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Events in Art and Archaeology

Cedrick Tamasala: <EM>How My Grandfather Survived</EM> (2015). Courtesy SculptureCenter
Cedrick Tamasala: How My Grandfather Survived (2015). Courtesy SculptureCenter
Congolese Plantation Workers Art League
LONG ISLAND CITY, NEW YORK  •  SculptureCenter  •  29 January - 27 March 2017

Creating sculptures with cacao as a primary material, the artists that comprise the Cercle d'Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League or CATPC are plantation workers who harvest raw material for international companies. In the Congo, as elsewhere, plantation workers are grossly underpaid for their contribution to global industry, whether to the $100 billion chocolate industry or to the production of palm oil, broadly used in common household products. The Congolese plantation laborers cannot actually afford to live off of the wages they receive for their work and survive without basic amenities such as clean water and electricity. By using material sourced from cacao plantations worldwide instead to make artworks, the members of CATPC can occupy another place in the global value chain, one normally reserved for middle class artists.

Many of the sculptures created by CATPC members are future, present, and ancestral self-representations, and take up symbolic figures such as the art collector. First molded from clay, then 3D printed and cast in chocolate, the sculptures are made in collaborative settings and the materials used refer back to and overwrite the exploitative economics of global trade. So far plantation labor has funded the art world; here art funds the emergence of a new type of post-plantation. The CATPC reinvests profits from sales of these artworks in self-owned agricultural production throughout Congo, provoking questions about the division between those who should work on plantations and those who are allowed to reflect on this.

Unprecedented wealth (financial and cultural) has been extracted directly from plantations worldwide and redeployed in the production and acquisition of art in major global cities, resulting in local gentrification and the reaffirmation of class disparities. One striking example may be the Unilever Series at Tate Modern, funded by a corporation that has a large stake in the Congo. How can we assess the conditions and motivations around the consumption of critically engaged art when it is funded by plantation economies? What is the value of art that is not only about a site of conflict as a subject, but actually originates from that place? Can we extract wealth from the art system and repatriate it to the plantations where it originates? Can art turn the plantations into inclusive and ecological test sites?

This exhibition includes existing and new sculptures and drawings produced by members of the CATPC, as well as materials about the larger activities and context of the IHA in the Congo.

The Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC) is an expanding art collective co-founded in 2014 in the Democratic Republic of Congo. Plantation workers Djonga Bismar, Matthieu Kilapi Kasiama, Cedrick Tamasala, Mbuku Kimpala, Mananga Kibuila, Jérémie Mabiala, Emery Mohamba, and Thomas Leba, ecologist René Ngongo, and the Kinshasa-based artists Michel Ekeba, Eléonore Hellio, and Mega Mingiedi are its leading personalities.

The exhibition is curated by SculptureCenter Curator Ruba Katrib.

A catalogue accompanies this exhibition.

SculptureCenter Website

Contact: SculptureCenter
44-19 Purves Street
Long Island City, NY 11101
Tel: (1) 718 361 17 50

Donald Sutton: <EM>Firemen March 6 1985</EM>
Donald Sutton: Firemen March 6 1985
Donald Sultan: The Disaster Paintings
FORT WORTH, TEXAS  •  Modern Art Museum of Fort Worth  •  19 February - 23 April 2017
A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large-scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade. While Sultan’s still lifes depict and strengthen fragile and ephemeral objects, the Disaster Paintings often illustrate robust, man-made structures, such as industrial plants and train cars, that exhibit a level of fragility in their propensity to be unhinged by catastrophic events. Distinguished for combining such subject matter with industrial materials, such as tar and Masonite tiles.

Painted on a large scale (the majority of the works in this series measure 8’ x 8’), The Disaster Paintings embody great physicality in their process, subject matter, and finished form. They also reify the modern experience of industrialized societies with images of fire, accidents, and industrial mishaps, daring us to forget that calamities and adversity are woven into the very fabric of our existence

Modern Art Museum of Fort Worth Website

Contact: Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107
Tel: (1) 817.738.9215

Glenn Ligon: What We Said The Last Time
NEW YORK  •  Luhring Augustine  •  27 February - 2 April 2016

Luhring Augustine presents What We Said The Last Time, an exhibition of new work by Glenn Ligon, and Entanglements, a curatorial project by the artist. A companion exhibition entitled We Need To Wake Up Cause That’s What Time It Is opened at Luhring Augustine Bushwick on January 16th and remains on view through 17 April 2016. 

