The collection comprises artworks by seminal figures such as Alberto Giacometti, Joan Miro, Jean Tinguely, Max Ernst, Andy Warhol, Alexander Calder, Le Corbusier, Sol LeWitt, Edgar Degas, Nicolas de Stael, Barbara Hepworth and Picasso.

The 35,600-square-foot Bechtler museum building was designed by the Swiss architect  Mario Botta.

Beauford Delaney's (born Knoxville 1901-died Paris 1979) depictions of the streets, parks, and jazz clubs of Harlem and Greenwich Village, dating from 1929 to 1953, convey the energy of the city, while his layered, captivating abstract compositions from his Paris years (1953-1979) demonstrate his sustained exploration of colour.

It is broadly recognized, however, that Delaney’s Paris works are among the most significant to his body of work. A number of this Paris-period works to be shown were rescued from Delaney’s apartment shortly before his death. About to be seized by the French Government and auctioned to satisfy delinquent accounts, the paintings were shipped to New York through the efforts of a coterie of the artist’s devoted friends including James Baldwin, Henry Miller, Richard Powell and Richard Long. These paintings would form the core of the 1978 retrospective.

After thirty-five years of uncertain fate, and the enormous efforts over the past seven years by the estate’s court-appointed Administrator, Derek Spratley, many of these estate paintings have been recovered and are being presented for the first time. A fully illustrated color catalog with an essay by New York-based independent curator and art critic, Lily Wei is available from Levis Fine Art. 

Born and raised in Portland, Oregon, Carrie Mae Weems is internationally recognized for her photography-based art that investigates issues of race, gender, and societal class. Carrie Mae Weems: Three Decades of Photography and Video presents more than 200 photographs, videos, and installations tracing the evolution of Weems’ career.

Carrie Mae Weems was introduced to photography in the late 1970s after working as a professional modern dancer and grassroots political activist in California.  She was attracted to the medium because of its ability to give tangible, visual form to abstract political and social theories, particularly those related to African American experiences.  Weems is also a poetic storyteller; powerful written or spoken-word narratives often accompany her images.  In her earliest work, the artist looked to her own life and family as case studies for exploring contemporary African American identity.  Weems’s narrative soon broadened to more general aspects of the African Diaspora, from the legacy of slavery to the perpetuation of both debilitating stereotypes and nourishing folk traditions.  A desire to more deeply examine the underlying causes and effects of social injustice spurred Weems to explore the histories of Africa, Europe, and the Caribbean, as well as the southeastern United States.

An illustrated exhibition catalogue is available.

Christian Marclay's celebrated video installation The Clock (2010) is composed of thousands of film clips referencing the time of day, intricately edited into a 24-hour-long montage that matches real time minute for minute — a tour de force of appropriation that is also a functioning timepiece.

Claes Oldenburg (b. 1929, Stockholm, Sweden) has not only been a major artist in Pop Art, Performance Art and Installation Art but, in partnership with Coosje van Bruggen, also a strong influence on art in public spaces with his monumental Large Scale Projects in numerous major cities worldwide. With his humorous and profound depictions of everyday objects he is one of the most important and admired artists since the late 1950s. One central point of reference in Oldenburg’s oeuvre is the industrially produced object—the object as a commodity which, in ever-new metamorphoses of media and form, becomes a conveyor of culture and a symbol of the imagination, desires, and obsessions of the modern world.

Organized by the mumok, this is the largest show ever of Oldenburg’s ground-breaking and emblematic early work of the 1960s. Numerous icons of Pop art are on view in the exhibition, beginning with the installation The Street and its graffiti-inspired depictions of modern life in the big city and continuing to the famous consumer articles of The Store to the spectacular everyday objects of the modern Home: telephone, toilet bowl, bathtub, fan, saw, and light switch. Another chapter is dedicated to Oldenburg’s first designs for the colossal monuments of his consumer objects for public spaces. The exhibition concludes with mumok’s Mouse Museum a walk-in miniature museum in the form of a Geometric Mouse, for which Oldenburg collected 385 objects. With its souvenirs, kitsch objects, and studio models, the Mouse Museum demonstrates the incredible cultural variety—and mysteriousness—of capitalist society. With its reduction to abstract basic figures of formal invention, the Geometric Mouse, a central motif within the artist’s oeuvre, represents a dovetailing of high art and popular culture. It also functions as Oldenburg’s alter ego.

Curator
Achim Hochdörfer

After New York, this exhibition, organized by mumok, will travel to the Walker Art Center in Minneapolis (September 13, 2013–January 12, 2014).

The first retrospective in 25 years of work by artist Garry Winogrand (1928–1984) — the renowned photographer of New York City and of American life from the 1950s through the early 1980s — brings together the artist's most iconic images with newly printed photographs from his largely unexamined archive of late  work, brings together the artist's most iconic images with newly printed photographs from his largely unexamined archive of late work. 

More than 300 photographs in the exhibition and more than 400 in the accompanying catalogue attempt to create a portrait of Garry Winogrand — a chronicler of postwar America.

After serving in the military as a weather forecaster, Winogrand first began working as a photographer while studying painting on the G.I. Bill at Columbia University (1948–51).

The Bronx-born Winogr was enormously prolific but largely postponed the editing and printing of his work. Dying suddenly at the age of 56, he left behind approximately 6,500 rolls of film (some 250,000 images) that he had never seen, as well as proof sheets from his earlier years that he had marked but never printed. Roughly half of the photographs in the exhibition have never been exhibited or published until now; over 100 have never before been printed.

Winogrand photographed business moguls, everyday women on the street, famous actors and athletes, hippies, rodeos, politicians, soldiers, animals in zoos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police.

The exhibition catalogue Garry Winogrand (448 pages; $85 hardcover; $50 softcover)—published by SFMOMA in association with Yale University Press serves as the most comprehensive volume on Winogrand to date and the only compendium of the artist's work.  Five new essays and nearly 400 plates trace the artist's working methods and major themes.

After San Francisco, Garry Winogrand will travel to the National Gallery of Art, Washington, D.C. (2 March through 8 June 8 2014); The Metropolitan Museum of Art, New York (27 June through 21 September 2014); the Jeu de Paume, Paris (14 October 2014 through 25 January 2015); and the Fundacion MAPFRE, Madrid (3 March through 10 May 2015).

In the 1970s, Anatsui began to manipulate broken ceramic fragments. With their allusions to ancient Nok terracotta sculptures, West African myths about the earth and cultural references to the use of clay, the ceramic works piece together shattered ideas and histories to form a new whole. In the same decade, he also made sculptures that brought together signs and symbols from various cultures and languages, created by chopping, carving, burning and etching wood.

In the 1990s, Anatsui made a crucial shift from working with hand tools to carving with a power saw, which enabled him to cut through blocks of wood, leaving a jagged surface that he likened to the scars left by European colonial encounters with Africa.

In his most recent metal wall sculptures, Anatsui assembles thousands of West African liquor-bottle tops into moving patterns of stunning visual impact, transforming this simple material into large shimmering forms. When I Last Wrote to You about Africa includes the largest compilation of Anatsui’s works ever assembled, including massive wall pieces and large-scale floor installations. "I think of myself as an artist," Anatsui said in an interview with Agence-France-Presse. "And I'm an African." 

Hans Richter: Encounters examines the evolution of German artist Hans Richter’s practice based on his interaction with other artists, writers, filmmakers, and composers. In
Richter’s most significant retrospective since the 1980s, the
multidisciplinary exhibition showcases 175 works by the artist,
complemented by approximately sixty works by his contemporaries, including drawings, paintings, sculptures, scrolls, photographs, architectural models, ready-mades, wall reliefs, and films.

Born in Berlin in 1888, Richter attended the Academy of Fine Arts in Berlin, the Academy in Weimar, and the Académie Julian in Paris. In 1914 after World War I broke out, he was inducted into the German army and was seriously wounded within a few months. Soon after being discharged from military service in 1916, Richter joined the Zurich Dada Group and participated in several group exhibitions. In 1921, he produced his first abstract film, Rhythmus 21, and in 1923, he established and managed the avant-garde magazine G: Material zur elementaren Gestaltung (G: Materials for Elemental Form-Creation). Avoiding the horrors of World War II in Europe, Richter emigrated to the United States and began teaching at the Institute of Film Techniques at the City College of New York. He continued collaborating with his contemporaries in different fields, such as Marcel Duchamp and John Cage, and in 1964 published his seminal book Dada: Art and Anti-Art, translated into nine languages. Throughout his career, Richter participated in over eighty exhibitions and is included in the collections of major museums across the world.

