October 05, 2013–October 01, 2014

Architecture and Design Galleries, third floor

Designing Modern Women 1890–1990: Gae Aulenti (Italian, 1930–2012). Table with Wheels (model 2652). 1980. Glass, metal and rubber, h. 11 1/4 x w. 27 1/2 x l. 54 5/8″ (h. 28.6 x w. 69.9 x l. 138.7 cm). Mfr.: Fontana Arte, Italy. The Museum of Modern Art, New York. Gift of Donn Golden. © 2013 Sergio Asti

Modern design of the 20th century was profoundly shaped and enhanced by the creativity of women—as muses of modernity and shapers of new ways of living, and as designers, patrons, performers and educators. This installation, Designing Modern Women 1890–1990, drawn entirely from MoMA’s collection, celebrates the diversity and vitality of individual artists’ engagement in the modern world, from Loïe Fuller’s pulsating turn-of-the-century performances to April Greiman’s 1980s computer-generated graphics, at the vanguard of early digital design. Highlights include the first display of a newly conserved kitchen by Charlotte Perriand with Le Corbusier (1952) from the Unité d’Habitation housing project, furniture and designs by Lilly Reich, Eileen Gray, Eva Zeisel, Ray Eames, Lella Vignelli, and Denise Scott Brown; textiles by Anni Albers and Eszter Haraszty; ceramics by Lucy Rie; a display of 1960s psychedelic concert posters by graphic designer Bonnie Maclean, and a never-before-seen selection of posters and graphic material from the punk era.

Karin Schou Andersen (Danish, born 1953). Flatware. 1979. ABS polymer and stainless steel, fork: 7 1/8 x 1 1/2 x 5/8″ (18.1 x 3.8 x 1.6 cm), spoon: 7 1/4 x 1 3/4 x 3/4″ (18.4 x 4.5 x 1.9 cm), knife: 5 1/4 x 4 x 5/8″ (13.3 x 10.2 x 1.6 cm). Mfr.: Amefa Alpeldoornse, Apeldoorne, The Netherlands. The Museum of Modern Art, New York. Gift of the manufacturer

Libuše Niklová (Czech, 1934–1981). Buffalo, Elephant and Giraffe. Original c. 1970, reproduced 2011. Plastic, dimensions variable, Giraffe height is 39 3/8″ (100 cm). Mfr.: Fatra, Napajedla, Czechoslovakia. The Museum of Modern Art, New York. Century of the Child Exhibition Fund

Magda Mautner von Markhof (Austrian, 1881-1944). Kalenderbilderbuch (Calendar Picture Book). 1905. Woodcut, 4 x 9 1/4 x 1/2″ (10.2 x 23.5 x 1.3 cm). The Museum of Modern Art, New York. Gift of Jo Carole and Ronald S. Lauder

Marianne Brandt (German, 1893–1983). Teapot. 1924. Nickel silver and ebony, dimensions variable, height 7″ (17.8 cm). Mfr.: Bauhaus Metal Workshop, Germany. The Museum of Modern Art, New York. Phyllis B. Lambert Fund

The gallery’s ‘graphics corner’ first explores the changing role and visual imagery of The New Woman through a selection of posters created between 1890 and 1938; in April 2014 the focus will shift to Women at War, an examination of the iconography and varied roles of women in times of conflict, commemorating the centennial of the outbreak of World War I.

Charlotte Perriand (French, 1903–1999), with Le Corbusier (Charles-Édouard Jeanneret; French, born Switzerland. 1887–1965), and ATBAT. Kitchen from the Unité d’Habitation, Marseille, France. c. 1952. Various materials, 88 x 105 1/2 x 72″ (223.5 x 268 x 182.9 cm). Mfr.: Charles Barberis, Menuiseries modernes, Corsica. The Museum of Modern Art, New York. Gift of Andrea Woodner, 2011

Eileen Gray (British, born Ireland. 1879–1976). Screen. 1922. Lacquered wood and metal rods, 74 1/2 x 53 1/2 x 3/4″ (189.2 x 135.9 x 1.9 cm). Mfr.: Eileen Gray Workshop, Paris. The Museum of Modern Art, New York. Hector Guimard Fund

Helene Haasbauer-Wallrath (Swiss, 1885–1968). Die Praktische Küche (The practical kitchen). 1930. Lithograph, 35 1/2 x 50″ (90.2 x 127 cm). Printer: W. Wasserman, Basel. Gift of Jim Lapides and the Architecture & Design Purchase Fund

Linder [Linder Sterling] (British, born 1954). Buzzcocks, Orgasm Addict. 1977. Lithograph, 39″ x 28 ¾” (99.1 x 73 cm). The Museum of Modern Art, New York. Gift of Lawrence Benenson. Image courtesy of the artist

SPECIAL EXHIBITION ON DEADLY, POWERFUL, EVEN LIFESAVING POISON OPENS NOVEMBER 16, 2013

The American Museum of Natural History (www.amnh.org) announces The Power of Poison, a new exhibition that explores poison’s paradoxical roles in nature, human health and history, literature, and myth. Whether as a defense against predators, a source of magical strength, or a lethal weapon used as lifesaving medical treatment, the story of poison is surprising at every turn. Inviting visitors to explore some of history’s most puzzling poisoning cases, the exhibition also includes an interactive section where eyewitness accounts and clues can be used to solve poisoning mysteries and a theater where live presenters share dramatic stories of poisonings and forensic detection.

Ubiquitous in the natural world, poison can be found in the brightly hued longwing butterflies of Central and South America or the seemingly innocuous skin of a mango in a New York City kitchen. In both cases, the toxins are part of a dynamic defense system that plants and animals deploy against predators. (In  fact, many familiar foods we encounter daily—cinnamon, chili peppers, coffee, and tea—owe their taste, smell, or stimulant effects to defensive chemicals that can be toxic in large doses.)

Examining a variety of evolutionary strategies—including the linked escalations in the strength of a predator’s poison and

This skull of an eastern diamondback rattlesnake, which will be on view in The Power of Poison @AMNH. Chesek

the resistance of its prey—the exhibition will highlight many toxic species, including live golden poison frogs, in a walk-through diorama of Colombia’s dense Chocó lowland forest.

Humans have long marveled at the secrets of poisons and sought to detect their presence and protect against their toxic powers, as many fascinating artifacts on view will reveal. Prized objects included celadon dishes, believed to detect poisons; fossilized shark teeth, thought to be dragon tongues that could “purify” food of deadly compounds; and fossilized sea animals called crinoids, believed to be antidotes to common poisons.

For millennia, plant and animal toxins also have been used in treatments for a myriad of medical conditions. Studying how poisons affect human cells also helps scientists figure out how to protect, repair, and heal them. For example, yew trees are so poisonous that eating a handful of needles can kill a person, yet a compound found in the bark has been proven to be an effective anti-cancer agent. The search for new medicines has barely begun, with thousands of toxins now being studied as potentially lifesaving treatments.

The pursuit of poison’s toxic powers is at the heart of countless fairy tales and legends from around the world. The exhibition features several, from the myth of Hercules and the Hydra, animated and projected onto ceramic Greek urns, to life-sized dioramas of famous stories, including the trio of witches in William Shakespeare’s Macbeth. Others, such as the diorama illustrating the traditional tale of China’s first emperor ingesting mercury to gain immortality, attest to the

Golden poison frog

fascination with poisons across place and time.

A gallery of history’s most mysterious poisonings, from Cleopatra’s legendary snakebite to Napoleon’s alleged death by arsenic, leads visitors into the Detecting Poison theater. Here presenters use props, animations, and audience volunteers, to explore a real-world poisoning case that highlights the dramatic advances in toxicology and forensics since the 19th century. Next, visitors encounter large-scale tableaux of other puzzling cases and can solve the mysteries using an iPad game. For instance, visitors may discover what poisoned Captain James Cook and two naturalists aboard Cook’s ship in 1774.

The Power of Poison will open on November 16, 2013, and remain on view until August 10, 2014. The exhibition is curated by Mark Siddall, curator in the Division of Invertebrate Zoology, whose research focuses on the evolution of leeches and their blood-feeding behavior. Dr. Siddall is also the curator of the Museum’s Picturing Science exhibition, currently on view in the Akeley Gallery.

