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Culturekiosque Travel Tips  •  United States: Current Listings

Events in Art and Archaeology

Armenia !
NEW YORK  •  Metropolitan Museum of Art  •  22 September 2018 - 13 January 2019
 

This is the first major U. S. exhibition to explore the remarkable artistic and cultural achievements of the Armenian people in a global context over fourteen centuries—from the fourth century, when the Armenians converted to Christianity in their homeland at the base of Mount Ararat, to the seventeenth century, when Armenian control of global trade routes first brought books printed in Armenian into the region. 

Through some 140 objects—including opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, cross stones (khachkars), precious liturgical furnishings, church models, and printed books—the exhibition demonstrates how Armenians developed a unique Christian identity that linked their widespread communities over the years. 

Representing the cultural heritage of Armenia, most of the works come from major Armenian collections: the Mother See of Holy Etchmiadzin; the Matenadaran (Ancient Manuscripts); the National History Museum in the Republic of Armenia; the Catholicosate of the Great House of Cilicia in Lebanon; the Brotherhood of St. James in Jerusalem; the Mekhitarist Congregation of San Lazzaro degli Armeni in Venice; the Calouste Gulbenkian Museum in Lisbon; the Diocese of the Armenian Church (Eastern) in New York; the Armenian Museum of America in Boston; and the Alex and Marie Manoogian Museum in Michigan.



Metropolitan Museum of Art Website


Contact: Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028

Tel: (1) 212-535-7710

Art of Native America: The Charles and Valerie Diker Collection
NEW YORK  •  Metropolitan Museum of Art  •  4 October 2018 - 6 October 2019
 
This landmark exhibition in the Museum's American Wing showcases 116 masterworks representing the achievements of artists from more than fifty cultures across North America. Ranging in date from the second to the early twentieth century, the diverse works are promised gifts, donations, and loans to The Met from the pioneering collectors Charles and Valerie Diker. Long considered to be the most significant holdings of historical Native American art in private hands, the Diker Collection has particular strengths in sculpture from British Columbia and Alaska, California baskets, pottery from southwestern pueblos, Plains drawings and regalia, and rare accessories from the eastern Woodlands.

Metropolitan Museum of Art Website


Contact:

Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028


Tel: (1) 212-535-7710

Berthe Morisot: <EM>Winter,</EM> 1880Oil on canvasDallas Museum of Art, Gift of the Meadows Foundation, Incorporated, 1981.129Photo courtesy Dallas Museum of Art.
Berthe Morisot: Winter, 1880
Oil on canvas
Dallas Museum of Art, Gift of the Meadows Foundation, Incorporated, 1981.129
Photo courtesy Dallas Museum of Art.
Berthe Morisot: Woman Impressionist
PHILADELPHIA, PENNSYLVANIA  •  Barnes Foundation  •  21 October 2018 - 14 January 2019
 
This fall, the Barnes Foundation presents the US debut of a landmark exhibition exploring the significant yet under recognized contributions of Berthe Morisot (1841–1895), one of the founders of impressionism. The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot’s work in context of the Barnes’s unparalleled collection of impressionist, post-impressionist, and early modernist paintings. The internationally touring exhibition is co-organized by the Barnes Foundation, Dallas Museum of Art, Musée national des beaux-arts du Québec, and the Musées d’Orsay et de l’Orangerie, Paris. I

Barnes Foundation Website


Contact: Barnes Foundation
2025 Benjamin Franklin Parkway
Philadelphia, PA 19130
Tel: (1) 215.278.70 00

Bruce Nauman:<EM> Sex and Death by Murder and Suicide</EM>, 1985. Neon tubing mounted on aluminium monolith, 198 x 199 x 32 cm.&nbsp;Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel. Photo: Bisig &amp; Bayer, Basel.
Bruce Nauman: Sex and Death by Murder and Suicide, 1985. Neon tubing mounted on aluminium monolith, 198 x 199 x 32 cm. 
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel.
Photo: Bisig & Bayer, Basel.
Bruce Nauman: Disappearing Acts
NEW YORK  •  Museum of Modern Art / MoMA PS1  •  21 October 2018 - 25 February 2019
 

First seen at Schaulager in Basel, Switzerland, this long overdue retrospective exhibition of Bruce Nauman includes video works, drawings, photographs, sculptures, neon pieces, and large-scale installations. In addition to key masterpieces, there are also lesser-known works and, as a world premiere, the 3D video projection Contrapposto Split, the monumental sculpture Leaping Foxes as well as the first ever showing in Europe of his recently created Contrapposto Studies, i through vii.