What We Said The Last Time features a suite of seventeen inkjet prints that document the paint-spattered pages of the artist’s well-worn copy of James Baldwin’s seminal 1953 essay “Stranger in the Village.” Written during a stay in a remote Swiss mountain hamlet, Baldwin’s text examines complex and urgent questions around blackness, culture, and history. Since 1996, Ligon has used the essay as the basis of his “Stranger” series, including prints, drawings, and dense paintings made with oil stick and often coal dust that oscillate between legibility and obscurity. While creating these canvases, Ligon kept pages of Baldwin’s essay on his studio table for reference, and over the years they became covered with random smudges of black paint, oil stains, and fingerprints. Intrigued by this accumulation of marks, Ligon transformed the book pages into a suite of large-scale prints, using the full text of the essay for the first time in his career. The resulting work is a palimpsest of accumulated personal histories that suggests Ligon’s long engagement with Baldwin’s essay, as well as a new strategy in his ongoing exploration of the interplay between language and abstraction.

Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.  Key to the exhibition is Bruce Nauman’s Violin Tuned D.E.A.D. (1968), a video that presents the artist repetitively playing a single note on a violin with his back to the camera. While discussions of Nauman’s video works from this period have focused on issues of performativity, endurance, and the body, Ligon was interested in how Nauman’s discordant note can be heard as a soundtrack to the war in Vietnam or the brutal violence faced by civil rights workers. While not directly commenting on these issues, the ominous soundscape of Violin Tuned D.E.A.D. nevertheless suggests Nauman’s engagement with that turbulent moment in American history and served as a point of departure for Ligon to consider other works in which the artist’s studio has acted as a conduit for contemporary events. Ligon’s selections posit new identities, conversations or modes of sociability as a response to pressing social and political issues.  Entanglements features artworks and ephemera by Felix Gonzalez-Torres, David Hammons, On Kawara, Glenn Ligon, Bruce Nauman, Adrian Piper, Bob Thompson, Lynette Yiadom-Boakye, and Andy Warhol. 

Glenn Ligon lives and works in New York.

Luhring Augustine Website

Contact: Luhring Augustine
531 West 24th Street
New York, NY 10011
Tel: (1) 212 206 91 00

<P>Lee Friedlander, American, born 1934Untitled, from the series <EM>Prayer Pilgrimage for Freedom</EM>1957, printed laterGelatin silver printPhoto credit: Yale University Art Gallery© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; photo credit: Eakins Press Foundation</P>

Lee Friedlander, American, born 1934
Untitled, from the series Prayer Pilgrimage for Freedom
1957, printed later
Gelatin silver print
Photo credit: Yale University Art Gallery
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; photo credit: Eakins Press Foundation

Let Us March On: Lee Friedlander and the Prayer Pilgrimage for Freedom
NEW HAVEN, CONNECTICUT  •  Yale University Art Gallery  •  13 January - 9 July 2017
This exhibition presents photographer Lee Friedlander’s images of the Prayer Pilgrimage for Freedom, a critical yet generally neglected moment in American civil rights history. On May 17, 1957—the third anniversary of the landmark Supreme Court decision Brown v. Board of Education, Topeka, which outlawed segregation in public schools—thousands of activists, including many leaders from religious, social, educational, labor, and political spheres, united in front of the Lincoln Memorial, in Washington, D.C. At this first large-scale gathering of African Americans on the National Mall, an event that was a forerunner of the 1963 March on Washington at which Martin Luther King, Jr., delivered his famed “I Have a Dream” speech, protestors called on federal authorities to enforce desegregation, support voting rights, and combat racial violence. Friedlander photographed many of the illustrious figures who attended or spoke at the march, such as Martin Luther King, Jr., Rosa Parks, Ella Baker, Mahalia Jackson, and Harry Belafonte, and he wove among the demonstrators on the ground to capture the energy and expressions of the day.

