This long-awaited book captures the spirit of a legendary institution through the words of those who made it New York’s most vital venue for contemporary art.
fall, The Museum of Modern Art will release the first
publication on the history of MoMA PS1, which traces the
institution’s evolution from the 1970s to today through interviews,
ephemera, never-before-seen images, and an extensive exhibition
history. Since 1976, MoMA PS1 in Long Island City, Queens, has been a
crucible for radical experimentation, engaging artists from a range
of disciplines. Structured around interviews with Alanna Heiss,
PS1’s founder and director of more than three decades, MoMA
PS1: A History (published October 22, 2019) offers a
vivid chronicle of the extraordinary history of New York’s premier
venue for contemporary art. The publication also features
contributions by artists and curators who have been closely
associated with PS1—including James Turrell, R. H. Quaytman,
Kevin Beasley, Carolyn Christov-Bakargiev, and Martha
Wilson—supplemented by excerpts from previously unpublished
interviews from the 1970s and statements from numerous figures who
helped shape the institution.
publication was edited by Klaus Biesenbach, director of the
Museum of Contemporary Art, Los Angeles, and former director
of MoMA PS1 and Chief Curator at Large, The Museum of Modern Art,
New York; and Bettina Funke, art historian, editor, former
head of publications for Documenta 13, and co-founder of The
The Museum of Modern Art will inaugurate its latest transformation on New York City’s Wesr 53rd Street with Surrounds: 11 Installations, opening in The Steven and Alexandra Cohen Center for Special Exhibitions, in The Peggy and David Rockefeller building, on October 21, 2019. The presentation, spanning the entire sixth floor, presents 11 watershed installations by living artists from the past two decades, all drawn from the Museum’s collection and on view at MoMA for the first time. Each installation will occupy its own gallery, providing an individualized, immersive experience.
is organized by Quentin Bajac, former Joel and Anne Ehrenkranz
Chief Curator of Photography, Christian Rattemeyer, Harvey S.
Shipley Miller Associate Curator for Drawings and Prints, Yasmil
Raymond, Associate Curator, Department of Painting and Sculpture,
Sean Anderson, Associate Curator, Department of Architecture
and Design, and Joshua Siegel, Curator, Department of Film,
with the assistance of Lucy Gallun, Associate Curator,
Department of Photography, Erica Papernik-Shimizu, Associate
Curator, Department of Media and Performance, Arièle
Dionne-Krosnick, Curatorial Assistant, Department of Architecture
and Design, and Taylor Walsh, Curatorial Assistant, Department
of Drawings and Prints.
includes work by Jennifer Allora (American, b. 1974) and
Guillermo Calzadilla (Cuban, b. 1971), Sadie Benning
(American, b. 1973), Janet Cardiff (Canadian, b. 1957) and
George Bures Miller (Canadian, b. 1960), Sou Fujimoto
(Japanese, b. 1971), Sheila Hicks (American, b. 1934), Arthur
Jafa (American, b. 1960), Mark Manders (Dutch, b. 1968),
Rivane Neuenschwander (Brazilian, b. 1967), Dayanita Singh
(Indian, b. 1961), Hito Steyerl (German, b. 1966), and Sarah
Sze (American, b. 1969).
work included in the exhibition was conceived out of different
individual circumstances—as a contribution to a biennial, as an
element of a larger ongoing body of work, as a response to a classic
work of art history, or as a stand-alone work unrelated to others—but
the installations are united in their ambition and scope, marking
decisive shifts in the careers of their makers and the broader field
of contemporary art.
exhibition is made possible by Bank of America, MoMA’s
funding is provided by Agnes Gund.
contributions to the Annual Exhibition Fund, in support of the
Museum’s collection and collection exhibitions, are generously
provided by the Kate W. Cassidy Foundation, Sue and Edgar
Wachenheim III, Mimi and Peter Haas Fund, Jerry I.
Speyer and Katherine G. Farley, Eva and Glenn Dubin, The
Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch,
The David Rockefeller Council, Anne Dias, Kathy and Richard S. Fuld,
Jr., Kenneth C. Griffin, Marie-Josée and Henry R. Kravis, Jo Carole
and Ronald S. Lauder, Anna Marie and Robert F. Shapiro, The Keith
Haring Foundation, and The Contemporary Arts Council of The
Museum of Modern Art.
contributions to the Annual Exhibition Fund are provided by
the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and
Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni
Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman,
Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.
Audio is supported by Bloomberg Philanthropies.
Museum of Modern Art announces member: Pope.L,
1978–2001, an exhibition of landmark performances and
related videos, objects, and installations by the multidisciplinary
artist Pope.L, on view from October 21, 2019, through
January 2020. Pope.L (b. 1955) is a consummate thinker and
provocateur whose practice across multiple mediums—including
painting, drawing, installation, sculpture, theater, and
video—utilizes abjection, humor, endurance, language, and absurdity
to confront and undermine rigid systems of belief. Spanning works
made primarily from 1978 to 2001, the exhibition features videos,
photographs, sculptural elements, ephemera, and live actions. member:
Pope.L, 1978–2001 is organized by Stuart Comer,
Chief Curator, Department of Media and Performance, with Danielle
A. Jackson, Curatorial Assistant, Department of Media and
in the exhibition include those rooted in experimental theater, such
as Egg Eating Contest (1990), Aunt Jenny Chronicles
(1991), and Eracism (2000), as well as street interventions
such as Thunderbird Immolation a.k.a. Meditation Square Piece
(1978), Times Square Crawl a.k.a. Meditation Square Piece
(1978), Tompkins Square Crawl a.k.a. How Much Is That Nigger in
the Window (1991), ATM Piece (1996), and The Great
White Way: 22 miles, 9 years, 1 street (2001–09), among others.