Born in the American Midwest (Fort Wayne, Indiana) in 1941, Nauman now lives and works in New Mexico. He studied mathematics, music, and physics at the University of Wisconsin–Madison, before changing his major to fine art. In 1966 he graduated with a Master of Fine Arts in sculpture from the University of California, Davis—where he had studied with William Wiley, among others.

His groundbreaking oeuvre has made him a central figure in contemporary art, exploring themes such as language and physicality while at the same time plumbing the depths of power structures and regulatory frameworks. By insistently calling into question our aesthetic and moral values, as well as our habitual ways of seeing, Bruce Nauman challenges our perceptions and imaginings in ever new ways.

Disappearing Acts traces strategies of withdrawal in Nauman’s work—both literal and figurative incidents of removal, deflection, and concealment. With a keen eye, he investigates the experience of one’s own body and its relation to space. His works often have the character of simple laboratory tests or critical self-interrogations.



Museum of Modern Art Website


Contact:

Museum of Modern Art
11 W 53rd Street
New York, NY 10019


Tel: (212) 708-9400

<P>Charles White (American, 1918-1979), Gideon, 1951. Lithograph in black on ivory wove paper, printed by Robert Blackburn (American, 1920–2003)© The Charles White Archives Inc.</P> • <P>&nbsp;</P>

Charles White (American, 1918-1979), Gideon, 1951. Lithograph in black on ivory wove paper, printed by Robert Blackburn (American, 1920–2003)
© The Charles White Archives Inc.

 

Charles White: A Retrospective
NEW YORK  •  The Museum of Modern Art  •  7 October 2018 - 13 January 2019
 
“Art must be an integral part of the struggle,” Charles White (American, 1918-1979), insisted. “It can’t simply mirror what’s taking place. … It must ally itself with the forces of liberation.” Over the course of his four-decade career, White’s commitment to creating powerful images of African Americans—what his gallerist and, later, White himself described as “images of dignity”—was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, White developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived over the course of his career—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists.

White’s far-reaching vision of a socially committed practice attracted promising young artists, including many artists of color, and he became one of the 20th century’s most important and dedicated teachers. Acclaimed contemporary artists David Hammons and Kerry James Marshall were among his many students: as Marshall reflected, “Under Charles White’s influence I always knew that I wanted to make work that was about something: history, culture, politics, social issues. … It was just a matter of mastering the skills to actually do it.”

Charles White: A Retrospective is the first major museum survey devoted to the artist in over 30 years. The exhibition charts White’s full career—from the 1930s through his premature death in 1979—with over 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers and archival materials.



The Museum of Modern Art Website


Contact: The Museum of Modern Art
11 West 53 Street
New York, NY 10019
Tel: 1 (212) 708-9400

Eugène Delacroix:<EM> Le 28 Juillet : La Liberté guidant le peuple</EM>, musée du Louvre
Eugène Delacroix: Le 28 Juillet : La Liberté guidant le peuple, musée du Louvre
Delacroix
NEW YORK  •  Metropolitan Museum of Art  •  17 September 2018 - 6 January 2019
 

Eugène Delacroix was one of the giants of French painting, but his last full retrospective exhibition in Paris dates back to 1963, the centenary year of his death. In collaboration with the Metropolitan Museum of Art in New York, the Louvre is holding a historic exhibition featuring some 180 works—mostly paintings—as a tribute to his entire career.