Yale University Art Gallery Website

Contact: Yale University Art Gallery
1111 Chapel Street (at York Street)
New Haven, Connecticut 
Tel: (1) 203.432.0600

Richard Diebenkorn: <EM>Seated Woman</EM>, 1967Oil on canvasCollection of Gretchen and John Berggruen, San Francisco© the Richard Diebenkorn Foundation.
Richard Diebenkorn: Seated Woman, 1967
Oil on canvas
Collection of Gretchen and John Berggruen, San Francisco
© the Richard Diebenkorn Foundation.
SAN FRANCISCO  •  The San Francisco Museum of Modern Art  •  11 March - 29 May 2017
This major exhibition explores the profound inspiration California artist Richard Diebenkorn (1922–1993) discovered in the work of French modernist Henri Matisse (1869–1954). Coorganized with The Baltimore Museum of Art (BMA) this show features approximately 100 objects—40 paintings and drawings by Matisse and 60 paintings and drawings by Diebenkorn—from museums and private collections throughout the U.S. and Europe.

The exhibition unfolds across the arc of Diebenkorn’s career—from early abstractions, through his Bay Area figurative years, to his majestic Ocean Park series—all in direct dialogue with works that he knew and admired by Matisse.

The San Francisco Museum of Modern Art (SFMOMA) Website

Contact: SFMOMA
151 Third Street
San Francisco, CA 94103
Tel: (1) 415 357 40 00

<P>Jeffrey Gibson: <EM>Come Alive! (I Feel Love</EM>), 2016 Acrylic felt, rawhide, wood, glass beads, stone arrowheads, steel wire, assorted beads, tin and copper jingles, artificial sinew, acrylic paint, druzy quartz crystal, steel and brass studs, 66.25 x 28 x 15 in. Collection of the Newark Museum, 2016Image Courtesy Jeffrey Gibson Studio. Photograph © Peter Mauney</P>

Jeffrey Gibson: Come Alive! (I Feel Love), 2016
Acrylic felt, rawhide, wood, glass beads, stone arrowheads, steel wire, assorted beads, tin and copper jingles, artificial sinew, acrylic paint, druzy quartz crystal, steel and brass studs, 66.25 x 28 x 15 in.
Collection of the Newark Museum, 2016
Image Courtesy Jeffrey Gibson Studio. Photograph
© Peter Mauney

Native Artists of North America
NEWARK, NEW JERSEY  •  Newark Museum  •  22 October 2016 - 1 January 2018
This autumn, the Newark Museum unveils its newly redesigned and reinterpreted Native American galleries. Featuring more than 100 rarely exhibited objects from throughout the United States and Canada, Native Artists of North America showcases a selection of works from the permanent collection, dating from the early 19th century to the present, including many objects never before exhibited.
This permanent installation celebrates the great diversity of styles, media and creativity of Native artists and places them in the broader context of American art. Among the works on view are expertly woven Pomo baskets, exquisite hand-made items of dress from across the continent, and Southwestern pottery and textiles.  Other highlights include works by the Haida master carver Charles Edenshaw and Pueblo painters Fred Kabotie, Tonita Peña and Awa Tsireh. Additional works by contemporary Native American artists are installed in adjacent galleries, including recent acquisitions by Jeffrey Gibson and Preston Singletary.

Newark Museum Website

Contact: Newark Museum
49 Washington Street,
Newark, NJ
Tel: (1) 973 596 65 50

Reflections of Time and Cosmo
NEW YORK  •  Institute for the Study of the Ancient World  •  19 October 2016 - 23 April 2017

This exhibition aims to explore the ways that time was organized and kept track of in the Greco-Roman world, and how it was conceived in relation to the Cosmos. The objects displayed include artifacts illustrating the technology of ancient time-reckoning and the perception, visualization, and social role of time and cosmos, and will also highlight the contrasting formative roles of indigenous Greek and Roman cultural practices and contact with the civilizations of Mesopotamia and Egypt as well as the peoples of northwest Europe.