The American Museum of Natural History, founded in 1869, is one of the world’s preeminent scientific, educational, and cultural institutions. The Museum encompasses 45 permanent exhibition halls, including the Rose Center for Earth and Space and the Hayden Planetarium, as well as galleries for temporary exhibitions. It is home to the Theodore Roosevelt Memorial, New York State’s official memorial to its 33rd governor and the nation’s 26th president, and a tribute to Roosevelt’s enduring legacy of conservation. The Museum’s five active research divisions and three crossdisciplinary centers support 200 scientists, whose work draws on a world-class permanent collection of more than 32 million specimens and artifacts, as well as specialized collections for frozen tissue and genomic and astrophysical data, and one of the largest natural history libraries in the Western Hemisphere. Through its Richard Gilder Graduate School, it is the only American museum authorized to grant the Ph.D. degree. In 2012, the Museum began offering a pilot Master of Arts in Teaching program with a specialization in Earth science. Approximately 5 million visitors from around the world came to the Museum last year, and its exhibitions and Space Shows can be seen in venues on five continents. The Museum’s website and collection of apps for mobile devices extend its collections, exhibitions, and educational programs to millions more beyond its walls. Visit amnh.org for more information.

The Museum of Modern Art’s 2013 Film Benefit, to be held on November 5, will honor actress Tilda Swinton, an Academy Award winner for Best Supporting Actress for Michael Clayton (2007). Swinton has starred in a wide range of films including Orlando (1992), The Deep End (2001), The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2007), Julia (2008), Burn After Reading (2008), I am Love (2009), We Need to Talk About Kevin (2011), and Only Lovers Left Alive (2013). Throughout her career, Swinton has worked with notable artists/filmmakers including Doug Aitken, Lynn Hershman-Leeson, Derek Jarman, Olivier Saillard, and Isaac Julien as well as conceiving her performance art piece The Maybe which she first performed at the Serpentine gallery in London in 1995 and most recently—in 2013—at MoMA.

The honorary co-chairs for the 2013 Film Benefit are Marie-Josée Kravis, President, and Jerry I. Speyer, Chairman, of the Museum’s Board of Trustees. The event’s co-chairs include Wes Anderson, David Bowie, Ralph Fiennes, Karl Lagerfeld, and Anna Wintour.

The Film Benefit will be highlighted by a tribute recognizing Swinton’s acclaimed work and a gala dinner. The event is generously sponsored by Chanel.

Rajendra Roy, The Celeste Bartos Chief Curator of Film at MoMA, states: ”As traditional boundaries between artistic practices have faded, and the influence of the avant-garde and art world-based moving image makers has infiltrated every area of film production, Tilda Swinton has been a standard-bearer for innovation and risk. Her multihyphenate talents—actor, performer, activist, muse—have made her a leading light across a spectrum of cinematic endeavors.”

MoMA’s vast film collection includes a number of films featuring Swinton: Aria (1987), Friendship’s Death (1987), Blue (1993), Das Offene Universum (1993), Conceiving Ada (1997), Love Is the Devil: Study for a Portrait of Francis Bacon (1998), Adaptation (2002), Teknolust (2002), Strange Culture (2007), Derek (2008), and We Need to Talk About Kevin (2011).

The Film Benefit raises funds for the acquisition and preservation of great film works, as well as providing support for upcoming film exhibitions at MoMA. Previous honorees include Quentin Tarantino, Pedro Almodóvar, Kathryn Bigelow, Tim Burton, and Baz Luhrmann. Tables to the Film Benefit are available for $75,000, $50,000, and $25,000 and may be reserved by calling (212) 708-9680.

December 11, 2013–April 6, 2014

Location: Galleries for Chinese Painting and Calligraphy

A major loan exhibition of contemporary Chinese art presenting works by 35 artists born in China will go on view at THE METROPOLITAN MUSEUM OF ART, beginning December 11. Featuring  70 works in various media—paintings, calligraphy, photographs, woodblock prints, video, and sculpture—that were created during the past three decades, INK ART: PAST AS PRESENT IN CONTEMPORARY CHINA will demonstrate how China’s ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path. Although all of the artists have transformed their sources through new modes of expression, visitors will recognize thematic, aesthetic, or technical attributes in their creations that have meaningful links to China’s artistic past. The exhibition will be organized thematically into four parts and will include such highlights as Xu Bing’s dramatic Book from the Sky (ca. 1988), an installation that will fill an entire gallery; Family Tree (2000), a set of vivid photographs documenting a performance by Zhang Huan in which his facial features—and his identity—are obscured gradually by physiognomic texts that are inscribed directly onto his face; and Map of China (2006) by Ai Weiwei, which is constructed entirely of wood salvaged from demolished Qing dynasty temples.

Zhang Huan (Chinese, b. 1965). Family Tree; 张洹 家谱, 2001. Nine chromogenic prints; each 21 x 16 1/2 in. (53.3 x 41.9 cm). Yale University Art Gallery, New Haven, Leonard C. Hanna, Jr., Class of 1913, Fund

Maxwell K. Hearn, Douglas Dillon Chairman of the Metropolitan Museum’s Department of Asian Art, and curator of the exhibit stated: “A unique feature of this landmark exhibition is the way in which it positions contemporary art from a non-Western culture within an encyclopedic art museum. Instead of being presented by the Metropolitan’s Department of Modern and Contemporary Art, Ink Art is curated by members of the Department of Asian Art and displayed in the Museum’s permanent galleries for Chinese painting and calligraphy, featuring artworks that may best be understood as part of the continuum of China’s traditional culture. While these works may also be appreciated from the perspective of global art, the curatorial argument is that, by examining them through the lens of Chinese historical artistic paradigms, layers of meaning and cultural significance that might otherwise go unnoticed are revealed. Ultimately, both points of view contribute to a more enriched understanding of these creations.”

SECTION 1: THE WRITTEN WORD

Writing is China’s highest form of artistic expression as well as its most fundamental means of communication. Valued for both its semantic content and aesthetic significance, the written word conveys personal as well as public meaning. Given the inherent power of this universal medium, the written word—particularly brush-written calligraphy—has been a rich terrain for artistic exploration in China. The exhibition will feature key early works by Xu Bing (b. 1955), Gu Wenda (b. 1955), Qiu Zhijie (b. 1969), and Zhang Huan (b. 1965)—all of whom have found ways to subvert the semantic and aesthetic functions of language.

SECTION 2: NEW LANDSCAPES

For more than one thousand years, landscape imagery has been used to convey values and moral standards, both of individuals and of society as a whole. Today, as China is being transformed by modernization, artists continue to mine the symbolic potential of landscape imagery to comment on the changing face of China and to explore the “mind landscape” of the individual. A rich selection of paintings, photographs, videos, and films in this section will highlight the diverse ways in which contemporary artists have drawn inspiration from earlier compositions and themes. On view will be works by Ren Jian (b. 1955), Liu Dan (b. 1953), and Yang Yongliang (b. 1980), all of whom have revived and transformed the monumental handscroll format with powerful new imagery. This section will also display works by Ai Weiwei (b. 1957), Shi Guorui (b. 1964), and Xing Danwen (b. 1967) that offer stark commentaries on the impersonal nature of China’s expanding urban landscapes; and works by Fang Lijun (b. 1963), Yang Fudong (b. 1971), and Qiu Anxiong (b. 1972), who use woodblock printing, film, or video to explore man’s increasing disconnection from the natural environment.

SECTION 3: ABSTRACTION

Abstraction is at the heart of Chinese painting and calligraphy. Because the brush mark has always been recognized as a record of the artist’s hand, in addition to performing a descriptive or semantic role, both painting and calligraphy have been valued for their abstract expressive potential. Benefitting from such a rich tradition of exploiting the abstract and symbolic qualities of painting and writing, contemporary Chinese artists have been able selectively to adopt Western notions of nonfigurative art to augment and expand their expressive goals. The work by classically trained calligrapher Wang Dongling (b. 1945) included in this section will exemplify those artists who have used their command of traditional techniques to create large-scale abstractions emphasizing the dynamic gestural qualities of calligraphy while divorcing the work from any suggestion of semantic signification. Two examples on view from the Divine Light series by Zhang Yu (b. 1959) feature circular or rectilinear forms that evoke cosmic events—an exploding star or a planet coalescing from a sphere of gaseous elements—that are at once beautiful and terrifying.

