This special exhibition explores the experience of being Black in America through a series of twenty-five large-scale photographic portraits of prominent African Americans by photographer Timothy Greenfield-Sanders. In addition, excerpts from a series of filmed interviews directed by Greenfield-Sanders and conducted by noted film critic Elvis Mitchell.

Included in the presentation are portraits of Serena Williams, Chris Rock, Colin Powell, Toni Morrison, Russell Simmons, Kareem Abdul-Jabbar, Sean Combs, and other stellar subjects from the worlds of politics, the arts, sports, religion, and business.

The Black List: Volume One aired on HBO in August and is now being rebroadcast on Friday, November 21, at 5 p.m. EST; Sunday, November 23, at 10 a.m. EST; and on HBO2 and on HBO On Demand for two weeks, November 17 through December 1.

The American photographer William Eggleston (b. 1937, Memphis) is one of the artistic pioneers of colour photography, and since the very beginning of his career he has been a controversial figure in the art world. In 1976, when the Museum of Modern Art in New York showed his colour photographs for the first time, the exhibition was soon designated ‘most hated of the year’.

William Eggleston: Democratic Camera traces the artist’s evolution from the beginnings of his career some 50 years ago to the present day, and includes more than 150 photographs, some never-before-exhibited, as well as the artist’s rarely screened video diary of his legendary nocturnal wanderings, Stranded in Canton. The psychological intensity of the saturated color in Eggleston’s pictures has had an enormous impact on the entire field of photography; as an influence, Eggleston has cited the Technicolor technique in the films of Alfred Hitchcock.

Highlights from the last twenty years include selections from the Graceland series and The Democratic Forest, Eggleston’s anthology of the quotidian. An unparalleled chronicler of the American South, Eggleston has produced a veritable encyclopedia of the Southern vernacular. His focus has been primarily upon his native locales of Memphis, New Orleans, and the Mississippi River Delta, although his commissioned projects have taken him all over the world.

While William Eggleston is best known for his still photography, particularly his color work of the 1960s and '70s, Eggleston also experimented with video. Eggleston's Stranded in Canton (c. 1973-74) is a home-movie portrait of friends and acquaintances in the South, shot in bars, juke joints, and roadside diners. The Whitney presents a feature-length cut of this video along with three recent documentary films about Eggleston's work and life: William Eggleston in the Real World by Michael Almereyda, William Eggleston: Photographer by Reiner Holzemer, and By the Ways: A Journey with William Eggleston by Vincent Gérard and Cedric Laty.

This exhibition consists of four new large-scale paintings. Initially inspired by Holbein's painting The Dead Christ In The Tomb as well as historical paintings and sculptures of fallen warriors and figures in the state of repose, Wiley has created an unsettling series of prone bodies -- some a product of the ravages of war, some contorted into erotic revelry, while others embody the majesty and severity of entombed Saints. Epic in nature, Down, is Wiley's most ambitious series to date.

The Los Angeles-born artist (1977) describes his approach as “interrogating the notion of the master painter, at once critical and complicit.” He makes figurative paintings that “quote historical sources and position young black men within that field of ‘power'.

Wiley’s well-known, stylized paintings of urban African-American male youths started during his residency at the Studio Museum in Harlem. He placed his subjects in poses borrowed from eighteenth-and nineteenth-century European figurative paintings to investigate the ways that portraiture has been used historically to create and enforce power and privilege.

Kehinde Wiley received a BFA from the San Francisco Art Institute in 1999 and an MFA from the Yale School of Art in 2001. His work is represented in the collections of several museums, including the the Walker Art Center, Brooklyn Museum, Denver Art Museum and Virginia Museum of Fine Art. Recently, his work was featured in exhibitions in Belgium, Los Angeles, Chicago and Ohio.

Two complementary exhibitions at Asia Society Museum explore Islamic art's quintessential art form, calligraphy. Traces of the Calligrapher: Islamic Calligraphy in Practice, c. 1600-1900 and Writing the Word of God: Calligraphy and the Qur'an demonstrate the breadth and beauty of Islamic calligraphy and the traditions of its practice across several centuries and two continents. 

In the Islamic world, the practice of calligraphy constitutes an expression of piety. The writing of Arabic script was considered an exemplary activity for men and women of all stations due to its association with the Qur’an. The shows present examples of Islamic calligraphy, such as practice exercises, manuscripts, and folios from the Qur'an, along with the tools used to create these masterful works. The approximately 160 objects on view explore the social prestige associated with this elegant, esteemed art form.