The 224-page catalogue Hans Richter: Encounters is co-published by LACMA and DelMonico Books/Prestel.

On the occasion of this exhibition and appearing in English for the first time is Encounters from Dada till Today by Hans Richter, which is being published as a print-on-demand and e-book by LACMA and DelMonico Books/Prestel in a translation by Christopher Middleton. First published in German in 1973, this volume documents in Richter’s own words the collaborative aspirations of a generation of modern artists — including
Joseph Cornell, Federico Fellini, and Hannah Höch, among others.

Impressionism, Fashion, and Modernity presents a revealing look at the role of fashion in the works of the Impressionists and their contemporaries. Some eighty major figure paintings, seen in concert with period costumes, accessories, fashion plates, photographs, and popular prints, highlight the vital relationship between fashion and art during the pivotal years, from the mid-1860s to the mid-1880s, when Paris emerged as the style capital of the world. With the rise of the department store, the advent of ready-made wear, and the proliferation of fashion magazines, those at the forefront of the avant-garde—from Manet, Monet, and Renoir to Baudelaire, Mallarmé, and Zola—turned a fresh eye to contemporary dress, embracing la mode as the harbinger of la modernité.

First on view at the Musée d'Orsay in Paris, this show is quite popular with New Yorkers. Expect crowds. 

A catalogue accompanies this exhibition.

Meadows Museum in Dallas presents the first monographic exhibition on the Madrid-born landscape painter Martín Rico (1833-1908), one of the most important Spanish artists of the second half of the nineteenth century and a pioneering figure in the introduction of realist landscape. Organised in collaboration with the Museo del Prado in Madrid, where this exhibition was presented earlier this season with the title The landscape painter Martín Rico (1833-1908), and made possible through the support of the Regional Government of Madrid, this exhibition brings together more than forty paintings that are shown alongside a large group of watercolours, drawings and notebooks, most of which have never been exhibited in Spain.

Rico’s international reputation is largely based on the fact that he established a career outside Spain after he was awarded a State grant in 1862 to study landscape painting abroad. For more than forty years and until his death the artist worked in Paris and Venice where he captured the beauty of these two cities and established contacts with leading artists such as Camille Pissarro, one of the first generation of Impressionists, and Daubigny, the Barbizon School landscape painter.

This exhibition presents the work of two 20th-century photographers, Hiroshi Hamaya and Kansuke Yamamoto, who represent important but alternate paths in Japanese photography.

The Taishō era (1912–1926) was a brief but dynamic period in Japan’s history that ushered in a modern state with increased industrialization, shifting political parties, radical fashions, and liberal thinking in many areas. However, this era of heightened experimentation ended with the arrival of an international depression, the promotion of ultranationalism, and the country’s entry into what would become the Greater East Asia War.

Reflecting both sides of this dramatic transition, two disparate representations of modern Japan are displayed together in Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto, on view at the J. Paul Getty Museum, Getty Center. Curated by Judith Keller, senior curator of photographs, and Amanda Maddox, assistant curator of photographs, the exhibition includes photographs from the Getty Museum’s permanent collection, the Toyko Metropolitan Museum of Photography, the estate of Hiroshi Hamaya, the Nagoya City Art Museum, and other public and private lenders.

Born during the Taishō era, photographers Hiroshi Hamaya (1915–1999) and Kansuke Yamamoto (1914–1987) responded to Japan’s rapidly-changing sociopolitical climate in very different ways. While Hamaya focused inward toward rural life on the back coast of Japan, Yamamoto found inspiration in the art of European Surrealists. As the ebb and flow of Japan’s political, economic, and social structures persisted across the 20th century, Hamaya and Yamamoto continued to pursue divergent paths, thus embodying both sides of modern Japanese life: the traditional and the Western, the rural and the urban, the oriental and the occidental.

The contemporary American artist Kara Walker (b. 1969) —widely recognized for her exploration of issues of race, gender, and sexuality through the 18th-century medium of cut-paper silhouettes is among the most complex and prolific American artists of her generation. Over the past decade, she has gained national and international recognition for her room-size tableaux depicting historical narratives haunted by sexuality, violence, and subjugation. For Walker, the simplified details of a human form in the black cutouts resonate with racial stereotypes. She has said, "The silhouette says a lot with very little information, but that's also what the stereotype does."

Kara Walker: Rise Up Ye Mighty Race! at the Art Institute of Chicago

Set in the American South before the Civil War, Walker’s compositions play off stereotypes to portray, often grotesquely, life on the plantation, where masters and mistresses and slave men, women, and children enact a subverted version of the past in an attempt to reconfigure their status and representation. 

In the Chicago exhibition, she returns to the cut-paper medium in monumental form for a new commissioned installation that she has designed especially for display at the Art Institute. The installation, titled Rise Up Ye Mighty Race! (2013), includes five large framed graphite drawings and 40 small framed mixed-media drawings along with the cut paper silhouettes. The title refers to comments made by Barack Obama in his 1995 book, Dreams from My Father, about the challenges of community organizing in Chicago, in which he quotes the Jamaican political leader Marcus Garvey (1887–1940). Merging handwritten text with the images in the drawings, the work takes a diaristic form that revolves around The Turner Diaries, written in 1978 by the white nationalist William Luther Pierce, and investigates the notion of the “race war” as it exists in the contemporary imagination. Walker has referred to the work in progress as, “a kind of paranoid panorama wall work — with supplemental drawings large and small, to chronicle what can be called a diary of my ever-present, never-ending war with race."

The unveiling of the Jaharis Galleries also celebrates the opening of a special exhibition of more than 50 incomparable works of late Roman and early Byzantine art lent by the British Museum. Comprised of luxurious yet portable items such as silver vessels, carved ivories, and gem-encrusted jewelry, these artworks reflect the splendor of wealthy households and important ecclesiastical sites between A.D. 350 and 650.

These centuries saw great shifts in the Roman Empire: Constantinople replaced Rome as the imperial capital, Christianity became the official imperial religion, and Greek eclipsed Latin as the official administrative language. Beautifully illustrating these transitions, the objects in the exhibition were employed in a variety of civic, domestic, and sacred contexts. For example, a gilded silver chest for bathing accessories and perfumed oils that belonged to a Roman noblewoman named Projecta stands as an eloquent witness to the intersection of classical iconography and Christian belief; above the inscription indicating that its owner was indeed a Christian appears a seductive image of the goddess Venus. The gradual stylistic shift from a classical naturalism towards a Byzantine aesthetic can be seen in the Reliquary of St. Menas. Carved in ivory during the sixth century and markedly different in style from the earlier objects in the exhibition, the imagery—charged with spiritual import—is more abstract, static, and hieratic. For its part, The Lycurgus Cup vividly exemplifies the refinement and spectacle of lavish tableware proudly used throughout the late Roman Empire. In a display of technical virtuosity, this cup appears green in reflected light but turns a brilliant red when light is transmitted through it, thanks to the addition of gold and silver particles to the molten glass.

Most of the treasures in this exhibition have never before traveled to the United States.

Piero della Francesca  (1411/13–1492) was revered in his own time as a “monarch” of painting. Yet by the end of the sixteenth century his achievements had sunk into obscurity. During the nineteenth century, however, British and American collectors on the European Grand Tour rediscovered the master’s works and resurrected his reputation, and today Piero della Francesca is widely acknowledged as one of the founders of the Italian Renaissance. The Frick was a beneficiary of this renewed interest and holds four of Piero’s paintings, more than any other institution outside of Europe.

The Frick now presents the first monographic exhibition in the United States dedicated to the artist, featuring its four panels together with works from the National Gallery of Art in Washington, D.C.; the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts; and the Museu Nacional de Arte Antiga, Lisbon. Together these seven paintings—all created for Borgo San Sepolcro, the city of Piero’s birth—demonstrate the richness of Piero della Francesca’s oil technique and the monumentality of his compositions for which he is celebrated.

The cave paintings of Lascaux (Lass-KOH) are the world’s premier example of prehistoric art. Discovered in 1940 in southwest France, these masterpieces were made by our early ancestors almost 20,000 years ago. French officials closed the cave in 1963 to preserve the paintings but now, thanks to the latest digital technology, the cave has been painstakingly re-created with full-sized replicas of the artworks including some shown for the first time to the public.