SECTION 4: BEYOND THE BRUSH

A final component of the exhibition will introduce works that neither fit into the above three thematic categories nor derive their primary identity from traditional forms of ink art; yet they exhibit an ink art aesthetic through their rich associations with Chinese literati pastimes or patronage. Highlights in this section will be two performance-related pieces: an album by Cai Guo-Qiang (b. 1957) that envisions his plan for Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10, presented together with a three-channel video of the actual event; and Huang Yongping’s (b. 1954) 43-foot-long handscroll documenting his installation pieces from 1985 to 2001. Other works on view will include scholars’ rocks made from silicone or stainless steel by Zhang Jianjun (b. 1955) and Zhan Wang (b. 1962) and a dragon robe made of polyvinyl chloride by Wang Jin (b. 1962).

In conjunction with the exhibition, the Museum will present a Sunday at the Met program on February 23, 2014, as well as gallery talks, a studio workshop, an artist demonstration of calligraphy techniques, and a teen program called Ink Experiments.

The exhibition will be accompanied by a fully illustrated catalogue.  This publication is made possible by The Andrew W. Mellon Foundation, the Richard and Geneva Hofheimer Memorial Fund, and Marie-Hélène Weill.

The exhibition will be featured on the Museum’s website (www.metmuseum.org).

Keith Haring and LA II (“Little” Angel Ortiz, b. 1967), Painted leather jacket, 1983, Keith Haring artwork © Keith Haring Foundation Angel Ortiz (LA II) artwork © Angel Ortiz

KEITH HARING ALL-OVER, An installation in the Henry Luce III Center for the Study of American Culture at the New-York Historical Society feature everyday items transformed by famed New York artist Keith Haring. Keith Haring All-Over (which opened last August) explores the artist’s use of unconventional surfaces: clothing, furniture and skin; as well as photographs and videos that document his process and passion for making ordinary objects into extraordinary works of art.

Keith Haring, “Into 84” exhibition poster, 1983, Model: dancer/choreographer Bill T. Jones Photograph: Tseng Kwong Chi © Muna Tseng Dance Projects, Inc, Keith Haring artwork © Keith Haring Foundation

Keith Haring, Invitation to the First “Party of Life”, 1984, Printed fabric, Keith Haring artwork © Keith Haring Foundation

Known for his chalk drawings on subway station walls and public murals and a giant in the modern art movement in the United States, the late Keith Haring left his mark on nearly anything he could find—even the bodies of other artists—all painted with detail and finesse. Highlights of the installation include photos and videos of Haring’s collaborations with Bill T. Jones, Grace Jones, and Madonna that feature painted clothing or backdrops, including a jacket worn by Madonna when she performed at Haring’s first “Party of Life” birthday celebration in 1984.

In 1986, Haring decorated a photo shoot set with his iconic patterns for a session with photographer Annie Leibovitz. Haring hand-painted a middle-class living room interior—including the television, lamps, furniture, window, walls, ceiling, floor and his own body—in less than an hour. Leibovitz shot the portrait sequence in only a few minutes and then accompanied Haring, who said he felt fully dressed, as he ventured into Times Square at night, still painted. Images from the shoot and the Times Square excursion are featured in the display.

Keith Haring, Keith Haring’s left hand, painted and photographed by the artist, October 9, 1987
Photoprint, Keith Haring artwork © Keith Haring Foundation

All objects on view in the rotating display are on loan from the Keith Haring Foundation Archive. The Keith Haring Foundation donated the ceiling of the original Pop Shop to the New-York Historical Society, where the work, with its bold and lively design, now hovers above the admissions area.

EXHIBITION INCLUDES LEONARDO’S CODEX ON THE FLIGHT OF BIRDS AND THE HEAD OF A YOUNG WOMAN—NEVER BEFORE SEEN IN NEW YORK

Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin

October 25, 2013–February 2, 2014

The genius of Leonardo da Vinci—draftsman, painter, scientist, inventor—continues to captivate us almost five hundred years after his death. This fall, the Morgan Library & Museum (www.themorgan.org, 225 Madison Avenue, at 36th Street, New York, NY 10016-3405) will present a unique opportunity to encounter this great Renaissance master.

Leonardo da Vinci was born in 1452 in the small town of Vinci. Apprenticed in Florence, he moved to Milan around 1482, where he worked at the court of Ludovico Sforza. He returned to Florence around 1500, moved back to Milan a few years later and, on the invitation of King Francis I, eventually settled in France. He died in Amboise in 1519.

The exhibition, Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin, will feature a spectacular group of works by Leonardo from the Biblitoeca Reale, Turin, including one of his most famous manuscripts, the Codex on the Flight of Birds, and his wonderful Head of a Young Woman, both on view in New York for the first time. They will be presented together with a selection of other drawings by Leonardo, featuring the scientist as well as the artist. The exhibition will also include works by Leonardo’s followers and the Morgan’s Codex Huygens, a Renaissance manuscript recording lost notes by Leonardo. Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin will be on view October 25, 2013–February 2, 2014.

“We are delighted to offer New Yorkers the rare opportunity to see this selection of works by Leonardo,” said William M. Griswold, director of the Morgan Library & Museum. “The Morgan is well known for its superb collection of Italian Renaissance drawings, so this exhibition is particularly apt. We would like to thank our colleagues at the Biblioteca Reale, Turin, for their assistance in organizing the show, and we are especially pleased that it coincides with the Year of Italian Culture in the United States.”

Leonardo da Vinci’s Codex on the Flight of Birds

Exploring Nature: Leonardo’s Codex on the Flight of Birds

The exhibition will show two sides of Leonardo. The first section—Exploring Nature—will revolve around Leonardo’s famous Codex on the Flight of Birds (ca. 1505/6), which demonstrates Leonardo’s extraordinary ability to move seamlessly between art, science, and nature. In addition to architectural sketches, designs for machines, and various diagrams, most of the thirty-six pages of this notebook are devoted to detailed observations on the flight of birds. In both the text—written in Leonardo’s characteristic mirror script—and the accompanying drawings, Leonardo carefully analyzed the movement of birds, how they keep their equilibrium, steer their flight, and manage to ascend, descend, and dive. Leonardo’s interest in the flight of birds was largely motivated by his desire to build a machine that would allow man to fly. Presented alongside the Codex on the Flight of Birds will be additional works by Leonardo, including a charming sketch of insects, drawings on the anatomy of the horse, studies of the human body, as well as the Morgan’s own drawing by Leonardo with two machine designs: a device for bending beams and a maritime assault mechanism.

Leonardo da Vinci’’s Head of a Young Woman

Making Art: Leonardo da Vinci’s Head of a Young Woman

The second section of the exhibition—Making Art— features Leonardo’s Head of a Young Woman, a drawing praised by the legendary connoisseur Bernard Berenson as “one of the finest achievements of all draughtsmanship.” The celebrated study, which served as the model for the angel in Leonardo’s famous Virgin of the Rocks will be shown together with further drawings by Leonardo and his followers, the so-called Leonardeschi. Of particular note are works by Giovanni Antonio Boltraffio, Leonardo’s most talented pupil, as well as Francesco Melzi and Cesare da Sesto.

Leonardo’s Legacy: The Codex Huygens

Joining the works from the Biblioteca Reale will be the Morgan’s Codex Huygens, a treatise on painting from the late sixteenth century, closely related to Leonardo. Some of the drawings in fact represent faithful copies of now-lost originals by Leonardo. The name of the codex refers to its former owner, Constantijn Huygens (1628–1697), secretary to King William III of England, who firmly believed it to be an autograph work by Leonardo. This exhibition marks the first time that a selection of sheets from the codex will be shown alongside related drawings by Leonardo.

