Frist Art Museum and Fisk University Galleries Present “Terry Adkins: Our Sons and Daughters Ever on the Altar”

The Frist Art Museum and Fisk University Galleries present Terry Adkins: Our Sons and Daughters Ever on the Altar, concurrent presentations of sculptures, prints, installations, and video by the multidisciplinary and multimedia artist and musician, on view in the Frist’s Gordon Contemporary Artists Project Gallery from February 20 through May 31, 2020, and the Carl Van Vechten Gallery at Fisk University from February 20 through September 12, 2020. Presented forty-five years after Adkins’s graduation from Fisk, the exhibition pays special attention to the influence that his time in Nashville had on the late internationally acclaimed artist.

Frist Art Museum (PRNewsfoto/Frist Center for the Visual Arts)

“This is the first exhibition of Terry Adkins’s work in Middle Tennessee, and we are excited to partner with the Frist Art Museum to co-present it,” says Director and Curator of Fisk University Galleries Jamaal Sheats. “A Fisk University alum, Adkins was a member of the jazz orchestra and a disc jockey for WFSK Jazzy 88 radio station. However, the Fisk Art Department was his home. He studied under the then chairman of the art department and director of galleries, historian, and artist David Driskell. Adkins has credited Aaron Douglas, who founded the art department 75 years ago, as igniting his interest in art. Today, I see Adkins’s work and career as a beacon for the arts tradition at Fisk.”

Fisk and the Frist will collaborate with the soon-to-open National Museum of African American Music to produce a multidisciplinary performance, featuring local talent inspired by Terry Adkins and his performance collective, the Lone Wolf Recital Corps.

Terry Adkins (American, 1953–2014). Buffet Flat, from Belted Bronze, 2007–8. Silver bowls and utensils (some modified), glass marbles, leather case, honey, nylon single-sided flags, taxidermied birds, sewing machine, instrument stand, and inkjet print; approximately 240 x 216 x 144 in. Artwork © 2019 The Estate of Terry Adkins / Artists Rights Society (ARS), New York. Image © The Estate of Terry Adkins / Lévy Gorvy

Terry Adkins (1953–2014) was principally interested in the intersection of visual art, music, and African American history. First trained as a musician on guitar, saxophone, and other woodwinds, he approached his visual art practice from the perspective of a composer, often arranging series of works to create what he called “recitals,” many of which feature modified musical instruments or other salvaged materials. “One of his primary aims was to forge a link between music and art, reversing each discipline in order to make sculpture more ethereal and music more concrete,” says Frist Art Museum Curator Katie Delmez.

Throughout his career, Adkins also questioned the processes by which historical figures’ pasts become or do not become a part of the historical canon. “He mined African and African American histories for marginalized narratives and organized series of works devoted to either underrecognized figures or highlighted underrepresented aspects of well-known figures’ lives,” says Delmez. The works in Our Sons and Daughters Ever on the Altar pay tribute to the legacies of several influential and enigmatic figures, such as Jimi Hendrix, Bessie Smith, Dr. George Washington Carver, and Dr. W.E.B. Du Bois.

On View At The Frist Art Museum
The “recital” Principalities is dedicated to Jimi Hendrix and his service as a paratrooper in the 101st Airborne Division of the U.S. Army at nearby Fort Campbell, Kentucky. A centerpiece of the series, Cloud, is a work comprising a white parachute hung above a rack of kimonos. Referencing the Hiroshima and Nagasaki bombings, it underscores the tragic history of war. Flumen Orationus, a video pairing Hendrix’s 1970 anti-war protest song “Machine Gun” with Dr. Martin Luther King Jr.’s 1967 speech “Why I Am Opposed to the War in Vietnam,” will also be featured.

Smithsonian’s National Museum of American History Receives Save America’s Treasures Grant

Funding Will Preserve Alexander Graham Bell’s Experimental Sound Recordings

The Smithsonian’s National Museum of American History has received a $488,000 grant from the Department of Interior, National Park Service (NPS) through the Save America’s Treasures (SAT) grant program, for conserving sound recordings from Alexander Graham Bell’s Washington, D.C., Volta Laboratory. Dating from 1881 to 1892, they are among the earliest recordings ever made.

Disc recording in green wax on brass holder, probably 1885. Content: male voice reciting opening lines of “To be, or not to be” soliloquy from Hamlet.

This is one of 41 grants awarded this fall, totaling $12.6 million, given in collaboration with the National Endowment for the Arts, National Endowment for the Humanities and the Institute of Museum and Library Services. With Save America’s Treasures funds, organizations and agencies conserve significant U.S. cultural and historic treasures, which illustrate, interpret and are associated with the great events, ideas and individuals that contribute to the nation’s history and culture. The Alexander Graham Bell Foundation in Baddeck, Nova Scotia, Canada, has pledged matching funds.

The National Museum of American History, through an ongoing collaborative project with the Library of Congress and Lawrence Berkeley National Laboratory (Berkeley Lab), has recovered sound from 20 experimental Volta Laboratory recordings in 2011, 2013 and 2019, including the only documented recording of Bell’s voice. The earlier conservation work received funding from the Grammy Foundation, Smithsonian Women’s Committee and the Smithsonian Scholarly Studies program. The SAT grant will permit the continuation of this project, enabling the team to work with the museum’s collection of nearly 300 more experimental recordings from Bell’s laboratory and with additional Bell recordings in the collections at Parks Canada’s Alexander Graham Bell National Historic Site in Baddeck.

“Recovering sound from these recordings will be a major advance in the study of our sonic heritage,” said Carlene Stephens, curator at the museum. “This project allows us to revive sounds from recordings in two Bell collections and reunite the collections digitally. These sounds will enrich what we know about the earliest days of experiments with recorded sound and let us hear history.”

The noninvasive optical technique that scans and recovers sound was first conceived by Berkeley Lab in 2002 and jointly developed with assistance from the Library of Congress and other institutions over the past 15 years. The process creates a high-resolution digital map of a disc or cylinder. This map is then processed to remove evidence of wear or damage (e.g., scratches and skips). Finally, software calculates the motion of a stylus moving through the disc’s or cylinder’s grooves, reproducing the audio content and producing a standard digital sound file. For more information, visit www.irene.lbl.gov. For more information about the museum’s Bell collection, visit the online exhibition.

The National Museum of American History, through an ongoing collaborative project with the Library of Congress and Lawrence Berkeley National Laboratory (Berkeley Lab), has recovered sound from 20 experimental Volta Laboratory recordings in 2011, 2013 and 2019, including the only documented recording of Bell’s voice. The earlier conservation work received funding from the Grammy Foundation, Smithsonian Women’s Committee and the Smithsonian Scholarly Studies program. The SAT grant will permit the continuation of this project, enabling the team to work with the museum’s collection of nearly 300 more experimental recordings from Bell’s laboratory and with additional Bell recordings in the collections at Parks Canada’s Alexander Graham Bell National Historic Site in Baddeck.

“Recovering sound from these recordings will be a major advance in the study of our sonic heritage,” said Carlene Stephens, curator at the museum. “This project allows us to revive sounds from recordings in two Bell collections and reunite the collections digitally. These sounds will enrich what we know about the earliest days of experiments with recorded sound and let us hear history.”

The noninvasive optical technique that scans and recovers sound was first conceived by Berkeley Lab in 2002 and jointly developed with assistance from the Library of Congress and other institutions over the past 15 years. The process creates a high-resolution digital map of a disc or cylinder. This map is then processed to remove evidence of wear or damage (e.g., scratches and skips). Finally, software calculates the motion of a stylus moving through the disc’s or cylinder’s grooves, reproducing the audio content and producing a standard digital sound file. For more information, visit www.irene.lbl.gov. For more information about the museum’s Bell collection, visit the online exhibition.

Upcoming Exhibition Brings Together 200 Works By 60 American And Mexican Artists At The Whitney Museum In February 2020

The cultural renaissance that emerged in Mexico in 1920 at the end of that country’s revolution dramatically changed art not just in Mexico but also in the United States. Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will explore the profound influence Mexican artists had on the direction American art would take. With approximately 200 works by sixty American and Mexican artists, Vida Americana reorients art history, acknowledging the wide-ranging and profound influence of Mexico’s three leading muralists—José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945.

The Whitney Museum’s own connection to the Mexican muralists dates back to 1924 when the Museum’s founder Gertrude Vanderbilt Whitney presented an exhibition of the work of three Mexican artists—José Clemente Orozco, Luis Hidalgo, and Miguel Covarrubias—at the Whitney Studio Club, organized by artist Alexander Brook. It was Orozco’s first exhibition in the United States. A few years later, in 1926, Orozco also showed watercolors from his House of Tears series at the Studio Club; and the following year Juliana Force, Mrs. Whitney’s executive assistant and future director of the Whitney Museum, provided critical support for Orozco at a time when he desperately needed it by acquiring ten of his drawings. The Mexican muralists had a profound influence on many artists who were mainstays of the Studio Club, and eventually the Whitney Museum, including several American artists featured in Vida Americana, such as Thomas Hart Benton, William Gropper, Isamu Noguchi, and Ben Shahn.

Diego Rivera. The Uprising, 1931. Fresco on reinforced cement in a galvanized-steel framework, 74 × 94 1/8 in. (188 × 239 cm). Collection of Marcos and Vicky Micha Levy © 2019 Banco de México–Rivera–Kahlo/ARS. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Curated by Barbara Haskell, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant, Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will be on view at the Whitney Museum of American Art from February 17 through May 17, 2020 and will travel to the McNay Art Museum in San Antonio, Texas, where it will be on display from June 25 through October 4, 2020. At the McNay Art Museum, the installation will be overseen by René Paul Barrilleaux.

Jacob Lawrence. Panel 3 from The Migration Series, From every Southern town migrants left by the hundreds to travel north.,1940–41. Casein tempera on hardboard 12 × 18 in. (30.5 × 45.7 cm). The Phillips Collection, Washington, DC; acquired 1942. © 2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

“Vida Americana is an enormously important undertaking for the Whitney and could not be more timely given its entwined aesthetic and political concerns,” said Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. “It not only represents the culmination of nearly a decade of scholarly research and generous international collaboration but also demonstrates our commitment to presenting a more comprehensive and inclusive view of twentieth-century and contemporary art in the United States.”