Throughout his career, Vincent van Gogh (Dutch, 1853–1890) attempted the paradoxical task of representing night by light. The exhibition Van Gogh and the Colors of the Night seeks to present new insight into Van Gogh's depictions of night landscapes, interior scenes, and the effects of both gaslight and natural light on their surroundings. Representing all periods of the artist's career, the exhibition comprises over two dozen works of which have never been seen together. This exhibition will be shown at the Van Gogh Museum in Amsterdam, February 13–June 7, 2009. The show is accompanied by a fully illustrated catalogue.

Please note: Gallery occupancy is limited and timed entry is necessary to visit this exhibition.

The exhibition at The Jewish Museum includes six Dead Sea Scrolls.  These fragments of parchment documents consist of the Book of Jeremiah (225-175 BCE), one of the earliest copies of the Hebrew Bible in existence; an early example of prayers from the Words of the Luminaries; the Book of Tobit, a Jewish text that was not included in the Hebrew canon but later accepted into some versions of the Christian Old Testament (Roman Catholic and Greek Orthodox); the Aramaic Apocryphon of Daniel, which mentions a son of God; the Community Rule, which lays out the regulations for joining and being a member of a sect; and the War Rule, which describes a great war at the end of days. Each represents an aspect of the diverse religious milieu in which they were created more than 2,000 years ago. In an adjoining gallery, visitors will learn that scholars still do not agree about the origins and meaning of the scrolls decades after their discovery.

The Dead Sea Scrolls date from the late third century BCE through the first century CE. The texts consist of biblical books and commentary, poetry and prayers, and the communal rules and writings of one or more dissident Jewish religious groups.  The scrolls were in use during a period of successive political upheavals, from the Maccabean revolt for Jewish independence to the reign of King Herod to the Roman destruction of Jerusalem and its Temple in 70 CE.  This was also a time that saw the development of two religions – early Judaism and Christianity.

At some point in the first century CE, the people who treasured these scrolls placed them in eleven caves along a five-mile stretch of cliffs in the barren Judean Desert, close to the Dead Sea.  Nearby was a small settlement at Khirbet Qumran, inhabited from the late second century BCE to the first century CE. No one returned to collect the scrolls from the caves, and they lay there undisturbed until their discovery in 1947.

Scholars have two basic theories about who used the scrolls. The first posits that the scrolls all belonged to a single religious sect that probably lived at the settlement of Qumran.  Most scholars identify this group as the Essenes described in the writings of ancient historians, although other groups such as the Sadducees and even proto-Christians have been proposed.

The second theory proposes that the scrolls were a random collection of texts reflecting the beliefs of many Jewish groups of the period. They represented either a single priestly repository or public library, or the sacred texts of various Jewish communities from Jerusalem and elsewhere in the Land of Israel. During the Jewish revolt against Rome beginning in 68 CE, refugees from further north hid their precious texts in the Dead Sea caves. This hypothesis holds that there is no connection between the scrolls and the settlement at Qumran, and that the site was a fortress, a villa, a farm, an industrial site, or a commercial center.

Some scholars remain cautious about adopting either theory, and await more information from new publications of the scrolls and the Qumran excavations.

Still other scholars remain cautious about adopting either theory, and await more information from new publications of the scrolls and the Qumran excavations. The display also includes some artifacts from the site of Qumran and its vicinity. A jar and linen wrapper that protected the scrolls, the earliest phylacteries, dishes and vessels, and objects of daily life such as sandals, hairnets, and combs will illuminate the current scholarly debates over who used and who hid the scrolls.

According to the press release, Susan L. Braunstein, Curator of Archaeology and Judaica, selected texts that illustrate the diversity and transformations in Judaism during the Second Temple Period, when the written word and prayer were rivaling sacrifice in worship, as well as early Christianity’s connections to Judaism. The exhibition was created by the Israel Antiquities Authority from the collections of the National Treasures.

This exhibition of gold and silver jewelry, tableware, and rare coins, all  from the Medieval period, is culled from a personal Jewish treasure hoard uncovered in Erfurt, Germany.  The 167 objects offer a glimpse into Jewish life and culture in medieval Europe before the Black Death and anti-Semitic violence decimated this small but thriving population in 1349.