Time and Cosmos displays over 100 objects, including ancient sundials, calendars, jewelry, and surveying instruments, and will be organized around two themes: the Tools of Time Reckoning, exploring the material resources that gave temporal structure to the daily life of private individuals as well as the community in such public spheres as religion, commerce, and law; and Reflections of Time and Cosmos, concerning ancient representations of time, the universe, and their power to shape the environment and human destiny.

Institute for the Study of the Ancient World Website

Contact: Institute for the Study of the Ancient World
15 East 84th Street (between Madison and Fifth Avenues)
New York, NY 10028
Tel: (1) 212 992 78 00

Regeneration Series: Anselm Kiefer from the Hall Collection
FORT LAUDERDALE, FLORIDA  •  NSU Art Museum Fort Lauderdale  •  29 November 2016 - 13 August 2017

Drawn from the Hall and Hall Art Foundation collections, which together make up one of the world’s largest groups of works by Anselm Kiefer, the exhibition will include approximately 50 major Kiefer artist books, works on paper, paintings, and sculptures from the late 1960s to the present day.

Anselm Kiefer's work is uncompromising in its response to the disasters of World War II and other historical traumas. Born in Germany during the final month of World War II, Kiefer was among the first generation of German artists to address National Socialism, the war and the Holocaust. From the start of his career in the late 1970s to the present, he has focused on coming to terms with the past, specifically the feeling of collective guilt and the identification of historical, psychological and mythological conditions that contributed to the rise of Adolph Hitler and the Nazi Party.

Featured in the NSU Art Museum exhibition will be works such as Kiefer’s massive painting, The Fertile Crescent, 2009; his monumental landscape, Winterwald, 2010; imposing glass vitrine tableaux of organic and inorganic material such as Jakob's Traum, 2010; and important early watercolors and artist books.

Like German conceptual artist Joseph Beuys, with whom he studied at the Düsseldorf Art Academy, Kiefer confronts the past by referencing such myths as Isis and Osiris, the ancient Egyptian myth of destruction and regeneration, and the history of German philosophy and culture. He explores these subjects in large-scale, narratively complex layered paintings of oil and mixed media, enormous installations, and elaborate artist books and watercolors, into which he embeds symbolic references.

Anselm Kiefer is among the best-known German artists working today. He was born in 1945 in Donasueschingen, Germany and has lived and worked in France since 1993.

NSU Art Museum Fort Lauderdale Website

Contact: NSU Art Museum Fort Lauderdale
One East Las Olas Boulevard
Fort Lauderdale, Florida
Tel: (1) 954 525 55 00

Portrait of Maharaja Mahinder Singh of Patiala, 1870–1876. India; Punjab state, former kingdom of PatialaOpaque watercolors and gold on paperAsian Art MuseumGift of the Kapany Collection, 1998.106Photograph © Asian Art Museum
Portrait of Maharaja Mahinder Singh of Patiala, 1870–1876. India; Punjab state, former kingdom of Patiala
Opaque watercolors and gold on paper
Asian Art Museum
Gift of the Kapany Collection, 1998.106
Photograph © Asian Art Museum
Saints and Kings: Arts, Culture, and Legacy of the Sikhs
SAN FRANCISCO  •  Asian Art Museum  •  10 March - 18 June 2017

With nearly 27 million adherents worldwide, Sikhism is among the world’s largest religions, and also one of the youngest. A diverse selection of 30 paintings, prints and textiles celebrates the artistic and cultural legacy of the Sikhs and the community’s longstanding connection to California. Delve into the life and teachings of Sikhism’s founder Guru Nanak (1469–1539), a charismatic, influential teacher who defined the religion’s fundamental philosophies, which emphasize belief in one god, equality, social justice and community service.

This exhibition explores the artistic and cultural creativity that flourished under the patronage of India’s Sikh kingdoms, established in the 1800s by the dynamic warrior Maharaja Ranjit Singh (1780–1839), which was continued by later Sikh rulers. Portraits and treasured objects belonging to the Maharaja himself are included in the exhibition. In particular, the portraits reflect expressions of personal and cultural identity, as well as the artistic styles of the times and places in which they were made.