María Izquierdo. My Nieces, 1940. Oil on composition board, 55 1/8 × 39 3/8 in. (140 × 100 cm). Museo Nacional de Arte, INBAL, Mexico City; constitutive collection, 1982 © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Comprised of paintings, portable frescoes, films, sculptures, prints, photographs, and drawings, as well as reproductions of in-situ murals, Vida Americana will be divided into nine thematic sections and will occupy the entirety of the Whitney’s fifth-floor Neil Bluhm Family Galleries. This unprecedented installation, and the catalogue that accompanies it, will provide the first opportunity to reconsider this cultural history, revealing the immense influence of Mexican artists on their American counterparts between 1925 and 1945.

High Museum Of Art To Reunite Romare Bearden’s “Profile” Series For 2019-20 Touring Exhibition

More Than 30 Of Bearden’s Iconic Autobiographical Works Will Be Shown Together For The First Time In Nearly 40 Years

n fall 2019, the High Museum of Art, Atlanta, will premiere “Something Over Something Else: Romare Bearden’s Profile Series,” the first exhibition to bring dozens of works from the eminent series together since its debut nearly 40 years ago. Having opened on Sept. 14, 2019 and then scheduled to run through Feb. 2, 2020, the exhibition will then travel to the Cincinnati Art Museum (Feb. 28–May 24, 2020). “Something Over Something Else: Romare Bearden’s Profile Series” will be presented in the special exhibition gallery on the second level of the High’s Stent Family Wing.

Profile/Part 1, The Twenties: Mecklenberg County, Miss Bertha & Mr. Seth They rented a house from my grandfather. Collages & Montages Romare Bearden, American, 1911–1988 1978 American Collage on board Profile, Part 1: The Twenties Series Support/Overall: 25 1/2 x 18 1/2 inches Collection of Susan Merker

In November 1977, The New Yorker magazine published a feature-length biography of Bearden (American, 1911–1988) by Calvin Tomkins as part of its “Profiles” series. The article brought national focus to the artist, whose rise had been virtually meteoric since the late 1960s. The experience of the interview prompted Bearden to launch an autobiographical collection he called “Profile.” He sequenced the project in two parts: “Part I, The Twenties,” featuring memories from his youth in Charlotte, N.C., and in Pittsburgh, and “Part II, The Thirties,” about his early adult life in New York. For the series’ exhibitions in New York in 1978 and 1981, Bearden collaborated with friend and writer Albert Murray on short statements for the pieces, which were scripted onto the walls to lead visitors on a visual and poetic journey through the works.

Romare Bearden (American, 1911–1988), Profile/Part II, The Thirties: Artist with Painting & Model, 1981, collage on fiberboard. High Museum of Art, Atlanta, purchase with funds from Alfred Austell Thornton in memory of Leila Austell Thornton and Albert Edward Thornton, Sr., and Sarah Miller Venable and William Hoyt Venable, Margaret and Terry Stent Endowment for the Acquisition of American Art, David C. Driskell African American Art Acquisition Fund, Anonymous Donors, Sarah and Jim Kennedy, The Spray Foundation, Dr. Henrie M. Treadwell, Charlotte Garson, The Morgens West Foundation, Lauren Amos, Margaret and Scotty Greene, Harriet and Edus Warren, The European Fine Art Foundation, Billye and Hank Aaron, Veronica and Franklin Biggins, Helen and Howard Elkins, Drs. Sivan and Jeff Hines, Brenda and Larry Thompson, and a gift to honor Howard Elkins from the Docents of the High Museum of Art, 2014.66. © 2019 Romare Bearden Foundation/VAGA at Artists Rights Society (ARS), New York.

Inspired by the High’s recent acquisition of a key work from the series, “Something Over Something Else” will be the first exhibition to reassemble more than 30 collages from the series. The exhibition design will reference the experience of the series’ original gallery presentations by incorporating their handwritten captions into the accompanying wall texts. The project is co-curated by Stephanie Heydt, the High’s Margaret and Terry Stent Curator of American Art, and Bearden scholar Robert G. O’Meally, Zora Neale Hurston professor of English and comparative literature at Columbia University.

“We are privileged to organize ‘Something Over Something Else,’ which honors Bearden’s legacy as one of the 20th century’s most influential artists and brings important recognition to this beautiful and powerful series,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., director of the High.

“We are very excited to reassemble Bearden’s original ‘Profile’ project—and to experience these works along with their captions, presented in the original sequence,” said Heydt. “Bearden was a wonderful storyteller, and ‘Profile’ shows Bearden at his best, using words and images to evoke deeply personal memories. But Bearden also invites us all to find something to relate to along the way. There is a poetry in the arrangement of the exhibition that feels unique for Bearden’s work and this show, which assembles nearly two-thirds of the original group and may be the only opportunity to see those works together again.”

Bearden presented the “Profile” series as a shared history—his reflection on a life path that follows the journey of migration and transition in black communities across the mid-20th century. The series is an origin story that tracks Bearden’s transition from rural South to urban North, weaving his personal history into a communal one. Beyond providing the opportunity to explore an understudied body of work, the exhibition will investigate the roles of narrative and self-presentation for an artist who made a career of creating works based on memory and experience. It will also reveal some of Bearden’s broader inspirations, which lend insight into American life in the first decades of the 20th century.

Heydt was inspired to develop the exhibition in 2014 when the High acquired “Profile/Part II, The Thirties: Artist with Painting & Model” (1981), the culminating work in the series and one of Bearden’s only known self-portraits. The collage, which will feature prominently in the exhibition, is a retrospective work in which Bearden brings together important memories and spiritual influences from his youth in the South with broader art-historical themes that guided his career for more than four decades.

The exhibition will be arranged roughly chronologically according to the original presentations, moving from collages featuring Bearden’s early memories to works exploring his development as an artist in New York. Thematically, the subjects range from neighbors, friends, music and church to work, play, love and loss. The works also vary greatly in size. Though some are large, many are diminutive, a deliberate choice by Bearden to convey his experience of revisiting childhood memories. In addition to the wall texts by Bearden and Murray, the galleries will feature an original copy of The New Yorker article and the catalogues from the 1978 and 1981 gallery exhibitions. The High will also show clips from the 1980 documentary “Bearden Plays Bearden,” directed by Nelson E. Breen.

Featured works will include:

Part I, The Twenties:

• “School Bell Time” (1978): this collage is the first work in the exhibition and recalls one of Bearden’s earliest memories.
• “Pittsburgh Memories, Mill Hand’s Lunch Bucket” (1978): Based on Bearden’s memories of the interior of his grandmother’s boardinghouse in Pittsburgh, this work inspired playwright August Wilson to write the play “Joe Turner’s Come and Gone.” Wilson’s stage set description reflects the composition of the collage, and the two main characters in the play were inspired by another painting in the series, “Mecklenberg County, Miss Bertha & Mr. Seth” (1978).
• “Pittsburgh Memories, Farewell Eugene” (1978): this work features a scene from the funeral of childhood friend who had introduced Bearden to drawing.

Romare Bearden (American, 1911–1988), Profile/Part I, The Twenties, Mecklenberg County, School Bell Time, 1978, collage on board. Kingsborough Community College, The City University of New York. © Romare Bearden Foundation/VAGA at Artists Rights Society (ARS), New York. Photo by Paul Takeuchi.

Part II, The Thirties:

• “Pepper Jelly Lady” (1981): in this work, Bearden returns to his memories of the South and Mecklenburg County.
• “Artist with Painting & Model” (1981): from the High’s collection, this collage is one of Bearden’s only known self-portraits and a reminiscence on his studio above the Apollo Theater in Harlem in the 1940s.
• “Johnny Hudgins Comes On” (1981): This work features the famous vaudeville performer. According to Bearden, Hudgins’ act inspired Bearden’s own approach to “making worlds” with his art.

Romare Bearden (American, 1911–1988), Profile/Part I, The Twenties, Mecklenberg County, Daybreak Express, 1978, collage on board. Courtesy of the McConnell Family Trust. © Romare Bearden Foundation/VAGA at Artists Rights Society (ARS), New York.

Exhibition Catalogue
The High, in collaboration with University of Washington Press, will publish a full-color, illustrated catalogue to accompany the exhibition. Texts will include an introduction by former National Gallery of Art curator Ruth Fine and essays by Heydt, O’Meally, Rachael DeLue (Christopher Binyon Sarofim ’86 professor in American art at Princeton University) and Paul Devlin (assistant professor of English at the United States Merchant Marine Academy).

“Something Over Something Else: Romare Bearden’s Profile Series” is organized and supported in part by an award from the National Endowment for the Arts. Additional support is provided by the Andrew Wyeth Foundation for American Art. This exhibition is made possible by Exhibition Series Sponsors Delta Air Lines, Inc., and Turner; Premier Exhibition Series Supporters the Antinori Foundation, Sarah and Jim Kennedy, Louise Sams and Jerome Grilhot, and wish foundation; Benefactor Exhibition Series Supporter Anne Cox Chambers Foundation; Ambassador Exhibition Series Supporters Tom and Susan Wardell, and Rod Westmoreland; and Contributing Exhibition Series Supporters the Ron and Lisa Brill Family Charitable Trust, Lucinda W. Bunnen, Corporate Environments, Marcia and John Donnell, W. Daniel Ebersole and Sarah Eby-Ebersole, Peggy Foreman, Robin and Hilton Howell, Mr. and Mrs. Baxter Jones, and Margot and Danny McCaul. Generous support is also provided by the Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Marjorie and Carter Crittenden, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, Isobel Anne Fraser–Nancy Fraser Parker Exhibition Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, RJR Nabisco Exhibition Endowment Fund, and Dr. Diane L. Wisebram.

Located in the heart of Atlanta, Georgia, the High Museum of Art connects with audiences from across the Southeast and around the world through its distinguished collection, dynamic schedule of special exhibitions and engaging community-focused programs. Housed within facilities designed by Pritzker Prize–winning architects Richard Meier and Renzo Piano, the High features a collection of more than 17,000 works of art, including an extensive anthology of 19th- and 20th-century American fine and decorative arts; major holdings of photography and folk and self-taught work, especially that of artists from the American South; burgeoning collections of modern and contemporary art, including paintings, sculpture, new media and design; a growing collection of African art, with work dating from pre-history through the present; and significant holdings of European paintings and works on paper. The High is dedicated to reflecting the diversity of its communities and offering a variety of exhibitions and educational programs that engage visitors with the world of art, the lives of artists and the creative process. For more information about the High, visit www.high.org.

The Whitney To Present Hélio Oiticica: To Organize Delirium

Hélio Oiticica: To Organize Delirium, to be presented at The Whitney Museum of American Art from July 14 through October 1, 2017, is the first retrospective to survey the groundbreaking Brazilian artist’s entire career, including the formative years he spent in New York in the 1970s. One of the most influential Latin American artists of the post–World War II period, Oiticica (1937–80) was a tireless innovator, from his start with the Neo-Concrete movement to his groundbreaking environmental installations. Co-organized by the Whitney together with the Carnegie Museum of Art and the Art Institute of Chicago, the exhibition presents a wide array of his paintings, interactive sculptures, films, audiovisual works, writings, and environments.