Located approximately 70 miles southwest of Kassel, Erfurt is the capital city of the central German state of Thuringia. For centuries Erfurt served as a historical center of Ashkenazim, the Jewish communities that originated along the Rhine River in Germany and later emigrated to Eastern Europe and throughout the Diaspora. According to Yeshiva University Museum in New York, over 85 percent of American Jews can trace their ancestral roots to this group of Jews. In 1998, a team of archaeologists made an unexpected discovery during an excavation on Michaelisstrasse in the medieval Jewish quarter of the city. Carefully hidden under the wall of a private home’s stone cellar was a personal treasure hoard containing over 3,000 silver coins, 14 silver ingots and over 600 pieces of jewelry. Jewish merchants and moneylenders often buried their wealth because of the Black Death and other persecutions.  

Exhibition highlights include a hand-crafted gold Jewish wedding ring (left) from the early 14th century, one of few medieval Ashkenazi wedding rings in existence. Well-preserved artifacts from this period are extremely rare, as jewelry was often melted down when it was deemed out of style. This ring features an ornate, miniature version of a gothic tower and six engraved Hebrew letters spelling out mazal tov, meaning “good luck,” written on the tower’s roof. Scholars have interpreted the tower as symbolizing the Temple of Jerusalem, destroyed by the Romans in 70 CE.  Jewish tradition still mandates that wedding bands be made of plain gold without the addition of stones. Silver double cups housed the jewelry found in the treasure and are noteworthy for their colorful enameled images from Aesop’s fables of The Fox and the Eagle and The Fox and the Raven. 

A national hands-on exhibition for children ages 6 and older.

Budding archaeologists can visit the Temple of Zeus at Olympia and assist in the reconstruction of a 3-D temple, learn about column construction, sculptures, and the giant statue of Zeus (one of the Seven Wonders of the Ancient World).

The tour guides are the great gods Zeus, Poseidon and Athena who reminisce about their powers and responsibilities. Visitors can also climb inside a 12½ foot tall Trojan Horse before stepping into Homer’s great epic poem, The Odyssey. Plus, visitors explore actual examples of ancient Greek artifacts: painted pottery, coins, votives, drinking cups, loom weights, arrowheads and sling bullets.

Osvaldo Golijov: Aindamar (Concert Performance)
Libretto by David Henry Hwang
Spanish translation by Osvaldo Golijov

Orchestra of St. Luke's
Robert Spano, Conductor
Dawn Upshaw, Soprano (Margarita Xirgu)
Kelley O'Connor, Mezzo-Soprano (Federico García Lorca)
Emily Albrink, Soprano (Nuria)
Jesus Montoya, Tenor (Ruiz Alonzo, the Arresting Officer)
Kyle Ferrill, Baritone (José Tripaldi, a guard)
Wade Thomas, Baritone (Maestro, a teacher)
Alex Richardson, Tenor (Torero, a bullfighter)
Adam del Monte, Flamenco Guitar
Scott Kuney, Classical Guitar
Gonzalo Grau, Percussion
Jeremy Flower, Sampler
The Women of the New York Virtuoso Singers
Harold Rosenbaum, Director

Till Fellner, piano

Beethoven: 
Sonata No. 16 in G Major, Opus 31, No. 1
Sonata No. 17 in D Minor, Opus 31, No. 2, “Tempest”
Sonata No. 18 in E flat Major, Opus 31, No. 3
Sonata No. 28 in A Major, Opus 101

J.S. Bach, Schumann, Janacek, Beethoven

Merce Cunningham Dance Company  presents the fifth in a series of eight signature, site-specific performances at Dia:Beacon titled Beacon Events. December’s Beacon Events will directly engage the work of John Chamberlain and an “L” shaped stage will be installed adjacent to his twisted steel sculpture The Privet, 1997. As with previous Events, viewers will be invited to walk around the gallery to experience Cunningham’s performance from different vantage points. The performances will be accompanied by an original live score developed specifically for the Event, and will be the only times the musicians and dancers come together in this setting.

Merce Cunningham presented his first New York solo concert with composer John Cage in April 1944. He established the Merce Cunningham Dance Company at Black Mountain College, in North Carolina in 1953, and has since choreographed nearly 200 works for MCDC. Many of these were created in collaboration with visual artists including Robert Rauschenberg, Jasper Johns, Bruce Nauman, and Andy Warhol.

Situated on the banks of the Hudson River in Beacon, New York , and easily accessible by train or car, the museum occupies a former Nabisco box-printing facility, which was renovated by Dia with artist Robert Irwin and architect OpenOffice. Dia:Beacon’s expansive galleries comprise 240,000 square feet of exhibition space illuminated by natural light.