Saints and Kings also draws attention to the Sikhs’ special connection to California. Among the earliest Indian immigrants to North America, Sikhs arrived on the West Coast in the early 1900s and have been integral to communities here for over a century. Today, many occupy leading roles in technology and other business sectors. Through an illustrated timeline, the exhibition tells an important story that has shaped the Bay Area’s diverse social and immigrant history.

Asian Art Museum Website

Contact: Asian Art Museum
200 Larkin St
San Francisco, CA 94102
Tel: (1) 415 581 35 00

CHICAGO  •  The Field Museum  •  21 October 2016 - 30 April 2017

The exhibition explores the global phenomenon of tattooing around the world over time, shedding light on this often-misunderstood art form.

This will be the first time that the exhibition, which was initially developed by Paris’s musée du quai Branly - Jacques Chirac, will be on display in the United States. The exhibition, which will run until April 30, 2017, features 170 objects telling the story of tattooing, including historical artifacts and intricate contemporary designs tattooed onto silicone models of the human body.

Visitors to the exhibition will learn that people have been marking their skin as a means of expression for more than five thousand years—there’s evidence that the ancient Egyptians practiced tattooing, and the body of a naturally mummified man found in the Italian Alps (“Ötzi”) from 3330 BC is covered in 61 tattoos. The methods of tattooing vary widely across time and place—for instance, Thomas Edison held the first patent on a nineteenth-century “puncturing pen” that served as inspiration for the first electric tattooing machines—and the stories behind the tattoos vary even more. The exhibition features a seventeenth-century tattoo stamp for Christian pilgrims to Jerusalem to commemorate their journey; meanwhile, it tells the stories of contemporary tattooists like Whang-od Oggay, a 98-year-old Filipina artist who carries on traditional methods that are thousands of years old.

Contact: The Field Museum
1400 S. Lake Shore Drive
Chicago, IL 60605-2496
Tel: (1) 312 922 9410.

Thomas Bayrle:<EM> Madonna Mercedes,</EM>  1989, Silkscreen. Courtesy of the artist and ICA Miami
Thomas Bayrle: Madonna Mercedes, 1989, Silkscreen. Courtesy of the artist and ICA Miami
Thomas Bayrle: One Day on Success Street
MIAMI  •  Institute of Contemporary Art, Miami  •  29 November 2016 - 26 March 2017
Featuring some 75 works from 1960s through the present day, the exhibition begins with German artist Thomas Bayrle’s handmade representations of highways expressively rendered as elaborate landscapes. In a related series of works, these motifs evolve into modern cities and waves of pedestrians set into interminable grids. At the center of Bayrle’s focus is the experience of the urban citizen and the artist—in works from the 1980s, landscapes and architectures unfold into surreal human figures. Bayrle’s preoccupation with figures like Carlos the Jackal, considered the world’s first terrorist, explore experiences of alienation and trauma. By contrast, works from the series “Feuer im Weizen” (Fire in the Wheat), which incorporates renderings of sexual acts, are expressions of fascination and joy, of mutation and fracture. Characteristic of Bayrle’s references to commercial icons and consumer culture, the works reflect the artist’s interest in the transformation of popular figures in a media-saturated world.

Known for his prescient depictions of mega cities and bodies consumed by machines, Thomas Bayrle (b. 1937) is a Frankfurt-based artist whose works spans mediums and movements including Pop, Op, and Conceptual art. His humorous and satirical multi-media works are characterized by “super- forms,” large images composed of repetitive smaller cell-like patterns. His work is influenced by his experience of growing up in post-Nazi Germany, where he trained and worked as an industrial weaver.