Together, these works highlight the role performance has played
within an emphatically interdisciplinary career that has established
Pope.L as a critical and influential force in contemporary art.
Additionally, these early works form a snapshot of the profound
social, cultural, and economic shifts in New York City throughout the
1980s and ’90s.
will publish a comprehensive, fully illustrated catalogue to
accompany the exhibition. Presenting a detailed study of these
investigations, as well as overarching topics Pope.L has explored
throughout his career, the publication will establish key details for
each work and articulate how the artist continues to think about the
legacy of these ephemeral projects unfolding in time.
presentation is part of Pope.L: Instigation, Aspiration,
Perspiration, a trio of complementary exhibitions organized
by MoMA, the Whitney Museum of American Art, and Public
Art Fund. Utilizing both public and private spaces, the expansive
presentation will address many elements of the artist’s oeuvre,
from seminal early works to a monumental new installation and a new
performative work inspired by the artist’s iconic crawl series.
exhibition is presented as part of The Hyundai Card Performance
Series. Major support is provided by The Jill and Peter Kraus
Endowed Fund for Contemporary Exhibitions and The Jon Stryker
Endowment. Additional support is provided by The Friends of
Education of The Museum of Modern Art, Nancy and David Frej,
Barbara Karp Shuster, and Ann and Mel Schaffer.
contributions to the Annual Exhibition Fund, in support of the
Museum’s collection and collection exhibitions, are generously
provided by the Kate W. Cassidy Foundation, Sue and Edgar
Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyerand
Katherine G. Farley, Eva and Glenn Dubin, The Sandra
and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David
Rockefeller Council, Anne Dias, Kathy and Richard S. Fuld, Jr.,
Kenneth C. Griffin, Marie-Josée and Henry R. Kravis, Jo Carole and
Ronald S. Lauder, Anna Marie and Robert F. Shapiro, The Keith Haring
Foundation, and The Contemporary Arts Council of The Museum of
contributions to the Annual Exhibition Fund are provided by the
Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel
Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli
Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes
Gund, and Oya and Bülent Eczacıbaşı.
The Museum of Modern Art announces Betye Saar: The Legends of Black Girl’s Window, an in-depth solo exhibition exploring the deep ties between the artist’s iconic autobiographical assemblage Black Girl’s Window (1969) and her rare, early prints, made during the 1960s. On view from October 21, 2019, through January 4, 2020,
Saar: The Legends of Black Girl’s Window is drawn almost
entirely from the Museum’s collection, and highlights the recent
acquisition of 42 works on paper that provide an overview of Saar’s
sophisticated, experimental print practice. The exhibition engages
with the themes of family, history, and mysticism, which have been at
the core of Saar’s work from its earliest days, and traces a link
from her printmaking to the assemblages for which she is best known
Betye Saar: The Legends of Black Girl’s Window is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator, and Esther Adler, Associate Curator, with Ana Torok, Curatorial Assistant, and Nectar Knuckles, Curatorial Fellow, Department of Drawings and Prints, The Museum of Modern Art. Saar’s Black Girl’s Window (1969), one of her best known works, is at the heart of this exhibition, which provides an opportunity for a close examination of its myriad details and references. The work also serves as a guide to the larger installation, its signature themes explored through other works that reflect the artist’s lifelong muses, including her three daughters, and a range of astrological and mystical symbols. New research into the construction and materials used to create Black Girl’s Window allows for a direct link to be made between Saar’s prints in the Museum’s collection and the assemblage itself. Betye Saar: The Legends of Black Girl’s Window is also the first dedicated examination of Saar’s work as a printmaker, demonstrating how her interest in found objects and assemblage appears even in her early works on paper through her experimental practice.
A major figure in postwar art, Betye Saar (b. 1926) has lived and worked in Los Angeles her entire life, and is part of a generation of artists who pursued assemblage there during the 1960s and ’70s, which also included Edward Kienholz, John Outterbridge, and Noah Purifoy. Although best known for sculptures made from found materials, particularly those that challenge derogatory stereotypes of African Americans, Saar’s earliest independent works are prints. Working in a range of techniques, including intaglio and lithography, she created works on paper that reveal a comfort with experimentation and an early interest in incorporating physical traces of the world within her art. The Museum now has the largest public collection of Saar’s printed work, which remains largely unknown even to those familiar with her oeuvre. The prints will be juxtaposed in the exhibition with Black Girl’s Window and a number of other early window assemblages.
exhibition will be accompanied by the catalogue Betye Saar: Black
Girl’s Window, authored by Cherix and Adler, which situates
this iconic work within Saar’s early career, and provides a link
with the decades of work that follow it.
support of the exhibition is provided by The Modern Women’s Fund.
funding is provided by the Alice L. Walton Foundation and the Robert
Lehman Foundation. Additional support is provided by The Friends of
Education of The Museum of Modern Art. MoMA Audio is supported by
Bloomberg Philanthropies. Leadership contributions to the Annual
Exhibition Fund, in support of the Museum’s collection and
collection exhibitions, are generously provided by the Kate W.
Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas
Fund, Jerry I. Speyer and Katherine G. Farley, Eva and Glenn Dubin,
The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The
David Rockefeller Council, The Contemporary Arts Council, Anne Dias,
Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring
Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S.
Lauder, and Anna Marie and Robert F. Shapiro.
contributions to the Annual Exhibition Fund are provided by the
Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel
Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli
Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes
Gund, and Oya and Bülent Eczacıbaşı.
Major Exhibition at the Opening of New MoMA Will Display Over 100 Important Works by Latin American Artists
The Museum of Modern Art announces Sur moderno: Journeys of Abstraction―The Patricia Phelps de Cisneros Gift, a major exhibition drawn primarily from the paintings, sculptures, and works on paper donated to the Museum by the Colección Patricia Phelps de Cisneros between 1997 and 2016.
Since its founding in 1929, The Museum of Modern Art has collected, exhibited, and studied the art of Latin America. Today, MoMA’s collection includes more than 5,000 works of modern and contemporary art by artists from Latin America distributed across its six curatorial departments, representing important figures in early modernism, Expressionism, Surrealism, abstraction, architecture, and Conceptual and contemporary art.
On view from October 21, 2019, through March 14, 2020, Sur moderno celebrates the arrival of the most important collection of abstract and concrete art from Latin America by dedicating an entire suite of galleries on the Museum’s third floor to the display of artists from Brazil, Venezuela, Argentina, and Uruguay.
The exhibition highlights the work of Lygia Clark, Gego, Raúl Lozza, Hélio Oiticica, Jesús Rafael Soto, and Rhod Rothfuss, among others, focusing on the concept of transformation: a radical reinvention of the art object and a renewal of the social environment through art and design. The exhibition is also anchored by a selection of archival materials that situate the works within their local contexts. Sur moderno is organized by Inés Katzenstein, Curator of Latin American Art and Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America, The Museum of Modern Art, and consulting curator María Amalia García, Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET)–Universidad Nacional de San Martín, Argentina, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
The exhibition is divided into two main sections based on the concept of transformation. The first section, “Artworks as Artifacts, Artworks as Manifestos,” presents a group of works that subverted the conventional formats of painting and sculpture. Cuts, folds, articulated objects, cut-out frames, and experiments that question the autonomy of the art object are some examples of these artists’ material explorations. One of the first works visitors encounter in the exhibition, Willys de Castro’s Active Object (1961), fuses the materiality of painting with the principles of free-standing sculpture, inviting the viewer to circle around a painted canvas. Another work in this section, Gyula Kosice’s Articulated Mobile Sculpture (1948), questions the grounds of traditional sculpture by combining strips of brass to create a movable structure that defies classification.
The exhibition’s inclusion of Spatial Construction no. 12 (c. 1920) by Aleksandr Rodchenko highlights the influence of Russian Constructivism on South American art. Similarly, images of Piet Mondrian’s works were widely circulated and had a great impact on the development of abstraction in the region. His Broadway Boogie Woogie (1942–43), on view in the exhibition, inspired investigations of kineticism among artists such as Jesús Rafael Soto, whose Double Transparency (1956) is an attempt to transform the two-dimensionality of Mondrian’s painting into a three-dimensional experience.
In the second section, “Modern as Abstract,” the language of abstraction is displayed as both a product of and a catalyst for the transformation of the artists’ surroundings. The geometrical principles of abstract painting carried over into the everyday, where artists and architects recognized one another as allies, leading to a shared operation and set of ideals. Here, María Freire’s Untitled (1954), for example, is displayed alongside archival materials and works from MoMA’s Architecture and Design collection, in an exploration of public sculptural projects and furniture design.
The final part of the exhibition is dedicated to the grid, one of modern art’s central motifs of experimentation. Gego’s Square Reticularea 71/6 (1971) and Hélio Oiticica’s Painting 9 (1959) are two examples of works in the exhibition that approached the transformation and expansion of the rational grid in different ways. Oiticica disrupted the strict geometric system with his rhythmically arranged rectangles, while Gego warps and deconstructs the reticular structure.
Over the last 25 years, the Colección Patricia Phelps de Cisneros has donated more than 200 works by Latin American artists to The Museum of Modern Art. In addition to those generous donations, in 2016 the Colección Patricia Phelps de Cisneros established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America at MoMA. The Institute’s programming includes fellowships for scholars, curators and artists, and an extended research initiative that contributes to a series of public programs hosted by the Museum, as well as symposia in Latin America, and publications in digital and printed format.
The exhibition is accompanied by a fully illustrated catalogue, with contributions from such prominent scholars in the field as María Amalia García, Irene V. Small, and Mónica Amor. The volume also includes a conversation between Patricia Phelps de Cisneros and MoMA director Glenn D. Lowry, and a dialogue between Inés Katzenstein, the Museum’s current curator of Latin American art, and Luis Pérez-Oramas, who, in addition to serving as MoMA’s Latin American art curator between 2003 and 2017, was one of the principal curators involved in the development of the Colección Patricia Phelps de Cisneros.
