The Museum of Modern Art announcesDorothea Lange: Words & Pictures, the first major solo exhibition at the Museum of the photographer’s incisive work in over 50 years. On view from February 9 through May 2, 2020, in The Paul J. Sachs Galleries in The David and Peggy Rockefeller Building,
Dorothea Lange: Words & Pictures includes approximately 100 photographs drawn entirely from the Museum’s collection. The exhibition also uses archival materials such as correspondence, historical publications, and oral histories, as well as contemporary voices, to examine the ways in which words inflect our understanding of Lange’s pictures. These new perspectives and responses from artists, scholars, critics, and writers, including Julie Ault, Wendy Red Star, and Rebecca Solnit, provide fresh insight into Lange’s practice. Dorothea Lange: Words & Pictures is organized by Sarah Meister, Curator, with River Bullock, Beaumont & Nancy Newhall Curatorial Fellow, assisted by Madeline Weisburg, Modern Women’s Fund Twelve-Month Intern, Department of Photography, The Museum of Modern Art.
Dorothea Lange. Migrant Mother, Nipomo, California. 1936. Gelatin silver print, 11 1/8 x 8 9/16″ (28.3 x 21.8 cm). The Museum of Modern Art, New York. Purchase
Toward the end of her life, Dorothea Lange (1895–1965) remarked, “All photographs—not only those that are so-called ‘documentary,’ and every photograph really is documentary and belongs in some place, has a place in history—can be fortified by words.”
Dorothea Lange. Tractored Out, Childress County, Texas. 1938. Gelatin silver print. 9 5/16 x 12 13/16″ (23.6 x 32.6 cm). The Museum of Modern Art, New York. Purchase
Organized
loosely chronologically and spanning her career, the exhibition
groups iconic works together with lesser known photographs and traces
their varied relationships to words: from early criticism on Lange’s
photographs to her photo-essays published in LIFE magazine,
and from the landmark photobook An American Exodus to her
examination of the US criminal justice system. The exhibition also
includes groundbreaking photographs of the 1930s—including Migrant
Mother (1936)—that inspired pivotal public awareness of the
lives of sharecroppers, displaced families, and migrant workers
during the Great Depression. Through her photography and her words,
Lange urged photographers to reconnect with the world—a call
reflective of her own ethos and working method, which coupled an
attention to aesthetics with a central concern for humanity.
Dorothea Lange. The Defendant, Alameda County Courthouse, California. 1957. Gelatin silver print. 12 3/8 x 10 1/8″ (31.4 x 25.8 cm). The Museum of Modern Art, New York. Purchase
“It
seems both timely and urgent that we renew our attention to Lange’s
extraordinary achievements,” said Meister. “Her concern
for less fortunate and often overlooked individuals, and her success
in using photography (and words) to address these inequities,
encourages each of us to reflect on our own civic responsibilities.
It reminds me of the unique role that art—and in particular
photography—can play in imagining a more just society.”
The
exhibition begins in 1933, when Lange, then a portrait photographer,
first brought her camera outside into the streets of San Francisco.
Lange’s increasing interest in the everyday experience of people
she encountered eventually led her to work for government agencies, 2
supporting their objective to raise public awareness and to provide
aid to struggling farmers and those devastated by the Great
Depression. During this time, Lange photographed her subjects and
kept notes that formed the backbone of government reports; these and
other archival materials will be represented alongside corresponding
photographs throughout the exhibition. Lange’s commitment to social
justice and her faith in the power of photography remained constant
throughout her life, even when her politics did not align with those
who were paying for her work.
A central focus of the exhibition is An American Exodus, a 1939 collaboration between Lange and Paul Schuster Taylor, her husband and an agricultural economist. As an object and as an idea, An American Exodus highlights the voices of her subjects by pairing first-person quotations alongside their pictures. Later, Lange’s photographs continued to be useful in addressing marginalized histories and ongoing social concerns. Throughout her career as a photographer for the US Government and various popular magazines, Lange’s pictures were frequently syndicated and circulated outside of their original context. Lange’s photographs of the 1930s helped illustrate Richard Wright’s 12 Million Black Voices (1941), and her 1950s photographs of a public defender were used to illustrate Minimizing Racism in Jury Trials (1969), a law handbook published after Black Panther Huey P. Newton’s first trial during a time of great racial strife.
This collection-based exhibition would not be possible had it not been for Lange’s deep creative ties to the Museum during her lifetime. MoMA’s collection of Lange photographs was built over many decades and remains one of the definitive collections of her work. Her relationship to MoMA’s Department of Photography dates to her inclusion in its inaugural exhibition, in 1940 which was curated by the department’s director, Edward Steichen. Lange is a rare artist in that both Steichen and his successor, John Szarkowski, held her in equally high esteem. More than a generation after her first retrospective, organized by Szarkowski at MoMA in 1966, Dorothea Lange: Words & Pictures uses both historical and contemporary words to encourage a more nuanced understanding of words and pictures in circulation.
The exhibition is accompanied by the catalogue Dorothea Lange: Words & Pictures, capturing this renewed consideration of Lange’s work through the particular lens of its relationship to words. Contributors to the exhibition and the catalogue include artists and curators Julie Ault, Sam Contis (in collaboration with Tess Taylor), Sandy Phillips, Wendy Red Star, and Sally Mann; scholars and writers Kimberly Juanita Brown, Jennifer Greenhill, Christina Sharpe, Robert Slifkin, and Rebecca Solnit.