Hélio Oiticica (b. 1937), PN1 Penetrable (PN1 Penetrável), 1960. César and Claudio Oiticica Collection, Rio de Janeiro. © César and Claudio Oiticica, Rio de Janeiro

“Oiticica was one of the most daring artists to appear anywhere in the years following World War II,” said Elisabeth Sussman, co-curator of the exhibition. “In conceiving this show, it was particularly important to us to focus attention on Oiticica’s presence in New York City in the 1970s, a time when many international artists came to live and work here. The expansion of his ideas into film, photography, and writing has been fully explored, as never before, in the research for this exhibition, and the works, some displayed for the first time, identify Oiticica as a paradigmatic presence in the global expansion of art practice in that decade.”

Co-curator Donna De Salvo commented: “Oiticica’s departure from traditional notions of the static art object and his transformation of the viewer into an active participant were part of a larger, international desire to integrate art and life. Though his reputation is due primarily to his earlier work in Brazil, Oiticica was drawn to the scene of artistic experimentation in New York, and the eight years he spent working in the United States had a huge impact on his thought and continued to shape his art after his return to Brazil. By calling attention to the distinct differences that he absorbed in each locale, we hope to further the notion of art history as one comprised of multiple stories, and emphasize the Whitney’s expansive definition of who belongs in a museum of American art. This openness to patterns of artistic migration and cross-cultural thinking has a long history at the Whitney, which we are delighted to extend with this important exhibition.”

During his brief but remarkable career, Oiticica seamlessly melded formal and social concerns in his art, seeking to be internationally relevant and, at the same time, specifically Brazilian. The exhibition begins with elegant, geometric works on paper (1955–58): formal investigations in painting and drawing. These dynamic compositions gave way to more radical works as Oiticica became increasingly interested in surpassing the limits of traditional painting. By 1959, his painterly-sculptural Spatial Reliefs and Nuclei broke free of the wall and morphed into three-dimensional investigations of color and form. The Nuclei, composed of panels suspended from the ceiling, created areas through which the viewer could walk.

Throughout the 1960s and ’70s, Oiticica moved further toward the destabilization of the art form, making art that is intended for the viewer to manipulate, wear, and inhabit, including his Parangolés, wearable paintings inspired in part by samba schools in the favelas of Rio de Janeiro, and Penetrables, colorful structures for viewers to navigate. In addition to viewing works on display, visitors will be invited to engage interactively with some of the artist’s works.

As Oiticica became further interested in bringing his art into the everyday, he began to create total environments suffused with color, texture, and tactile materials which were increasingly immersive in nature and transformed the viewer from a spectator to an active participant. The exhibition will include a number of these large-scale installations, including Tropicália and Eden. “Tropicália,” a name subsequently borrowed by the musician Caetano Veloso for his anthem against Brazil’s dictatorship, became an important and powerful movement in all the arts.

Immigrant Contributions To American Society Recognized With 2017 Vilcek Prizes

Visual Artist Nari Ward And Biophysicists Lily And Yuh-Nung Jan Receive $100,000 Vilcek Prizes

Winners Of Vilcek Prizes For Creative Promise Each Receive $50,000 Awards

The Vilcek Foundation is pleased to announce the winners of the annual Vilcek Prizes, recognizing outstanding immigrant contributions to the American arts and sciences. The Vilcek Prize in Biomedical Science will be awarded jointly to Chinese-born Lily and Yuh-Nung Jan, a collaborative research duo and professors of molecular physiology at the University of California, San Francisco. The Vilcek Prize in the Arts recognizes Jamaican-born Nari Ward, a New York-based visual artist known for found-object assemblage art. Each prize includes a $100,000 cash award. The prizewinners were selected by panels of experts in each field; they will be honored at an awards gala in New York City in April 2017.

“Like all great artists and scientists, these immigrant prizewinners challenge our very perceptions of the world,” said Rick Kinsel, president of the Vilcek Foundation. “Their works are attempts to understand fundamental questions and concepts in American society, from the neurological underpinnings of the self to the institution of democracy.”

The Vilcek Foundation was established in 2000 by Jan and Marica Vilcek, immigrants from the former Czechoslovakia. The mission of the foundation, to honor the contributions of immigrants to the United States and to foster an appreciation of the arts and sciences, was inspired by the couple’s respective careers in biomedical science and art history, as well as their personal experiences and appreciation for the opportunities they received as newcomers to this country. The foundation awards annual prizes to prominent immigrant biomedical scientists and artists and manages the Vilcek Foundation Art Collections, a promised gift from its founders.

This year, the Vilcek Prize in the Arts is awarded in the fine arts, marking the completion of an 11-year cycle through various disciplines in the arts and humanities. The recipient, Nari Ward, was born in Jamaica and immigrated to the U.S. at the age of 12. He is known for found-object assemblage artworks that invite both a public conversation and an intimate dialogue with the viewer around topics of race, immigration, and the Caribbean diaspora identity. His usage of found objects aims to highlight the history of a place and the urgency of the moment; his installation Naturalization Drawing Table features a large desk—built out of Plexiglas bodega barriers—covered with dense linear drawings made over copies of Immigration and Naturalization Service applications. On select days during the exhibition, viewers are invited to “apply” for naturalization by lining up and filling out an application, giving them a taste of the bureaucratic process of applying for citizenship. Ward has won several prestigious art prizes, including the Joyce Award, the Rome Prize, a Bessie Award, and several other awards from the American Academy of Arts and Letters, the National Endowment for the Arts, and the John Simon Guggenheim Foundation.

Lily and Yuh-Nung Jan were both born in China and raised in Taiwan. They came to the U.S. as graduate students of physics at the California Institute of Technology but switched their focus to biology, in part inspired by their mentor, the renowned biophysicist Max Delbrück. Over the course of a collaborative career spanning over four decades, the husband-and-wife team has made many significant discoveries in the field of neuroscience, with far-reaching clinical implications. They isolated the gene encoding a protein that shuttles potassium ions across cell membranes, enabling the characterization of a molecular player important to functions as vital as maintaining heart rate and controlling muscle movement. Today, this type of ion channel is implicated in diseases such as epilepsy, ataxia, and hypertension. Simultaneously, the Jans identified genes and principles underlying the processes by which neurons acquire distinct identities, burgeon into thickets, and establish precise circuits; their work in this area may help unravel human diseases such as autism and schizophrenia. Currently, professors of molecular physiology at the University of California, San Francisco, the Jans have been honored with membership in the United States National Academy of Sciences, as well as with Howard Hughes Medical Institute Investigator awards.

The Vilcek Foundation also awards the Vilcek Prizes for Creative Promise, given to younger immigrants who have shown substantial talent and ability early in their careers. Each prize includes a $50,000 cash award. The winners in the fine arts are the following:

Iman Issa, born in Egypt, a conceptual artist, creates objects and installations in an attempt to address complex philosophical questions. Her original area of study was phenomenology, a branch of philosophy that examines the structures of consciousness that organize subjective experience—or, put another way, how we take meaning from things we individually experience. Later, Issa realized that art allowed for nuanced exploration of those topics, and continued her philosophical questioning through art. She is particularly interested in monuments and memorials—aesthetic forms tasked with a function that holds a shifting relevance based on their location in time and relationship to history. Her work has been shown at the Solomon R. Guggenheim Museum, the 8th Berlin Biennial, and the New Museum, and she has received the DAAD 2017 Artist in Residence Award, the Louis Comfort Tiffany Foundation Award, and the HNF-MACBA Award.

Meleko Mokgosi, born in Botswana, is a slow, considered painter; behind every painting he produces are hours of research, reading, and conversations with people. Mokgosi is interested in depictions of Africa and its people; he believes that the widespread misrepresentation of Africa and Africans has done a violence to the people of the continent, and through his art he attempts a representation that is fair and just. He is deeply concerned with politics and seeks to understand and illuminate the relations of power that shape people, families, villages, regions, and nations. Mokgosi has been named the recipient of the Joan Mitchell Foundation Painters Grant and the Jarl and Pamela Mohn Award, and he has shown his work at Art Basel, the Armory, the Hammer Museum, and the Whitney Museum.

ArtsWestchester to Debut Spring Art Exhibit, SHE: Deconstructing Female Identity in March, Women’s History Month

Opening Reception to be Held on Sunday, March 13; Exhibit Runs Through Saturday, June 25

As Mattel reimagines the look of Barbie with the release of new dolls that have diverse physical appearances, ArtsWestchester, exploring what it means to be a woman today, has announced its 2016 spring exhibition, called SHE: Deconstructing Female Identity.

Mari Ogihara, “Underthing”

The contemporary art exhibition will open in March, during Women’s History Month, and run through the end of June, providing an artistic exploration of issues related to gender and female identity.

Laurel Garcia Colvin, “Beyond a Room of Our Own,” detail

“Modern American women are struggling to redefine themselves in the face of shifting societal values, changing perceptions of femininity and the choices between domesticity and executive leadership. These issues will be explored in a new exhibition, SHE, in which 11 artists will weigh in on the role of gender in society today,” said ArtsWestchester CEO Janet Langsam, adding that with support from the National Endowment for the Arts, the exhibition presents ideas by a selection of both well-known and emerging New York artists.

Debbie Han, “Season of Being I”

Mari Ogihara, Strip and Dismantle

For more than 50 years, ArtsWestchester has been the community’s connection to the arts. Founded in 1965, it is the largest, private, not-for-profit arts council in New York State whose mission is to provide leadership, vision, and support, to ensure the availability, accessibility, and diversity of the arts. The arts organization provides programs and services that enrich the lives of everyone in Westchester County, which includes helping fund concerts, exhibitions and plays through grants; bringing artists into schools and community centers; advocating for the arts; and building audiences through diverse marketing initiatives.

Nancy Davidson, installation view with “Maebe” and “Netella,” Prague 1999

Tricia Wright, “Vir Domesticus”

Kathy Ruttenberg, “The Nature of the Beast”

The opening reception for SHE: Deconstructing Female Identity will take place on Sunday, March 13 from 3:00 pm to 5:00PM. at ArtsWestchester, located at 31 Mamaroneck Avenue in White Plains, N.Y. The exhibition will be on view through Saturday, June 25.