Generous funding for the exhibition is provided by Agnes Gund.
Additional support is provided by Adriana Cisneros de Griffin and Nicholas Griffin.
Leadership contributions to the Annual Exhibition Fund, in support of the Museum’s collection and collection exhibitions, are generously provided by the Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyer and Katherine G. Farley, 3 Eva and Glenn Dubin, The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David Rockefeller Council, The Contemporary Arts Council of The Museum of Modern Art, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and Anna Marie and Robert F. Shapiro.
Major contributions to the Annual Exhibition Fund are provided by the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.
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
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
Defend, Divide, and the Divine.
show also includes the companion interactive public art installation
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
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.
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.
exhibit is divided into six sections: Delineation,
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.
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.
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
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
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
art project) and James A. Reeves, Light
the Barricades was
inspired by the I
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
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.”
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
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
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.
Dr. Maya Angelou on the set of “Oprah’s Master Class,” circa January 2011. Credit: OWN
Distinctly referred to as “a redwood tree, with deep roots in American culture,” Dr. Maya Angelou (April 4, 1928-May 28, 2014) led a prolific life. As a singer, dancer, activist, poet and writer, she inspired generations with lyrical modern African-American thought that pushed boundaries. Best known for her autobiography I Know Why the Caged Bird Sings(Random House), she gave people the freedom to think about their history in a way they never had before. The first feature documentary about her life, American Masters – Maya Angelou: And Still I Rise, premieres nationwide Tuesday, February 21 at 8 p.m. on PBS (check local listings) during Black History Month as part of the 31st season of THIRTEEN‘s American Masters series. PBS Distribution will release the film on DVD the same day, with additional bonus features, and on Digital HD February 22. The film title is based on one of our favorite poems by Dr. Angelou, “Still I Rise” from her poetry collection And Still I Rise (Random House).
Dr. Maya Angelou, circa late 70s/early 80s. Credit: Getty Images
With unprecedented access, filmmakers Bob Hercules and Rita Coburn Whack trace Dr. Angelou’s incredible journey, shedding light on the untold aspects of her life through never-before-seen footage, rare archival photographs and videos and her own words. From her upbringing in the Depression-era South and her early performing career (1957’s Miss Calypso album and Calypso Heat Wave film, Jean Genet’s 1961 play The Blacks) to her work with Malcolm X in Ghana and her many writing successes, including her inaugural poem for President Bill Clinton, American Masters – Maya Angelou: And Still I Rise reveals hidden facets of her life during some of America’s most defining moments. The film also features exclusive interviews with Dr. Angelou, her friends and family, including (in alphabetical order) Diahann Carroll, actress; Hillary Clinton, former U.S. Secretary of State; Bill Clinton, 42nd President of the U.S.’ Common, hip-hop artist/actor; Jules Feiffer, writer/cartoonist; Nikki Giovanni, writer; Louis Gossett, Jr., actor; Guy B. Johnson, Dr. Angelou’s son; Quincy Jones, musician/producer/composer; Robert Loomis, Dr. Angelou’s editor; Don Martin, dancer/opened for Dr. Angelou; Louise Meriwether, writer; Eugene Redmond, professor of English literature; Valerie Simpson, singer/songwriter; John Singleton, director; Cicely Tyson, actress; Alice Windom, friend/roommate in Ghana (1963-65); Oprah Winfrey, global media leader/philanthropist andAlfre Woodard, actress.
Dr. Maya Angelou, circa 1970. Credit: Photo by Michael Ochs Archives/Getty Images
Dr. Maya Angelou called Sonoma, California, home in the late 70s/early 80s. Credit: Magnum
“It was a unique privilege to be the first filmmakers to tell Dr. Angelou’s full story and exciting to uncover stories that most people hadn’t heard,” said co-director and co-producer Bob Hercules.
“The film reflects on how the events of history, culture and the arts shaped Dr. Angelou’s life, and how she, in turn, helped shape our own worldview through her autobiographical literature and activism,” said co-director and co-producer Rita Coburn Whack.
“It is bittersweet that Dr. Angelou takes her rightful place in the American Masters series posthumously,” said executive producer Michael Kantor, Co-Executive Producer and American Masters series Executive Producer. “We are fortunate that Bob and Rita captured these insightful interviews with her just prior to her death so we can all learn from her wisdom firsthand.”Continue reading →
What are some other words for summer fun?Tall Ships. Fireworks. Festivals. Beer gardens. Pop-up parks. Philadelphia. This summer will go down as a season of non-stop, pull-out-all-the-stops fun in the city that scored a #3 placement on The New York Times’ influential “52 Places to Go in 2015” list.
As the birthplace of America, Philadelphia knows how to shine. Fireworks blazing over the Philadelphia Museum of Art are a Fourth of July tradition during Philadelphia’s multi-day Wawa Welcome America! bash. Timed perfectly with exhilarating live music, the fireworks paint the skies over the Benjamin Franklin Parkway. Credit: Photo by G. Widman for Visit Philadelphia™
Some of the summer highlights include the Tall Ships Philadelphia CamdenFestival; the launch of Indego, Philadelphia’s bike-sharing program; the eagerly awaited return of the acclaimed Spruce Street Harbor Park; and the season-long showing of Discovering the Impressionists: Paul Durand-Ruel and the New Painting at the Philadelphia Museum of Art. Add in plenty of pop-up beer gardens and public art displays for an unforgettable Philly summer.
