathematician Katherine Johnson

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.

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Annie Leibovitz, © Annie Leibovitz

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.

Carnegie Hall Announces 2020-2021 Artist Lineup for American Byways Concerts Curated by Rosanne Cash

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.

American Byways Block. Photo of T Bone Burnett by Josh Cheuse; Joe Henry by Jacob Blickenstaff; Ranky Tanky by Peter Frank Edwards.

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).

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