Hall of Bulls, North Wall, contains 36 images of bulls, horses and stag. One bull measures 17 feet long — the largest animal depicted in cave art. © LRMH

Exhibition visitors will experience the thrill of walking through the cave and discovering beautiful, ancient artworks lit by simulated torch light. Along the way, they will encounter a lifelike stone-age family – an old man, an adolescent, a woman, and a child – created by sculptor Elisabeth Daynès. The exhibition also features rare stone-age artifacts from the Museum’s collections. Videos and interactives explain how Paleolithic people lived and how the cave paintings were made, but the purpose of the paintings remains a tantalizing mystery. The Field Museum is the first North American venue for this  exhibition.

This exhibition charts the development of the influential Société Anonyme and its establishment as one of the greatest collections of modernist works in America. Including approximately 200 paintings, sculptures, and works on paper from the Société Anonyme Collection, the exhibition features works by such diverse and renowned artists as Josef Albers, Alexander Archipenko, Alexander Calder, Arthur Dove, Louis Eilshemius, Max Ernst, Paul Gauguin, Arshile Gorky, Wassily Kandinsky, Fernand Léger, Henri Matisse, Roberto Matta, Pablo Picasso, Man Ray, Kurt Schwitters, Joseph Stella, and Jacques Villon among many others.

The Société Anonyme was formed by Katherine S. Dreier and Marcel Duchamp in order to disseminate modern art in America through a succession of exhibitions and lectures during the 1920s and 1930s that introduced the American public to European and American avant-garde artists. In 1941, Dreier and Duchamp transferred the Société Anonyme Collection to Yale University in order to continue the educational aspirations of the organization.

Spirits of the Passage: The Story of the Transatlantic Slave Trade displays nearly 150 historical objects covering more than 350 years. 

The 4,000 sq. ft. exhibition is in conjunction with the 150^th anniversary of Abraham Lincoln’s 1863 Emancipation Proclamation and the turning point it represented for thousands of enslaved people at a pivotal point in the American Civil War. It’s the first exhibition of its kind to examine the entire history of the Transatlantic Slave Trade from the 16^th through 19^th centuries, while also presenting the most up-to-date research and discoveries to the public. These include the latest marine archaeological discoveries, new research on key African societies and an exploration of the slave trade’s modern day legacies.

Visitors can view authentic artifacts from the wreck of an actual slave ship, such as restraints, tools, plates and trade goods, as well as dozens of other objects from West African societies that show the uniqueness of the individual cultures they represent. These include religious objects, bronze- and beadwork, pottery and jewelry. These compelling artifacts, along with maps, paintings and illustrations, create a provocative picture of this tragic era, while also engendering a sense of pride in the legacy of strength these enslaved people left behind.

Considered one of the most significant artists of the twentieth century, Donald Judd pioneered Minimalism, an art movement that privileged conceptual framework over traditional craft or artistic skill. In his 1965 essay Specific Objects, Judd identified a new classification of artwork that falls into neither of the conventional categories of painting or sculpture. Judd utilized deceptively simple, pristine geometric forms as complex expressions of an aesthetic of wholeness or total impact, arguing that traditional illusionism and complicated composition dilute an artwork’s power. Judd explained, “Abstract art has its own integrity, not someone else’s ‘integrations’ with something else. Any combining, mixing, adding, diluting, exploiting, vulgarizing, popularizing abstract art deprives art of its essence and depraves the artist’s artistic consciousness. Art is free, but it is not a free-for-all.”

The exhibition features more than 40 works fashioned in silver and gold between the founding of the Achaemenid Empire ca. 550 B.C.E. and the beginning of the Islamic period in the seventh century.

The vessels on display include finely hammered bowls, cups, plates, ewers and bottles. Many of the objects were intended for elaborate, multicourse banquets, for which the Iranians were known throughout the ancient world. Others were used for more solemn religious ceremonies.  

Among the most celebrated works is a silver-gilt royal hunting plate with the portrait of Shapur II (309-379 C.E.), a Sasanian ruler recognizable by his distinctive crown. Fashioned out of 19 separate components, the plate is also one of the earliest Sasanian examples to depict a king hunting-one of the most enduring royal images from the ancient Near East.   

Vessels depicting rulers or royal hunting scenes, an activity long associated with kingship in the ancient Near East, had yet another function: they were used primarily as diplomatic gifts and sent as symbols of imperial authority to far-flung corners of the Iranian Empire and along the Silk Road as far as China, to strengthen diplomatic and commercial relations. Military conflict between Iran and its western neighbors, first with Alexander of Macedonia, which brought the Achaemenid Empire to a close in 331 B.C., and later with the Romans, who vied for territorial and economic control, introduced new techniques and motifs into Iranian metalwork. For example, the figure of Dionysus, the Roman God of wine, together with his female companions, appears on several vessels.  

Another rare and remarkable object from the Sasanian period is a wine horn, terminating in the head of a gazelle with a small spout, used for pouring out wine. Horn-shaped drinking cups of this type were continuously popular for at least a millennium.

Freer Gallery of Art
Jefferson Drive at 12th St SW

Arthur M. Sackler Gallery
1050 Independence Ave SW
Washington, D.C. 20013-7012

Trained as a psychiatrist, Dr. Paul Singer is best remembered for his wide-ranging Chinese art collection, which he assembled largely at a time when American contact with China was severely restricted. Born in Hungary in 1904 and raised in Austria, Singer made his first purchase of East Asian art at the age of seventeen. He collected most aggressively after he immigrated to this country in 1939, making discoveries at art dealers, auction houses, and thrift stores alike. By the time of his death in 1997, Singer’s holdings had grown to some five thousand objects, mostly Chinese works of art, that he displayed in his modest two-bedroom apartment in Summit, New Jersey.

The Singer collection is particularly strong in ancient ceramics, metalwork, and jades. He referred to Chinese archaeological findings as a guide in building his holdings. He was also drawn to the unique and surprising, hoping that archaeologists would eventually prove them to be authentic. As he recalled, “A fairly large portion of my collection, acquired in the distant past, consists of objects that had been rejected by experts. Those same pieces were later recognized as being genuine as a result of information provided by archaeological excavations.

An engineer of imaginary worlds, in the past the Swiss-born artist Urs Fischer (b. 1973) has created sculptures in a rich variety of materials including unstable substances such as melting wax and rotting vegetables. In a continuous search for new plastic solutions, Fischer has built houses out of bread and given life to animated puppets; he has dissected objects or blown them out of proportion in order to reinvent our relationship to them. In 2007, in a now-legendary exhibition, he excavated the floor of his New York gallery, digging a crater within the exhibition space.

At MOCA Grand Avenue, Fischer presents a survey of works from the last two decades. Among the subjects addressed are his sly and humorous approach to the human figure as represented by a group of skeleton sculptures, partial figures seated on top of furniture, and the head shots of 1950s film stars similarly obscured and defaced. Everyday furniture and objects have experienced a material transformation as stiff structures droop and collapse and others magically appear suspended in space.

Throughout his work, with ambitious gestures and irreverent panache, Fischer explores the secret mechanisms of perception, combining a Pop immediacy with a neo-Baroque taste for the absurd.

Self-taught photographer Lucien Hervé began working with the maverick architect Le Corbusier in 1949. As the "official" Le Corbusier photographer, Hervé documented the architect's work and projects until Le Corbusier's death in 1965. Le Corbusier once said, "Not only your remarkable vision of my work makes it more complete, but you have the soul of an architect and know how to look at architecture."

During the 16 years they worked together, Hervé took thousands of photographs of Le Corbusier's projects. All of the photographs in this exhibition were taken during two trips to India, one in 1955 and one in 1961. During this time he photographed the Ahmedabad Mill Owner's Association Building (1951) and the Villa Shodhan (1951). In Chandigarh, he photographed the High Court of Justice (1952), the Secretariat Building (1952) and the Palace of the Assembly (1955), which Le Corbusier considered his greatest work.

The exhibition Lucien Hervé: Le Corbusier in India explores two aspects: the humanistic vision, as well as the architectural dimension. Favoring high and side-angle views, a deliberate affinity for abstraction and the use of stark blacks and whites are characteristics of Lucien Hervé's very personal style. Noted for his sharp sense of framing and formal elegance, Hervé patiently built one of the major photographic œuvres of the 20th century.