Dia Art Foundation celebrates the fifth anniversary of Dia:Beacon, Riggio Galleries in 2008. Dia:Beacon presents Dia Art Foundation’s collection of art from the 1960s to the present, including Bernd and Hilla Becher, Joseph Beuys, Louise Bourgeois, John Chamberlain, Walter De Maria, Dan Flavin, Michael Heizer, Robert Irwin, Donald Judd, On Kawara, Imi Knoebel, Sol LeWitt, Agnes Martin, Bruce Nauman, Blinky Palermo, Gerhard Richter, Robert Ryman, Fred Sandback, Richard Serra, Robert Smithson, Andy Warhol, and Lawrence Weiner.

Dia:Beacon
Riggio Galleries
3 Beekman Street
Beacon, New York

Tony Malaby's Cello Trio

Tony Malaby, tenor saxophone
Fred Lonberg Holm, cello
John Hollenbeck, drums

Circle Down is a collaboration between pianist Angelica Sanchez, bassist Chris Lightcap and drummer Chad Taylor. The three play each others music and draw on the group's wide ranging experience as composers and bandleaders.

Angelica Sanchez, piano
Chris Lightcap , bass
Chad Taylor, drums

Tchaikovsky: The Queen of Spades
Libretto: Modest Ilyich Tchaikovsky
Production: Elijah Moshinsky

Lisa: Maria Guleghina
Pauline: Ekaterina Semenchuk
The Countess: Felicity Palmer
Ghermann: Ben Heppner
Tomsky: Mark Delavan
Yeletsky: Vladimir Stoyanov
Seiji Ozawa, conductor

Set & Costume Designer: Mark Thompson
Lighting Designer: Paul Pyant
Choreographer: John Meehan

Metropolitan Opera
Lincoln Center
New York, NY 10023

Wagner: Tristan und Isolde
Libretto: Richard Wagner

Isolde: Katarina Dalayman
Brangäne: Michelle DeYoung
Tristan: Peter Seiffert
Kurwenal: Gerd Grochowski
King Marke: René Pape
Daniel Barenboim, conductor

Production: Dieter Dorn
Set & Costume Designer: Jürgen Rose
Lighting Designer: Max Keller
Dramaturg: Hans-Joachim Ruckhäberle

Hector Berlioz: La Damnation de Faust
Libretto: Almire Gandonnière and Hector Berlioz
Robert Lepage, director

Marguerite: Susan Graham
Faust: Marcello Giordani
Méphistophélès: John Relyea
James Levine, conductor

Sung in French with Met titles in English, Spanish and German

JOHN CENA vs. CHRIS JERICHO STEEL CAGE MATCH FOR THE WORLD HEAVYWEIGHT CHAMPIONSHIP

SHAWN MICHAELS vs. RANDY ORTON

The WWE returns home and New York City will explode as the WWE Universe will decide the fate of World Heavyweight Champion Chris Jericho and John Cena when they collide in a 18 foot steel cage match, in which two men battle and flesh meets steel and bodies and careers are ended.

The Heartbreak Kid" Shawn Michaels will face "The Legend Killer" Randy Orton in a "Sweet Chin Music" vs. the "RKO" match. Who will be victorious and who will be defeated?

Plus 20 other WWE Raw superstars including "The Animal" Batista, Rey Mysterio, "The self-proclaimed Wrestling God" JBL, "The Big Red Machine" Kane, WWE Women's Champion Beth Phoenix, CM Punk, Kofi Kingston and many more.

An all-star benefit tribute to the music and culture of Brazil, Red Hot + Rio 2 salutes Samba Soul, the post-tropicália movement of the 70s that merged elements of North American soul music with Brazilian rhythms. Mixing samba with R&B, soul with baião, pioneering artists like Jorge Ben Jor and Tim Maia signaled a cultural awakening that changed the direction of Brazilian music.

Featured artists: CéU, Curumin, Bebel Gilberto, José González, Otto
Backing band: Kassin +2, Moreno Veloso, Domenico, João Parahyba, Janja Gomes
Music Directors Kassin & Mario Caldato, Jr.

Eight-time GRAMMY Award winner and Rock & Roll Hall of Famer, Tina Turner brings her tour to San Jose, California. The singer's live set will include her early career singles, River Deep Mountain High, Proud Mary, and Nutbush City Limits through solo superstar smashes Let's Stay Together, What's Love Got to Do With It, We Don't Need Another Hero and The Best as well as '90s comeback hits such as I Don't Wanna Fight, the theme song to the James Bond film Goldeneye.