Here’s a look at what’s happening:
New Amenity: Bike Share:
West Philadelphia is one of the most easily traveled areas of the city. People can easily access the neighborhood from Center City via cabs, the Market-Frankford Line (also called “the el” for its elevated section) and one of the nation’s few remaining streetcar networks. The trolleys run from City Hall down Market Street and through University City, with lines servicing the neighborhood’s three main corridors of Lancaster, Baltimore and Woodland Avenues. West Philly also boasts some of the most bicycle-friendly streets in the city, with a network of roughly 25 miles of bike lanes. Credit: Photo by J. Fusco for Visit Philadelphia™
What has 1,200 wheels and runs on pedal power? Indego, Philadelphia’s bike-share program set to launch this spring. The long-awaited human-powered public transportation system launches with 600 bikes available at 60 kiosks in Center City and parts of North, South and West Philadelphia. The easy-to-use system allows riders to rent a bike at one location and drop it off at another. May. Various locations. rideindego.com
2015 marks 100 years for the S. 9th Street Italian Market Charter, but the monthly celebratory events prove that the market itself still boasts a youthful energy. Food is always at the forefront of events here, and hungry visitors can chow down at the annual S. 9th Street Italian Market Festival (May 16-17) and the Vendy Foods Awards Winners Circle Food Truck Event (June 19). Also on the docket are Multicultural Music Monthactivities (July) and thebocce and scopa tournaments(August). 9th Street between Wharton & Fitzwater Streets, (215) 278-2903, italianmarketphilly.org
Always a bustling neighborhood, the Italian Market turns it up a notch during the 9th Street Italian Market Festival in May. Live entertainment and games accompany the mouthwatering cannolis, homemade sausages, imported meats and cheeses, luscious cappuccino, specialty cookware and fresh pastas that have made the market a favorite for visitors and residents alike. Credit: Photo by R. Kennedy for Visit Philadelphia™
Standing directly across the street from Independence Hall and the Liberty Bell Center at 6th and Chestnut Streets, this historic marker was erected to coincide with the 40th anniversary of the first Annual Reminder, a demonstration led by gay activists on July 4 from 1965 to 1969. Credit: Photo by K. Ciappa for Visit Philadelphia™
The 50th Anniversary of the Gay Rights Movement kicks off in June with three exhibitions, including the opening ofSpeaking Out for Equality: The Constitution, Gay Rights, and the Supreme Court at the National Constitution Center. Other exhibitions and activities celebrating LGBT culture and heritage are planned for the William Way LGBT Community Center, the Free Library of Philadelphia, The African American Museum in Philadelphia, the Opera Company of Philadelphiaand Taller Puertorriqueño, among others. The celebration’s signature events take place over Fourth of July weekend, with a reenactment of the Reminder Day demonstrations in front of Independence Hall, a wreath-laying ceremony at the historic marker that acknowledges the site of the demonstrations, panel discussions, a festival, concerts and more. June-December.Constitution Center, 525 Arch Street, (215) 409-6700,constitutioncenter.org; various locations for other happenings, reminder2015.org, lgbt50.org
When the Tall Ships Philadelphia Camden pulls into port from June 24-28, 2015, visitors can watch the colorful parade of sail that includes the Gazela (pictured here) and L’Hermione, a replica of the ship that brought General Lafayette to the aid of the fledgling United States during the Revolutionary War, along with many other vessels from around the world. Ships will be docked on both sides of the river at Penn’s Landing and along the Camden Waterfront. Also on tap: live entertainment, hands-on activities and a dazzling fireworks display. Credit: Photo courtesy of Draw Events
The billowing sails of 15 majestic vessels mark the arrival of theTall Ships Philadelphia Camden festival. Docked along both sides of the Delaware River waterfront will be elegant tall ships from France, Brazil, Canada and all around the globe. Visitors can tour the ships, including the L’Hermione, a replica of the French naval ship that brought General Lafayette to America to help fight the British. Also on tap: live entertainment, hands-on activities, games and a spectacular fireworks display to close out the largest sailing event in the United States in 2015. June 25-28. Penn’s Landing, Columbus Boulevard at Walnut Street; Camden Waterfront, tallshipsphiladelphia.com
Pop-Up Parks & Gardens:
The Delaware River Waterfront Corporation’s new Spruce Street Harbor Park offers a summer getaway right in Philly. From June 27 through August 31, visitors can enjoy festivals, concerts and movies on the Great Plaza; relax in one of the giant hammocks in the Hammock Lounge; cool off under the Mist Walk; lounge under an umbrella at the Urban Beach; and indulge in their favorite summer foods and beverages at The Oasis, a series of floating barges accented with a lily pad garden and hang-out area. Credit: Photo by M. Edlow for VISIT PHILADELPHIA™
Following a smashingly successful first season that earned “Best Urban Beach in the World” status from The Huffington Post, Spruce Street Harbor Park returns to Penn’s Landing to brighten up the summer. The hammocks, lounge chairs, oversized games, floating beer garden and twinkling lights all return, along with some new surprises. Opens May 22. Spruce Street at Columbus Boulevard, (215) 629-3200, delawareriverwaterfront.com