Born on August 7, 1910 in Hungary, László Elkán moved to Paris in 1929. First attracted to painting, music and fashion, he started to work as a photographer for Marianne Magazine. Politically active in France, he joined the Conféderation Générale du Travail (CGT) union and the French Communist Party, from which he would be excluded twice, in 1938 and in 1947. Adhering to strong personal convictions, and following his escape from the Hohenstein war prisoners' camp, he joined the anti-Nazi French Resistance movement in 1941 under the pseudonym Lucien Hervé. He resumed his photography work after the war. Close to the postwar French humanistic movement, his career took a decisive turn when he met Le Corbusier in 1949, remaining his "official" photographer until Le Corbusier died in 1965.

Lucien Hervé died in Paris on June 26, 2007, at the age of 97.

The artists in the exhibition are:
• Amar Kanwar (b. 1964, New Delhi, India)
• Araya Rasdjarmrearnsook (b. 1957, Trad, Thailand)
• Arin Dwihartanto Sunaryo (b. 1978, Bandung, Indonesia)
• Aung Myint (b. 1946, Yangon, Myanmar)
• Bani Abidi (b. 1971, Karachi, Pakistan)
• Ho Tzu Nyen (b. 1976, Singapore)
• Khadim Ali (b. 1978, Quetta, Pakistan)
• Navin Rawanchaikul (b. 1971, Chiang Mai, Thailand)
• Norberto Roldan (b. 1953, Roxas City, Philippines)
• Poklong Anading (b. 1975, Manila, Philippines)
• Reza Afisina (b. 1977, Bandung, Indonesia)
• Shilpa Gupta (b. 1976, Mumbai, India)
• Tang Da Wu (b. 1943, Singapore)
• Tayeba Begum Lipi (b. 1969, Gaibandha, Bangladesh)
• The Otolith Group (est. 2002, London)
• The Propeller Group (est. 2006, Ho Chi Minh City, Vietnam, and Los Angeles, California)
• Tran Luong (b. 1960, Hanoi, Vietnam)
• Truong Tan (b. 1963, Hanoi, Vietnam)
• Tuan Andrew Nguyen (b. 1976, Saigon, Vietnam)
• Vincent Leong (b. 1979, Kuala Lumpur, Malaysia)
• Wah Nu (b. 1977, Yangon, Myanmar) and Tun Win Aung (b. 1975, Yalutt, Myanmar)
• Wong Hoy Cheong (b. 1960, George Town, Malaysia)

This exhibition highlights the nearly fifty-year career of ceramicist Edward Lycett (American, 1833–1910), creative director of the Faience Manufacturing Company from 1884 to 1890. The range of works illustrates Lycett’s talent and adaptability to stylistic changes in the late nineteenth and early twentieth centuries, as well as his vision for Faience, a company based in Greenpoint, Brooklyn, that earned acclaim for producing ornamental wares that introduced a new standard of excellence in American ceramics. These bold and eclectic pieces synthesized Japanese, Chinese, and Islamic influences characteristic of the Aesthetic movement and were sold in the United States’ foremost art ware emporiums, including Tiffany & Company.

Among the ceramics on view are 39 Faience pieces, including a number of large-scale vases. Also on view are Lycett’s formula books, family photographs, and other ephemera; rare examples of ceramic works by his three sons; and other Brooklyn-made ceramics from the Museum’s collection.

Chinese lacquer, derived from the sap or resin of trees native to China, has been made for more than 2,000 years. Technically challenging and time-consuming to create, lacquer was considered a luxury material, on par with gold and silver, and was created for the Imperial court and wealthy elite, as well as scholars and eventually the merchant class.

This exhibition highlights the Museum’s Chinese and Ryukyu island (better known as Okinawa) lacquers and includes many important loans, showcasing the wide variety of techniques, styles, and forms of lacquer, as well as its uses. It also shows the transfer of imagery and themes across different media including paintings and porcelains, furniture, presentation boxes for special occasions, incense boxes, sutra covers, and even birdcages.

The exhibition charts — from magazine pages to gallery walls, from advertisements to photojournalism — the interconnected history of color photography in the United States from 1907 to 1981 through nearly 200 objects.

Among the artists represented in the exhibition: Ansel Adams, Harry Callahan, William Eggleston, Walker Evans, Nan Goldin, Jan Groover, Barbara Kasten, Saul Leiter, Susan Meiselas, Joel Meyerowitz, László Moholy-Nagy, Nickolas Muray, Paul Outerbridge, Eliot Porter, Cindy Sherman, Stephen Shore, Alfred Stieglitz, Edward Steichen, Joel Sternfeld, and Edward Weston.

An exhibition catalogue accompanies the exhibition.

Florian Morlat's first solo exhibition at Cherry and Martin includes works made from materials like cardboard, paint, plaster and wood. It also features a selection of new cast and painted aluminum pieces. This is a new direction for the artist. Morlat has long incorporated everyday materials into his sculptures and wall works. In his first exhibition at Cherry and Martin, he goes even further, adding organic materials like straw, French bread, and bananas.

Morlat was born in Munich. The physical components of his work recall his roots in a German-language post-war artistic tradition. At the same time, Morlat's visual pursuits, particularly with regard to shape, suggest an aesthetic born of 1960s California pop culture - he's lived in the state almost 20 years -- and a familiarity with American modernist icons. In Morlat's work we sense the rawness of Franz West, the freedom of Alexander Calder, the poetry of David Smith. Florian Morlat's pieces are subjective, stylized representations of people and things; at the same time, they are objective investigations into form and mass, color and, especially, shape: the tension of an encounter with the 'one-sideness' of Morlat's pieces is only resolved through circumnavigating them and getting a sense of their totality from all sides.

Florian Morlat: Sticks and Stones, Pt. 1 and Pt. 2

Pt. 1 - 4 May - 1 June 1, 2013
Pt. 2 - 8 June - 6 July 2013

Frames of Reference explores 45 works of Latin American art from the Jorge M. Pérez art collection, gifted to the Museum December 2011.  The show is curated and presented through an art historical lens, emphasizing the creative and conceptual contributions of artists such as José Bedia, Beatriz González, Wifredo Lam, Roberto Matta Echaurren, Diego Rivera, and Joaquín Torres-Garcia, among others. The exhibition is the last in the Museum’s current space and marks the start of its transition to its new Herzog & de Meuron-designed facility in Museum Park. The Museum will reopen as Pérez Art Museum Miami in honor of Pérez’s now $40 million gift of cash and art.

The complete collection of 110 works will be integrated into the Museum’s existing collection and displayed in the new facility. Other major works in the collection which will be highlighted at future dates, including works by Antony Caro, Chuck Close and Robert Rauschenberg.

The exhibition is accompanied by a fully illustrated book, featuring full-page color images of each work featured in the exhibition alongside comprehensive descriptions. The book also includes a conversation between Ostrander and Pérez and an essay by scholar Elizabeth Cerejido.

According to Hammer Museum Ali Subotnick, Cyprien Gaillard's work manifests in a variety of forms from videos and photographs to collages and sculptures. In his work, he reflects upon meanings and memories of monuments and landscapes that have been erased and replaced by the effects of time and social and cultural transformation. The French artist (born 1980, Paris) investigates time and historical remembrance as demonstrated in forgotten monuments, wrecked ruins, and artifacts. During his residency at the Hammer, Gaillard traveled around California discovering hidden ruins, destroyed landscapes and other remnants of the recent past. This exhibition will feature an installation of recent sculpture and a series of photographs produced during his residency at the Museum.

Cyprien Gaillard has had numerous solo exhibitions, including those at the Fondazione Nicola Trussardi, Milan; Schinkel Pavillon, Berlin (2012); Centre Georges Pompidou, Paris (2011, 2008); the KW Institute for Contemporary Art, Berlin; the Carnegie Museum of Art, Pittsburgh (2011); the Zollamt/Museum für Moderne Kunst Frankfurt, Germany; the Kunsthalle Basel, Switzerland (2010); the Kunsthalle Fridericianum, Kassel, Germany and the Hayward Gallery Project Space, London (2009). Most recently he had a solo show at MOMA P.S.1, New York which was on view through 18 March 2013.