The following artists will be featured in SHE includes Nicole Awai of Brooklyn, Laurel Garcia Colvin of Chappaqua, Nancy Davidson of New York City, Marcy B. Freedman of Croton-on-Hudson, Debbie Han of New York City, Rebecca Mushtare of Oswego, Valerie Piriano of Brooklyn, Mari Ogihara of White Plains, Kathy Ruttenberg of New York, Barbara Segal of Yonkers and Tricia Wright of Kingston

The Asia Society New York Celebrates Japan in Special Season of Programs

This spring, The Asia Society presents Season of Japan, a celebration of Japanese culture held in conjunction with the exhibition Kamakura: Realism and Spirituality in the Sculpture of Japan, on view at Asia Society Museum in New York from February 9 to May 8, 2016.

With over thirty rare masterpieces from the Kamkura period (1185–1333) from private and museum collections in North America and Europe, “Kamakura: Realism and Spirituality in the Sculpture of Japan” is the first exhibition to look beyond the aesthetics and technical achievements of these remarkable sculptures, and specifically examine the relationship between realism and the sacred empowerment of these objects. The exhibition explores how sculptures are “brought to life” or “enlivened” by the spiritual connection between exterior form, interior contents, and devotional practice, reflecting the complexity and pluralism of the period. “Kamakura: Realism and Spirituality in the Sculpture of Japan” marks the first major loan show of Kamakura sculpture in the United States in more than thirty years.

Head of a Guardian King. Kamakura period, 13th century. Polychromed Japanese cypress (hinoki) with lacquer on cloth, inlaid crystal eyes and filigree metal crown. H. 22 1/16 x W. 10 1/4 x D. 13 15/16 in. (56 x 26 x 35.5 cm). Brooklyn Museum, Gift of Mr. and Mrs. Alastair B. Martin, the Guennol Collection, 86.21. Courtesy of Brooklyn Museum.

The exhibition also coincides with the 60th anniversary year of Asia Society, which was founded in 1956 by John D. Rockefeller 3rd. The Museum is known for its Mr. and Mrs. John D. Rockefeller 3rd Collection of traditional Asian artworks, which was formed in earnest after the establishment of Asia Society in 1956. With the guidance of the noted scholar of Asian art Sherman Lee, John D. Rockefeller 3rd and Blanchette Hooker Rockefeller chose classical masterpieces of Asian art rather than building a historical survey. Although the collection comprises approximately 300 objects, it is nevertheless regarded as one of the most notable collections of Asian art in the United States. It includes objects from diverse nations such as Bangladesh, Cambodia, China, India, Indonesia, Japan, Korea, Myanmar, Nepal, Pakistan, Thailand, and Vietnam that date from the eleventh century BCE to the nineteenth century CE. It has particular strengths in Chinese ceramics of the Song and Ming periods, Chola-period Indian bronzes, and Southeast Asian sculptures.

Kōshun (active 1315–1328). The Shinto Deity Hachiman in the Guise of a Buddhist Monk. Kamakura period, dated 1328. Polychromed Japanese cypress (hinoki) with inlaid crystal eyes. H. 32 x W. 36 3/4 x D. 24 in. (81.3 x 93.3 x 61 cm). Museum of Fine Arts, Boston; Maria Antoinette Evans Fund and Contributions, 36.413. Photograph © 2016 Museum of Fine Arts, Boston

The collection was a promised gift to the Society and served as a primary impetus for the building of the Society’s headquarters at 725 Park Avenue, which opened to the public in 1981. The artworks were given to Asia Society upon the death of Mr. Rockefeller in 1978, and the collection now encompasses the original gift plus a number of objects bequeathed from the estate of Blanchette Hooker Rockefeller and subsequent acquisitions.

Zaō Gongen. Kamakura period, 13th century. Iron. H. 12 1/2 x W. 6 1/2 x D. 3 3/4 in. (31.8 x 16.5 x 9.5 cm). John C. Weber Collection. Photo: John Bigelow Taylor

In the early 1990s, Asia Society Museum became one of the first American museums to establish a program of contemporary Asian art. A recognized leader in identifying and fostering contemporary Asian and Asian American artists, the Museum announced the establishment of a Contemporary Art Collection in 2007, launched with a gift of twenty-eight works of video and new media art. The collection aims to represent the rapidly evolving field of contemporary art across Asia. The first phase of the collecting program is focused on video, animation, and new media works of art. In addition, Asia Society Museum was the first U.S. museum to organize solo shows of the now widely recognized artists Montien Boonma, Cai Guo-Qiang, Dinh Q. Lê, Yuken Teruya, Lin Tianmiao, and Zhang Huan.

“John D. Rockefeller 3rd’s first trip to Asia was to Japan, and he, like countless others, fell in love with the country. Later in life, he and his wife came to see Japan as a second home,” said Josette Sheeran, President and CEO of Asia Society. “It is fitting that in the year of our 60th anniversary, Asia Society is celebrating Japan and its dynamic culture.”

Kamakura: Realism and Spirituality in the Sculpture of Japan is made possible by the generous support of The National Endowment for the Arts. Major support for this exhibition is also provided by the Mary Livingston Griggs and Mary Griggs Burke Foundation, Etsuko O. Morris and John H. Morris Jr. Other generous underwriters includes The Kitano Hotel New York, the Japan Foundation, The Blakemore Foundation, Peggy and Richard Danziger, Japanese Art Dealers Association, Helen Little, Toshiba International Foundation, John C. Weber, and the Ellen Bayard Weedon Foundation. Additional support is provided by Sebastian Izzard, Leighton R. Longhi, Joan B. Mirviss, and Erik Thomsen.

Following is a list of confirmed programs and events. All events, unless indicated, take place at Asia Society in New York, 725 Park Avenue (at 70th Street). Find out more about upcoming programs, including information about registration and ticket purchase, at AsiaSociety.org/SeasonofJapan.

POLICY DISCUSSION
Japan’s New Security Posture: Implications for Asia and the World
Wednesday, February 3 • 8:00-10:00am

Discussion with Japan’s Deputy Foreign Minister Shinsuke Sugiyama and Asia Society Policy Institute President Kevin Rudd about Japan’s role as a regional and global security provider.

LECTURE
Members-Only Exhibition Opening Lecture
Tuesday, February 9 • 6:30-7:30pm

Guest curator Ive Covaci gives members an inside look at Kamakura: Realism and Spirituality in the Sculpture of Japan. Covaci is a lecturer in Art History at Fairfield University.

CELEBRATE THE SEASON OF JAPAN
Leo Bar Happy Hour
Friday, February 12 • 6:00-9:00pm

A night of fun and culture at a Japanese-themed happy hour. Free museum tours of Kamakura: Realism and Spirituality in the Sculpture of Japan, music, specialty cocktails, shopping at AsiaStore, and origami demonstrations.

SYMPOSIUM
Keynote address and exhibition viewing at Asia Society
Friday, February 26 • 6:30-9:00pm

Interdisciplinary symposium (held at Columbia University)
Saturday, February 26-27 • All day

This interdisciplinary symposium will gather leading scholars of Kamakura period art, religion, and literature. On the eve of the symposium, Mimi Yiengpruksawan of Yale University will deliver a keynote address at Asia Society.

PERFORMANCE
Theater Japan / NOH and KYOGEN
Sunday, February 28 • 6:30-8:00pm

A rare opportunity to experience traditional Japanese theater in New York. Master performers of Noh and Kyogen will explain the form’s essentials: the stage, dance, music, costume, masks, and props. The evening includes a talk (in Japanese with English translation), a demonstration by the artists, and Q&A. Presented in conjunction with An Evening of Japanese Traditional Theatre, taking place on March 1 at Carnegie Hall.

FILM
Of Ghosts, Samurai and War: Classic Japanese Film
March 4-19

Japanese cinema has produced some of the most admired films that continue to enrich the world cinema discourse. The Asia Society and the Japan Foundation will screen rare 35mm prints of masterpieces by such greats as Akira Kurosawa, Kenji Mizoguchi, and Kaneto Shindo from the Foundation’s Film Library.

Friday, March 4

Rashomon (1950) 88 min. B&W
Directed by Akira Kurosawa, starring Toshiro Mifune, Machiko Kyo and Masayuki Mori.

Saturday, March 5

The New Tale of the Taira Clan (1955) 108 min. Color
Directed by Kenji Mizoguchi, starring Raizo Ichikawa and Yoshiko Kuga.

Sunday, March 6

Kwaidan (1965) 183 min. Color
Directed by Masaki Kobayashi, music by Toru Takamitsu, starring Katsuo Nakamura, Keiko Kishi, Michiyo Aratama and Rentaro Mikuni.
Friday, March 11

Ugetsu (1953) 97 min. B&W
Directed by Kenji Mizoguchi, starring Machiko Kyo, Kinuyo Tanaka and Masayuki Mori.
Sunday, March 13

Miyamoto Musashi (1961) 110 min. Color
Directed by Tomu Uchida, starring Kinnosuke Nakamura and Michiyo Kogure.
Friday, March 18

Brave Records of the Sanada Clan (1963) 90 min. Color
Directed by Tai Kato, starring Kinnosuke Yorozuya and Misako Watanabe.
Saturday, March 19

Onibaba (1964) 103 min. B&W
Directed by Kaneto Shindo, starring Nobuko Otowa and Jitsuko Yoshimura.

Nashville’s Frist Center For the Visual Arts Presents “The Power of Pictures: Early Soviet Photography and Film”

Citywide Film Series in Conjunction with Exhibition Features “Battleship Potemkin” on 35 mm, “Man with a Movie Camera,” and More

The Power of Pictures: Early Soviet Photography and Film, will be on view at the Frist Center for the Visual Arts from March 11 through July 4, 2016, and examines the relationship between art and politics and illustrates how photography, film and poster art were used as powerful propaganda tools in the early years of the Soviet Union. Organized by the Jewish Museum, New York, The Power of Pictures will make its second and final U.S. stop in Nashville before traveling to Europe.

The exhibition was organized by Susan Tumarkin Goodman, Senior Curator Emerita, and Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, both at The Jewish Museum, New York.

Located at 919 Broadway in downtown Nashville, Tenn., the Frist Center offers the finest visual art from local, regional, national, and international sources in a program of changing exhibitions that inspire people through art to look at their world in new ways.

“In keeping with the First Center’s goal of encouraging our audience to view the world in new ways through art, this exhibition may inspire visitors to assess the images that we are constantly inundated by today with a more critical and informed eye,” says Frist Center Curator Katie Delmez who is overseeing the Frist Center’s presentation. “The interplay of political messaging and art continues in the ever-evolving media outlets of the twenty-first century.“

Arkady Shaikhet. Express, 1939. Gelatin silver print. Nailya Alexander Gallery, New York. Artwork © Estate of Arkady Shaikhet, courtesy of Nailya Alexander Gallery

From the 1917 Bolshevik Revolution through the 1930s early modernist artists acted as engines of social change and radical political engagement. Through approximately 150 objects, including photographs, 12 feature-length films, periodicals and cameras, The Power of Pictures documents not only how lens-based art was used to disseminate Communist ideology, but also how the compelling, message-laced work from this period energized and expanded the potential of photography and film.