Back Back Back
By Itamar Moses
Daniel Aukin, director

Back Back Back follows the turbulent careers of three very different teammates in baseball's steriod era whose clubhouse secrets bring them under federal scrutiny. The play examines how each individual deals with the stress of keeping up their stats while balancing their personal and professional lives.

The play is based on Jose Canseco's Juiced, a supposed tell-all memoir about Canseco's steroid use. The controversial  book also identified fellow baseball player Mark McGwire among others as a user of steroids and human growth hormone (HGH).

Cast: Jeremy Davidson (Kent), James Martinez (Raul), Michael Mosley (Adam)

Streamers
By David Rabe
Scott Ellis, director

Cast: Hale Appleman (Richie), Larry Clarke (Cokes), Ato Essandoh (Carlyle), Brad Fleischer (Billy), Charlie Hewson (Martin), John Sharian (Rooney), and J.D. Williams (Roger)

Four young soldiers fresh from boot camp wait anxiously in 1965 Virginia, watching the Vietnam conflict escalate. As they struggle to make sense of their new life in the army, tensions rise over race, sexuality, and class, culminating in an explosive act that changes them forever. Robert Altman directed a 1983 film version, which featured a screenplay by Rabe.

Saturn Returns
By Noah Haidle
Nicholas Martin, director
Sets: Ralph Funicello

Cast: Rosie Benton , Robert Eli , John McMartin , James Rebhorn
 
The planet Saturn's orbital return to its position at the moment of a person's birth happens every thirty years. In SATURN RETURNS, playwright Noah Haidle uses this phenomenon to take a look at one man - Gustin (to be played at the three different stages of his life by Robert Eli, John McMartin and James Rebhorn) - during these pivotal moments as he confronts the three women in his life (all to be played by Rosie Benton).

Gregory Burke: Black Watch
John Tiffany, director

Black Watch follows the disassembling of Scotland's most esteemed regiment over the course of its final tour in Iraq, written from the personal testimonies of ten men on the ground. Black Watch reveals what it really means to be part of the War on Terror and what it means to make the journey home again.

Kristin Scott Thomas reprises her Olivier Award-winning role of Arkadina in the critically acclaimed Royal Court Theatre production of Anton Chekhov's The Seagull. The production, featuring a new version by Christopher Hampton, is directed by Ian Rickson. The play concerns the romantic entanglements and regrets of a group of actors, writers and artists gathered on a Russian estate. One of the theatre's great plays about writing, The Seagull conveys the struggle for new forms and the frustrations and fulfillment of putting words on a page.

Starring
Kristin Scott-Thomas as Arkadina
Peter Sarsgaard as Trigorin
Mackenzie Crook as Konstantin
Art Malik as Dorn
Carey Mulligan as Nina
Pearce Quigley as Medvedenko
Peter Wight as Sorin
Zoe Kazan as Masha
Christopher Patrick Nolan as Yakov
Mary Rose as Maid

Walter Kerr Theater
219 W 48th St
New York, NY 10036

According to the Museum at FIT Gothic: Dark Glamour is the first exhibition devoted to the gothic style in fashion. Set in a dramatic mise-en-scene suggesting iconic gothic settings, such as the labyrinth, the ruined castle, and the laboratory, more than 75 ensembles will be on display. Fashion designers featured include Alexander McQueen, Ann Demeulemeester, Boudicca, Comme des Garçons, Karl Lagerfeld for Chanel Haute Couture, John Galliano for Christian Dior, Jean Paul Gaultier, Hussein Chalayan, Francisco Costa for Calvin Klein, Christian Lacroix, Derek Lam, Gareth Pugh, Kei Kagami, Riccardo Tisci for Givenchy, Thierry Mugler, Rick Owens, Rodarte, Anna Sui, Olivier Theyskens, Jun Takahashi of Undercover, and Yohji Yamamoto.

Also on display will be a range of subcultural styles, such as “old-school goth” (associated with the heyday of the goth subculture, 1979-83), Victorian-style goth, industrial, steam punk, and cyber-goth, by designers such as Kambriel, Morphius and Plastik Wrap, as well as Japanese Elegant Gothic Lolitas by Tokyo-based brands Moi-Même-Moité and h.Naoto Blood.