From the young artist’s big hits at the Salons of the 1820s to his final, lesser-known, and mysterious religious paintings and landscapes, the exhibition seeks to showcase the tension that characterizes the art of Delacroix, who strove for individuality while aspiring to follow in the footsteps of the Flemish and Venetian masters of the 16th and 17th centuries.

The exhibition illuminates Delacroix's restless imagination through paintings, drawings, prints, and manuscripts—many never before seen in the United States. It unfolds chronologically, encompassing the rich variety of themes that preoccupied the artist during his more than four decades of activity, including literature, history, religion, animals, and nature. Through rarely seen graphic art displayed alongside such iconic paintings as Greece on the Ruins of Missolonghi (1826), The Battle of Nancy (1831), Women of Algiers in Their Apartment (1834), and Medea about to Kill Her Children (1838), this exhibition explores an artist whose protean genius set the bar for virtually all other French painters.



Metropolitan Museum of Art Website


Contact: Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028

Tel: (1) 212-535-7710

<P>Tintoretto (1518-1594), <EM>Study of a seated nude,</EM> ca. 1549, black and white chalk on blue paper. Louvre 5385© RMN-Grand Palais / Art Resource, N.</P>

Tintoretto (1518-1594), Study of a seated nude, ca. 1549, black and white chalk on blue paper. Louvre 5385
© RMN-Grand Palais / Art Resource, N.

Drawing in Tintoretto’s Venice
NEW YORK  •  The Morgan Library & Museum  •  12 October 2018 - 6 January 2019
 

Jacopo Tintoretto (1518–1594) was among the most distinctive artists of the Italian Renaissance, but his drawings have never received the attention they deserve and remain unfamiliar even to many scholars. Drawing in Tintoretto’s Venice is the first exhibition since 1956 to explore the drawing practice of this major figure of the Venetian Renaissance and offers an entirely new perspective on Tintoretto’s evolution as a draftsman, his individuality as an artist, and his influence on a generation of painters in northern Italy. An introductory section of the exhibition showcases works by Titian, Veronese, Bassano, and other contemporaries as a way to understand both Tintoretto’s sources as well as his originality. The heart of the show, featuring Tintoretto’s distinctive figure drawings—both preparatory drawings and a group of studies after sculptures by Michelangelo and others—examines the use of drawings within the studio as well as teaching practices in the workshop. A following section focuses on artists—Domenico Tintoretto, Palma Giovane, and others working in Venice during the late sixteenth century—whose drawing style was influenced by Tintoretto’s, while in a final section, visitors will be able to consider an interesting group of drawings, previously attributed to Tintoretto or to Palma Giovane, which have recently been proposed as the work of the young El Greco during his time in Italy.

The exhibition brings together more than seventy drawings and a small group of related paintings from nearly two dozen public and private collections in Europe and the United States, including the Morgan Library & Museum, the National Gallery of Art (NGA), the Uffizi, the Louvre, and the British Museum, among others. Organized to mark the five-hundredth anniversary of the artist’s birth, this presentation coincides in New York with the Metropolitan Museum of Art’s exhibition of Tintoretto portraits.

When it travels to the NGA in March 2019, it will join a major retrospective of his paintings



The Morgan Library & Museum Website


Contact: The Morgan Library & Museum
225 Madison Avenue
New York, NY 10016
Tel: (1) (212) 685-0008

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

Lola Álvarez Bravo, Untitled, 1954.Gelatin silver print. Center for Creative PhotographyUniversity of Arizona: Lola Álvarez Bravo Archive 93.6.70 © 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo, Untitled, 1954.
Gelatin silver print. Center for Creative Photography
University of Arizona: Lola Álvarez Bravo Archive 93.6.70
© 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo: Picturing Mexico
ST. LOUIS, MISSOURI  •  Pulitzer Arts Foundation  •  14 September 2018 - 16 February 2019
 
The Pulitzer Arts Foundation explores the career of pioneering Mexican photographer Lola Álvarez Bravo (1903 – 1993) with an exhibition of images that she considered to be her personal photography. Lola Álvarez Bravo: Picturing Mexico presents nearly 50 photographs and photomontages spanning Álvarez Bravo’s fivedecade career. Together, these illuminate the ways in which her modernist aesthetic, with meticulous attention to pattern, light, and composition, contributed to her depictions of Mexico’s diverse inhabitants and landscapes as she traveled the country documenting life in the years following the Mexican Revolution (ca. 1910– 1920).