The Power of Pictures highlights major constructivist photographers Alexander Rodchenko, El Lissitzky, and Boris Ignatovich, whose work was presented in landmark exhibitions of the time. Such photographers influenced a new generation of photojournalists, including Arkady Shaikhet, Max Penson, Eleazar Langman and Georgy Zelma. The exhibition also includes films by major directors of the era, such as Battleship Potemkin by Sergei Eisenstein and Man with a Movie Camera by Dziga Vertov.

Georgy Petrusov. New Building from Above, 1930. Gelatin silver print. Collection of Alex Lachmann. Artwork © Georgy Petrusov, courtesy of Alex Lachmann Collection

In a country where 70% of the population was illiterate, heavily illustrated periodicals and film were considered more effective tools than the written word for the propaganda needs of the Bolsheviks in the 1920s. Recognizing the power of images, Vladimir Lenin himself declared that the camera, as much as the gun, was an important weapon in class struggle and put the arts at the service of the Revolution.

Although the Communist government initially encouraged the unconventional techniques of the avant-garde, such as dramatic camera angles and darkroom manipulation, the period of innovation was brief. By 1932, as Joseph Stalin consolidated power, independent styles were no longer tolerated. Artistic organizations were dissolved and replaced by state-run unions. Art was subject to strict state control, and required to promote an approved, idealized socialist agenda.

Yakov Khalip. On Guard, 1938. Gelatin silver print. Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, The Manfred Heiting Collection. Artwork used with permission by Nicolay Khalip. Image provided by Museum of Fine Arts, Houston

Organized thematically with sections such as “New Perspectives,” “Constructing Socialism,” and “Staging Happiness,” the exhibition demonstrates how alongside avant-garde art, early Soviet photography and film encompassed a much wider range of artistic styles and thematic content than previously recognized. In addition, The Power of Pictures will feature a rich array of vintage film posters, magazines and books. Their striking graphic style, extreme color and dynamic geometric designs, combined with an innovative use of collage and photomontage, convey a sensibility that is fresh and appealing nearly a century later.

Television: New Staging of Verdi’s Masterpiece Otello Debuts On Great Performances at the Met Sunday, February 21 at 12 p.m. on PBS

Conducted by Yannick Nézet-Séguin and Directed by Bartlett Sher, Aleksandrs Antonenko, One Of The World’s Leading Interpreters of Otello, Sings His First Met Performances Of The Role, Opposite Sonya Yoncheva as Desdemona and Željko Lučić as the Villainous Iago

Verdi’s late masterpiece based on Shakespeare’s tragic drama of jealousy and deceit, Otello, airs on THIRTEEN’S Great Performances at the Met Sunday, February 21 at 12 p.m. on PBS. (Check local listings.) (In New York, THIRTEEN will air the opera at 12:30 p.m.)

Tony Award-winning director Bartlett Sher‘s acclaimed new production is led by dynamic conductor Yannick Nézet-Séguin with Aleksandrs Antonenko in his first Met performance as the tormented Moor of Venice, with Sonya Yoncheva in her role debut as his innocent wife, Desdemona. Bass-baritone Eric Owens hosts the broadcast.

Aleksandrs Antonenko in the title role Željko Lučić as Iago in Verdi’s “Otello”. Photographed by Ken Howard/ Metropolitan Opera

Also featuring Željko Lučić as Otello’s sinister rival, Iago, Dimitri Pittas as Cassio, and Günther Groissböck as Lodovico, this staging also marks the Met debut of set designer Es Devlin, whose previous designs include the 2014 revival of Machinal on Broadway and numerous opera productions for Covent Garden, La Scala, and other leading companies.

Otello was originally seen live in movie theaters on October 17, 2015 as part of the groundbreaking The Met: Live in HD series, which transmits live performances to more than 2,000 movie theaters and performing arts centers in over 70 countries around the world. The Live in HD series has reached a record-breaking 18 million viewers since its inception in 2006.

Sonya Yoncheva as Desdemona and Aleksandrs Antonenko in the title role of Verdi’s “Otello”. Photographed by Ken Howard/ Metropolitan Opera

Often cited as Italian opera’s greatest tragedy, Otello is a miraculous union of music and drama, a masterpiece as profound philosophically as it is thrilling theatrically. Shakespeare’s tale of an outsider, a great hero who can’t control his jealousy, was carefully molded by the librettist Arrigo Boito into a taut and powerful opera text. Otello almost wasn’t written: following the success of Aida and his setting of the Requiem mass in the early 1870s, Verdi considered himself retired, and it took Boito and publisher Giulio Ricordi several years to persuade him to take on a major new work.

ACT I

Cyprus, late 19th century. During a violent storm, the people of Cyprus await the return of their governor and general of the Venetian fleet, the Moor Otello. He has been fighting the Muslim Turks and guides his victorious navy to safe harbor. In his absence, the young Venetian Roderigo has arrived in Cyprus and fallen in love with Otello’s new wife, Desdemona. Otello’s ensign Iago, who secretly hates the governor for promoting the officer Cassio over him, promises Roderigo to help win her. While the citizens celebrate their governor’s return, Iago launches his plan to ruin Otello. Knowing that Cassio gets drunk easily, Iago proposes a toast. Cassio declines to drink, but abandons his scruples when Iago salutes Desdemona, who is a favorite of the people. Iago then goads Roderigo into provoking a fight with Cassio, who is now fully drunk. Montano, the former governor, tries to separate the two, and Cassio attacks him as well. Otello appears to restore order, furious about his soldiers’ behavior. When he realizes that Desdemona has also been disturbed by the commotion, he takes away Cassio’s recent promotion and dismisses everyone. Otello and Desdemona reaffirm their love.

Günther Groissböck as Lodovico in Verdi’s Otello. Photo by Ken Howard/Metropolitan Opera.

ACT II

Iago advises Cassio to present his case to Desdemona, arguing that her influence on Otello will secure his rehabilitation. Alone, Iago reveals his bleak, nihilistic view of humankind. He makes dismissive remarks about Desdemona’s fidelity to Otello, whose jealousy is easily aroused. Otello’s suspicious are raised when Desdemona appears and appeals to him on Cassio’s behalf. Otello evasively complains of a headache, and Desdemona offers him a handkerchief, which he tosses to the ground. Emilia, Iago’s wife and Desdemona’s maidservant, retrieves it, and Iago seizes the handkerchief from her. Left alone with Otello, Iago fans the flames of the governor’s suspicions by inventing a story of how Cassio had spoken of Desdemona in his sleep, and how he saw her handkerchief in Cassio’s hand. Seething with jealousy, Otello is now convinced that his wife is unfaithful. The two men join in an oath to punish Cassio and Desdemona.

THIRTEEN’s ‘American Masters’ Presents the World Premiere of the New Documentary ‘Loretta Lynn: Still a Mountain Girl’ March 4 on PBS

Bio-Doc Features Never-Before-Seen Performances And New Interviews With Lynn, Jack White, Sheryl Crow, Willie Nelson, Garth Brooks, Trisha Yearwood, Reba McEntire, Miranda Lambert, Sissy Spacek and Others

“You either have to be first, best or different.“ – Loretta Lynn

Inducted into more music Halls of Fame than any female recording artist to date, Loretta Lynn (b. April 14, 1932) has earned four Grammy Awards, Kennedy Center Honors and a Presidential Medal of Freedom, and sold more than 45 million records worldwide. Still going strong after more than 50 years, “The Queen of Country Music” is now the subject of the new documentary American Masters – Loretta Lynn: Still a Mountain Girl, premiering Friday, March 4 at 9 p.m. on PBS (check local listings) during Women’s History Month as part of the 30^th anniversary season of THIRTEEN‘s American Masters series. The world premiere broadcast is the same day as the release of Lynn’s first new studio album in over 10 years, Full Circle (Legacy Recordings).

(https://fashionpluslifestyle.wordpress.com/2015/11/16/american-music-icon-loretta-lynn-revisits-her-musical-roots-on-first-new-studio-album-in-over-ten-years/)

“You couldn’t make up a better example of the American Dream than Loretta Lynn’s astonishing rags-to-riches story. Her 48-year marriage to Doo and their rare partnership is also one of the great love stories of our times,” said executive producer Elliott Halpern of Yap Films Inc.

With unprecedented access to Lynn, her family and archives, Still a Mountain Girl features never-before-seen home movies, performances and photos, as well as insightful interviews with her friends and fellow musicians, including Jack White (producer of Lynn’s Grammy-winning album Van Lear Rose), Sheryl Crow, Willie Nelson, Garth Brooks, Trisha Yearwood, Reba McEntire, Miranda Lambert and Bill Anderson. The documentary also features never-before-seen footage of Lynn in the studio with producer John Carter Cash, as she records Full Circle and other new songs at the Cash Cabin Studio in Hendersonville, Tenn. Filming with Lynn, her family and business team also took place at her ranch and other locations in Hurricane Mills, Tenn., the community she formed as a re-creation of her Appalachia birthplace, Butcher Hollow, Ky., where she was raised in poverty. Other interviews include Sissy Spacek, who starred as Lynn in the Oscar-winning biographical film of her life, Coal Miner’s Daughter (based on Lynn’s 1976 autobiography), and its director Michael Apted.

Legacy Recordings will release FULL CIRCLE, the first new studio album in over ten years from American music icon Loretta Lynn, on March 4, 2016. (PRNewsFoto/Legacy Recordings)

“She’s written anti-war anthems, songs about birth control, pregnancy and divorce, all with a sincerity and honesty that transcends music genres, politics and gender,” said executive producer Elizabeth Trojian of Yap Films Inc.

American Masters – Loretta Lynn: Still a Mountain Girl explores Lynn’s hard-fought road to stardom, her struggles to balance her marriage to Oliver “Doolittle” Lynn and six children with her music career, her friendships and collaborations with Spacek, Patsy Cline, Conway Twitty, Johnny Cash, June Carter Cash and music producer Owen Bradley, along with her life on the road, her Nashville and Hurricane Mills communities, her songwriting inspirations and her music’s lasting impact on her peers and fans.