The Biblioteca Reale

The Biblioteca Reale, Turin, was founded by the Royal House of Savoy in the first half of the nineteenth century to house its magnificent collection of precious rare books, manuscripts, and works on paper, including an important corpus of drawings by Leonardo. A later addition to the collection, the celebrated Codex on the Flight of Birds was presented to the Library not until 1893 during the reign of Umberto I of Savoy as King of Italy. Thanks to the number of autograph drawings and the Codex on the Flight of Birds, the Biblioteca Reale is one of the world’s major repositories of works by Leonardo.

The exhibition will be accompanied by a publication in English and Italian with essays by three eminent Leonardo scholars. Paola Salvi, Deputy Director of the Accademia delle Belle Arti di Brera in Milan, examines Leonardo’s drawings from Turin and the Codex on the Flight of Birds; Carlo Pedretti, Professor Emeritus at the University of California, discusses the Morgan’s Codex Huygens; and Annalisa Perissa Torrini, Director of the Gabinetto dei Disegni at the Galleria dell’Accademia in Venice, explores the relationship between Leonardo and his followers. In addition, the Morgan will make the entire Codex Huygens available online, with high-resolution images of all 128 sheets.

PUBLIC PROGRAMS

LECTURE

Leonardo the Artist-Scientist and His Notebooks With Carmen C. Bambach

Thursday, December 19, 6:30 pm

Leonardo da Vinci (1552–1519) has been especially popularized as the universal genius of the Renaissance for his activity as artist and scientist. Carmen C. Bambach, Curator, Department of Drawings and Prints, the Metropolitan Museum of Art, will attempt to explain some of Leonardo’s methods and innovations, based on an examination of his extant notebooks and practices, and how he was perceived historically. This lecture is co-organized by the Morgan Drawing Institute. Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin, will be open at 5:30 pm for lecture attendees.

Tickets

$15; $10 for Members; Free for students and teachers with valid ID. www.themorgan.org/programs; 212-685-0008 x560

GALLERY TALK

Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin

Friday, November 1, 6:30 pm

An informal exhibition tour with curator Per Rumberg. Free with museum admission

BETWEEN THE LINES

Leonardo Da Vinci: Treasures from the Biblioteca Reale, Turin

Saturday, November 2, 11 am

Written or drawn, lines are to be read and interpreted. In this interactive gallery talk, a museum educator will lead participants in an hour-long discussion on a selection of works from Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin.

Free with museum admission. Space is limited on a first-come first-serve basis.

Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin is organized by Per Rumberg, Associate Curator of Drawings at the Morgan Museum & Library. The exhibition is organized by the Morgan Library & Museum and the Italian Ministry of Foreign Affairs, the Ministry of Italian Cultural Heritage and Activities, the Embassy of Italy in Washington D.C., and the Biblioteca Reale in Turin in collaboration with the Italian Cultural Institute of New York and la Fondazione New York. It was made possible with generous support from the estate of Alex Gordon, the T. Kimball Brooker Foundation, Jean-Marie and Elizabeth Eveillard, Diane A. Nixon, and Mr. and Mrs. Seymour R. Askin, Jr., and from Giunti, Finmeccanica, Fondazione Bracco and Tenaris. It is part of 2013—Year of Italian Culture in the United States, an initiative held under the auspices of the President of the Italian Republic, organized by the Italian Ministry of Foreign Affairs and the Embassy of Italy in Washington D.C. with the support of Corporate Ambassadors, Eni and Intesa Sanpaolo.

The programs of The Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

The Morgan Library & Museum

The Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today, more than a century after its founding in 1906, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. In October 2010, the Morgan completed the first-ever restoration of its original McKim building, Pierpont Morgan’s private library, and the core of the institution. In tandem with the 2006 expansion project by architect Renzo Piano, the Morgan now provides visitors unprecedented access to its world-renowned collections of drawings, literary and historical manuscripts, musical scores, medieval and Renaissance manuscripts, printed books, and ancient Near Eastern seals and tablets.

General Information

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405

212.685.0008

www.themorgan.org

Just a short walk from Grand Central and Penn Station

Hours

Tuesday–Thursday, 10:30 a.m. to 5 p.m.; extended Friday hours, 10:30 a.m. to 9 p.m.; Saturday, 10 a.m. to 6 p.m.; Sunday, 11 a.m. to 6 p.m.; closed Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day. The Morgan closes at 4 p.m. on Christmas Eve and New Year’s Eve.

Admission

$18 for adults; $12 for students, seniors (65 and over), and children (13–16); free to Members and children 12 and under accompanied by an adult. Admission is free on Fridays from 7 to 9 p.m. Admission is not required to visit the Morgan Shop and Café.

George Peter Alexander Healy (American, 1813 –1894), Emma Cecilia Thursby (1845-1931), 1879. Oil on canvas,
Overall: 68 x 43 in. ( 172.7 x 109.2 cm )frame: 93 x 64 in. ( 236.2 x 162.6 cm ), Gift of the Estate of Ina Love Thursby

Beauty’s Legacy: Gilded Age Portraits in America, a new exhibition on view at the New-York Historical Society from September 27, 2013 through March 9, 2014, will explore the critical and popular resurgence of portraiture in the United States in the period bounded by the close of the Civil War and the beginning of World War I. Known as the Gilded Age, the era was marked by unprecedented industrial expansion yielding vast personal fortunes. Today, the Gilded Age conjures visions of material opulence and personal excess, yet it also inspired a fascinating chapter in American cultural and social history. With the amassing of great fortunes came the drive to document the wealthy in portraiture, echoing a cultural pattern reaching back to colonial times. A brilliant generation of American and European artists rose to meet that demand.

Henry Augustus Loop (American, 1831 –1895), Fannie Fredericka Dyckman and Mary Alice Dyckman, 1876. Oil on canvas,
Overall: 52 1/4 x 40 1/4 in. ( 132.7 x 102.2 cm )frame: 72 x 59 in. ( 182.9 x 149.9 cm ), Bequest of Fannie Fredericka Dyckman

Organized for the New-York Historical Society by guest curator Dr. Barbara Dayer Gallati, the exhibition will feature sixty-five portraits selected from New-York Historical’s outstanding holdings. The sitters—ranging from famous society beauties to powerful titans of business and industry—left lasting legacies that contributed to the cultural and economic growth of the nation. Beauty’s Legacy also takes its cue from a series of three important portrait loan exhibitions mounted in New York in the 1890s that were organized for charitable purposes by the city’s social elite. A number of paintings in Beauty’s Legacy were featured in those historic displays and will be installed to evoke the late-nineteenth-century viewing experience.

George Peter Alexander Healy (American, 1813 –1894), Jeannie Ovington (1863-1926), 1887. Oil on canvas, Overall: 20 3/8 x 26 3/4 in. ( 51.8 x 67.9 cm ), Gift of the Estate of Ina Love Thursby, through Walter M. Brown

Fernand Paillet (French, 1850 –1918), Mrs. Jerome Napoleon Bonaparte, (1839-1911), 1892. Watercolor on ivory,

Meave Thompson Gedney (1863-1905), Mrs. William Waldorf Astor (Mary Dahlgren Paul, 1856-1894), 1890. Watercolor on ivory, Gift of the Estate of Peter Mari

Beauty’s Legacy will include portraits of prominent New Yorkers, including Emma Thursby, Samuel Verplanck Hoffman, Mary Barrett Wendell, Reverend Henry Codman Potter, and Mary Gardiner Thompson, painted by noted American artists such as John Singer Sargent, James Carroll Beckwith, George Peter Alexander Healy, Daniel Huntington, Eastman Johnson, and Benjamin Curtis Porter. The exhibition also reveals the highly competitive nature of the portrait market, as these American portraitists found themselves in fierce rivalry for American patronage with their European counterparts. The vigorous demand for works by European masters is conveyed by portraits of other leading New Yorkers— including James Hazen Hyde, Georgina Schuyler, Samuel Ward McAllister, Cortlandt Field Bishop, Leonard and Rosalie Lewisohn, and Samuel Untermyer—by European artists Léon Bonnat, (Adolphe) William Bouguereau, Carolus-Duran, Alexandre Cabanel, Anders Zorn, and Théobald Chartran. The exhibition will also feature a selection of twenty-five exquisite portraits from Peter Marié’s vast collection of miniatures, known by his contemporaries as his “Gallery of Beauty,” underscoring the intersection of beauty, celebrity, and social prestige.