The
exhibition is supported by the Annual
Exhibition Fund.
Organized
By Vitra Design Museum, The Exhibition Featuring More Than 700
Objects
Inspired
By Folk Art And Pop Art, Girard Created A Bold, Colorful, And
Charismatic Universe.
Alexander
Girard (Born in May 24, 1907 in New York City, NY and died
on December 31, 1993 in Santa Fe, New Mexico) was one of the most
important and prolific designers of the 20th century. He created
stunning interiors for restaurants, private homes, corporate offices,
and even airplanes! He created textiles, typography, and tableware.
He designed exhibitions, toys, and a whole city street in Columbus,
Indiana. Inspired by folk art and pop art, Girard created a bold,
colorful, charismatic universe. He warmed up modernism with his
whimsical, optimistic patterns and designs.
The Palm Springs Art Museum (101 Museum Drive, Palm Springs, CA 92262, 760-322-4800) has announced the West Coast debut of Alexander Girard: A Designer’s Universe. This exhibition, organized by Vitra Design Museum, presents the colorful universe of Alexander Girard through more than 400 objects—textiles, drawings, furniture, graphics, film, and folk art—in a richly layered installation and accompanied by a fully illustrated catalogue. Exhibition visitors will experience one of his best-known interiors—that of the 1957 Miller House in Columbus, Indiana—through a full-scale replica of its iconic conversation pit, which will be a place for repose and public programs.
The show will be on view from November 23, 2019 through March 1, 2020.
Practicing from the late 1920s until the late 1970s, Girard worked mostly for the American furniture company Herman Miller after becoming director of its textile division in 1951. Girard’s clients also included companies like Braniff International Airways and John Deere for which he created fresh new corporate brand identities, which, in the case of Braniff, extended from the planes themselves to the flight crew uniforms and passenger lounges. In addition to Girard’s own designs, this exhibition presents the creative universe from which Girard took his inspiration: folk art from all over the world, which the designer collected throughout his life. A selection of 300 objects from his folk art collection, gifted by him to the International Folk Art Museum in Santa Fe, is also featured in the exhibition.
The Palm Springs Art Museum was founded in 1938 as the Palm Springs Desert Museum at La Plaza in downtown Palm Springs. Natural science exhibits, Cahuilla Indian artifacts, and hiking excursions dominated the institution’s programming.
The
museum moved several times within the downtown Palm Springs area
before building its first permanent structure in 1958, located on the
southwest corner of Tahquitz-McCallum Way and Indian Ave. Over the
years, fine art gained a greater measure of focus.
By the late 60’s it was evident the 10,000 square foot building was quickly becoming too small. In 1974, architect E. Stewart Williams was commissioned to design the current building for the museum. Further growth resulted in the construction of the Doris and Walter N. Marks Administration Building and the 1996 completion of the Steve Chase Wing and the Education Center.
Major
renovations, and even bigger donations of art, transformed the
institution, which also sharpened its programming with nationally
significant exhibitions. In April 2004, the Board of Trustees decided
to shift the museum’s focus from a multi-disciplinary museum to a
world-class art museum with a vibrant theater program. In evaluating
the current strengths and directions of the museum, it became clear
that the art collections were growing and that the art audience was
expanding – primarily in the areas of architecture, photography,
and contemporary glass.
A study of the area’s other institutions also brought a realization that there were other established organizations providing exhibitions in the natural sciences. One year later, in April 2005, the museum officially changed its name from Palm Springs Desert Museum to Palm Springs Art Museum to reflect its emphasis on the visual and performing arts.
The
museum remains committed to serving as an innovative community
cultural center, and expanding its exhibitions, programs, and
services in the visual and performing arts.
In 2012, the museum opened a satellite exhibition and education space in Palm Desert (Palm Springs Art Museum in Palm Desert, 72-567 Highway 111, Palm Desert, CA 92260, 760-346-5600), which features an architecturally distinctive building named The Galen that presents ongoing and temporary exhibitions of internationally important art and is surrounded by the Faye Sarkowsky Sculpture Garden that features significant sculpture works surrounded by beautifully landscaped gardens.
In 2011, the museum purchased the Santa Fe Federal Savings & Loan building designed by E. Stewart Williams in 1960. Located in downtown Palm Springs, it was reopened as the Palm Springs Art Museum Architecture and Design Center, Edwards Harris Pavilion (300 S Palm Canyon Drive, Palm Springs, CA 92262, 760-423-5260) in 2014.
This
hub of the museum’s exploration of architecture and design features
related exhibitions and educational programs.
The collection also includes Frey House II, the historically significant residence in Palm Springs that architect Albert Frey designed for himself in 1963 and bequeathed to the museum upon his death in 1998.
Accredited by the American Association of Museums, the Palm Springs Art Museum has 28 galleries, two sculpture gardens, four classrooms, a resource centers, an artists center, five storage vaults, a 85-seat lecture hall, a 433-seat theater, a 1,000 square-foot store, and a popular local bistro.
A
variety of educational programs and activities will take place in
connection to the Palm Springs iteration; additionally, the museum’s
annual gala and biggest fundraiser on January
26, 2020 will be Girard themed in décor and ambience to bring
even greater attention to the exhibition.
Alexander Girard: A Designer’s Universe‘s global sponsors are Herman Miller and Maharam. Palm Springs Art Museum’s presentation is organized by Brooke Hodge, Director of Architecture and Design, with generous support from Joan & Gary Gand. Additional support is provided by Ellen Donaldson.