Eight large-scale sculptures by Mark di Suvero rise at historic Crissy Field this May for a free yearlong exhibition presented by SFMOMA in partnership with the National Park Service and Golden Gate National Parks Conservancy.  Brought together  from across the Unitied States, the steel structures are set against the backdrop of the Golden Gate Bridge, a structure that has inspired the artist throughout his career.

Coinciding with di Suvero's 80th birthday, the exhibition not only marks five decades of work, it also holds particular significance for the artist who emigrated from Shanghai to San Francisco at the age of seven. His passage beneath the Golden Gate Bridge—which opened a few years before his arrival—proved to be a lasting inspiration, as the scale and color of the structure have inspired di Suvero throughout his life. di Suvero notes, "It was like a rainbow, a bridge coming to the New World starting a new life. The woman who chose the color of the bridge, Malo Lowell, taught me how to work wood as a teenager and from there, all was freedom."

Like many of his peers at the time, Binion was influenced by the Abstract Expressionists and developed a deep interest in visual communication and Modernism. Entitled Ghost: Rhythms, the work from this exhibition was originally curated into a show at the Artists Space New York during its inaugural year by Carl Andre, Sol Lewitt, and Ronald Bladen.

While Binion was interested in the formal qualities of medium, shape, and color like his contemporaries, he also found a powerful voice in the language of modernism to share personal and African-American narratives. McArthur Binion was the first African American to graduate from Cranbrook University with an MFA, after which he would move to New York City and eventually to Chicago, where he has lived and worked for the last thirty years. His experience as a child picking cotton in rural Mississippi was also an influence on Binion's practice of labor-intenstive mark making, grinding wax crayon into canvas, panel, and aluminum creating hard-earned layers over time. A large part of this exhibition focuses on his large tarp-like works on unstretched canvas that simulate aerial views of rural landscapes, abstracted and made of repetitive and diligent mark making.

McArthur Binion (b. 1946) lives and works in Chicago. McArthur Binion is in numerous private and public collections including the Metropolitan Museum of Art, New York; Cranbrook Museum of Art, Bloomfield Hills, Michigan; and the Detroit Institute of Art.

Kavi Gupta
835 W. Washington Blvd.
Chicago IL 60607

Miami Art Museum presents recent and newly commissioned work by approximately a dozen Miami-based artists in New Work Miami 2013.

New Work Miami 2013 Artists:
Gideon Barnett (b. 1982 Jasper, Tennessee)
Bhakti Baxter (b. 1979, Miami)
Loriel Beltran (b. 1985, Caracas)
Consuelo Castañeda (b. 1958, Havana)
Moira Holohan (b. 1976, New York)
Sinisa Kukec (b.1970, Zagreb)
Emmett Moore (b. 1988, Miami)
George Sanchez-Calderon (b. 1967, New York)
Tom Scicluna (b. 1974, London)
Odalis Valdivieso (b. 1969, Caracas)

Centering on the year 1993, the exhibition NYC 1993: Experimental Jet Set, Trash and No Star is conceived as a time capsule, an experiment in collective memory that attempts to capture a specific moment at the intersection of art, pop culture, and politics.

Conflict in Europe, attempts at peace in the Middle East, the AIDS crisis, national debates on health care, gun control, and gay rights, and caustic partisan politics served as both the background and source material for a number of younger artists who first came to prominence in 1993. At the same time, an increasingly active international network of artists, curators, and dealers contributed to a burgeoning global art world, amplified by the nascent tools of digital information.

NYC 1993: Experimental Jet Set, Trash and No Star draws its subtitle from the eponymous album that the New York rock band Sonic Youth recorded in 1993 and captures the complex exchange between mainstream and underground culture across disciplines, which came to define the art of the era. The New Museum’s exhibition includes a number of historical reconstructions of important installations and exhibitions from 1993, while other works are revisited and reinterpreted from the vantage point of today.

The exhibition features over seventy-five artists including: Janine Antoni, Ida Applebroog, Art Club 2000, Lutz Bacher, Alex Bag, Matthew Barney, Sadie Benning, Lina Bertucci, Nayland Blake, Gregg Bordowitz, Kathe Burkhart, Peter Cain, Larry Clark with Lisa Bowman, Martin Kippenberger, and Sally Webster, Patricia Cronin, John Currin, Jessica Diamond, Devon Dikeou, Cheryl Donegan, Mary Beth Edelson, Nicole Eisenman, Andrea Fraser, Coco Fusco, Robert Gober, Nan Goldin, Felix Gonzalez-Torres, Renée Green, Michael Joaquin Grey with Randolph Huff, Peter Halley, Ann Hamilton, David Hammons, Rachel Harrison, Todd Haynes, Derek Jarman, Mike Kelley, Karen Kilimnik, Byron Kim, Jutta Koether, Alix Lambert, Sean Landers, Annie Leibovitz, Zoe Leonard, Glenn Ligon, Sarah Lucas, Kerry James Marshall, Daniel Joseph Martinez, Paul McCarthy, Marlene McCarty and Donald Moffett for Bureau, NY, Suzanne McClelland, John Miller, Frank Moore, Christian Philipp Müller, Cady Noland, Kristin Oppenheim, Gabriel Orozco, Pepón Osorio, Elizabeth Peyton, Jack Pierson, Steven Pippin, Charles Ray, Jason Rhoades, Julia Scher, Andres Serrano, Cindy Sherman, Gary Simmons, Lorna Simpson, Kiki Smith, Rudolf Stingel, Lily van der Stokker, The Thing, Wolfgang Tillmans, Rirkrit Tiravanija, Nari Ward, Gillian Wearing, Jack Whitten, Hannah Wilke, Sue Williams, and Andrea Zittel.

The show is accompanied by a fully illustrated catalogue with key historical texts from 1993 by Francesco Bonami, Nicolas Bourriaud, Judith Butler, Laura Cottingham, Thelma Golden, and J. Hoberman. The catalogue also includes reflections by Massimiliano Gioni, Megan Heuer, Jenny Moore, Margot Norton, and Ethan Swan and Claire Lehmann.

"Blue and white" means, at its simplest, cobalt pigment applied to white clay. Over the course of a millennium, blue-and-white porcelain has become one of the most recognized types of ceramic production worldwide. With roots in the Islamic world and Asia, and strong presence in Europe and the Americas, various cultures adapted blue-and-white, from the Willow pattern to isznik. Taking inspiration from global blue-and-white traditions, today’s artists continue the story, creating works that speak to contemporary ideas. They tackle diverse issues, ranging from the public (the political landscape, cross-cultural interchange), to the personal (family, memory, the act of collecting), to the aesthetic (abstraction, pattern, the role of decoration).

Museum of Fine Arts Boston
465 Huntington Avenue
Boston, MA

Throughout Cancer Alley, homes, schools, and playgrounds are situated yards from behemoth industrial complexes. Residents within a one-mile radius of factories are subjected to significant air and water pollution as well as noxious odors and industrial noise. Many communities along the River Road live in abject poverty. The quality of life in Louisiana has been rated one of the lowest in the nation. In contrast, extremely favorable taxation policies have helped draw industry to the region. One-quarter of the nation’s petrochemicals are manufactured here.

— Richard Misrach

This series of photographs was originally commissioned in 1998 by the High Museum of Art in Atlanta as part of the High Museum’s Picturing the South series. This exhibition marks the culmination and publication of this body of work in 2012, more than a decade after the project was initiated.

The exhibition is accompanied by a new publication from Aperture Foundation entitled Petrochemical America, which features Richard Misrach’s photographs of Cancer Alley, accompanied by landscape architect Kate Orff’s Ecological Atlas —a series of drawings developed through research and mapped data from the region. Their joint effort offers creative scenarios of how the area could be repurposed and its social and environmental health restored.

The works of Sergio Vega are best understood in the context of what Paulo Herkenhoff defines as "the inexistent plausible." This term indicates that the very nature of the work is to be entirely hypothetical, yet persuasive in its plausibility. In the case of Sergio Vega's work, his hypotheses furnish a plausible reality: that of "Latin American Art."

The series Parrot color charts involves photographs of parrots cropped and presented as sources of colors. Cloned from individual pixels in the photographs these colors are reproduced in the adjacent geometric planes that make up the grid composition. This tautological relationship between referent (photo) and signifier (color) could be equivalent to exhibiting a painting and along with it, the paint tubes, the palette and the brushes used to mix the colors that went into the making of the painting. In addition, the visual harmony created by the color scheme and the contiguity of photographic image along with non­representational abstract form point to a paradoxical impossibility of translation. The artist sustains that: "Based on Roland Barthes' assertion that photography is a message without a code, the unavoidable result of abstraction would be to produce a code without a message."