Beauty’s Legacy: Gilded Age Portraits in America will be accompanied by a catalogue of the same title, published by the New-York Historical Society in association with D Giles Limited, London. The fully-illustrated volume includes essays by Dr. Gallati and Dr. Valerie Steele, Director and Chief Curator of the Museum at The Fashion Institute of Technology, New York.

Théobald Chartran (French, 1849 –1907), James Hazen Hyde (1876-1959), 1901, 53 1/4 x 36 in. ( 135.3 x 91.4 cm )frame: 57 1/2 x 41 in. ( 146 x 104.1 cm ), Gift of James Hazen Hyde

The exhibit was made possible by a generous grant provided to the New-York Historical Society by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc.; as well as support from Irma R. Rappaport, John Joe Ricketts, Janice Stanton, and an anonymous donor.

The New-York Historical Society, one of America’s pre-eminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history

Daniel Huntington (American, 1816 –1906), Mary Gardiner Thompson (1844-1935), 1898. Oil on canvas, 30 x 25 in. ( 76.2 x 63.5 cm ), Bequest of Mary Gardiner Thompson

New-York Historical is recognized for engaging the public with deeply researched and far-ranging exhibitions, such as WWII & NYC, Alexander Hamilton: The Man Who Made Modern America; Slavery in New York; Drawn by New York: Six Centuries of Watercolors and Drawings at the New-York Historical Society; Grant and Lee in War and Peace; Lincoln and New York; Nueva York (1613 – 1945); and Revolution! The Atlantic World Reborn. Supporting these exhibitions and related education programs is one of the world’s greatest collections of historical artifacts, works of American art, and other materials documenting the history of the United States and New York.

WORKS BY DUCHAMP, MATISSE, PICASSO, PICABIA, CÉZANNE, GAUGUIN, SLOAN, AND MARIN CELEBRATE THE CENTENNIAL OF THE ART EVENT THAT SHOOK THE WORLD

OCTOBER 11, 2013 – FEBRUARY 23, 2014

The New-York Historical Society (170 Central Park W New York, NY 10024) will present a major exhibition celebrating the centennial of the legendary 1913 Armory Show, offering a rare opportunity to experience the reunion of more than 100 masterpieces from the iconic event. On view from October 11, 2013 through February 23, 2014, The Armory Show at 100: Modern Art and Revolution will feature works by European modernists, including Marcel Duchamp, Henri Matisse, Francis Picabia, Constantin Brancusi, and Pablo Picasso; influential precursors to modernism, such as Paul Cézanne, Paul Gauguin, and Vincent van Gogh; and leading American artists Childe Hassam, Robert Henri, John Marin, Albert Pinkham Ryder, John Sloan, and others who are often overlooked in accounts of the event despite the fact that half the works featured in the exhibition were by American artists. Officially known as the 1913 International Exhibition of Modern Art, the Armory Show is one of the most important exhibitions ever held in the United States and is remembered as a turning point in American art history, introducing the European avant-garde to America.

Francis Picabia (French, 1879-1953), Dances at the Spring, 1912. Oil on canvas, 47 7/16 x 47 ½ in. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950, 1950-134-155. © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

Curated by New-York Historical’s Marilyn Satin Kushner, Curator and Head, Department of Prints, Photographs, and Architectural Collections; and Kimberly Orcutt, Henry Luce Foundation Curator of American Art, with Casey Nelson Blake, Professor of History at Columbia University serving as Senior Historian, The Armory Show at 100 will feature approximately 100 masterworks from the 1913 Armory Show that powerfully impacted American audiences.

Pierre-Auguste Renoir (French, 1841-1919), Algerian Girl, 1881. Oil on canvas, 20 x 16 in. Museum of Fine Arts, Boston, Juliana Cheney Edwards Collection, 39.677

The Armory Show at 100 will contextualize the event with artifacts, historical documents, and archival photographs to evoke the social and intellectual currents of this time period. Major events of the era include the inauguration of Woodrow Wilson as president in 1913, women marching for suffrage, the re-opening of Grand Central Terminal as the world’s largest train station, and the Woolworth Building becoming the world’s tallest skyscraper. The behind-the-scenes story of the making of the 1913 Armory Show also will be told through a selection of letters, postcards, and photographs that document the dissent and divisions that the exhibition inspired in the New York art world.

Marcel Duchamp (French, 1887-1968), Nude Descending a Staircase (No. 2), 1912. Oil on canvas, 57 7/8 x 35 1/8 in. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950, 1950-134-59. © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp

Marsden Hartley (American, 1877-1943), Still Life, No. 1, 1912. Oil on canvas, 31 ½ x 25 5/8 in. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald, 1931.184.

A scholarly publication will be produced in conjunction with the exhibition—the first major, in-depth survey in fifty years to study the significance, impact, and legacy of the 1913 Armory Show. A special Armory Show website (www.armory.nyhistory.org) features blog posts on curatorial discoveries and research, the layout of the 1913 Armory Show, and other interactive features.

Paul Gauguin (French, 1848-1903), Parau na te Varua ino (Words of the Devil), 1892. Oil on canvas, 36 1/8 x 26 15/16 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman. Courtesy of the National Gallery of Art, Washington

“New York will explode into the modern world all over again when The Armory Show at 100 opens this fall at the New-York Historical Society,” said Louise Mirrer, President and CEO of New-York Historical. “Our galleries will be filled with masterworks and materials documenting the full impact that modernism delivered in 1913—the debates, discussions, and cultural shocks that made this show a ‘bombshell.’”

EXHIBITION HIGHLIGHTS

Duchamp’s Nude Descending a Staircase (No. 2) (1912) was considered scandalous and roundly mocked by the media of the day, such as in a March 1913 Cubist-inspired cartoon in The Evening Sun newspaper, seen in reproduction in the show, that depicted “The Rude Descending a Staircase (Rush Hour at the Subway).” Many works on view initially shocked 1913 audiences but are now considered masterpieces, such as Matisse’s Blue Nude (1907), which was seen as immoral and depraved. Although Matisse’s work was more clearly representative than that of Duchamp, it was nonetheless perceived as childlike and primitive, and an attack on traditional standards of beauty. Picabia’s fragmented Cubist painting Dances at the Spring (1912) was compared to a patchwork quilt.

Henri Matisse (French, 1869-1954), Blue Nude, 1907. Oil on canvas, 36 ¼ x 55 ¼ in. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Mitro Hood.

Anticipating that the avant-garde works might shock or confound American audiences encountering new styles for the first time, the organizers of the original Armory Show included work by Post-Impressionists and other, even earlier, once-revolutionary artists that were acclaimed as great masters by 1913. Organizers hoped that this juxtaposition would help viewers understand that artworks that are once considered revolutionary and outrageous are often later accepted and understood. Gauguin’s Tahitian paintings, including Words of the Devil (1892), were met with some controversy, but many considered them more resonant with modern life than the work of Cubists and Fauves. Satirical works by Daumier, whose images commented upon the plight of poor French peasants in the mid-nineteenth century, also offered perspective on shocking works of the past.

John Sloan (American, 1871-1951), Sunday, Women Drying Their Hair, 1912. Oil on canvas, 26 1/8 x 32 1/8 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Museum Purchase, 1938.67. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York

The Armory Show featured a number of American artists who were leading figures of the Ashcan School. John Sloan often captured scenes of working class men and women on the Lower East Side, such as Sunday, Women Drying Their Hair (1912). Robert Henri’s life-sized oil painting Figure in Motion (1913) may have been created in contrast to Duchamp’s and Matisse’s nudes, as a sort of rebellious manifesto to challenge the Armory Show organizers. John Marin’s watercolor series of Manhattan buildings included abstract studies of the Woolworth Building under construction, before it became the world’s tallest building in 1913.