U.S./New York-based Condé Nast and London-based Condé Nast International Are Integrated as One Global Team. New Consumer Marketing Function to Bring Focus on Direct-to-Consumer Efforts With Unified Commercial Team to Better Serve Global Clients’ Holistic Needs
New Leadership Structure is Expected to Help Further Turn the Financial Ship Around As Company Moves Beyond Closing and Selling Off Magazine Titles, Layoffs and Consolidation of Workforce Across All Titles
Long expected, Condé Nast yesterday appointed a new global leadership team designed to accelerate the company’s evolution into a 21st-century media company. The new organizational structure, which combines Condé Nast and Condé Nast International into a unified global team, was created with several guiding principles in mind, including the preservation of local editorial voice and authority, an enhanced focus on the consumer, unification of the company’s ad and commercial sales functions to reflect clients’ local and global needs and the development of new ways to share capabilities and best practices across the company.
Condé Nast is a global media company, home to iconic brands including Vogue, The New Yorker, GQ, Glamour, AD, Vanity Fair, and Wired, among many others. The company’s award-winning content reaches 84 million consumers in print, 367 million in digital and 379 million across social platforms, and generates more than 1 billion video views each month. The company is headquartered in London and New Yorkand operates in 32 markets worldwide including China, France, Germany, India, Italy, Japan, Mexico & Latin America, Russia, Spain, Taiwan, the U.K., and the U.S., with local license partners across the globe. Launched in 2011, Condé Nast Entertainment is an award-winning production and distribution studio that creates programming across film, television, social and digital video and virtual reality.
“One of my top priorities has been to define our organizational structure so that we can take full advantage of our unique growth opportunities and exceptional content around the world,” said the recently-appointed CEO of Condé Nast, RogerLynch “I’m confident that our new global structure will better enable us to collaborate across teams and markets and, ultimately, deliver unparalleled experiences for our consumers and clients.“
The
new structure is as follows:
Global Content Functions:: Anna Wintour, U.S. Artistic Director, Editor-in-Chief of Vogue U.S. and (newly-appointed) Global Content Advisor, will continue in her role as U.S. Artistic Director and Editor-in-Chief of Vogue U.S., and will add Global Content Advisor and oversight of Vogue International to her responsibilities. In her expanded role, Wintour will advise the executive leadership team on global content opportunities and act as a resource to editors-in-chief and editorial talent worldwide.
Oren Katzeff, President of Condé Nast Entertainment (CNE), will expand the company’s digital video, film and television operations to create best-in-class video content experiences for audiences worldwide. The company has been increasing its focus on video content and currently generates 1.1 billion video views per month. Under Oren’s leadership, CNE will now be the core of our global network of video teams, supporting the growth of our video businesses in all markets.
David Remnick, Editor-in-Chief of The New Yorker, will also continue to report directly to Lynch.
Global Operations Organization: Wolfgang Blau, President, International & Chief Operating Officer will oversee all non-U.S. markets, as well as selected global strategic functions, including Product & Technology, Data, Licensing, Global Editorial Operations, Business Development, and Delivery & Business Transformation. This organization will ensure day-to-day operational excellence and capability sharing across the business.
Global Commercial Organization: Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue, will lead a new global revenue organization that brings together the company’s U.S. and international ad sales, creative and agency, B2B marketing and client service capabilities. Jamie Jouning, promoted to Chief Client Officer, will report to Drucker Mann and oversee key global accounts, multi-market deals, and central digital ad operations. Drucker Mann will define ad sales and ad product strategies globally, and work closely with Jamie and the central team and commercial leads in the company’s worldwide markets to drive overall ad, agency, and B2B revenue and share best practices.
Consumer Marketing Organization: Condé Nast is creating a new consumer marketing organization that will be led by a Chief Marketing Officer (CMO) and will bring added focus to the company’s direct-to-consumer efforts. As the company expands its consumer offerings, this team will be charged with developing best-in-class capabilities and consistency across consumer experiences on every platform. The team will also be responsible for consumer revenue, with a core focus on subscriptions and memberships. In addition, the team will have responsibility for global brand management, consumer research, and insights and global audience development, ensuring a data-driven approach to the company’s efforts. The search for a CMO to lead this new organization will begin immediately.
Corporate Functions: The company is also globalizing its three corporate functions to leverage skills, expertise and standardize processes and best practices: People, Finance and Communications. The company will begin an immediate search and selection process for these and other open roles. Until new leaders are identified, teams will maintain their existing reporting lines and responsibilities.
“We’re
bringing added focus to our direct-to-consumer efforts and will build
a new consumer marketing function that will be charged with
developing best-in-class subscription and membership capabilities,
and maintaining the authenticity of our iconic global brands,”
Lynch continued. “And by transforming our sales organization
into a unified global team, Condé Nast will be better positioned to
serve the holistic needs of our clients around the world and make it
easier for them to do business with us.“
The
new structure and appointments take effect immediately.
Announcing the groundbreaking new photo exhibit that explores the use of walls across civilizations and over centuries – plus, “Light the Barricades,” a companion multi-site public art installation
Photo by Ami Vitale
Annenberg
Space for Photography,
L.A.’s premier destination for photography, explores the creation and
use of walls over centuries and across civilizations with its new
exhibition,
W|ALLS:
Defend, Divide, and the Divine.
The
show also includes the companion interactive public art installation
Light
the Barricades,
located at three separate locations around the city, before coming
together for presentation on the plaza just outside the Photo Space
for the duration of the
W|ALLSexhibit.