Institute of Contemporary Art, Miami


Institute of Contemporary Art, Miami
Miami Design District
4040 NE 2nd Ave
Miami, FL 33137

Tel: (1) 305 901 52 72

Senam Okudzeto: Fragment from the series <EM>All Facts Have Been Changed to Protect the Ignorant</EM>. 2000-01The Baltimore Museum of Art
Senam Okudzeto: Fragment from the series All Facts Have Been Changed to Protect the Ignorant. 2000-01
The Baltimore Museum of Art
Shifting Views: People & Politics in Contemporary African Art
BALTIMORE, MARYLAND  •  The Baltimore Museum of Art  •  18 December 2016 - 18 June 2017

he BMA’s first exhibition of contemporary art from Africa drawn from its own collection features photographs, prints, and drawings by David Goldblatt, Gavin Jantjes, William Kentridge, Julie Mehretu, Senam Okudzeto, Robin Rhode, and Diane Victor. Each artist offers pointedly political perspectives on the lives of Africans and their diasporic descendants.

Examples include two series of prints: Kentridge’s Industry & Idleness (1986-87), a critique of capitalism inspired by a suite of the same name by famed political satirist William Hogarth (English 1697-1764), and Mehretu’s Landscape Allegories (2003-04), etchings that mark the journeys of migrants and underscore the environmental effects of late-stage capitalism. Capitalism is more quietly confronted in a 1970 photograph of singer Margaret Singana taken by Goldblatt while on assignment for Anglo American, a major gold mining company. Okudzeto’s Fragment from the series All Facts Have Been Changed to Protect the Ignorant (2000-01) remind us of early capitalist drives that fueled the trade of Africans into slavery and Jantjes’ canonical A South African Colouring Book (1974-75) skewers apartheid-era surveillance and racist realities. In works from 2009 and 2010, Rhode’s Pan's Opticon Studies and Victor’s Smokescreen (Frailty and Failing) focus on individuals captured or lost in societies that either closely monitor movement of people deemed suspicious or blithely forget those with histories deemed too troubling.

The Baltimore Museum of Art Website

Contact: The Baltimore Museum of Art
10 Art Museum Drive
Baltimore, MD 21218-3898
Tel: (1) 443 573 17 00

Unidentified artist, active in South America. <EM>Saint Francis Xavier</EM>, 18th centuryCarl and Marilynn Thoma Collection.
Unidentified artist, active in South America. Saint Francis Xavier, 18th century
Carl and Marilynn Thoma Collection.
Doctrine and Devotion: Art of the Religious Orders in the Spanish Andes
CHICAGO  •  Art Institute of Chicago  •  19 March 2016 - 25 June 2017
Presenting 13 paintings by South American artists from the 17th through 19th century, this focused exhibition introduces visitors to images promoted by several Catholic orders at work in the Spanish Andes—the Dominicans, Franciscans, Mercedarians, and Jesuits—examining the politics of the distinct iconographies each group developed as they vied for devotees and dominion.

Francisco Pizarro arrived in Peru with a mandate from Charles V to impose Spanish law and order, as well as the Roman Catholic religion, upon the indigenous Inca society that he encountered. The enormous task of converting the indigenous peoples of Spain’s overseas territories to Christianity fell largely to missionaries from several religious orders rather than parish clergy. For a native population that had no written language tradition, the missionaries relied heavily on works of art to illustrate their sermons and lessons and help them gain converts.

In the wake of the Protestant Reformation, the Catholic church embraced the use of images both as pedagogical tools and instruments of devotion, and the religious orders in South America relied on them in similar ways—as didactic materials employed in the teaching of new converts, and in later years as a means of spreading devotions specific to their own interests. While their ultimate goals were the same, each religious order promoted images specific to their own histories, identities, and goals. This exhibition explores examples of the iconographies that were particular to each group.

Art Institute of Chicago Website

Contact: 111 S Michigan Avenue
Chicago, IL 60603

Tel: (1) 312 443 36 00

Events in Classical Music

Anne-Sophie Mutter, violin: Lambert Orkis, piano
CHICAGO  •  Symphony Center  •  29 March 2017

Currier: Clockwork
Mozart: Violin Sonata in A Major, K. 526
Respighi: Violin Sonata in B Minor
Saint-Saëns: Introduction and Rondo Capriccioso

Anne-Sophie Mutter, violin
Lambert Orkis, piano

Symphony Center Website

Detailed schedule information:
8:00 pm

Contact: Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604
Tel: (1) 312 294 30 00