“You don’t have to know country music to love Loretta Lynn,” said Michael Kantor, executive producer of American Masters. “Somehow the Lynn family makes you feel like there is a little country in all of us.“

Emerging Filmmaker Alex Ross Perry Celebrated With Museum of Moving Image Early Career Retrospective

Museum of the Moving Image to screen the director’s four features, including his newest, Queen of Earth, with Perry and star Elisabeth Moss in person, August 22–25, 2015

Director, screenwriter and actor Alex Ross Perry has become one of the most accomplished and provocative American independent filmmakers in a very short period of time, with four disparate feature films that reinvent genres, are emotionally transgressive, feature scabrous dark humor, and evoke great cinema of the past while pushing ahead towards new forms. From August 22 through 25, 2015, The Museum of the Moving Image will present all of his features, including a special preview screening of the new film Queen of Earth, with Perry and Moss in person, on August 25. (IFC FILMS WILL RELEASE QUEEN OF EARTH ON AUGUST 26th IN NEW YORK WITH A NATIONAL ROLLOUT TO FOLLOW)

Perry was raised in Bryn Mawr, Pennsylvania, where he worked on a local television news program during high school. After graduating, he moved to New York City to attend New York University and graduated from its highly-rated film program. in 2006. From 2005 to 2007, Perry worked at the East Village-based video store Kim’s Video, where he met many of the cast and crew members who would later work on his films, including director of photography Sean Price Williams. Perry’s first feature, Impolex, premiered in 2009. Made on a budget of $15,000 and shot on 16mm film stock, the film is an absurdist comedy inspired by Thomas Pynchon‘s novel Gravity’s Rainbow and was released theatrically in 2011.

Perry’s second feature, The Color Wheel, premiered at film festivals in 2011. The film, a dark screwball comedy influenced by the work of Philip Roth, was co-written by Perry with Carlen Altman; the two also played the lead roles in the film. The film was named the best undistributed film of 2011 by the Indiewire and Village Voice polls, and placed 12th in a similar poll conducted by Film Comment. It was released theatrically on May 18, 2012.

Perry’s next film, a comedy titled Listen Up Philip, which premiered at the 2014 Sundance Film Festival. Perry recently acted in Bob Byington‘s film 7 Chinese Brothers, which was released in early 2015. In April 2015, Disney Studios hired Perry to write a live-action adaptation of the Winnie the Pooh franchise, while he also optioned Don DeLillo‘s The Names for a feature adaptation.

“Alex Ross Perry’s two most recent films feature unforgettable and vivid performances—most notably Elisabeth Moss’s daring portrayal of emotional despair in the astonishing Queen of Earth,” said Chief Curator David Schwartz. “The Museum is pleased to offer New Yorkers an opportunity to catch up on an impressive body of work by this unique emerging talent who has incorporated his love of cinema into his own original vision.”

SCHEDULE FOR ‘THE FILMS OF ALEX ROSS PERRY,’ AUGUST 22–25, 2015
Screenings take place in either the Sumner M. Redstone Theater or the Celeste and Armand Bartos Screening Room at Museum of the Moving Image, 36-01 35 Avenue in Astoria, New York. Unless otherwise noted, tickets for MOMI screenings are $12 adults ($9 seniors and students / $6 children 3–12) and free for Museum members at the Film Lover level and above. Advance tickets are available online at http://movingimage.us. Ticket purchase includes same-day admission to the Museum’s galleries.

Impolex
SATURDAY, AUGUST 22, 4:30 PM.
Dir. Alex Ross Perry. 2009, 73 mins. 35mm. With Riley O’Bryan, Kate Lyn Sheil, Bruno Meyrick Jones. In his feature debut, Perry was loosely inspired by Thomas Pynchon’s Gravity’s Rainbow. Taking place just after World War II, the film follows the shambling young soldier Tyrone S. as he wanders through the forest looking for German V2 rockets and encounters a number of inexplicably figures, including an eyepatch-wearing Englishman, a garrulous octopus, and the girlfriend he left behind to join the army.

The Color Wheel
SUNDAY, AUGUST 23, 3:00 PM.
Dir. Alex Ross Perry. 2011, 83 mins. 35mm. With Carlen Altman, Alex Ross Perry. Having recently broken up with her boyfriend and former professor, aspiring TV weathergirl JR calls on her estranged younger brother Colin to help retrieve her possessions at her ex’s apartment. What follows is one of the most uncomfortable road movies ever, as the two equally despicable characters incessantly pick on, undercut, and attack one another. “Perry gives a harsh, sarcastic twist to the intimate rivalry of siblings…. [He] directs these uproarious rapid-fire flareups with exquisite comic timing and incisive comic framing,” wrote Richard Brody in The New Yorker.

Listen Up Philip
SUNDAY, AUGUST 23, 5:30 PM.
Dir. Alex Ross Perry. 2014, 109 mins. With Jason Schwartzman, Elisabeth Moss, Jonathan Pryce. Feeling alienated by the pressures of the New York literary world and the girlfriend who financially supports him, the narcissistic and self-involved author Philip Lewis Friedman seeks refuge in the country home of his equally self-obsessed idol, the older, more established writer Ike Zimmerman. “Words do more than hurt, they also slash and burn in this sharp, dyspeptic, sometimes gaspingly funny exploration of art and life […],” noted Manohla Dargis, Film Critic for The New York Times.

SPECIAL PREVIEW SCREENING
Queen of Earth

TUESDAY, AUGUST 25, 7:30 PM.

With Elisabeth Moss and Alex Ross Perry in person
Dir. Alex Ross Perry. 90 mins. With Elisabeth Moss, Patrick Fugit, Katherine Waterson. Catherine (played in what Variety calls “an utterly fearless central performance by Elisabeth Moss”) has entered a particularly dark period in her life: her father, a famous artist whose affairs she managed, has recently died, and on the heels of his death she’s dumped by her boyfriend James (Kentucker Audley). Looking to recuperate, Catherine heads out to her best friend Virginia’s (Katherine Waterston) lake house for some much needed relaxation. However, fissures between the two women begin to appear, sending Catherine into a downward spiral of delusion and madness. She is overcome with memories of time spent at the same house with James the year before. As Catherine reaches out to Virginia with attempts at connection, Virginia begins spending increasing amounts of time with a local love interest, Rich (Patrick Fugit), and fissures in the relationship between the two women begin to appear, sending Catherine into a downward spiral of delusion and madness. A bracing, eerie look at the deep bonds of friendship and the horrific effects of such bonds being frayed, Queen of Earth is a thrilling examination of a deeply complex relationship between two miserable women. As Scott Foundas points out in his Variety review, ”Perry is working in a style that seems equally influenced by doppelganger narratives like Bergman’s Persona and Brian De Palma’s Sisters. “
Tickets: $25 public/$15 Museum members at the Film Lover level or above/Free for Silver Screen members and above. 

The Museum of the Moving Image‘s (movingimage.us) mission is to advance the understanding, enjoyment, and appreciation of the art, history, technique, and technology of film, television, and digital media. The Museum also host screenings of significant cinematic works; discussion programs featuring actors, directors, craftspeople, and business leaders; and education programs which serve more than 50,000 students each year. The Museum facilities—acclaimed for both its accessibility and bold design—is housed in a building owned by the City of New York and located on the campus of Kaufman Astoria Studios. Its operations are made possible in part by public funds provided through the New York City Department of Cultural Affairs, the New York City Economic Development Corporation, the New York State Council on the Arts, the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation, and Historic Preservation). The Museum also receives generous support from numerous corporations, foundations, and individuals.

Hours: Wednesday–Thursday,10:30 a.m. to 5:00 p.m. Friday, 10:30 to 8:00 p.m. Saturday-Sunday, 11:30 a.m. to 7:00 p.m.
Film Screenings: Friday evenings, Saturdays and Sundays, and as scheduled. Unless otherwise noted, tickets for screenings are $12 ($9 students and seniors / free for Museum members at the Film Lover level and above) will be available for advance purchase online at movingimage.us. Screening tickets include same-day admission to the Museum’s galleries.
Museum Admission: $12.00 for adults; $9.00 for persons over 65 and for students with ID; $6.00 for children ages 3–12. Children under 3 and Museum members are admitted free. Admission to the galleries is free on Fridays, 4:00 to 8:00 p.m.
Location: 36-01 35 Avenue (at 37 Street) in Astoria.
Subway: M (weekdays only) or R to Steinway Street. Q (weekdays only) or N to 36 Avenue.
Program Information: Telephone: 718 777 6888; Website: movingimage.us
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The Whitney Museum OF American Art To Debut Frank Stella: A Retrospective, Opening October 30

The most comprehensive career retrospective in the U.S. to date of the work of Frank Stella, co-organized by The Whitney Museum of American Art and the Modern Art Museum of Fort Worth, will debut at the Whitney this fall. Frank Stella: A Retrospective brings together the artist’s best-known works installed alongside lesser known examples to reveal the extraordinary scope and diversity of his nearly sixty-year career. Approximately 100 works, including icons of major museum and private collections, will be shown. Along with paintings, reliefs, sculptures, and prints, a selection of drawings and maquettes have been included to shed light on Stella’s conceptual and material process. Frank Stella: A Retrospective is organized by Michael Auping, Chief Curator, Modern Art Museum of Fort Worth, in association with Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art, New York, with the involvement of Carrie Springer, Assistant Curator, Whitney Museum of American Art, New York.

The exhibition will be on view at the Whitney from October 30, 2015 through February 7, 2016, and at the Modern Art Museum of Fort Worth from April 17 through September 4, 2016; it will subsequently travel to the DeYoung Museum, San Francisco. This will be the inaugural special exhibition and the first career retrospective devoted to a living artist in the Whitney’s new downtown home on Gansevoort Street. It will fill the entire 18,000-square-foot fifth floor—the Museum’s largest gallery for temporary exhibitions. Annabelle Selldorf, Selldorf Architects, is doing the exhibition design for the Whitney installation.

“A Stella retrospective presents many challenges,” remarks Auping, “given Frank’s need from the beginning of his career to immediately and continually make new work in response to previous series. And he has never been timid about making large, even monumental, works. The result has been an enormous body of work represented by many different series. Our goal has been to summarize without losing the raw texture of his many innovations.”

“It’s not merely the length of his career, it is the intensity of his work and his ability to reinvent himself as an artist over and over again over six decades that make his contribution so important,” said Weinberg. “Frank is a radical innovator who has, from the beginning, absorbed the lessons of art history and then remade the world on his own artistic terms. He is a singular American master and we are thrilled to be celebrating his astonishing accomplishment.”