Forrest Meyers. Photo by Joseph Carlson
Annenberg Space for Photography is a cultural destination dedicated to exhibiting both digital and print photography in an intimate environment. The space features state-of-the-art, high-definition digital technology, traditional prints by some of the world’s most renowned photographers, and a selection of emerging photographic talents as well. The venue, an initiative of the Annenberg Foundation and its trustees, is the first solely photographic cultural destination in the Los Angeles area, creating a new paradigm in the world of photography.
Eastern State Penitentiary, PA. Photo by Bill Yates.
Opening
October 5, W|ALLS:
Defend, Divide, and the Divine examines the artistic,
social, and political use of walls throughout history. From the
Berlin Wall and
Jerusalem’s Western Wall,
to the Great Wall of
China – as well as barriers built in India, Nigeria,
Uzbekistan, Northern Ireland, and along the United
States’ southern border – the exhibition delves into our long
history of building walls and defining territories.
Photo by Tony De Los Reyes
The
exhibit is divided into six sections: Delineation,
Defense,
Deterrent,
The Divine,
Decoration,
and The
Invisible. In each section, the work of photographers and
artists – who have trained their eye on walls of all kinds
throughout the world – will examine their architectural role in
society, and the effects they have on the people who live near them.
The section meanings overlap and change over time, much like the
walls themselves – erected for one reason, their appearance and use
is altered and modified, reflecting the civilizations that have grown
and evolved around them. The show is curated by Dr. Jen Sudul
Edwards, the Chief Curator and Curator of Contemporary Art at the
Mint Museum in Charlotte, North Carolina.
9/11 Museum. Photo by Spencer Finch
W|ALLS
features more than 70 artists, including Carol
Guzy, Moises Saman, SHAN Wallace, Banksy, JR, John Moore, Marina
Abramović, and Tanya
Aguiñiga. Many of these featured photographers and artists
will be included in a new, original documentary commissioned by the
Annenberg Foundation exclusively for the exhibition.
“The
Annenberg Space for Photography has a long history of exploring our
shared humanity around the world,” said Annenberg
Foundation Chairman, President, and CEO Wallis Annenberg.
“The W|ALLS exhibit will encourage visitors to
explore the complex and multifaceted use of walls and challenge
preconceived notions of why we build them. With Light the
Barricades, we’re also offering public spaces for reflection and
solidarity.”
Photo by AP Photo/Oded Bality
Light
the Barricades is the Annenberg
Space for Photography’s first foray into public art. From
September 6 through September
22, the walls will be installed at three locations across Los
Angeles– the Annenberg
Community Beach House in Santa Monica,
Grand Park in downtown Los Angeles, and the Natural
History Museum of Los Angeles County in Exposition
Park.
Photo by Carol Guzy/The Washington Post
The
installation consists of three 8′ x 27′ solar-powered walls
illuminated from within (similar to a photographer’s lightbox) at all
hours and features a fable on one side and a station for visitor
reflection on the other. Created by Candy Chang (the artist
behind the popular Before
I Diepublic
art project) and James A. Reeves, Light
the Barricades was
inspired by the I
Ching,
one of the oldest Chinese texts. Each wall will feature a word in
large text that represents an emotional barrier: Resentment,
Judgment, and Doubt. Offering an engaging opportunity for
contemplation – both physically and emotionally – these walls
shine a light on the difficult emotions that face individuals every
day.
Photo by Grant Scroggie
“When
we considered how walls are used today, our first thought was the
advertising that covers our cities. We want to translate the language
of billboards into a contemporary ritual for contemplation, perhaps
even a moment of humility,” said Candy
Chang and James A. Reeves. “We selected the
topics of resentment, judgment, and doubt not only because these
emotions are largely universal, but they feel especially resonant
today. They echo the psychosocial dynamics defining the current
American mood. By reckoning with these barriers at a personal level,
perhaps we can become more compassionate in our public life.”
Photo by Raffaelle Miraglia
Light
the Barricades‘ three separate lightboxes will ultimately be
presented together as one installation at the Photo Space in Century
City for the duration of W|ALLS: Defend, Divide and the
Divine, from October
5 through December
29, 2019.
Photo by Tony De Los Reyes
“As
a former Angeleno, I have visited the Annenberg Space for Photography
often, and have learned much about the beauty and difficulties in our
world through its illuminating shows,” said curator
Dr. Jen Sudul Edwards. “Photography documents the
human condition with a visual language broadly understood, capturing
even the most delicate, complicated, urgent, and uplifting
circumstances. The Annenberg Space for Photography offers a place to
come together and contemplate our shared history and humanity; I’m
honored to have been invited to curate W|ALLS and Light
the Barricades and to contribute to that
decade-long legacy.”
Photo by Raymond Thompson, Jr
Annenberg Space for Photography will also offer a variety of public programs to coincide with the exhibition, including unique workshops, educational and participatory panels, and conversations, as well as field trips, family activities, and more.
J.M.W. Turner, Charles Rennie Mackintosh, A Survey of Sub-Saharan African Art, Terry Adkins, Rina Banerjee, Jitish Kallat, Mel Ziegler, A Study of Medieval Bologna, and More
The Frist Art Museum has announced its 2020 schedule of exhibitions. In the Ingram Gallery, the year begins with J.M.W. Turner: Quest for the Sublime, an exhibition of works by one of the greatest landscape painters of all time.Designing the New: Charles Rennie Mackintosh and the Glasgow StyJ.M.W. Turner: Quest for the Sublimele highlights Mackintosh’s artistic production and locates it within the unique context of late nineteenth-century Glasgow. African Art from the New Orleans Museum of Art features ancestral figures, masks, and ceremonial costumes from one of the most important collections of traditional Sub-Saharan African art in the United States.(The Frist Art Museum is supported in part by the Metro Nashville Arts Commission, the Tennessee Arts Commission, and the National Endowment for the Arts.)