Pulitzer Arts Foundation Website


Contact: Pulitzer Arts Foundation
3716 Washington Boulevard
St. Louis, MO 63108
Tel: (1) 314 754 18 50

<P>Kawanabe Ky&#333;sai: <EM>Hell Courtesan</EM>, 1885/89Weston Collection</P>

Kawanabe Kyōsai: Hell Courtesan, 1885/89
Weston Collection

Painting the Floating World: Ukiyo-e Masterpieces from the Weston Collection
CHICAGO  •  Art Institute of Chicago  •  4 November 2018 - 27 January 2019
 

In the 17th century, Kyoto, Osaka, and Edo (now Tokyo) were Japan’s thriving cities, complete with bustling entertainment districts where ukiyo, or the “floating world,” was born. People of all ranks shared in the enjoyment of the floating world’s attractions—brothels, kabuki theater, and seasonal festivities. Artists of the period captured this popular phenomena in ukiyo-e, or “pictures of the floating world.” Over the last 25 years, Roger Weston has assembled an outstanding collection of ukiyo-e paintings—masterpieces by the most famed artists of the day. This exhibition, the first public showing of his comprehensive ukiyo-e painting collection in the United States, showcases the sheer beauty of floating world painting and offers an exclusive view of the urban amusements of early modern Japan.

In contrast to ukiyo-e woodblock prints, which were created in multiples and consequently well circulated, ukiyo-e paintings were one-of-a-kind works commissioned from the same artists celebrated for their prints, including Katsushika Hokusai and Kitagawa Utamaro. Lavish and unique objects, the paintings were conceived in various forms—folding screens, hanging scrolls, handscrolls, and albums—and emphasize the makers’ talent and technical skill. Until recently, these compelling works were not often collected in large numbers outside of Japan, making the quality and range of the Weston Collection all the more extraordinary.



Art Institute of Chicago Website


Contact: Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603
Tel: (312) 443-3600

The New Greek Galleries: Greek and Roman Art Galleries
NEW YORK  •  Metropolitan Museum of Art  •  20 April 1999 - 1 January 2019
 
Following several years of planning and construction, seven completely renovated and reinstalled galleries for Greek art are open to the public on the Museum's first floor. This latest stage in a three-phase expansion of the exhibition space devoted to Greek and Roman art comprises the Mary and Michael Jaharis Gallery—the grand vaulted gallery that was formerly known as the Cypriot corridor, now fully skylit from above and clad in limestone walls as originally envisioned by McKim, Mead and White in 1917—and the six flanking galleries for Archaic and Classical Greek art, restored.

Metropolitan Museum of Art Web Site


Contact: Tel: (1) 212 535 77 10

Titian (Tiziano Vecellio): Venus Rising from the Sea, 1520, Oil on canvas (29 13/16 x 22 11/16 in.) National Galleries of Scotland, Edinburgh.
Titian (Tiziano Vecellio): Venus Rising from the Sea, 1520, Oil on canvas (29 13/16 x 22 11/16 in.) National Galleries of Scotland, Edinburgh.
The Renaissance Nude
LOS ANGELES  •  J. Paul Getty Museum  •  30 October 2018 - 27 January 2019
 
Drawing inspiration from classical sculpture and the study of the live model, Renaissance artists made the nude central to their art, creating lifelike, vibrant, and varied representations of the human body. This transformative moment is one that would shape the course of European art history and resonate through the present day. On view at the J. Paul Getty Museum October 30, 2018 through January 27, 2019, The Renaissance Nude traces the rise of the nude over the course of a century with masterpieces made in Italy, France, Germany, and the Netherlands, from the early 15th to the early 16th century.