Frank Stella. Die Fahne hoch!, 1959. Enamel on canvas, 121 5/8 x 72 13/16 in.
Whitney Museum of American Art, New York; gift of Mr. and Mrs. Eugene M. Schwartz and purchase,
With funds from the John I.H. Baur Purchase Fund; the Charles and Anita Blatt Fund; Peter M. Brant;
B.H. Friedman ; the Gilman Foundation, Inc.; Susan Morse Hilles; The Lauder Foundation;
Frances and Sydney Lewis; the Albert A. List Fund; Philip Morris Incorporated; Sandra Payson;
Mr. and Mrs. Albrecht Saalfied; Mrs. Percy Uris; Warner Communications, Inc. and the National
Endowment for the Arts 75.22 © 2014 Frank Stella / Artists Rights Society (ARS), New York

Born in Malden, Massachusetts, in 1936, Frank Stella attended Phillips Academy, Andover, and then Princeton University, where he studied art history and painting. In college, he produced a number of sophisticated paintings that demonstrated his understanding of the various vocabularies that had brought abstract painting into international prominence. After graduating in 1958, Stella moved to New York and achieved almost immediate fame with his Black Paintings (1958–60), which were included in The Museum of Modern Art’s seminal exhibition Sixteen Americans in 1959–60.

The Leo Castelli Gallery in New York held Stella’s first one-person show in 1962. The Museum of Modern Art, under William Rubin’s stewardship, presented his first retrospective only a few years later, in 1970, when Stella was only thirty-four years old. A second retrospective was held at MoMA in 1987. Since then, Stella has been the subject of countless exhibitions throughout the world, including a major retrospective in Wolfsburg in 2012. Frank Stella: A Retrospective is the first survey of the artist’s career in the U.S. since 1987. He was appointed the Charles Eliot Norton Professor of Poetry at Harvard University in 1983. “Working Space,” his provocative lecture series (later published as a book), addresses the issue of pictorial space in postmodern art. Stella has been the recipient of numerous awards and honors, including the 2009 National Medal of Arts and the 2011 Lifetime Achievement in Contemporary Sculpture Award from the International Sculpture Center, as well as the Isabella and Theodor Dalenson Lifetime Achievement Award from Americans for the Arts (2011) and the National Artist Award at the Anderson Ranch Arts Center in Aspen (2015).

Frank Stella, Gobba, zoppa e collotorto, 1985. Oil, urethane enamel, fluorescent alkyd, acrylic, and printing ink on etched magnesium and aluminum. 137 x 120 1/8 x 34 3/8 in. (348 x 305 x 87.5 cm). The Art Institute of Chicago; Mr. and Mrs. Frank G. Logan Purchase Prize Fund; Ada Turnbull Hertle Endowment 1986.93. © 2015 Frank Stella/Artists Rights Society (ARS), New York.

Throughout his career, Stella has challenged the boundaries of painting and accepted notions of style. Though his early work allied him with the emerging minimalist approach, Stella’s style has evolved to become more complex and dynamic over the years as he has continued his investigation into the nature of abstract painting.

Adam Weinberg and Marla Price, Director of the Modern Art Museum of Fort Worth, note in the directors’ foreword to the catalogue, “Abstract art constitutes the major, and in many ways, defining artistic statement of the twentieth century and it remains a strong presence in this century. Many artists have played a role in its development, but there are a few who stand out in terms of both their innovations and perseverance. Frank Stella is one of those. As institutions devoted to the history and continued development of contemporary art, we are honored to present this tribute to one of the greatest abstract painters of our time.”

The exhibition begins with rarely seen early works, such as East Broadway(1958), from the collection of Addison Gallery of American Art, which show Stella’s absorption of Abstract Expressionism and predilections for colors and composition that would appear throughout the artist’s career.

Stella’s highly acclaimed Black Paintings follow. Their black stripes executed with enamel house paint were a critical step in the transition from Abstract Expressionism to Minimalism. The exhibition includes such major works as Die Fahne hoch! (1959), a masterpiece from the Whitney’s own collection, and The Marriage of Reason and Squalor II (1959) from The Museum of Modern Art’s collection. A selection of the artist’s Aluminum and Copper Paintings of 1960–61, featuring metallic paint and shaped canvases, further establish Stella’s key role in the development of American Minimalism.

Even with his early success, Stella continued to experiment in order to advance the language of abstraction. The chronological presentation of Stella’s work tracks the artist’s exploration of the relationship between color, structure, and abstract illusionism, beginning with his Benjamin Moore series and Concentric Square Paintings of the early 1960s and 70s—including the masterpiece Jasper’s Dilemma (1962). In his Dartmouth, Notched V, and Running V paintings, Stella combines often shocking color with complex shaped canvases that mirror the increasingly dynamic movement of his painted bands. These were followed by the even more radically shaped Irregular Polygon Paintings, such as Chocorua IV (1966) from the Hood Museum, with internally contrasting geometric forms painted in vibrant fluorescent hues; and the monumental Protractor Paintings, such as Harran II (1967) from the Guggenheim‘s collection, composed of curvilinear forms with complex chromatic variations.

THIRTEEN’s American Masters Series Presents the National Broadcast Premiere of Jascha Heifetz: God’s Fiddler

Emmy-winning filmmaker Peter Rosen’s profile of the violin virtuoso features Heifetz’ previously unseen home movies, Itzhak Perlman, Ivry Gitlis, Ida Haendel and Ayke Agus,  April 16 and 17 on PBS (check local listings)

 

Emmy- and Peabody-winning filmmaker Peter Rosen (American Masters — Garrison Keillor: The Man on the Radio in the Red Shoes, The Cliburn: Playing on the Edge) uncovers the story of legendary musician Jascha Heifetz (1901-1987), the first truly modern violin virtuoso, for THIRTEEN‘s American Masters series. The one-hour documentary American Masters — Jascha Heifetz: God’s Fiddler premieres nationwide Thursday, April 16 at 8 p.m. and Friday, April 17 at 9 p.m. on PBS (check local listings). Major market premieres include Thursday, April 16 at 8 p.m. on WTTW11 in Chicago and WHYY-TV in Philadelphia and 10:30 p.m. on THIRTEEN in New York, and Friday, April 17 at 8 p.m. on KERA in Dallas, 8:30 p.m. on WETA TV 26 in Washington, D.C., and 9 p.m. on PBS SoCal in Los Angeles, on KQED in San Francisco, on WGBH 2 in Boston and on Houston Public Media.

Jascha Heifetz, the child prodigy, circa 1907 at age 6. Credit: Library of Congress

Jascha Heifetz. Credit: Library of Congress

Jascha Heifetz, circa 1969-1970. Credit: RCA

The day after the 19-year-old Heifetz’s London debut, George Bernard Shaw wrote him a now legendary letter. “If you provoke a jealous God by playing with such superhuman perfection,” Shaw warned, “you will die young. I earnestly advise you to play something badly every night before going to bed, instead of saying your prayers. No mortal should presume to play so faultlessly.”

Heifetz is widely considered to be one of the most profoundly influential performing artists of all time. Born in Vilnius, Lithuania — then occupied by Russia — on February 2, 1901, he became a U.S. citizen in 1925. Fiercely patriotic to his adopted country, he gave hundreds of concerts for Allied service men and women during World War II, including tours of Central and South America, North Africa, Italy, France, and Germany, often playing from the back of a flatbed truck in dangerous conditions.

In 1928, he published the first of dozens of acclaimed violin transcriptions. Many, including his arrangements of selections from Gershwin’s “Porgy and Bess,” are now part of the standard repertoire. Using the pseudonym Jim Hoyl, he even wrote a pop song that became a hit in 1946.

In his later years, Heifetz became a dedicated teacher and a champion of causes he believed in. He led efforts to establish “911” as an emergency phone number, and crusaded for clean air. He and his students at the University of Southern California protested smog by wearing gas masks, and in 1967 he converted his Renault passenger car into an electric vehicle. As a result of his vast recorded legacy, Heifetz’s violin playing is no less influential today than it was in his lifetime. To legions of violinists he remains, quite simply, “The King.”

Jascha Heifetz (right) rehearses with Arturo Toscanini (left), circa 1950. Credit: Library of Congress

Jascha Heifetz at home in his native Vilnius, Lithuania. Credit: Library of Congress

Setting the standard in violin playing for nearly a century, Heifetz’ name became shorthand for excellence for everyone from Jack Benny to The Muppets to Woody Allen. Through vintage performances and master classes, God’s Fiddler portrays an artist for whom only perfection would do. New interviews include other great violinists influenced by Heifetz, including Itzhak Perlman, Ivry Gitlis and Ida Haendel, former student, accompanist and longtime companion Ayke Agus, former student and master assistant in charge of his world-renowned violin class at the University of Southern California Sherry Kloss, and biographers John Anthony Maltese and Arthur Vered. They reveal how Heifetz was a mysterious, idiosyncratic, solitary figure who embodied the paradox of artistic genius: a dedication to his craft at all costs, including two failed marriages, estrangement from his children and very few friends. Characterized as serious and intense while performing and teaching, his students describe him as generous and playful when socializing.

Memorable Arias and Duets from Today’s Operatic Superstars Topline Encores! Great Performances at the Met Airing in December on PBS

From Natalie Dessay and Anna Netrebko to Juan Diego Flórez and Jonas Kaufmann, show-stopping excerpts from “Carmen,” “Rigoletto,” “La Bohème,” and more, hosted by Deborah Voigt

Encores! Great Performances at the Met – featuring 19 unforgettable arias and duets selected from the past eight seasons of broadcasts, performed by today’s greatest opera stars and talents – will air on Great Performances in December. (In New York, THIRTEEN will air the program on Thursday, December 11 at 8:30 p.m.)

Hosted by soprano Deborah Voigt, from the Grand Staircase of the Met, the special covers a wide range of operatic ground, from

“Great Performances” logo, courtesy: WNET New York Public Media (PRNewsFoto/THIRTEEN/WNET New York)

heartbreak to hilarity, delivered by such artists as Natalie Dessay, Plácido Domingo, Renée Fleming, Juan Diego Flórez, Jonas Kaufmann, and Anna Netrebko, along with Voigt herself.  These extraordinary moments, selected from more than 75 productions, were initially seen as part of the Met’s global Live in HD movie-theater transmissions, and later shared with PBS audiences as presentations of Great Performances at the Met. The musical excerpts are interspersed with commentary by Voigt and some backstage interviews with the singers.