In
the Upper-Level
Galleries,
an exhibition of works by Jitish
Kallat features
the dramatic interactive installation Covering
Letter.
Mel
Ziegler: Flag Exchange invites
consideration of worn and weathered American flags as symbols of our
country’s identity, history, and future. Rina
Banerjee: Make Me a Summary of the World is
the first major U.S. survey of the artist’s work and includes
installations, sculptures, and paintings that explore themes of
multiple identities. Medieval
Bologna: Art for a University City focuses
on illuminated manuscripts, paintings, and sculptures made in Italy
at the end of the Middle Ages.
In
the
Gordon Contemporary Artists Project Gallery,
the Frist presents Terry
Adkins: Our Sons and Daughters Ever on the Altar,
a survey of the late artist’s multidisciplinary practices, which
explores the intersection of music, art, and African American history
through sculpture, prints, and video; and the text-based works of
Bethany
Collins,
who examines the historic intersection of language and racism in her
multimedia practice.
In
the
Conte Community Arts Gallery,
the Frist presents The
Nashville Flood: Ten Years Later commemorating
the city’s historic natural disaster in photographs and oral
histories; We
Count: First-Time Voters,
which honors the 100th anniversary of the passage of the 19th
Amendment with visual representations of diverse group of
Nashvillians’ first voting experiences; and 2020
Young Tennessee Artists: Selections from Advanced Studio Art
Programs,
the eighth biennial showcase of the finest two-dimensional artwork by
high school students across the state.
The
Frist Art Museum’s 2020 Schedule of Exhibitions (Titles and dates
subject to change)
The
Nashville Flood: Ten Years Later
January
10–May 17, 2020
Conte
Community Arts Gallery (Organized
by the Frist Art Museum)
Image Credit: The Cumberland River overflowed its banks in 2010, causing floodwaters to rise around the riverfront area and several blocks of downtown Nashville, May 3 2010. Photo by Larry McCormack. Courtesy of The Tennessean
The
Nashville Flood: Ten Years Laterwill
reflect on the historic 2010 flood in which a record-breaking
rainfall caused the Cumberland River to crest almost twelve feet
above flood stage. Thousands of homes and business were damaged or
destroyed, and twenty-six people in the region died, eleven in
Nashville. This exhibition will examine the event’s immediate and
long-term impact on the city through photographs and excerpts of oral
histories from the Nashville Public Library’s flood archive and The
Tennessean newspaper
with a focus on ten different zip codes, corresponding to Antioch,
Belle Meade, Bellevue, Bordeaux, and other locations in addition to
downtown Nashville. A section of “now and then” photos will
illustrate the recovery, or lack of progress, in each area.
Volunteerism, rescue efforts, inequities in disaster relief, and the
rebuilding process will be addressed.
J.M.W.
Turner: Quest for the Sublime
February
20–May 31, 2020
Ingram
Gallery (Organized
in cooperation with Tate)
Joseph
Mallord William Turner (1775–1851)
was a central figure in the Romantic movement and is considered to be
among the greatest landscape painters in Western art. Long admired
for his ingenuity, originality, and passion, Turner strove to convey
the feeling of awe aroused by nature’s immensity and power—its
palpable atmospheres, pulsating energy, the drama of storms and
disasters, and the transcendent effect of pure light. On view in
Quest
for the Sublime are
seminal oil paintings, luminous watercolors, and evocative sketches
selected from Tate’s Turner Bequest. The exhibition conveys
highlights of the artist’s career, from vertiginous mountain scenes
and stormy seascapes to epic history paintings and mysterious views
of Venice.
Terry
Adkins: Our Sons and Daughters Ever on the Altar
February
20–May 31, 2020
Gordon
Contemporary Artists Project Gallery
at the Frist Art Museum and the Carl
Van Vechten Art Gallery at
Fisk University (Organized
by Fisk University Galleries and the Frist Art Museum)
Terry
Adkins: Our Sons and Daughters Ever on the Altar is
a survey of the late artist’s multidisciplinary practice, which
explored the intersection of music, art, and African American history
through sculpture, prints, performance, and video. Co-organized and
co-presented by the Frist Art Museum and Adkins’s alma mater Fisk
University forty-five years after his graduation, the exhibition will
feature works influenced by his time at Fisk, where he was mentored
by Harlem Renaissance pioneer Aaron Douglas, and signature “recital”
installations that pay tribute to musicians Bessie Smith and Jimi
Hendrix, both of whom had ties to Tennessee.
Jitish
Kallat
March
13–June 28, 2020
Upper-Level
Galleries
(Organized
by the Frist Art Museum)
The
internationally acclaimed Indian artist Jitish Kallat (b. 1974) is a
Mumbai native who produces installations, paintings, photographs, and
sculptures that often recall historic acts of speech. This exhibition
features his 2012 work Covering Letter, a haunting interactive
digital projection of a 1939 letter from Mahatma Gandhi to Adolf
Hitler that pleads for peace weeks before the outbreak of World War
II. In a darkened gallery, visitors will walk through the mist screen
on which the letter is projected, breaking the words apart. Covering
Letter was one of the works selected for India’s pavilion at this
year’s 58th Venice Biennale.