J. Paul Getty Museum Website


Contact: J. Paul Getty Museum
1200 Getty Center Dr
Los Angeles, CA 90049

Tel: (1) (310) 440-7300

Jewelry: The Body Transformed
NEW YORK  •  Metropolitan Museum of Art  •  12 November 2018 - 24 February 2019
 
What is jewelry? Why do we wear it? What meanings does it carry? Traversing time and space, this exhibition explores how jewelry acts upon and activates the body it adorns. This global conversation about one of the most personal and universal of art forms brings together some 230 objects drawn almost exclusively from The Met collection. A dazzling array of headdresses and ear ornaments, brooches and belts, necklaces and rings will be shown along with sculptures, paintings, prints, and photographs that will enrich and amplify the many stories of transformation that jewelry tells.

Metropolitan Museum of Art Website


Contact: Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028


Tel: (1) 212-535-7710

Sally Mann: A Selection
BEVERLY HILLS, CALIFORNIA  •  Gagosian  •  15 November - 15 December 2018
 

To coincide with Sally Mann’s survey exhibition, A Thousand Crossings, at the J. Paul Getty Museum in Los Angeles, Gagosian presents a selection of Mann’s photographs.

For more than four decades Mann’s haunting photography of the people and landscapes around her has explored memory, desire, death, the bonds of family, and human connections to nature and place. The works on view are drawn from three series: Deep South and Battlefields, which depict “the radical light of the American South” with an oblique and lyric universality, and Proud Flesh, an intimate portrait of Mann’s husband.

Mann began taking the photographs that would become the Deep South series in 1998, when she drove through the Deep South to Louisiana. Working with a large-format camera and the nineteenth-century wet-plate collodion process, Mann constructed a makeshift darkroom in the back of her car, shooting and printing the images as she went. Making negatives this way gives rise to serendipitous and evocative imperfections—streaks, scratches, spots, and pits. The resulting silver gelatin prints, such as Untitled (Emmett Till River Bank) (1998), are both completely in and of their environment: eerily quiet roads, ruins, and riverbanks that were the sites of both ordinary life and unspeakable violence.



Gagosian Gallery Website


Contact: 456 North Camden Drive
Beverly Hills, CA 90210
Tel: (1) 310 271 9400

Amar Kanwar: Such a Morning
NEW YORK  •  Marian Goodman Gallery  •  14 November - 21 December 2018
 
 

Marian Goodman Gallery New York presents Amar Kanwar’s Such a Morning (2017), following its original premiere at Documenta 14 in Athens and Kassel.

The 85-minute single-channel film installation Such a Morning is a modern parable about two people’s quiet engagement with truth through phantom visions from within the depths of darkness. Searching for a way to re-comprehend the difficult times we are living in, Kanwar asks “What is it that lies beyond, when all arguments are done with? How to reconfigure and respond again?”

Such a Morning unlocks a metaphysical response to our contemporary reality as it navigates multiple hallucinations between speech and silence, fear and freedom, democracy and fascism. In the feature-length film, a famous mathematician at the peak of his career unexpectedly withdraws from his life and retreats to the wilderness to live in an abandoned train carriage. Creating a zone of darkness so as to acclimatize himself before total darkness descends, the professor begins to live in a realm bereft of light. Thus starts an epic sensory journey into a new plane of emotional resonance between the self and the surrounding world. A parallel story emerges within the course of the film, providing a compelling, analogous narrative to the protagonist’s. Over time, the professor records his epiphanies and hallucinations in an almanac of the dark, an examination of 49 types of darkness that emerge as a series of letters.