PUBLICATIONS & PUBLIC PROGRAMS

A fully-illustrated scholarly catalogue will be released in October 2013, re-examining the 1913 exhibition and its historical and cultural context. Edited by curators Marilyn S. Kushner and Kimberly Orcutt, along with Casey Nelson Blake, The Armory Show at 100: Modernism and Revolution (D Giles Limited, $79.95 hardcover) will feature thirty-one essays from a range of prominent scholars across diverse fields, shedding new light on the artists represented, the public reception of the works, and how the media responded to this legendary exhibition.

Pierre Puvis de Chavannes (French, 1824–1898), Le Verger, Les Enfants au verger, L’Automne, ca. 1885–89. Oil and pencil on canvas, 31½ × 39 in. (80 × 99 cm). The City College of New York

Public programs at New-York Historical will include a talk by exhibition curators Marilyn S. Kushner and Kimberly Orcutt on October 24, exploring how the 1913 Armory Show forever changed the way we understand art. On January 15, 2014, American Symphony Orchestra music director Leon Botstein, Whitney Museum of American Art curator Barbara Haskell, and Thirteen/WNET executive producer Susan Lacy (moderator) will discuss the effect of the Armory Show and the performance of Stravinsky’s The Rite of Spring, both of which sent shockwaves around the world, in “Culture Shock: New York and Paris, 1913.”

New-York Historical also will present a number of educational programs, including scholarly symposia at New-York Historical (November 9, 2013) and at the Musée d’Orsay in Paris (December 6 and 7, 2013) that will explore the Armory Show’s influence on the relationship between American and European modernism, the impact of the event on United States history, and its place in a turbulent period in New York City history. Other educational activities will include “The Art of History” K-12 student workshops designed to embed art and history education in the NYC public school curriculum, teacher professional development sessions, and curriculum materials.

Augustus E. John (Welsh-British, 1878–1961), The Way Down to the Sea, 1909–11. Oil on canvas, 29⅞ × 26⅜ in. (76 × 67 cm). Private collection. Photo, Richard Greenly Photography

Eugène Delacroix (French, 1798–1863), Christ on the Lake of Genesareth, ca. 1853. Oil on canvas, 17¾ × 21⅝ in. (45.1 × 54.9 cm). Portland Art Museum, Portland, Oregon. Gift of Mrs. William Mead Ladd and her children: William Sargent Ladd, Charles Thornton Ladd, and Henry Andrews Ladd in memory of William Mead Ladd

The New-York Historical Society recognizes lead sponsors Harold J. and Ruth Newman for their exceptional commitment to The Armory Show at 100. Generous support has also been provided by the Terra Foundation for American Art, the Institute of Museum and Library Services, the National Endowment for the Arts, and the Lily Auchincloss Foundation, Inc. Support for the development of The Armory Show at 100 website has been provided by a grant from the National Endowment for the Humanities.

The New-York Historical Society, one of America’s pre-eminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history.

New-York Historical is recognized for engaging the public with deeply researched and far-ranging exhibitions, such as WWII & NYC, Alexander Hamilton: The Man Who Made Modern America; Slavery in New York; Drawn by New York: Six Centuries of Watercolors and Drawings at the New-York Historical Society; Grant and Lee in War and Peace; Lincoln and New York; Nueva York (1613 – 1945); and Revolution! The Atlantic World Reborn. Supporting these exhibitions and related education programs is one of the world’s greatest collections of historical artifacts, works of American art, and other materials documenting the history of the United States and New York.

MANY TREASURES SHOWN FOR THE FIRST TIME IN THE U.S.

EXHIBITION TELLS STORY OF CULTURAL INTERACTION AMONG JEWS, MUSLIMS, AND CHRISTIANS

England’s Bodleian Library at Oxford University, established by Sir Thomas Bodley in 1602 and now the largest of the University’s group of ‘Bodleian Libraries’, is renowned for its great treasures. Among them is one of the most important collections of medieval Hebrew illuminated manuscripts in the world. The Jewish Museum will present Crossing Borders: Manuscripts from the Bodleian Libraries from September 14, 2012 through February 3, 2013, featuring over 60 works – Hebrew, Arabic, and Latin manuscripts – the majority of which have never been seen in the United States. Several paintings and printed books will also be on view. This exhibition is based on Crossing Borders: Hebrew Manuscripts as a Meeting-place of Cultures co-curated by Piet van Boxel and Sabine Arndt for The Bodleian Library. The New York City presentation has been organized by The Jewish Museum’s Curator Claudia Nahson.

The Bodleian Libraries of the University of Oxford form the largest university library system in the United Kingdom. They include the principal University library—the Bodleian Library—which has been a library of legal deposit for 400 years; major research libraries; and libraries attached to faculties, departments and other institutions of the University. The combined library collections number more than 11 million printed items, in addition to 30,000 e-journals and vast quantities of materials in other formats. The Old Bodleian is also a major visitor attraction, drawing over 300,000 visitors a year. More information about the Bodleian Libraries and their activities can be found at www.bodleian.ox.ac.uk.

Scholar and diplomat Sir Thomas Bodley (See painting below on right, NICHOLAS HILLIARD (C. 1547–1619), SIR THOMAS BODLEY, 1598) began establishing the Bodleian Library in 1598 after retiring as ambassador to Queen Elizabeth I and devoted the rest of his life to building its collection. Bodley in fact reopened the library room at Oxford that had been completed in 1488 to house a collection of manuscripts given by Duke Humfrey of Gloucester (1390-1447). But in 1550 during the Reformation, it was stripped and left abandoned. A staunch Protestant, whose family had fled England during Queen Mary’s Catholic reign, Bodley was also a humanist and Christian Hebraist who viewed the creation of a Hebraica collection as integral to his vision for the new library. It would be housed in a masterpiece of English Gothic and Jacobean architecture, and is today one of the oldest libraries in Europe.

KENNICOTT BIBLE, Scribe: Moses ibn Zabara, artist: Joseph ibn Hayyim, commissioner: Isaac, son of Solomon di Braga Corunna, Spain, 1476 12 1/2 x 9 in. (31.8 x 22.9 cm) MS. Kennicott 1, fols. 7b–8a

Included will be the splendid Kennicott Bible, the most lavishly illuminated Hebrew Bible to survive from medieval Spain, as well as two works in the hand of Maimonides, one of the most prominent Jewish philosophers and rabbinic authorities. This presentation showcases a selection from the Bodleian’s superb holdings within the larger context of the history of medieval Christian Hebraism – the study by Christian scholars of the Hebrew Bible and rabbinic sources, which first received full expression in the twelfth and thirteenth centuries. As Protestantism took hold in the sixteenth century, Hebraist trends resurged, sparking interest in the collecting of Hebrew books, and propelling the formation of the Bodleian’s outstanding Hebraica collection.

In addition to viewing the actual illuminated manuscript, visitors will be able to look at digital images of every page of the Kennicott Bible (you can view all the pages here at http://www.kennicottbible.org/) and examine details on touchscreens in the exhibition gallery and on the Museum’s website. Visitors will also be able to see images of several additional page openings for seven other manuscripts in Crossing Borders: Manuscripts from the Bodleian Libraries.

Composed of three thematic sections, the exhibition opens with three exquisitely illuminated Hebrew manuscripts representing the main European centers of medieval production—Ashkenaz, Sepharad and Italy. The first section deals with the interaction of Christians and Jews in the Middle Ages as expressed through the books they produced. Christians began using the codex or book in the late first century while Jews seem to have held fast to the roll format for a longer time. Leaves of the codex could be used on both sides and be made more portable, unlike scrolls, and thereby proved highly effective for spreading Christianity. In Latin texts it replaced the roll by the fourth century. On view is one of the two earliest Latin Gospel Books extant from the British Isles, dating to the late sixth or seventh century, and one of the earliest known Hebrew codices dating to the tenth century.

In the twelfth century Hebrew book production began to flourish in the three main regions of Europe where Jews had long been settled: Italy, Ashkenaz (Germany, parts of France, and England), and Sepharad (Spain and Portugal). The study and copying of Hebrew texts brought Jews and Christians together. Christian Hebraists sought the help of Jewish scholars as they made systematic comparisons of the Vulgate (Latin Bible) with the Hebrew Bible. In turn, Jewish scribes often commissioned Christian artists to illuminate sumptuous Hebrew manuscripts.