Excerpts Listing:

“Chacun le sait, chacun le dit”
La Fille du Régiment (Donizetti)
Natalie Dessay

“Ah, mes amis”
La Fille du Régiment (Donizetti)
Juan Diego Flórez

“Figlia impura di Bolena”
Maria Stuarda (Donizetti)
Joyce DiDonato, Elza van den Heever

“Pourquoi me réveiller”
Werther (Massenet)
Jonas Kaufmann

Final Scene, Carmen (Bizet)
El?na Garan?a, Roberto Alagna

“So anch’io la virtù magica”
Don Pasquale (Donizetti)
Anna Netrebko

“How soft and sweet your magic tone”
The Magic Flute (Mozart)
Matthew Polenzani

“En proie à la tristesse”
Le Comte Ory (Rossini)
Diana Damrau

“Plebe! Patrizi!”
Simon Boccanegra (Verdi)
Plácido Domingo
with Adrianne Pieczonka, Marcello Giordani, James Morris

Final Scene, Eugene Onegin (Tchaikovsky)
Renée Fleming, Dmitri Hvorostovsky

“Largo al factotum”
Il Barbiere di Siviglia (Rossini)
Peter Mattei

“Fin ch’han dal vino”
Don Giovanni (Mozart)
Mariusz Kwiecien

“D’amor sull’ali rosee”
Il Trovatore (Verdi)
Sondra Radvanovsky

“Mild und leise wie er lächelt”
Tristan und Isolde (Wagner)
Deborah Voigt

“Questa o quella”
Rigoletto (Verdi)
Piotr Beczala

“Un bel dì vedremo”
Madama Butterfly (Puccini)
Patricia Racette

Death Scene, Boris Godunov (Mussorgsky)
René Pape

“O soave fanciulla”
La Bohème (Puccini)
Kristine Opolais, Vittorio Grigolo

“Loge, hör!”
Die Walküre (Wagner)
Bryn Terfel

Encores! Great Performances at the Met is produced by THIRTEEN Productions LLC for WNET.  For Great Performances, Bill O’Donnell is series producer and David Horn is executive producer. Corporate support for Great Performances at the Met is provided by Toll Brothers, with additional funding by the National Endowment for the Arts. Great Performances is funded by the Irene Diamond Fund, the Anna-Maria and Stephen Kellen Arts Fund, The LuEsther T. Mertz Charitable Trust, Rosalind P. Walter, The Agnes Varis Trust, The Starr Foundation, the Philip and Janice Levin Foundation, and PBS. Visit Great Performances Online at www.pbs.org/gperf for additional information about this and other programs.

The Film Society of Lincoln Center names Director/Writer ANDREA ARNOLD as the 2013 FILMMAKER IN RESIDENCE during 51st New York Film Festival

THE FILM SOCIETY OF LINCOLN CENTER names Director/Writer ANDREA ARNOLD as the 2013 FILMMAKER IN RESIDENCE during THE 51ST NEW YORK FILM FESTIVAL

Andrea Arnold

The Film Society of Lincoln Center (www.filmlinc.com) has named director/writer, Andrea Arnold, as the 2013 Filmmaker in Residence, to take place during the 51st New York Film Festival. The initiative is in partnership with luxury brand Jaeger-LeCoultre, to further the goals of filmmakers at an earlier stage in the creative process. Arnold will have the opportunity to focus on developing or refining new work, and participate in master classes, mentorships or cultural exchange and enrichment film programs with the Film Society of Lincoln members, the film community and the public.

“We are thrilled to announce Andrea Arnold as the 2013 Filmmaker in Residence during the 51st New York Film Festival.  Our partnership with Jaeger-LeCoultre on this cornerstone program fosters excellence in the filmmaking community, and reflects our shared belief in the universal power of film to inspire and engage the global community.” states Rose Kuo, Executive Director of the Film Society of Lincoln Center

Andrea Arnold is an English director and writer who made her debut with two short films, MILK in 1998 and DOG in 2001. In 2005, Arnold won the Academy Award for Best Live Action Short Film for WASP and her first feature film, RED ROAD won the Jury Prize in Cannes in 2006 and also played during New Directors/New Films. Her 2009 film FISH TANK starring Kate Jarvis and Michael Fassbender, once again won the Jury Prize and in 2011, she directed an adaptation of Emily Bronte¹s Wuthering Heights. The film was shown at the 68th Venice International Film Festival, where it won the Golden Osella for Best Cinematography.

The Filmmaker in Residence initiative also consists of Advisory Board members, announced in June, who will be participating. These include: Henry Bean, Brady Corbet, Charles Finch, Naomi Foner, Larry Gross, Philip Seymour Hoffman, Danny Huston, Tamara Jenkins, Ed Lachman, Bennett Miller, Matthew Modine, Ed Pressman, Ira Sachs, Paul Schrader and Marisa Tomei. Their involvement may include nominating potential candidates, mentoring the filmmaker once selected, panel participation during the 51st New York Film Festival and/or attending/hosting events in support of the initiative.

The Film Society and Jaeger-LeCoultre recently announced their multi-year partnership, which kicked off at the 40th Anniversary Chaplin Award Gala in April, honoring Barbra Streisand, and extending through the New York Film Festival as well as a series of events throughout the year, including the annual Film Comment Luncheon in January. The new partnership allows for both organizations to further support the film community, and support for the arts.

A major player in watchmaking history since 1833, Jaeger-LeCoultre is the first Manufacture to have been established in the Vallée de Joux, Switzerland. It played a pioneering role by uniting the full range of technical and artistic professions under one roof and made an indelible imprint on the watchmaking development of the entire region. Guided by time-honored know-how and a constant quest for technical enhancements, the master-watchmakers, engineers and technicians craft each watch in harmony with the same passion. Each masterpiece, heir to 180 years of expertise, benefits from cutting-edge technologies while being crafted in harmony with the noblest traditions. Building on a vast heritage encompassing 1,231 calibres and 398 registered patents, Jaeger-LeCoultre remains the reference in high-end watchmaking.

NewFest In Partnership with OutFest and the Film Society of Lincoln Center Announce Lineup for the 25th Anniversary of NewFest: The New York LGBT Film Festival

September 6th-11th, 2013

Opening Night: Stacie Passon’s Concussion

Closing Night: Chris Mason Johnson’s Test

among those set to show their latest work at Film Society of Lincoln Center

The 25th annual NewFest: New York’s Lesbian, Gay, Bisexual, and Transgender Film Festival will run from Friday, September 6th through Wednesday, September 11th, with a lineup of 15 narrative features, 4 documentaries, 31 shorts and other special events. For the third time in NewFest’s history, the festival is in partnership with the Film Society of Lincoln Center and screenings and panels will take place at Manhattan’s film mecca, the Film Society of Lincoln Center’s Walter Reade Theater and the JCC in Manhattan.

Dennis Lim, Film Society of Lincoln Center’s Director of Cinematheque Programming, said, “The Film Society is delighted to welcome back NewFest and to continue our collaboration with Outfest. LGBT cinema has come a long way since this storied festival’s first edition, but as this year’s program suggests, it is no less vital today, and perhaps more diverse than ever.”

“There’s a lot to celebrate this year,” says Steve Mendelsohn, Co-Chair of NewFest’s Board of Directors. “It’s our 25th anniversary, and the recent Supreme Court victory over DOMA has everybody excited. The world has changed since 1987 and we are proud that NewFest has played a role in bringing so many important stories to audiences for a quarter of a century.”

LA-based LGBT media arts organization Outfest programmed and will help run this year’s event. Outfest and NewFest will form an official national organization next year.

NewFest is dedicated to bringing together filmmakers and audiences to build a community that passionately supports giving visibility and voice to a wide range of representations of the LGBT experience. Committed to nurturing emerging LGBT and allied filmmakers, the festival support those artists who are willing to take risks in telling the stories that fully reflect the diversity and complexity of their lives. And with their newly formed partnership with Outfest,  it will become the first national LGBT media arts organization – extending our reach to an even wider audience. For more information, visit www.NewFest.org.

Founded by UCLA students in 1982, Outfest is the leading organization that promotes equality by creating, sharing and protecting LGBT stories on the screen. Outfest builds community by connecting diverse populations to discover, discuss and celebrate stories of LGBT lives. For over three decades, Outfest has showcased thousands of films from around the

Director Chris Mason Johnson of Test

world to audiences of nearly a million, educated and mentored hundreds of emerging filmmakers and protected more than 30,000 LGBT films and videos. For more information, visit www.outfest.org.

Kicking off the festival is the New York premiere of Stacie Passon’s debut feature Concussion, produced by Rose Troche and starring Robin Weigert, Maggie Siff and Johnathan Tchaikovsky. A Sundance Film Festival favorite, Concussion explores a suburban lesbian’s erotic reawakening from happy housewife to high-class call girl. Closing the event will be the New York Premiere of  Chris Mason Johnson’s acclaimed Test, winner of the Grand Jury Prize For Outstanding U.S. Narrative and Outstanding Screenwriting at 2013 Outfest Los Angeles. Set in the gay Mecca of San Francisco in the 80’s, Test portrays this uniquely exciting and harrowing era as young Frankie (real-life dancer Scott Marlowe) navigates his role in a modern dance company and his evolving relationship with fellow dancer Todd (the hunky Matthew Risch).

“This year’s line-up represents the maturity of LGBT storytelling with films like Concussion and Pit Stop that depict sophisticated relationships in unique settings,” said Kirsten Schaffer, Executive Director of Outfest. “As well as a strong International slate

Stacie Passon, Director of Concussion

  and a handful of films that push boundaries in form and content.”

  James Franco is involved in two productions. He co-directed Interior. Leather Bar. with Travis Mathews, in which the two reimagine the 40 minutes of censored footage from the controversial 1980 S&M thriller Cruising, directed by William Friedkin. Franco also produced Kink, a documentary directed by Christina Voros about five San Francisco-based BDSM workers who are employed at the kink.com studios.

A handpicked selection of some of the best international LGBT films will also be shown, including the 2013 Teddy Award winner for Best Feature In the Name Of…, directed by Malgoska Szumowska and the US premiere of You and the Night, the libidinous 2013 Cannes debut from M83 bandmate Yann Gonzalez, who Variety proclaimed “may be the next Almodovar or Ozon”.

  NewFest is sponsored by HBO.

Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility and understanding of the moving image. Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, LatinBeat, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema, Rendez-vous With French Cinema, and Spanish Cinema Now. In addition to publishing the award-winning Film Comment Magazine, Film Society recognizes an artist’s unique achievement in film with the prestigious “Chaplin Award.” The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year round programs and the New York City film community.

The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, Stonehenge Partners, Stella Artois, illy café, the Kobal Collection, Trump International Hotel & Tower New York, the National Endowment for the Arts and New York State Council on the Arts. For more information, visit www.filmlinc.com and follow @filmlinc on Twitter.