Back on the Benjamin Franklin Parkway for its second summer of outdoor fun, The Oval features food, musical performances, movies, mini golf and a beer garden on Wednesday through Saturday nights through August 16. The pop-up park is sandwiched between two spectacular views: the Center City skyline and the Philadelphia Museum of Art. Credit: Photo by M. Fischetti for VISIT PHILADELPHIA™
Philadelphia is one of four cities from around the world and the only U.S. city to host Saint-Gobain’s never-before-seen traveling exhibit Future Sensations, a high-concept, immersive experience featuring five distinct ephemeral pavilions. Science, storytelling and art highlight the innovations, wonders and advancements that have changed the face of the world over the past few centuries and show off future innovations. Founded in 1665, Saint-Gobain celebrates 350 years as a world leader in high performance materials and solutions for sustainable building with this epic traveling exhibit, making stops in China, Brazil and France. May 30-June 6. The Oval, 24th Street & Benjamin Franklin Parkway, (215) 422-4169, theovalphl.org, futuresensations.com
OUTGOING PRESIDENT EMILY KERNAN RAFFERTY NAMED PRESIDENT EMERITA OF THE MUSEUM
The Metropolitan Museum of Art announced today that Daniel H. Weiss, an innovative executive and accomplished art historian serving currently as president of Haverford College, will be the next President of the Museum. He will succeed Emily Kernan Rafferty, who will retire from the Met on March 31 after 10 years in the post, and nearly 40 at the institution. Dr. Weiss’ appointment was announced by Daniel Brodsky, Chairman of the Board, and Thomas P. Campbell, Director and CEO.
Photo Courtesy of The Metropolitan Museum of Art/Don Pollard
Dr. Weiss, who was formally elected to the Museum presidency at today’s regular meeting of the Board of Trustees, was chosen after an extensive national search overseen by a special committee of the board. He will assume his new post at the Metropolitan this summer, following the end of the current semester at Haverford.
In his new role, Dr. Weiss will serve as chief operating officer of the Museum, reporting to Director and CEO Campbell and serving as an ex officio member of the Board of Trustees. As President, he will have direct leadership responsibility for all day-to-day operations of the institution, and will oversee 1,500 employees in all areas of museum administration: facilities and construction, development and membership, finance and investments, information technology, legal affairs, visitor services, human resources, marketing and external relations, merchandising (the Met shops), and government relations. The Museum currently has more than 2,200 full- and part-time employees overall, an operating budget of more than $300 million, and an endowment of approximately $3 billion. Last year, the Museum attracted 6.2 million visitors to its main building and The Cloisters, and more than 40 million visits to its website.
The Board search committee for presidential selection included: Daniel Brodsky, chairman; Candace K. Beinecke, Russell L. Carson, Richard L. Chilton, Jr., Blair Effron, Jeffrey W. Greenberg, Hamilton E. James, Bonnie Sacerdote, Andrew M. Saul, Lulu C. Wang, and Shelby White, with Henry B. Schacht serving in an advisory capacity and Director Thomas P. Campbell ex officio.
Mr. Brodsky and Mr. Campbell joined in expressing their deep appreciation to outgoing President Emily Rafferty, who assumed the Museum presidency on January 15, 2005: “To the entire staff of this institution—from curators and administrators to guards and maintainers—Emily Rafferty has been not only a highly effective leader, but a beloved champion of the institution and of its greatest asset: the men and women who work here. By rising in the ranks over a career spanning four decades, she became and remains a symbol of the opportunity that awaits all the gifted and committed individuals who might launch careers of their own here in the future. Emily has been a remarkable president, colleague, and friend, and we thank her profoundly for her truly historic service to the Met.” Chairman Brodsky and Director Campbell announced that in an unprecedented move, the Board has named Ms. Rafferty President Emerita, effective April 1.
Daniel H. Weiss, who was born in Newark, N.J., and raised on Long Island, earned his B.A. in psychology with a concentration in art history at George Washington University in 1979; his M.A. with concentrations in Medieval and Modern Art from Johns Hopkins University in 1982; his M.B.A. from the Yale School of Management in 1985; and in 1992 his Ph.D. from Hopkins, with concentrations in Western Medieval and Byzantine Art and a minor in Classical Greek Art and Architecture.
He began his career as museum shops manager at the John F. Kennedy Center for the Performing Arts in Washington, and later served as an associate, then a senior associate, at Booz, Allen & Hamilton in New York.
After earning his Ph.D., Dr. Weiss became an assistant professor of art history at Johns Hopkins’ Zanvyl Krieger School of Arts and Sciences, rising over a decade-long academic career there to associate professor (1996), full professor (1999), chair of the History of Art Department (1998-2001), and Dean of the Faculty (2001-2002). From 2002-2005 Dr. Weiss was James B. Knapp Dean of the Krieger School of Arts and Sciences, overseeing 2,700 undergraduates, 1,500 graduate students, and 300 faculty in 23 departments.
From 2005-2013 Dr. Weiss served as President and Professor of Art History at Lafayette College in Easton, Pennsylvania, where he worked to increase the size of the permanent faculty by more than 10%, developed revised curricula, introduced new interdisciplinary programs, and created innovative alliances with the city of Easton. During his tenure, Lafayette became the only college in the nation to receive a collaborative grant from the NEA under its Urban Arts initiative program.