A great cross-fertilization between Christians, Muslims and Jews occurred during the late Middle Ages in arts, sciences and the culture at large, which is the focus of the second section. Significant works by Greek, Muslim and Jewish authors were translated from Arabic to Latin, often with the help of Jewish scholars. Writings of famous ancient Greek thinkers like Aristotle, Hippocrates, Euclid and Ptolemy were suddenly available, making a world of ideas accessible to many in Europe for the first time. The most famous work in the show, the magnificent Kennicott Bible, is displayed in this section

GEORGE GOWER (C. 1540-96), THE PLIMPTON “SIEVE” PORTRAIT OF QUEEN ELIZABETH I, 1579, Oil on panel, 41 x 30 in. (104.1 x 76.2 cm), Folger Shakespeare Library, Washington, DC, Reproduced by permission of the Folger Shakespeare Library

with its Islamic, Christian and popular motifs merging in one single work. A Jewish scribe and a Jewish artist created this beautifully illuminated manuscript in Corunna, Spain in 1476, almost two decades before the expulsion of the Jews from the Iberian Peninsula.

The final section is devoted to understanding the Bodleian’s Hebraica collection as an important sign of Christian Hebraism’s resurgence in the sixteenth century. Exceptional examples of Hebrew manuscripts, all with stellar provenances, demonstrate the library’s more than four-century-long commitment to Hebraica. Nicholas Hilliard’s exquisite miniature portrait of Sir Thomas Bodley is paired with George Gower’s stunning 1579 portrait of Queen Elizabeth I (reigned, 1558–1603) during whose rule the library was established. A great treasure is Queen Elizabeth’s Book of Oxford presented to the Queen in 1566 upon her visit to Oxford. This book opens with a poem on the importance of Hebrew learning encouraging the Queen to continue the work of her father, Henry VIII, in supporting the study of the language at the university. And so it has been for over 450 years through a royally endowed position that ensures the study of Hebrew and Jewish culture and religion to this day.

The cross-cultural approach presented in Crossing Borders: Manuscripts from the Bodleian Libraries is very much in the spirit of Thomas Bodley’s founding vision for his library. In his time as today, it transcends ideological and religious boundaries to create a broader framework within which the rich legacy of Christians, Muslims, and Jews can be better understood and appreciated.

Produced by The Jewish Museum in association with Acoustiguide, a random access audio guide has been created for Crossing Borders: Manuscripts from the Bodleian Libraries. The audio guide includes a welcoming message from Claudia Gould, Helen Goldsmith Menschel Director of The Jewish Museum, and commentary by Jewish Museum curator Claudia Nahson; two experts from the Bodleian Libraries: César Merchán-Hamann, Hebraica and Judaica Curator, and Martin Kauffman, Curator of Medieval Manuscripts; as well as Leslie Smith, Senior Tutor at the Harris Manchester College in Oxford. Available to visitors for $5.00, the audio guide is made possible by Bloomberg.

KALILA AND DIMNA, IN ARABIC, Syria?, 1354, 14 1/2 x 8 3/4 in. (36.8 x 22.2 cm), MS. Pococke 400, fol. 75b

The Jewish Museum is presenting a diverse array of thought-provoking conversations, discussions and performances related to the Crossing Borders show. Highlights include a Thursday, November 8 conversation with artist Shahzia Sikander and Dr. Kerry Boeye, Assistant Professor of Fine Arts at Loyola University, Maryland; and discussions in the exhibition galleries with artist Izhar Patkin on Thursday, September 27 and Kiki Smith and Alexander Nagel on Thursday, January 17. A complete public program schedule is available at http://www.thejewishmuseum.org/publicprograms.

This exhibition is based on Crossing Borders: Hebrew Manuscripts as a Meeting-place of Cultures, co-curated by Piet van Boxel and Sabine Arndt for The Bodleian Library, Oxford, United Kingdom, in 2009. The Jewish Museum presentation has been organized by Claudia Nahson, Curator, facilitated by the Oxford Centre for Hebrew and Jewish Studies.

Leadership support is provided by the David Berg Foundation. Generous support is provided by The Achelis Foundation and the Joseph Alexander Foundation, with additional in-kind support from George S. Blumenthal. This presentation is made possible with endowment support from The Jewish Museum Centennial Exhibition Fund and the Horace W. Goldsmith Foundation Exhibition Fund.

Widely admired for its exhibitions and collections that inspire people of all backgrounds, The Jewish Museum is one of the world’s preeminent institutions devoted to exploring the intersection of art and Jewish culture from ancient to modern times. The Jewish Museum organizes a diverse schedule of internationally acclaimed and award-winning temporary exhibitions as well as dynamic and engaging programs for families, adults, and school groups. The Museum was established in 1904, when Judge Mayer Sulzberger donated 26 ceremonial art objects to The Jewish Theological Seminary of America as the core of a museum collection. Today, a collection of 26,000 objects is maintained – paintings, sculpture, works on paper, photographs, archaeological artifacts, ceremonial objects, and broadcast media. The collection is among the three largest of its kind in the world and is distinguished by its breadth and quality. It is showcased in the vibrant, two-floor permanent exhibition, Culture and Continuity: The Jewish Journey, examining the Jewish experience as it has evolved from antiquity to the present.

The Jewish Museum is located at 1109 Fifth Avenue at 92nd Street, New York City. Museum hours are Saturday, Sunday, Monday, and Tuesday, 11am to 5:45pm; Thursday, 11am to 8pm; and Friday, 11am to 4pm. Museum admission is $12.00 for adults, $10.00 for senior citizens, $7.50 for students, free for children under 12 and Jewish Museum members. Admission is free on Saturdays. For information on The Jewish Museum, the public may call 212.423.3200 or visit the website at www.TheJewishMuseum.org.

Contemporary Istanbul the leading international art fair in Turkey has announced the details of the 8th edition. Featuring 92 galleries from 21 countries with outstanding works by over 650 artists, CI brings both local and international focus to the dynamic art scene in Turkey’s vibrant metropolis. Participants will include Marlborough Gallery, Galerie Lelong, Andipa Gallery, Opera Gallery, Galeria Javier Lopez, Michael Schultz, Dirimart, Galerist, Galeri Mana, Galeri Nev, Pi Artworks, and Rampa. The 8th edition of Contemporary Istanbul (www.contemporaryistanbul.com), the leading international art fair in the unique metropolis coincides with the 13th Istanbul Biennial. The cross-over of Contemporary Istanbul, Istanbul Biennial (which run through October 20th) and Art Istanbul Art Week (4 – 10 November) will make Istanbul the focus of a broad international art audience.

The 7th edition attracted over 68,000 visitors worldwide, including major collectors, artists, journalists and international gallery and fair directors. 102 contemporary art galleries from 27 countries exhibited and sold work by 612 artists. These included important international galleries such as Marlborough Gallery, Haunch of Venison, Andipa Gallery, Opera Gallery, Galerie Michael Schultz, MAM-Mario Mauroner Contemporary Art, Cordeiros Galleria as well as local galleries: Dirimart, Rampa, Galeri Mana, Rodeo and Galerist. The total value of exhibited works amounted to more than $100 million of which 66%, the equivalent of 2,500 works on display, were sold.

Contemporary Istanbul 2012: Alan Istanbul, Murat Pulat, Untitled, 2012. 160 x 220 cm. Oil on canvas.

Held at Istanbul Convention and Exhibition Center (ICEC) and the Istanbul Congress Center, the 8th edition of the fair will run from 7 – 10 November 2013 and offers a comprehensive range of international and Turkish art including painting, sculpture, video works, installation and limited editions from local and international galleries from different and mutually enriching horizons. Featuring 110 galleries from 21 countries –2/3 of which come from 21 different countries– and approximately 650 artists Contemporary Istanbul 2013 will be the largest event to date. Marlborough Gallery, New York; Galerie Lelong, Paris; Andipa Gallery, London; Opera Gallery, Geneva; Galeria Filomena Soares, Lisbon; Galeria Javier Lopez, Madrid; Senda, Spain; Michael Schultz, Germany; Klaus Steinmetz, Costa Rica; Dirimart, Galerist, Galeri Mana, Galeri Nev, Pi Artworks, Rampa, xist from Turkey are among the expected galleries of the 8th Edition

CI 2012: Dirimart Gallery, Sarah Morris, Dog (Origami); 2009. 214 x 214 cm. Household gloss paint on canvas.