Deborah VoigtPhoto: Heidi Gutman
Deborah Voigt
Photo: Heidi Gutman
Danish National Orchestra : Deborah Voigt, soprano
SAN FRANCISCO  •  Louise M. Davies Symphony Hall  •  2 April 2017

Nielsen: Helios Overture
Wagner: Wesendonck Lieder
Beethoven: Symphony No. 3, Eroica

Danish National Orchestra
Fabio Luisi, conductor
Deborah Voigt, soprano

San Francisco Symphony Website

Detailed schedule information:
8:00 pm

Contact: Louise M. Davies Symphony Hall
201 Van Ness Avenue
San Francisco, CA
Tel: (1) 415 864 60 00

San Francisco Symphony
SAN FRANCISCO  •  Louise M. Davies Symphony Hall  •  30 March - 2 April 2017

Mahler: Adagio from Symphony No. 10
Mahler: Symphony No. 1

San Francisco Symphony
Michael Tilson Thomas, conductor

San Francisco Symphony Website

Detailed schedule information:
8:00 pm

Contact: Louise M. Davies Symphony Hall
201 Van Ness Avenue
San Francisco, CA
Tel: (1) 415 864 60 00

Events in Dance

Doug Varone and Dancers
BROOKLYN, NEW YORK  •  BAM Harvey Theater  •  29 March - 1 April 2017

Doug Varone and Dancers
Choreography by Doug Varone
Music composed by Michael Gordon, Julia Wolfe, and Philip Glass

Doug Varone and Dancers celebrate 30 years of choreography with three works representing the past, present, and future of this company. Their major revival of the Philip Glass-scored Possession (1994), inspired by A.S. Byatt’s century-spanning novel of the same name, is an entwined portrait of solitude and desire. Varone’s latest work Folded, set to music by MacArthur fellow Julia Wolfe, renders the intimate interplay between two dancers falling in and out of sync. And in ReComposed, inspired by abstract expressionist Joan Mitchell’s pastel drawings, dancers careen across a paper-white stage to the crescendos of Michael Gordon’s Dystopia.

BAM Website

Detailed schedule information:
7:30 pm

Contact: BAM
30 Lafayette Avenue
Brooklyn, NY 11217
Tel: (1) 718 636 41 00

NoodleRice Studios Photo by Steve Gunther
NoodleRice Studios
Photo by Steve Gunther
Studio: Spring 2017
LOS ANGELES  •  Walt Disney Concert Hall Complex  •  9 - 10 April 2017
Studio: Spring 2017

REDCAT’s quarterly series of new works and works-in-progress highlights new forms of dance, theater, music and multimedia performance in a wideranging program that celebrates the vitality of L.A.’s next-generation artists making work for the stage.

REDCAT Website

Detailed schedule information:
8:30 pm

Contact: Walt Disney Concert Hall Complex
631 W 2nd Street
Los Angeles, CA 90012
Tel: (1) 213 237 28 00

Events in Jazz

Oscar, With Love: A Tribute to Oscar Peterson
CHICAGO  •  Symphony Center  •  7 April 2017
Oscar, With Love: A Tribute to Oscar Peterson featuring Kenny Barron, Robi Botos, Bill Charlap, Benny Green, Ramsey Lewis and Renee Rosnes

Chicago Symphony Orchestra Website

Detailed schedule information:
8:00 PM

Contact: Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604
Tel: (1) 312 294 30 00

Roy Hargrove
Roy Hargrove
Roy Hargrove Quintet
NEW YORK  •  Blue Note  •  21 - 26 March 2017
Roy Hargrove Quintet

Roy Hargrove, trumpet
Sullivan Fortner, piano
Justin Robinson, sax
Ameen Saleem, bass
Quincy Phillips, drums

Blue Note New York Website

Detailed schedule information:
8:00 pm, 10:30 pm

Contact: Blue Note New York
131 West 3rd Street
New York, NY 10012
Tel: (1) 212 475 85

Events in Pop Culture and Cinema

Lin-Manuel Miranda in <EM>Hamilton</EM>
Lin-Manuel Miranda in Hamilton
Hamilton: By Lin-Manuel Miranda
NEW YORK  •  Richard Rodgers Theatre  •  6 August 2015 - 31 December 2017

Hamilton is a hip hop musical with music, lyrics, and book by Lin-Manuel Miranda. The show was inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow.