In 2013, Dr. Weiss became president of Haverford, where he has worked to maintain the school’s nearly 200-year-long commitment to a student-centered and ethical learning environment. During his tenure, Dr. Weiss led the effort to prepare a comprehensive strategic plan, and secure the funds to support new interdisciplinary initiatives and major renovations to the library, new facilities for biology, psychology, and music, as well as a new center for visual culture, arts, and media. A professor of Independent College Programs and an affiliated professor in the history of art at Bryn Mawr College, Dr. Weiss has taught courses on liberal arts colleges and the history of art.
During his academic career, Dr. Weiss has published widely, delivered many public lectures, organized and served on conferences and symposia, and earned a number of fellowships and grants. He was, for example, a Junior Fellow at Harvard University’s Dumbarton Oaks Center for Byzantine Studies in 1991-92, an NEH fellow in 1996, and the recipient of a College Art Association Millard Meiss publication subsidy for his 1998 book, Art and Crusade in the Age of Saint Louis (Cambridge University Press, 1998). Continue reading →
“At EJAF, we believe that AIDS can be beaten. We act on that belief by raising funds for effective programs and policies, and also by speaking out with honesty and compassion about the realities of people’s lives.” – Sir Elton John
The Elton John AIDS Foundation (EJAF) will present its 22nd annual Academy Awards Viewing Party on Sunday, March 2, 2014 at West Hollywood Park in Los Angeles. Sir Elton John and David Furnish will host the gala event sponsored by the Foundation’s generous corporate friends Chopard, Neuro Drinks and Wells Fargo. Chef Gordon Ramsay will once again prepare the sumptuous dinner for Party guests to enjoy while watching a live telecast of the 86th Academy Awards. Following dinner and an exciting live auction, a special musical guest will take the stage to perform, and DJ Johnny Dynell will spin tunes for guests to dance the night away.
The Foundation’s Academy Awards Viewing Party is the most highly visible and successful fund-raising event in Hollywood on Oscar night. Over the past 22 years, this annual event has raised nearly $40 million, thanks to the generosity of EJAF’s supporters. These funds help the Foundation to support a wide range of initiatives, including direct treatment, care, and support services for people living with HIV/AIDS in marginalized communities, such as among young gay black men; providing injection drug users with clean needles to prevent HIV infection and transmission; and sexual health education for young people in America who are most at risk.
Audi and MAC Viva Glam have partnered with EJAF as the evening’s generous Co-Sponsors. The Foundation is especially grateful to the City of West Hollywood for its continued collaboration with EJAF on shared goals. American Airlines is EJAF’s official sponsoring airline.
This year’s event co-chairs are Bill and Tani Austin, Johnny and Edwina Barbis, Joseph W. Blount, Jim Carrey, Chris Colfer, John Demsey, Judi Dench, Greg Gorman, Tim Hanlon and Anthony Klatt, Neil Patrick Harris and David Burtka, Diana Jenkins, Quincy Jones, Nicole Kidman and Keith Urban, Billie Jean King and Ilana Kloss,Heidi Klum, Ryan Kwanten, Fred Latsko, Shelley Lazar, Sandra Lee, Jared Leto, Andra Liemandt, Eric and Janet McCormack, Joseph A. McMillan, Jr., Sharon and Ozzy Osbourne, Anna Paquin and Stephen Moyer, Katy Perry,Tyler Perry, Pablo and Nathalie Salame, Caroline Scheufele, Bryan Singer, Sharon Stone, Steve Tisch, Steven Tyler, and John Waters.
Sir Elton John created EJAF over twenty years ago, first in the United States in 1992 and then in the United Kingdom in 1993. Through hard work and with the help of our network of kind, amazing, creative, and generous friends and supporters, the two foundations together have raised more than$300 million over the past two decades to combat stigma, prevent infections, provide treatment and services, and motivate governments to end AIDS. The U.S. foundation focuses its efforts on programs in the United States, the Americas, and the Caribbean, while the U.K. foundation funds HIV-related work in Europe, Asia, and Africa. Join us in speaking out, taking action, and contributing to our efforts to achieve a world without AIDS. For more information, please visit www.ejaf.org.
CHOPARD – Passion for excellence: Louis-Ulysse Chopard founded his own workshop in 1860 in Sonvillier, the Swiss Jura. Since 1963 Chopard has been owned by the Scheufele family and its headquarters are located inGeneva. Internationally renowned for its watch and jewellery creations, the Group today employs 1950 people worldwide. It is independent and vertically very integrated, controlling the entire process from design to distribution through 1515 points of sale and 145 dedicated boutiques. Over 30 different crafts are practiced across 4 manufacturing sites with a strong emphasis on in-house training. Chopard has built its reputation on iconic collections such as “Happy Diamonds,” “Happy Sport” and “Mille Miglia.” The firm is also highly recognized for its High Jewelry creations and fine watch making and manufacturing expertise, expressed in the L.U.C collection. According to two of its fundamental values, respect and social responsibility, Chopard is strongly committed to various philanthropic organizations. Long-term partnerships tie the company to the Jose Carreras International Leukemia Foundation, The Happy Hearts Fund and the Elton John AIDS Foundation. Last but not least, Chopard is a faithful partner of the Cannes International Film Festival and legendary classic car events, such as the Mille Miglia in Italy and the Grand Prix de Monaco Historique. For more information, please visit: us.chopard.com.