French street artist Oliver Rizzo, aka Speedy Graphito (born 1961) began painting on the streets of Paris in the early 1980s at a time when the scene there was just beginning, and since then has gone on to influence many of the younger artists who have followed. His inspiration can be found in many diverse areas of modern culture, including Manga cartoons, video games and 1950s America, the resulting images a vibrant clash of Pop and Street visuals. Graphito has been working extensively in Los Angeles in recent years, and in 2011 he took part in the city's Dogtown Artists United Art Crawl. 
 
At the Fabien Castanier Gallery in Los Angeles, Speedy presents all new work that explores the mutation and perception of the image through a variety of different mediums, from sculptures and paintings to installations.

“I use white and black bed sheets to create an outdoor studio that not only captures my sitter but also allows me to reveal the audience gathering and the environment around the sheet," says Dupont. "You feel as if you are on the streets of Mt. Hagen or in a Sepik village."

Dupont's portraits, landscapes, and diaries are a journey through Papua New Guinea's villages, cities, mines, valleys, and traditional tribal ceremonies.

Piksa Niugini: Portraits and Diaries, the accompanying book—two volumes in a special slipcase (Peabody Museum Press/Radius Books) — may be purchased at the event.

Stephen Dupont is a photographer, artist and documentary filmmaker. His work has been featured in The New Yorker, Aperture,Newsweek, Time, GQ, Esquire,  Le Figaro, The Sunday Times Magazine, The Independent, The Guardian, The New York Times Magazine, Stern, and Vanity Fair.

Dupont has held major exhibitions in London, Paris, New York, Sydney, Canberra, Tokyo, and Shanghai, and at Perpignan’s Visa Pour L’Image, China’s Ping Yao and Holland’s Noorderlicht festivals.

Dupont’s handmade photographic artist books and portfolios are in the selected collections of the National Gallery of Australia, National Library of Australia, The New York Public Library, Berlin and Munich National Art Libraries, Stanford University, Yale University, and the Boston Athenaeum.

Peabody Museum of Archaeology & Ethnology
11 Divinity Ave.
Cambridge, MA 02138

The eruption of Mount Vesuvius in A.D. 79 destroyed, yet paradoxically preserved the ancient city of Pompeii, providing a vivid glimpse into the daily lives of ancient Romans. Since the rediscovery of the site in the 1700s, centuries of leading artists—from Piranesi, Ingres and Alma-Tadema to Duchamp, Rothko, Warhol and Gormley — have been inspired to re-imagine it in paintings, sculpture, photographs, performance and film. While exhibitions dedicated to the archaeology of Pompeii have been numerous, this is the first time this ancient city and cataclysmic event is explored through the lens of modern creators and thinkers.

Organized by the Cleveland Museum of Art and the J. Paul Getty Museum, the title of the exhibition, The Last Days of Pompeii: Decadence, Apocalypse, Resurrection, is inspired by Edward Bulwer-Lytton’s Last Days of Pompeii, an incredibly popular 1834 novel that combined a Victorian love story with sensational subplots of pagan decadence, Christianity and volcanic eruption. The book was presented as archaeologically accurate and helped transform Pompeii into a place to stage fiction.

Mixing chronology and media, the exhibition featuring nearly 100 works breaks down according to three broad themes. Decadence looks at why we consider Pompeii as a place of luxury, sex, violence and excess. Apocalypse explores Pompeii as the archetype of disaster—the cataclysm to which all others are compared—from the American Civil War and the bombing of Hiroshima and Nagasaki to 9/11. And Resurrection considers how Pompeii has become a place to re-create and recast the ancient past.

Bates: Liquid Interface
Mozart: Piano Concerto No. 25
Bartók: Concerto for Orchestra

Chicago Symphony Orchestra Mead Composer-in-Residence Mason Bates created Liquid Interface in 2006, inspired by the various states of water, from frozen to evaporated. The work was composed after the time Mason Bates spent living on Berlin’s Lake Wannsee. Liquid Interface explores water in various climates. Movement by movement, Bates’ music explores increasingly warmer regions, one of which is New Orleans, dubbed the Crescent City because of its geographical location along a bend in the Mississippi River.

Chicago Symphony Orchestra.
Jaap van Zweden, conductor
David Fray, piano

Walt Disney Concert Hall
111 South Grand Avenue
Los Angeles, CA 90012

The experimental music ensemble Either/Or presents its 8th annual Spring Festival of contemporary chamber music at The Kitchen. Ranging from 'post-rock reverie' to Western swing and drawing on E/O's unique instrumentation including cimbalom, komungo, and cracked analog organs, the 2013 Festival maps a broad cross-section of the ensemble's aesthetic interests - exploring the intersection of American experimentalism and the European avant-garde.

In its 2013 Festival, E/O brings its unique focus to world premiere works from New York composers Anthony Coleman, Jin Hi Kim, Miya Masaoka, and John Zorn. Also represented are recent projects from Richard Carrick, Erik Griswold, Thomas Meadowcroft, Ian Power, François Rose, and Anna Thorvaldsdottir.

Manuel Ponce: Sonata 
Silvestre Revuelta:Tres Piezas para violín y piano
Keith Jarrett: Sonata for Violin and Piano

Dances of J.S. Bach, Dances of Aztecs and Mayans
Works for Jarocha Harp

Jazz and Blues from Mexico and selections from Magos Herrera's new album "Mexico Azul"

Artists:

Magos Herrera, vocalist
Cuauhtemoc Rivera, violin
Horacio Franco, recorder 
Celso Duarte, harp
Stephen Prutsman, piano

The Abbey
2825 Fifth Avenue
Downtown San Diego, CA

Venetian Vespers 

First Vespers of the Annunciation of the Blessed Virgin (ca. 1640s)

Bach Collegium San Diego
Ruben Valenzuela, music director

Vespers at St Mark's Basilica during the seventeenth century was magnificently elaborate, becoming something of a Concert Spirituel. By tradition, Venice was founded on this great Marian feast day when the Doge attended vespers, the Pala d' Oro was on full display, and the vastness and richness of the cappella were required to perform music of the highest standard.

Rigatti: Dixit Dominus á 8
Grandi: O intermerata
Monteverdi: Laudate pueri
Monteverdi: Laetatus sum á 6
Usper: Sonata á 8
Rigatti: Nisi Dominus
Cavalli: Lauda Jerusalem
Rigatti: Magnificat á 7

Friday, 17 May 2013 - 7:30 pm
St. James by-the-Sea Episcopal Church
San Diego, California 

Saturday, 18 May 2013 - 7:30 pm
San Diego History Center, Balboa Park
San Diego, California 

Yarn/Wire performs new pieces for percussion and piano quartet by two New York musicians, composer/multi-instrumentalist Tyondai Braxton and trumpeter/composer Peter Evans. The evening features two world premieres for the quartet, a solo performance of Peter Evan's signature trumpet improvisations, and a duo set from Tyondai Braxton + LAAND, a visual & sound manipulation project by Grace Villamil.

For three decades BAM’s DanceAfrica festival has been a Memorial Day Weekend tradition in Brooklyn. A lively and diverse blend of African and African-American dance, music, film, and art devoted to preserving traditions and educating new generations, DanceAfrica’s spirit is personified by Founding Elder and Artistic Director Baba Chuck Davis.

For the Memorial Day weekend performance, DanceAfrica 2013 welcomes Umkhathi Theatre Works from Zimbabwe, Giwayen Mata from Atlanta, and Harambee Dance Company from New York, plus Brooklyn’s own BAM/Restoration DanceAfrica Ensemble.

Rhythms of Africa / Giya Africa / Mandingindira e Africa
Artistic Director Chuck Davis

Umkhathi Theatre Works (Zimbabwe)
Giwayen Mata (Atlanta, Georgia)
Harambee Dance Company (Bronx, New York)
BAM/Restoration DanceAfrica Ensemble

The Kennedy Center continues to bring female jazz artists into the spotlight with the 18th Annual Mary Lou Williams Jazz Festival. This annual three-night event, hosted by Dee Dee Bridgewater features an impressive line-up of veteran and up-and-coming jazz artists, the roster for 2013 includes on Thursday, May 16--Tineke Postma Quartet, Amina Claudine Myers Trio, and NEA Jazz Master Sheila Jordan and Jay Clayton; on Friday, May 17--Regina Carter, the Helen Sung Quintet, and the vocal trio Tillery featuring Becca Stevens, Gretchen Parlato, and Rebecca Martin; and on Saturday, May 18--Nicole Mitchell, Cecile McLorin Salvant, and Cindy Blackman-Santana.