Based originally on Kanwar’s research into the diversity of existing narrative structures in the Indian subcontinent, Such a Morning reaches beyond place to expose the complexity of a fractious moment in history in which every truth seems to have an opposite brutal truth



Marian Goodman Gallery Website


Contact: Marian Goodman Gallery
24 West 57th Street, 4th Floor
New York, New York 10019

Karl Wirsum: Screamin’ Jay Hawkins, 1968The Art Institute of ChicagoMr. and Mrs. Frank G. Logan Purchase Prize Fund, 1969.248
Karl Wirsum: Screamin' Jay Hawkins, 1968
The Art Institute of Chicago
Mr. and Mrs. Frank G. Logan Purchase Prize Fund, 1969.248
Hairy Who? 1966–1969
CHICAGO  •  Art Institute of Chicago  •  26 September 2018 - 6 January 2019
 
 

The Art Institute of Chicago presents the first major exhibition dedicated solely to the groundbreaking Hairy Who. This self-named, self-organized group of six artists—Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum—all came of age in Chicago, graduated from the School of the Art Institute, and began exhibiting at the Hyde Park Art Center in the late 1960s. In 1966–68, they organized a series of three exhibitions there with input and assistance from then-director Don Baum. In 1968–69, three subsequent shows were mounted across the United States—one at the San Francisco Art Institute, organized by Phil Linhares; one at the School of Visual Arts, New York, organized by Shirley Glaser; and one at the Corcoran Gallery at DuPont Center, Washington, DC, organized by Walter Hopps.

These gonzo displays of bright, bold, graphic work—made with unconventional media on novel supports—were full of personal symbolism which challenged prevailing notions of gender, sexuality, standards of beauty, and social mores. Transforming the landscape of art in Chicago, The Hairy Who’s distinct aesthetic brought the city immense national attention.

Presented on the 50th anniversary of their final Chicago show, The Art Institute’s major survey exhibition and publication feature key works as well as archival ephemera contextualizing the group’s creative process, working methods, and the social and political milieu in which they made their art.



Art Institute of Chicago Website


Contact:

Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603


Tel: (312) 443-3600

Events in Jazz

Big Band Holidays
NEW YORK  •  Rose Theater  •  19 - 23 December 2018
 
The Jazz at Lincoln Center Orchestra with Wynton Marsalis returns for our favorite holiday tradition! This year they are joined by vocalists Vuyo Sotashe and Veronica Swift.

Jazz at Lincoln Center Website



Detailed schedule information:
8:00 pm

Contact: Tel: 1 (212) 721 65 00

Charles Lloyd & The Marvels: 80th Birthday Celebration
NEW YORK  •  Rose Theater  •  14 - 15 December 2018
 
NEA Jazz Master, saxophone titan, bandleader, and composer Charles Lloyd celebrates his 80th birthday with Bill Frisell, The Marvels, and iconic vocalist and songwriter Lucinda Williams.

Jazz at Lincoln Center Website



Detailed schedule information:
8:00 pm

Contact: Frederick P. Rose Hall
Broadway at 60th Street, NY
Tel: (1) 212 721 65 00

Jason Marsalis returns with the 21st Century Trad Band.
NEW YORK  •  Dizzy's Club Coca Cola  •  19 - 20 December 2018
 
Jason Marsalis returns with the 21st Century Trad Band. The group’s repertoire is fun, unpredictable, and widely appealing, offering a mix of straight-ahead jazz with a bit of funky New Orleans swagger.

Jazz at Lincoln Center Website



Detailed schedule information:
7:30 pm & 9:30 pm

Contact: Frederick P. Rose Hall
Broadway at 60th Street, NY
Tel: (1) 212 721 65 00

Events in Pop Culture and Cinema

<P>Shakespeare: <EM>Measure for Measure</EM></P>

Shakespeare: Measure for Measure

2018 Next Wave Festival
BROOKLYN, NEW YORK  •  BAM  •  3 October - 23 December 2018
 
The Next Wave Festival returns with 12 weeks of cross-genre performance, plus artist talks, master classes, and visual art.

2018 Next Wave Festival Website


Contact: Peter Jay Sharp Building
30 Lafayette Ave
Brooklyn, NY, 11217

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 2018
 

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

It’s Alive! Frankenstein at 200
NEW YORK  •  The Morgan Library & Museum  •  12 October 2018 - 27 January 2019
 

A classic of world literature, a masterpiece of horror, and a forerunner of science fiction, Frankenstein by Mary Shelley is the subject of a new exhibition at the Morgan. Organized in collaboration with the New York Public Library, It’s Alive! Frankenstein at 200 traces the origins and impact of the novel whose monster has become both a meme and a metaphor for forbidden science, unintended consequences, and ghastly combinations of the human and the inhuman. 