Mel
Ziegler: Flag Exchange
March
13–June 28, 2020
Upper-Level
Galleries
(Organized
by the Frist Art Museum)
Mel
Ziegler (b.
1956), the Paul
E. Schwab 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. Flag
Exchange is
an installation of fifty American flags—one from each
state—suspended row after row from the ceiling and surrounding a
stage where museum visitors and special guests are invited to speak
or present performances relating to the meaning of the flag in their
own lives. The flags themselves symbolize a nation that has survived
tumult and stress. They were collected from 2011 to 2016, when
Ziegler periodically drove across the United States with a supply of
new American flags, offering a broad spectrum of society—from
suburban residents to farmers and small business owners—an
opportunity to receive new flags in exchange for their old torn and
weathered ones. Displayed in a gallery, the symbolism of rows of
tattered, irregular flags encourages reflection on America’s
identity, history, and future.
We
Count: First-Time Voters
May
23–October 4, 2020
Conte
Community Arts Gallery (Organized
by the Frist Art Museum)
On
August 18, 1920, the Tennessee state legislature voted to ratify the
19th Amendment to the US Constitution, which guarantees and protects
women’s right to vote. As the 36th state to approve the amendment,
Tennessee completed the two-thirds majority needed to make it the law
of the land. We
Count: First-Time Voters honors
the 100th anniversary of the passage of the 19th Amendment,
guaranteeing and protecting women’s constitutional right to vote by
highlighting the history of voting in the United States and the first
voting experiences of a diverse group of Nashvillians. Selected
individuals will share their stories with local artists—including
Beizar Aradini, Megan Kelley, Jerry Bedor Phillips, Thaxton Waters,
and Donna Woodley—who will create visual representations of these
voting experiences in a range of mediums.
Designing
the New: Charles Rennie Mackintosh and the Glasgow Style
June
26–September 27, 2020
Ingram
Gallery
Charles Rennie Mackintosh Port Vendres—La Ville, ca, 1925–26. Pencil and watercolor on paper 34 7/8 x 26 7/8 x 1 1/8 in. Glasgow Museums: Bought from the Mackintosh Memorial Exhibition, 1933, 1856
At
the end of the nineteenth century, the Glasgow
Style emerged as the major manifestation of Art
Nouveau in Britain and established Glasgow as the
Second City of the Empire. This exhibition showcases Charles
Rennie Mackintosh (1868–1928)—the greatest exponent of the
Glasgow Style—as an architect, designer, and artist, and
contextualizes his production within a larger circle of designers and
craftspeople in the major Scottish city. Mackintosh worked most
closely with his wife, Margaret
Macdonald (1864–1933); Margaret’s sister, Frances
Macdonald (1873–1921); and Frances’ husband, James
Herbert McNair (1868–1955). They met as students at the
progressive Glasgow School of Art in 1892 and together were known as
The Four.
Combining
influences from the Arts
and Crafts Movement, Celtic
Revival, and Japonism,
Glasgow artists created their own modern design aesthetic synonymous
with sleek lines and emphatic geometries expressed in a wide range of
materials. The exhibition presents 165 works of fine and decorative
art, including architectural drawings, books, ceramics, furniture,
posters, textiles, and watercolors, drawn from Glasgow’s most
significant public and private collections.
Designing
the New: Charles Rennie Mackintosh and the Glasgow Styleis
a touring exhibition co-organized by Glasgow
Museums and
the
American Federation of Arts.
Support for the US national tour is provided by the Dr.
Lee MacCormick Edwards Charitable Foundation.
Bethany
Collins
June
26–September 27, 2020
Gordon
Contemporary Artists Project Gallery
(Organized
by the Frist Art Museum)
Chicago-based
artist
Bethany Collins
(b. 1984) explores the historic intersection of language and racism
in her multimedia practice. She often manipulates and reprints
existing written documents—such as the leading daily newspaper in
Birmingham, Alabama, during the 1960s or the U.S. Department of
Justice’s report on the Ferguson, Missouri, police department—to
critique the accuracy and completeness of official records. Collins’s
artist book America:
A Hymnal(2017)
features 100 different versions of “My
Country ‘Tis of Thee”
written since Rev.
Samuel F. Smith published
the original lyrics in 1831. The multiple reinterpretations of this
patriotic anthem—most in support of a particular political or
social cause—offer opportunities for reflection on what it means to
be an American, a particularly resonant topic during a presidential
election year.
Rina
Banerjee: Make Me a Summary of the World
July
24–October 25, 2020
Upper-Level
Galleries (Organized
by the Pennsylvania Academy of the Fine Arts and the San José Museum
of Art.)
Indian-born
artist Rina
Banerjee (b.
1963) creates richly layered works made from materials sourced
throughout the world to reflect the splintered experience of
migration, identity, tradition, and culture often prevalent in
diasporic communities. In a single sculpture, one can find African
tribal jewelry, colorful feathers, light bulbs, Murano glass, and
South Asian antiques. This is the first major survey of Banerjee’s
work in the United States and includes large-scale installations,
sculptures, and paintings produced over two decades. While the works
can be enjoyed as vividly colored and sensuously layered sculptures,
they also address themes of multiple identities, feminism, the impact
of colonialism, cultural appropriation, and globalization.