In addition to the ticketed events featuring headliners and their respective ensembles in the Terrace Theater, the Center also presents free performances on the Millennium Stage and Explore the Arts educational events.

Lee Ritenour with The Les Paul Trio - In celebration of Les Paul's 98th birthday

In the 90s, Ritenour was a founding member of Fourplay, the most successful band in contemporary jazz, with keyboardist Bob James, bassist Nathan East and drummer Harvey Mason. The first Fourplay album in 1991 spent an unprecedented 33 weeks at No. 1 on Billboard’s contemporary jazz chart. Adding to this legacy is his latest CD Smoke ‘n’ Mirrors; the recently completed Grammy nominated recording Amparo, (a followup with Dave Grusin to their highly successful 2001 Grammy Award nominated contemporary classical crossover CD) and producer of Gordon Goodwin’s Big Phat Band’s latest CD Act Your Age (which is nominated for 3 Grammys.

Manuel Ponce: Sonata 
Silvestre Revuelta:Tres Piezas para violín y piano
Keith Jarrett: Sonata for Violin and Piano

Dances of J.S. Bach, Dances of Aztecs and Mayans
Works for Jarocha Harp

Jazz and Blues from Mexico and selections from Magos Herrera's new album "Mexico Azul"

Artists:

Magos Herrera, vocalist
Cuauhtemoc Rivera, violin
Horacio Franco, recorder 
Celso Duarte, harp
Stephen Prutsman, piano

The Abbey
2825 Fifth Avenue
Downtown San Diego, CA

The Giacomo Variations is a chamber opera play written by Michael Sturminger. The music concept is by Martin Haselböck and based on opera scenes by Wolfgang Amadeus Mozart and Lorenzo Da Ponte. This is a story about the late Giacomo Casanova (John Malkovich), who, in the face of his approaching death, is still trying to find out, what he was living for, if not only to be coveted and desired by the woman he loves.

John Malkovich (Dangerous Liaisons, Burn After Reading, The Infernal Comedy) portrays the master scoundrel and seducer  in The Giacomo Variations, making its New York debut following the world premiere in Vienna.

Under the direction of Austrian Michael Sturminger, Malkovich and co-star Ingeborga Dapkünaité perform scenes from Casanova’s 1790 memoir, Histoire de ma vie. As Casanova reminisces about one of his close friends, Mozart’s librettist Lorenzo Da Ponte, we hear excerpts from some of Mozart’s best-known operas – Cosí fan tutte, Don Giovanni and The Marriage of Figaro – performed live by the Wiener Academy Chamber Orchestra, conducted by Martin Haselböck.

Wolfgang Amadeus Mozart: The Marriage of Figaro
Libretto: Lorenzo Da Ponte based on the French comedy by Beaumarchais

Los Angeles Philharmonic
Gustavo Dudamel, conductor
Jean Nouvel, installations
Azzedine Alaïa, costume designer
Christopher Alden, director
Aaron Black, lighting designer

Cast:

Christopher Maltman, Count Almaviva
Dorothea Röschmann, Countess Almaviva
Malin Christensson, Susanna
Edwin Crossley-Mercer, Figaro
Rachel Frenkel, Cherubino
Ann Murray, Marcellina
John Del Carlo, Bartolo
William Ferguson, Don Basilio
John Irvin, Don Curzio
Simone Osborne, Barbarina
Brandon Cedel, Antonio

Los Angeles Master Chorale, Grant Gershon, music director

7:30 pm

Walt Disney Concert Hall
111 South Grand Avenue
Los Angeles, CA 90012

LP Field
Nashville, Tennessee

Newseum
555 Pennsylvania Ave., N.W.
Washington, DC 20001

The Beacon Theatre
Broadway and 72nd Street
New York, NY

Born in Medellin, Colombia, on August 9, 1972, Juanes  has perfected his distinctive fusion of rock with traditional Colombian rhythms (such as Vallenato, Cumbia and Mapale), as well as other international styles including Flamenco, Troba, Bolero and Tango.

Both as guitarist and socially conscious songwriter, Juanes is now often mentioned alongside artists such as Bono and Bruce Springsteen for his belief in the possibility of social change through music. Juanes’ musical message of peace confronts the violence of his native Colombia’s continued struggle notably the dangers of landmines in both Colombia and across the world. And while conflicts in Iraq and Afghanistan grab headlines, Colombia's war kills 3,500 people ---- mostly civilians ---- every year. Another 3,000 Colombians are kidnapped each year. And the conflict is seemingly endless: two Marxist rebel groups, funded by drug trafficking, extortion and kidnapping, have been battling a succession of elected governments for 40 years

Born in Medellin, Colombia, on August 9, 1972, Juanes  has perfected his distinctive fusion of rock with traditional Colombian rhythms (such as Vallenato, Cumbia and Mapale), as well as other international styles including Flamenco, Troba, Bolero and Tango.

Both as guitarist and socially conscious songwriter, Juanes is now often mentioned alongside artists such as Bono and Bruce Springsteen for his belief in the possibility of social change through music. Juanes’ musical message of peace confronts the violence of his native Colombia’s continued struggle notably the dangers of landmines in both Colombia and across the world. And while conflicts in Iraq and Afghanistan grab headlines, Colombia's war kills 3,500 people ---- mostly civilians ---- every year. Another 3,000 Colombians are kidnapped each year. And the conflict is seemingly endless: two Marxist rebel groups, funded by drug trafficking, extortion and kidnapping, have been battling a succession of elected governments for 40 years.

Today nearly 4,000 former players are suing the National Football League (NFL) over the link between American football and long-term brain damage. A joint investigation between ESPN's Outside the Lines and PBS FRONTLINE reveals that years before the NFL publicly acknowledged a connection between football and long-term mental disease, the NFL’s disability board was quietly paying more than a million dollars in benefits to several players with brain-related illnesses.

Based on reporting by ESPN reporters Steve Fainaru and Mark Fainaru-Wada, the year-long effort will examine the latest research on brain injuries and football, the impact on players, and the NFL’s effort to deal with a crisis that threatens the long-term health and popularity of the sport.

The collaboration kicks off Friday, 16 November 2012 with a segment on ESPN’s Outside the Lines (3 p.m. ET, check local listings) focusing on late Hall of Famer, Mike Webster. The former Pittsburgh Steelers center was the first NFL player officially diagnosed with chronic traumatic encephalopathy – or “football brain disease.”

The collaboration includes online companion stories published on November 16 at 9 a.m. ET on ESPN.com and PBS.org/FRONTLINE. A podcast with the brother reporting team can be found at http://www.espnfrontrow.com.

Concussion Watch, an extensive website tracking each concussion officially identified by the NFL this season will launch later this month on PBS.org/FRONTLINE. ESPN and FRONTLINE will also invite fans online to help report questionable hits and possible concussions.

Spirits of the Passage: The Story of the Transatlantic Slave Trade displays nearly 150 historical objects covering more than 350 years. 

The 4,000 sq. ft. exhibition is in conjunction with the 150^th anniversary of Abraham Lincoln’s 1863 Emancipation Proclamation and the turning point it represented for thousands of enslaved people at a pivotal point in the American Civil War. It’s the first exhibition of its kind to examine the entire history of the Transatlantic Slave Trade from the 16^th through 19^th centuries, while also presenting the most up-to-date research and discoveries to the public. These include the latest marine archaeological discoveries, new research on key African societies and an exploration of the slave trade’s modern day legacies.

Visitors can view authentic artifacts from the wreck of an actual slave ship, such as restraints, tools, plates and trade goods, as well as dozens of other objects from West African societies that show the uniqueness of the individual cultures they represent. These include religious objects, bronze- and beadwork, pottery and jewelry. These compelling artifacts, along with maps, paintings and illustrations, create a provocative picture of this tragic era, while also engendering a sense of pride in the legacy of strength these enslaved people left behind.