Directed by Thomas Kail

The cast features Lin-Manuel Miranda (Alexnder Hamilton), Leslie Odom Jr. (Aaron Burr), Drama Desk Award winner Renée Elise Goldsberry (Angelica Schuyler), Phillipa Soo (Eliza Hamilton), Jonathan Groff (King George), Daveed Diggs (Marquis De Lafayette, Thomas Jefferson), Christopher Jackson (George Washington), Anthony Ramos (John Laurens, Phillip Hamilton), Okieriete Onaodowan (Hercules Mulligan, James Madison), and Jasmine Cephas Jones (Peggy Shuyler, Maria Reynolds).

Hamilton on Broadway Website

Contact: Richard Rodgers Theatre
226 W 46th St
New York, NY 10036
Tel: (1) 212 247 78 00

Emanuel Ungaro (French): Evening Dress, fall/winter 1987-1988 Silk satin and taffeta © International Art &amp; Artists
Emanuel Ungaro (French): Evening Dress, fall/winter 1987-1988 Silk satin and taffeta
© International Art & Artists
Inspiring Beauty: 50 Years of Ebony Fashion Fair
WASHINGTON, DC  •  George Washington University Museum  •  9 March - 24 July 2017

For 50 years, the Ebony Fashion Fair shaped a new vision of black America through contemporary fashion. Founded by Eunice Walker Johnson in 1958, the traveling fashion show broke the color barrier to bring the pinnacle of global fashion to communities that were eager to celebrate black accomplishment, aspiration and success.

The George Washington University Museum and The Textile Museum present the story of the Ebony Fashion Fair and its cultural impact with the new exhibition Inspiring Beauty: 50 Years of Ebony Fashion Fair. Forty garments selected from a collection of thousands are at the center of this dynamic show—including stunning gowns, feathered coats and statement designs by Christian Dior, Vivienne Westwood and burgeoning designer Naeem Khan, who would go on to dress first lady Michelle Obama.

Ebony Fashion Fair was the first fashion show to introduce black models to the runway. The exhibition includes nearly 100 objects, including ensembles, accessories and videos, to help recreate the Fashion Fair experience. Ms. Johnson’s exquisite personal style and her influence in the world of fashion are explored through archival images, invitations to fashion houses and interviews with former stylists and attendees of the Fashion Fair.

Organized by the Chicago History Museum in cooperation with Johnson Publishing Company, which published Ebony and Jet magazines and produced the Fashion Fair, Inspiring Beauty is the first-ever exhibition about the show.

The George Washington University Museum


The George Washington University Museum
The Textile Museum
701 21st Street, NW
Washington, DC 20052

Tel: (1) 202 994 52 00

BROOKLYN, NEW YORK  •  BAM Harvey Theater  •  16 - 27 March 2017

887 Murray Avenue, Quebec City, Canada. The apartment complex where director Robert Lepage (The Blue Dragon, 2013 Next Wave) spent his youth comes to life as a bewitching, tech-saturated dollhouse in this deeply personal solo work. Populated with miniature neighbors and family members, and the many stories embedded in rooms, walls, and windows, 887 constructs an evocative memory palace. As Lepage revisits his childhood home and other reconfigured spaces from his past and present—among them his current Quebec City flat and the front seat of his father’s taxi—he unearths a life’s worth of memories, sifting in the process through the things we can’t seem to recall and those we aren’t able to forget.

English translation by Louisa Blair
Creative direction by Steve Blanchet
Dramaturgy by Peder Bjurman
Music and sound design by Jean-Sébastien Côté
Lighting design by Laurent Routhier
Image design by Félix Fradet-Faguy

BAM Website

Detailed schedule information:
7:30 pm

Contact: BAM
30 Lafayette Avenue
Brooklyn, NY 11217
Tel: (1) 718 636 41 00

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