African
Art from the New Orleans Museum of Art
October
23, 2020–January 17, 2021
Ingram
Gallery
(Organized
by the New Orleans Museum of Art)
Image Credit: Unidentified (Eastern Pende Peoples). Helmet Mask (kipoko), n.d. Wood and pigment, 15 x 11 x 13 1/2 in. The New Orleans Museum of Art: The Robert P. Gordy Collection, 88.46
The exhibition features more than eighty objects, including ancestral figures, masks, ceremonial costumes, headdresses, ritual objects and reliquary guardian figures, drawn from one of the most important collections of traditional sub-Saharan African art in the United States. Created by artists from Gabon, Democratic Republic of the Congo, Cameroon, Nigeria, Cote d’Ivoire, Mali and Ghana, these works of art are made from wood, ivory, stone, terra cotta, beadwork and brass. Displayed thematically—with contextual and archival photographs and video—the exhibition illuminates the various ways in which objects facilitate ancestral veneration, as well as the transmission and interconnection of artistic style.
Medieval
Bologna: Art for a University City
November
20, 2020–February 14, 2021
Upper-Level
Galleries (Organized
by the Frist Art Museum)
This
is the first museum exhibition in the United States to focus on
medieval art made in the northern Italian city of Bologna. Home to
the oldest university in Europe, Bologna fostered a unique artistic
culture at the end of the Middle Ages. With its large population of
sophisticated readers, the city became the preeminent center of
manuscript production south of the Alps and it helped bring about a
revolution in the medieval book trade. Manuscripts circulated in a
thriving market of scribes, illuminators, booksellers, and customers
operating mostly outside traditional monastic scriptoria. The
university initially specialized in law, and many law books were
illuminated in Bologna with brightly colored scenes. University
professors enjoyed high social status and were buried in impressive
stone tombs carved with classroom scenes.
The
approximately 65 objects in the exhibition span from 1250 to 1400,
from the first great flowering of manuscript illumination in Bologna
to the beginnings of the construction and decoration of the ambitious
Basilica of San Petronio in the city’s Piazza Maggiore. Lenders
include the Cleveland Museum of Art, J. Paul Getty Museum, Lilly
Library, New York Public Library, and University of Chicago Library.
The
exhibition will be accompanied by a catalogue with seven essays, and,
while it is on view, the Frist Art Museum will host the Andrew Ladis
Trecento Conference, a biannual event that brings together historians
of medieval and Renaissance art from around the world.
Starstruck Kicks Off With Second Season of Critically Acclaimed Series MARS and Fifth Season of Emmy-Nominated Series STARTALK With Neil deGrasse Tyson
Event to Also Include Two New Specials: MARS: INSIDE SPACE X and MISSION TO THE SUN, Plus Fall Book Releases “Space Atlas” and “Apollo to the Moon“
Starstruck Continues Into 2019 With a New Season of COSMOS and Weeklong Celebration of the 50-Year Anniversary of Apollo 11 Lunar Landing in July
Visit New Starstruck Portal for All Things Space, Including National Geographic Space Photography and In-Depth Reporting on the Latest Space News
For 130 years, National Geographic has been helping people explore the unknown, from the deepest oceans to the farthest reaches of the universe. Today, National Geographic announced that it will embark on a new storytelling odyssey, exploring the past, present and future of space across its vast media and entertainment platforms with Starstruck: National Geographic’s Yearlong Celebration of Space.
From the very dawn of the space age, National Geographic has covered the science, mystery and adventures of space exploration with unrivaled access, in-depth news reporting and cutting-edge science and technology.
National Geographic logo. (PRNewsfoto/National Geographic Society)
In 1935, National Geographic and the U.S. Army Air Corps jointly launched aeronauts into the sky in the Explorer II Stratosphere Balloon, helping to pave the way for the space program and marking a manned altitude record that lasted for 21 years. Later, in recognition of National Geographic’s contributions to space research and photography, astronaut John Glenncarried the National Geographic flagon the first U.S. manned orbital space flight in 1962. And on July 16, 1969, a National Geographic flag was again vaulted into the sky on the 238,000-mile voyage to the moon, with Neil Armstrong observing to his team that it was a privilege that the flag that had “accompanied every major recent expedition,” should also accompany the first one ever to set foot on the lunar surface. In 1977, National Geographic was part of thecuration of the Golden Record, and more recently, presented the first-ever Instagram Live from the International Space Station with Will Smith in April 2018.
National Geographic Launches ‘Starstruck,’ A Celebration Of Space Across Its Global Networks, Magazines, Books And More
With Starstruck, National Geographic aims to once again inspire people to “look up” by bringing the awe and wonder of space to audiences around the world.
The yearlong commitment to presenting the best of space content kicked off this past week with the launch of the Starstruck Space Portal, as well as the recent release of National Geographic’s updated “Space Atlas.” The celebration continues Nov. 4 with an all-day marathon of the critically acclaimed series One Strange Rock beginning at 10 a.m., and with new seasons of MARSand STARTALK with Neil deGrasse Tysonin an intergalactic block of programming that premieres Monday, Nov. 12.
Additionally, two new specials will air this fall:MARS: INSIDE SPACE Xalso on Nov. 12, and MISSION TO THE SUNon Nov. 19.
Culminating with the 50th anniversary of the historic Apollo 11 moon landing next July and a coinciding week of blockbuster Apollo programming on theNational Geographic channel, Starstruck will rally National Geographic’s unrivaled portfolio of storytelling platforms around the spirit of space exploration and the nostalgia, curiosity, and feeling of limitless possibility that it brings.