NEURO – neuro is a line of great tasting drinks with a purpose—to enhance your daily life. The company was founded in 2007 by Diana Jenkins and each neuro drink has a carefully crafted blend of healthy vitamins and minerals that provide a specific benefit. Sourced from the best ingredients from around the world, the neuro product line includes neuro SONIC, the drink that provides sustained energy, neuro BLISS, the drink that reduces stress; neuro SLEEP, the drink that helps you get a great night’s sleep; and neuro DAILY, the drink that supports a healthy immune system. Each neuro has only 35 calories, contains no artificial flavors or colors, and has a fully recyclable bottle. neuro is available at retailers nationwide. For more information, please visit:www.drinkneuro.com.
WELLS FARGO – Wells Fargo & Company (NYSE: WFC) is a nationwide, diversified, community-based financial services company with $1.5 trillion in assets. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance through more than 9,000 stores, 12,000 ATMs, and the Internet (wellsfargo.com), and has offices in more than 35 countries to support the bank’s customers who conduct business in the global economy. With more than 270,000 team members, Wells Fargo serves one in three households in the United States. Wells Fargo & Company was ranked No. 25 on Fortune’s 2013 rankings of America’s largest corporations. Wells Fargo’s vision is to satisfy all our customers’ financial needs and help them succeed financially. Wells Fargo perspectives are also available at blogs.wellsfargo.com.
AMERICAN AIRLINES –American Airlines Group (NASDAQ: AAL) is the holding company for American Airlines and US Airways. Together with American Eagle and US Airways Express, the airlines operate an average of nearly 6,700 flights per day to 339 destinations in 54 countries from its hubs in Charlotte, Chicago, Dallas/Fort Worth, Los Angeles, Miami, New York, Philadelphia, Phoenix and Washington, D.C. The American Airlines AAdvantage and US Airways Dividend Miles programs allow members to earn and redeem miles for travel and everyday purchases as well as flight upgrades, vacation packages, car rentals, hotel stays and other retail products. American is a founding member of the oneworld® alliance, whose members and members-elect serve 981 destinations with 14,244 daily flights to 151 countries. Connect with American on Twitter @AmericanAir and at Facebook.com/AmericanAirlines, and follow US Airways on Twitter @USAirways and at Facebook.com/USAirways.
American Airlines is the official sponsoring airline of the Elton John AIDS Foundation.
DENZEL WASHINGTONhas been voted the TOP MONEY-MAKING STAR OF 2012 in QUIGLEY PUBLISHING COMPANY‘s 81ST ANNUAL POLL of MOTION PICTURE EXHIBITORS. This is Washington’s eighth appearance in the QUIGLEY POLL, and his first win. Exhibitors felt Washington was responsible for more traffic to movie theatres than any other Hollywood star this year based on his performances in “Flight” and “Safe House.” Washington is the fourth black American to win the Poll, joining WILL SMITH (2005), EDDIE MURPHY (1987) and SIDNEY POITIER (1968) In 81 years, eight women have been voted first in the Top Ten a total of sixteen times, with JULIE ANDREWS , DORIS DAY, SHIRLEY TEMPLE and MARIE DRESSLER winning multiple times.
Denzel Washington has been voted the Top Money-Making Star of 2012 in Quigley Publishing Company’s 81st Annual Poll of Motion Picture Exhibitors. This is Washington’s eighth appearance in the Quigley Poll, and his first win. Anne Hathaway placed second. (PRNewsFoto/Quigley Publishing Company)
QUIGLEY PUBLISHING COMPANY was founded in 1915 and has published the International Motion Picture Almanac annually since 1930 and the International Television & Video Almanac since 1955. Historical data, analysis and all of the TOP TEN MONEY-MAKING STAR POLLS dating back to 1932 are available in the 2013 edition of the International Motion Picture Almanac and on our web site www.quigleypublishing.com Continue reading →
The achievements of LADY BIRD JOHNSON were commemorated on November 30th with the dedication of THE LADY BIRD JOHNSON SOUVENIR FOREVER STAMPS SHEET. The ceremony honoring the former First Lady took place at the LADY BIRD JOHNSON WILDFLOWER CENTER of THE UNIVERSITY OF TEXAS AT AUSTIN.
The achievements of Lady Bird Johnson were commemorated today with the dedication of the Lady Bird Johnson souvenir Forever stamps sheet. The ceremony honoring the former First Lady took place at the Lady Bird Johnson Wildflower Center of The University of Texas at Austin. The stamps are available at Post Offices in Texas and the Washington, DC metropolitan area. They can also be purchased at usps.com/stamps, or by calling 800-STAMP24. To learn more about Lady Bird Johnson, centennial-related events, and to download photos and view a video, visit ladybirdjohnson.org. (PRNewsFoto/U.S. Postal Service)
The LADY BIRD JOHNSON SOUVENIR SHEET features six stamps, a quote from the First Lady reflecting her belief that the environment is our common ground, and a black-and-white image of the First Lady taken from a family photograph shot in 1963 by YOICHI OKAMOTO. Text on the back of the stamp sheet highlights a few of Lady Bird Johnson’s many successes. Continue reading →