For the first time it will be possible to view art and artifacts (including comic books, film posters, publicity stills, and movie memorabilia) that explain how Frankenstein caught the popular imagination in the course of two hundred years. Portions of the original manuscript will be on display along with historic scientific instruments and iconic artwork such as Henry Fuseli’s Nightmare, a six-sheet poster advertising the Boris Karloff movie in 1931, and the definitive portrait of the author. The modern myth of Frankenstein is based on a long cultural tradition, also recounted in the exhibition with a vivid display of books, manuscripts, posters, prints, and paintings.



The Morgan Library & Museum Website


Contact: The Morgan Library & Museum
225 Madison Avenue
New York, NY 10016
Tel: (1) (212) 685-0008

Nat "King" Cole at 100 with Sachal Vasandani
NEW YORK  •  Rose Theater  •  14 - 15 December 2018
 

Nat "King" Cole at 100 with Sachal Vasandani

Vocalist Sachal Vasandani is one of the great crooners of our time and the perfect man for our Nat “King” Cole centennial celebration. Hear Vasandani croon through songs like “Unforgettable,” “Nature Boy,” and “Smile.”

In addition to his vocal abilities and cool, charismatic showmanship, Vasandani also honors Cole’s legacy as a masterful pianist by sharing the spotlight with some of the best instrumentalists in the business.

Featuring:

Trumpet: Frank Greene, Sean Jones, Tatum Greenblatt

Trombone:James Burton III, Paul Dunlea 

Alto Saxophone: Mark Gross

Tenor Saxophone: John Ellis, Jon Irabagon 

Baritone Saxophone: Gary Smulyan

Piano: Taylor Eigsti

Bass: David Wong

Drums: Obed Calvaire



Jazz at Lincoln Center Website



Detailed schedule information:
7:00 pm & 9:30 pm

Contact: Frederick P. Rose Hall
Broadway at 60th Street, NY
Tel: (1) 212 721 65 00

Trail of Tears: A Story of Cherokee Removal
WASHINGTON, DC  •  Smithsonian’s National Museum  •  15 April - 31 December 2018
 

Cherokee Nation recently opened a new exhibit at the Smithsonian’s National Museum of the American Indian in Washington, D.C., in conjunction with the annual Cherokee Days festival. “A Story of Cherokee Removal” shares the story of removal on the infamous Trail of Tears from the Cherokee perspective and addresses the devastating costs of greed and oppression. It also shows how the tribe persevered, adapted and learned to thrive. “This new installation shares the unique Cherokee perspective of federal removal policies and focuses on the early history of our tribe in Indian Territory,” said Cherokee Nation Principal Chief Bill John Baker. “It educates viewers about the circumstances surrounding the Trail of Tears and shows how our tribal government rebuilt itself by re-establishing schools and courts in modern-day Oklahoma.

Featured within the exhibit are quotes from witnesses of the Cherokee Trail of Tears, historical timelines, a Trail of Tears route map and a video highlighting the Remember the Removal Bike Ride, in which young Cherokees retrace the 950-mile route on bicycles each year.



National Museum of the American Indian (NMAI) Website


Contact: National Museum of the American Indian (NMAI)
Independence Avenue SW in Washington, DC

International Spy MuseumWashington, D.C.
International Spy Museum
Washington, D.C.
International Spy Museum
WASHINGTON, D.C.  •  Ongoing
 
 
The International Spy Museum is the first public museum in the United States solely dedicated to espionage. It features the largest collection of international espionage artifacts ever placed on public display. Many of these objects seen for the first time outside of the intelligence community illustrate the work of famous spies and pivotal espionage actions as well as help bring to life the strategies and techniques of the men and women behind some of the most secretive espionage missions in world history.

International Spy Museum Web Site


Click here for a special news feature with photos of the Spy Museum

Contact: International Spy Museum
800 F St NW
Washington, DC 20004

Tel: (1) 202 393 77 98



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