With this announcement, Natgeo.com/Starstruckwill be National Geographic’s one-stop digital hub for all things space.
Highlights of the content across all platforms include:
OUT-OF-THIS-WORLD TV PROGRAMMING:
Season 2 of Nat Geo’s groundbreaking, genre-busting, hit docudrama MARS premieres Nov. 12 at 9/8c.
A scene from the first episode of Season two of Mars.
A new season of the award-winning STARTALK with Neil deGrasse Tyson debuts Nov. 12 at 11/10c.
MARS: INSIDE SPACE X, premiering Monday, Nov. 12, at 8/7c, is an unprecedented glimpse into one of the world’s most revolutionary companies’ plan to make Mars home.
MARS: INSIDE SPACE X, premiering Monday, Nov. 12, at 8/7c, is an unprecedented glimpse into one of the world’s most revolutionary companies’ plan to make Mars home. Filmed over the course of three years, this journey will take viewers behind the scenes with Elon Musk and his engineers as they persevere amid both disheartening setbacks and huge triumphs to advance the space industry faster than thought possible.
Mission To The Sun: The United Launch Alliance Delta IV Heavy rocket is seen in this long exposure photograph as it launches NASA’s Parker Solar Probe to touch the Sun, Sunday, Aug. 12, 2018, from Launch Complex 37 at Cape Canaveral Air Force Station, Florida. Parker Solar Probe is humanity’s first-ever mission into a part of the Sun’s atmosphere called the corona. Here it will directly explore solar processes that are key to understanding and forecasting space weather events that can impact life on Earth. Photo Credit: (NASA/Bill Ingalls)
MISSION TO THE SUN, debuting Nov. 19 at 8/7c, goes behind the scenes as NASA preps for the launch of the Parker Probe, a historic quest to explore the last great frontier of our solar system — the sun. The special will feature new NASA footage, interviews, and animations to further capture this groundbreaking mission, and a behind-the-scenes look at the exclusive team of NASA scientists who have made this skillfully planned endeavor a reality.
A brand-new season of EXPLORER programming will launch Nov. 12 at 10/9c, with a special Starstruck episode featuring space lemurs, flat-earthers and real space cowboys, premiering Dec. 10.
Following a wildly successful run in 2014 as the most-watched series ever on National Geographic Channels internationally — seen by more than 135 million people worldwide on National Geographic and FOX — the highly anticipated Emmy award-winning worldwide phenomenon COSMOS returns this spring with COSMOS: POSSIBLE WORLDS. Neil deGrasse Tyson, the famed pop-culture icon, astrophysicist and host of the Emmy-nominated StarTalk, returns as host of COSMOS.
A special week of Apollo programming in July shines a light on the grit and glory of the Apollo missions and a look at the new era of space travel and exploration.
LATEST SPACE NEWS, SKY WATCH GUIDES, AND STUNNING PHOTOGRAPHY:
Up-to-the-date reporting from National Geographic’s prize-winning editorial team on the Starstruck news page, including live news coverage of the NASA InSight Mars landing (Nov. 26) and the NASA Kuiper Belt flyby (set for Jan. 1, 2019), the latest insights on the upcoming blood moon eclipse, and more
Exciting National Geographic magazine space content, debuting in various issues over the next year, including an essay from November guest contributor Bill Nye on space sailing, and future features celebrating the 50th anniversary of the moon landing
Monthly sky-watching guides, best space pictures of the month and a spacecraft love letter series (featuring first-person essays written by journalists, scientists, educators and enthusiasts who have a personal connection with the space probe), starting this month on the Starstruck portal.
The World’s Best Hotels, Resorts, Cities, Islands, Airlines, Airports and Cruise Lines Ranked
Condé Nast Traveler has unveiled the winners of its 31st annual Readers’ Choice Awards, ranking the best hotels, resorts, cities, islands, airlines, airports, and cruise lines in the world. The Readers’ Choice Awards are the longest-running and most prestigious recognition of excellence in the travel industry. This year, we received a recording-breaking number of responses from nearly half a million readers who rated their travel experiences to provide a full snapshot of where and how we travel today.
Condé Nast Traveler November issue cover. Captured on a Google Pixel 3.
The full list of winners, including more than a dozen galleries and web-only exclusives of the 50 Best Hotels in the World and 50 Best Resorts in the World, can be found here.
The 2018 results are all about comfort. Readers stayed closer to home than ever before, pushing more cities like Chicago, Charleston, and Nashville to the top of our lists. They favored the Caribbean and domestic islands in the southeast, like Hilton Head, Amelia, and Kiawah. The properties that impressed them most were smaller and less flashy than in years past, and our small-cruise-ship list is longer than it’s ever been, suggesting that the right kind of less is more. The world has changed in ways no one could have predicted, and so it stands to reason that how we get away from it all would, too.
The 2018 Readers’ Choice Awards are celebrated in Condé Nast Traveler‘ November issue on newsstands October 16 and on online at www.cntraveler.com/rca.
before, pushing more cities like Chicago, Charleston, and Nashville to the top of our lists. They favored the Caribbean and domestic islands in the southeast, like Hilton Head, Amelia, and Kiawah. The properties that impressed them most were smaller and less flashy than in years past, and our small-cruise-ship list is longer than it’s ever been, suggesting that the right kind of less is more. The world has changed in ways no one could have predicted, and so it stands to reason that how we get away from it all would, too. 