Related public events include a Goth Talk panel discussion on October 30 (with speakers including Fred H. Berger, editor of Propaganda, Mistress McCutchan, and Evan Michelson of Obscura), gallery readings of Bram Stoker and Edgar Allan Poe gothic classics, exhibition tours, and more. The program series will culminate in the museum’s annual Fashion Symposium on February 13-14, 2009, which takes as its theme Subculture and Style. Internationally recognized scholars, curators, and designers will gather at the symposium to discuss the gothic influence on fashion and visual culture, as well as goth, punk, hip-hop, and other music-oriented youth styles.

Catholics in New York 1808-1946 explores the social and political history of the diverse group of people who established the formidable Catholic presence in New York.
The exhibition is organized around three central themes:

- How Catholic community life revolved around New York's parishes, starting with the earliest, such as St. Peter's, old St. Patrick's, and St. Brigid's in Manhattan, and the distinctive subculture that arose in their heavily Catholic neighborhoods;

- The creation of a vast system of health, education, and social welfare institutions, including parochial schools, the New York Foundling Hospital, and healthcare centers such as St. Vincent's Hospital in Manhattan and St. Mary’s Hospital in Brooklyn, originally founded by Catholics to provide services that embraced their religion and that would be insulated from anti-Catholic prejudice; and

- The rise of Catholics as a force in New York politics, framed by such New York figures as William R. Grace (1832-1904), the Irish-born businessman who in 1880 was elected the first Catholic mayor of New York City; Alfred E. Smith (1873-1944), the governor from the Lower East Side who became the first Catholic to be nominated by a major political party for President of the United States, in 1928; Vito Marcantonio (1902-1954), the Congressman and American Labor Party leader from East Harlem; and many others.

Woven throughout all three sections is how this "community of immigrants" defended its Catholic identity in response to widespread anti-Catholicism.  The exhibition begins with a prologue that looks at anti-Catholicism in the colonial period; it concludes with the implementation of the G.I. Bill, which paved the way to higher education, low-cost home mortgages, and ultimately the migration to the suburbs for many of New York’s Catholics, and with an epilogue that presents the new face of Catholic New York since World War II.

Highlights of the exhibition include:

- over 100  family photographs showing the diverse people of pre-war Catholic New York, collected through a massive outreach to New Yorkers conducted by Museum of the City of New York curatorial staff; also included will be parochial school report cards and yearbooks from the late 19th and early 20th centuries, sports uniforms and trophies, parish publications, and audio interviews with New Yorkers recalling their experiences growing up Catholic;

- documents related to the life of Pierre Toussaint (1766-1853), a former slave who supported church organization and whose charitable works have earned him consideration for sainthood;

- an original Test Book from the Emigrant Industrial Savings Bank, listing the name of Archbishop John Hughes (1797-1864) as one of the first depositors in 1850;

- a handwritten note from a Catholic mother who left her child with the New York Foundling Hospital in 1877.

Now in its first Broadway revival, South Pacific features  Kelli O'Hara (The Light in the Piazza) and baritone Paulo Szot in the leading roles with direction by Bartlett Sher (The Light in the Piazza and Awake and Sing).

Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Author, Tales of the South Pacific
James Michener

Cast:

Kelli O'Hara , Paulo Szot
Matthew Morrison , Danny Burstein , Loretta Ables Sayre , Sean Cullen , Victor Hawks , Luka Kain , Li Jun Li , Laurissa Romain , Skipp Sudduth , Noah Weisberg, Becca Ayers , Wendi Bergamini , Genson Blimline , Grady McLeod Bowman , Charlie Brady , Matt Caplan , Christian Carter , Helmar Augustus Cooper , Jeremy Davis , Margot De La Barre , Christian Delcroix , Laura Marie Duncan , Mike Evariste , Laura Griffith , Lisa Howard , Maryann Hu , Zachary James , Robert Lenzi , Garrett Long , Nick Mayo , George Merrick , William Michals , Kimber Monroe , Emily Morales , Darius Nichols , George Psomas , Andrew Samonsky , Jerold E. Solomon

Fight Night Fights originated in the basement space of the Church Street Boxing Gym in lower Manhattan. The limited seating capacity and ever growing demand prompted Fight Night Fights to move to a larger venue, the basement of St. Paul the Apostle's Church behind Columbus Circle. This old school fight club has become popular with everybody from blue collar toughs to Wall Street investment bankers to New York style editors and hipsters.

The Friday Night Fights NYC