Edward Steichen (1879-1973) was already a famed Pictorialist photographer and painter in the United States and abroad when he was offered the position of chief photographer for Vogue and Vanity Fair by Condé Nast. Upon assuming the job, the forty-four year old artist began one of the most lucrative and controversial careers in photography. To Alfred Stieglitz and his followers, Steichen was seen as damaging the cause of photography as a fine art by agreeing to do commercial editorial work. He revolutionized the field, banishing the gauzy light of the Pictorialist era and replacing it with the clean, crisp lines of Modernism. In the process he changed the presentation of the fashionable woman from that of a distant, romantic creature to that of a much more direct, appealing, independent figure. At the same time he created lasting portraits of hundreds of leading personalities in movies, theatre, literature, politics, music, and sports, including Gloria Swanson, Gary Cooper, Marlene Dietrich, Joan Crawford, Colette, Winston Churchill, Amelia Earhart, Jack Dempsey, Noel Coward, Greta Garbo, Dorothy Parker, Martha Graham, Walt Disney, Fred Astaire and Cecil B. De Mille.

Organized by the Foundation for the Exhibition of Photography, Star Power brings together Steichen's Condé Nast portraits of luminaries from the worlds of politics, literature, government, journalism, dance, theatre, music, fashion, and the opera.

The 2013 edition of the Governors Ball Music Festival on Randall's Island in the East River features Kanye West, Kings of Leon, Guns N' Roses, Bloc Party, Feist, Nas, Thievery Corporation, Crystal Castles among others.

Henrik Ibsen: The Master Builder
Translated by David Edgar
Directed by Andrei Belgrader
Produced by BAM

Ruthless and revered architect Halvard Solness (John Turturro) is obsessively driven—until a young woman from his past stops him in his tracks. Hilde (Wrenn Schmidt, Boardwalk Empire), a force of unbridled sexual energy coupled with childlike willfulness, enters the master builder’s home and head, trailing mysterious talk of past promises. As she urges the megalomaniacal Solness to ever greater and less sustainable heights, his tragedy-haunted wife Aline (Katherine Borowitz) watches from the sidelines, an unwilling participant in an off-kilter love triangle.


Cast:

Katherine Borowitz (Aline Solness)
Ken Cheeseman (Dr. Herdal)
Julian Gamble (Knut Brovik)
Kelly Hutchinson (Kaja Fosli)
Max Gordon Moore (Ragnar Brovik)
Wrenn Schmidt (Hilde Wangel)
John Turturro (Halvard Solness)

Costume design by Marco Piemontese
Lighting design by James F. Ingalls
Sound design by Ryan Rumery

BAM Harvey Theater
30 Lafayette Avenue
Brooklyn, NY

Staples Center
1111 S. Figueroa Street
Los Angeles, 90015

Horton Foote: The Trip to Bountiful

Directed by Michael Wilson

The Trip to Bountiful tells the story of Carrie Watts, an elderly woman who dreams of returning to her small hometown of Bountiful, Texas one last time, against the wishes of her overprotective son and domineering daughter-in-law.

Cast

Carrie Watts: Cicely Tyson
Ludie Watts: Cuba Gooding Jr.
Thelma: Condola Rashad
Jessie Mae Watts: Vanessa Williams
Sheriff: Tom Wopat
Written by  
Horton Foote
 
Set Designer: Jeff Cowie
Costume Designer: Vsn Broughton Ramsey
Lighting Designer: Rui Rita
Sound Designer: John Gromada

Tom Petty & The Heartbreakers

During the past thirty-seven years Tom and The Heartbreakers have headlined some of worlds largest and most prestigious events including the legendary Isle of Wight Festival in the UK last year and the Super Bowl XLII Halftime show in 2008. This year the band will return to The Bonnaroo Music and Arts Festival in Manchester, TN for their second headlining appearance and will also headline Alabama’s Hangout Music Festival and Delaware’s Firefly Music Festival.

AIDS in New York: The First Five Years chronicles the early history of the AIDS epidemic in New York City — from the first rumors in 1981 of a “gay plague” through the ensuing period of intense activism, clinical research, and political struggle. The exhibition uses artifacts including clinicians’ notes, journal entries, diaries, letters, audio and video clips, posters, photographs, pamphlets, and newspapers to revisit the impact of the epidemic on personal lives and public culture in New York City and the nation. 

A companion exhibition, Children With AIDS: 1990-2000, also opening on 7 June  features twenty black-and-white photographs by Claire Yaffa from her collection The Changing Face of Children with AIDS.

New-York Historical Society
170 Central Park West
(between 76th & 77th Streets)
New York, NY

The Atomic Testing Museum in Las Vegas displays the work conducted at the Nevada Test Site and its impact on the Unitied States.

The 8,000 square foot permanent exhibit hall includes artifacts on loan from personal collections, the Smithsonian Institution, Lawrence Livermore Laboratory and pieces of the Berlin wall and World Trade Centers. Designed to be a highly interactive experience, the exhibits include touch screens, motion-sensitive plasma TV presentations, audio interviews with former workers from the test site and various other multi-media components.

In addition to the permanent exhibits, the museum also has a 2,000 square foot changing exhibit hall, a museum store and a History Walk. Adjacent to the museum are the Nuclear Testing Archives, a collection of over 310,000 documents related to radioactive fallout from U.S. testing of nuclear devices.

Photo courtesy of Atomic Testing Museum

Another year, another scandal at the Cannes Film Festival. Contemporary filmmakers take heart—among the directors who have felt the wrath of the French festival’s fickle audiences are titans like Antonioni, Bresson, Truffaut, and Fellini. Many of their works, now heralded as masterpieces, were first met with incomprehension, disdain, and deafening jeers.

In this series, BAMcinématek gathers some of the most notorious films maudits, many of which are now revered as masterpieces. Two notable American examples are Martin Scorsese's Taxi Driver (1976) and David Lynch's Wild at Heart (1990).  

Sylvan Heights Waterfowl Center operates the world's largest collection of waterfowl, including many rare and endangered species. The 8 acre avian breeding preserve in Scotland Neck, North Carolina is now home to over 170 species of birds-- more than half of the world’s known species of ducks, geese and swans--along with cranes, pheasants, parrots and many other birds.

Sylvan Heights has now embarked on a new and exciting mission--providing conservation-oriented programs and avian exhibits to the public. Building on an adjacent 18-acre property owned by the North Carolina Zoological Society, the new Waterfowl Park & Eco-Center has been open to the public since October 7, 2006.

Scotland Neck is only a few miles from the Roanoke River, an environmentally protected waterway that attracts many thousands of migrating ducks, geese and swans to the North Carolina coastal plain.  The cypress-tupelo swamp forests and wetlands surrounding Scotland Neck are a wintering home for many bird species, and provide opportunities for waterfowl, raptor and songbird observation. In fact, this area was named one of the top 500 most important bird areas by the American Bird Conservancy Guide.

Douglas Carter Beane: The Nance
Directed by Jack O'Brien

In the 1930s, burlesque impresarios welcomed the hilarious comics and musical parodies of vaudeville to their decidedly lowbrow niche. A headliner called "the nance" was a stereotypically camp homosexual and master of comic double entendre - usually played by a straight man.

Douglas Carter Beane's The Nance recreates the naughty, raucous world of burlesque's heyday and tells the backstage story of Chauncey Miles and his fellow performers. At a time when it is easy to play gay and dangerous to be gay, Chauncey's uproarious antics on the stage stand out in marked contrast to his offstage life.

Cast

Jenni Barber , Andréa Burns , Cady Huffman , Mylinda Hull , Nathan Lane , Geoffrey Allen Murphy , Jonny Orsini , Lewis J. Stadlen

Sets: John Lee  Beatty
Costumes: Ann Roth
Lighting: Japhy Weideman
Sound: Leon Rothenberg
Original Music: Glen Kelly
Orchestrations: Larry Blank
Conductor: David Gursky
Hair/Wigs: David Brian Brown
Choreography: Joey Pizzi

Tina Packer: Women of Will, The Complete Journey

Directed by Eric Tucker
Featuring Nigel Gore and Tina Packer

A combination of riveting scenes and trenchant analysis, Women of Will, The Complete Journey explores themes of love, loss, freedom, control, violence and power through the heroines of Shakespeare’s text. Using performance and discussion, Packer traces the chronological evolution of Shakespeare’s female characters, and examines Shakespeare’s own journey and growth as a writer