CI 2012: AD Gallery, Athens, Elias Kafouros, Now I Know; 2011. 70 x 70 cm, Ink on cotton paper.

Mr Ali Gureli, Chairman of The Fair says: ‘Since 2006 the aim of CI has been to raise awareness of both local and international artists in Turkey, while increasing interest amongst international audiences in Turkey’s vibrant contemporary artistic scene. Our vision is to be a fair embedded in the culture of Istanbul while being an artistic hub for galleries from across Eastern Europe, the Middle East and North Africa. We believe in the assets of the local culture should not to be effaced by the uniform, homogenous global culture. Aligning ourselves to the values in the last seven years, we gathered not only galleries from across the world but also hosted countries like Golf Countries, Eastern European Countries and this year Russia. Thus highlighting the unique glocal idiosyncrasy (the character) of Contemporary Istanbul as not only an art fair, but a cultural platform. Previous editions of the fair have been extremely successful with regards to sales and interest, with over 200 international press and the presence of many decisive and eager Turkish collectors. Several groups of international collectors made large acquisitions for their collections. In light of this success, we are happy to announce the launch of two new satellite fairs coinciding with Contemporary Istanbul in 2014, with a focus on photography, new media and emerging artists and galleries.”

A fresh and exciting addition to the fair is Plug-In New Media section, will be dedicated to video art and new media. It will bring a fresh perspective on new media art, embracing video art, sound and light installations, interactive design, indoor mapping projects and robotic designs in the adjacent 1.000 m2 area as a part of the fair.

CI 2012: Egeran Gallery, Mel Bochner, Silence; 2012. 159.4 x 118.7 cm. Oil on white velvet.

CI 2012: C.A.M Gallery, Dieter Mammel, Angelina. 155 x 155 cm. Ink on canvas.

CI Dialogues the fair’s talk programme will be themed around new technologies, new media and art and will examine questions including how and in which ways do new technologies influence the production of art.

DIYALOG: Art from Vienna will showcase works by leading contemporary artists living in Vienna, including artists Jakob Lena Knebl, Brigitte Kowanz, Hans Scheirl, Constantin Luser, Gabriele Edlbauer, Rudolf Polanzsky, Rita Nowak. Sponsored by OMV Group, the special project sponsor of CI, the selection is made by a pool of ten curators. Hermann Nitsch, one of the founders of Vienna Actionism will exhibit his 66th Painting Performance, “Malakt” in the adjacent 500 m2 area throughout the fair.

CI 2012: Françoise Heitsch Gallery, Klaus vom Bruch, In the Future Every Artist Will Be a Woman, 2012. Photograph, Ed., 100 x 115 cm.

CI 2012: Galeri Baraz, Peter Halley; 2012. 203 x 220 cm. Acrylic, Mixed Media on canvas.

Newly launched in July 2013 is Bodrum Contemporary Art Campus (BCAC), an artist’s residency program–hosting over one hundred emerging artists from all over the world while cooperating with the  international art institutions and universities–organized and funded by Contemporary Istanbul. Located on Turkey’s Southern Coast, BCAC provides local and international emerging artists with up to 12 months support. Works by artists who have participated in this year’s residency will be exhibited at the fair.

NEW HORIZONS

The New Horizons section explores contemporary artistic expression of surrounding countries of the region. Having previously featured contemporary art from Syria, Iran, the Gulf and Central and Eastern Europe, the 8th edition’s focus is on Russia, with Contemporary Istanbul playing host to galleries, artists, curators, publications, art critics and collectors from Russia. Marina Gisich, St-Petersburg; Anna Nova Gallery, St-Petersburg; Blue Square Gallery, Washington; Galerie Iragui, Moscow/Paris; Pop/off/art, Moscow/Berlin;  and Art.re.Flex Gallery, St-Petersburg are among the galleries which will be hosted in New Horizons section.

CI 2012: Galerie Voss, Claudia Rogge, Lost in Paradise- Paradise Lost I; 2012. 180 x 149 cm. Lambda on Alu-Dibond.

ART ISTANBUL- A WEEK-LONG CELEBRATION OF CONTEMPORARY CULTURE

Art Istanbul (www.artistanbul.org), a city-wide week-long initiative which sees participating institutions – including museums, foundations and galleries – presents a program of exhibition openings, artist talks and panel discussions. In the 2nd year of the project; between November 4-10, the various events of galleries, along with Istanbul Foundation For Culture and Arts (IKSV), Istanbul Modern, Sabancı Museum, Pera Museum, Salt, Arter, art initiatives and European cultural institutions, will be shared with the public within a unified structure coinciding the 13th Istanbul Biennial.

The event will host a number of cultural activities, with a cultural program held in association with major Turkish contemporary art galleries and leading institutions and Turkey’s leading international art fair, Contemporary Istanbul. Other galleries, Art institution and Museums and foundations participating in Art Istanbul includes Alan İstanbul, art On Istanbul, artSümer, Asfalt Art Gallery, C.A.M, CDA Projects, Çağla Cabaoğlu, Daire Sanat, Egeran Galeri, Ekavart Gallery, Elipsis, Galeri Apel, Galeri Artist, Galeri Artist Çukurcuma, Galeri İlayda, Galeri Linart, Galeri Mana, Galeri Nev, Galeri Selvin, Galerist, Galeri Zilberman, Kare Art Gallery, Merkur, Mim Art, NON, Olcay Art, PG Art Gallery, Pi Artworks, Pilot, Piramid Sanat, Rampa, Sanatorium, Soda, The Empire Project, X-ist, Istanbul Design Biennial, Akbank Art Center, Arter, Borusan Contemporary, Istanbul Modern, The Museum of Innocence, Pera Museum, Proje 4L – Elgiz Contemporary Art Museum, SALT, 5533, AmberPlatform, Collectorspace, Kat 1, Near East, Mixer, Pasajist, Spot, Consulate-General of the Kingdom of the Netherland, and Institut Français.

Mr Ertugrul Gunay, Turkey’s Minister of Culture and Tourism says: ‘Istanbul with its ever-increasing number of art centers, museums, world-renowned events such as Istanbul Biennial and Contemporary Istanbul, along with its cultural heritage and economic strength, has managed to attract both local and international recognition. We are delighted to support this week.’

INTERNATIONAL EVENTS

As the fair prepares to welcome 110 galleries to the 8th edition which coincides with the 13th Istanbul Biennial, Contemporary Istanbul gathered top collectors from Europe via a special event in Venice. The Cocktail Reception which was held during the opening week of Venice Biennial welcomed important figures from the art world on the 29th of May at Palazzetto Pisani.

The event follows on from a cocktail reception hosted on the 15th February 2013, as part of Arco Madrid’s Focus Turkey Program and a cocktail reception hosted on the 20th of March in Dubai coinciding Art Dubai 2013 which gathered art professionals, artists, art enthusiasts and media from the region.

Contemporary Istanbul also gathered collectors, art professionals, artists, art enthusiasts and press members from Europe via a special event in Basel at Art basel 2013. The event was organized with the support of Akbank Private Banking and held on 12th June at Safran Zunft Restaurant accordingly the opening of Art Basel

ICE MAGAZINE

Contemporary Istanbul continues to publish its quarterly contemporary art and culture magazine ICE (Istanbul – Contemporary – Etc.). Issued in Turkish and English in order to carry out its mission to promote contemporary Turkish art, both inside and outside the country. ICE Arco Madrid and Art Dubai issues were available at the ICE Magazine booths at Art Dubai and Arco Madrid as one of the media partners of the fairs. ICE is available with its monthly application on iPad and iPhone as well.

INFORMATION

Visiting Hours

6 Nov: VIP Preview,

7- 10 Nov: 11:00 am -  8:00 pm

Istanbul Convention and Exhibition Center & Istanbul Congress Center

www.contemporaryistanbul.com

http://www.facebook.com/Contemporaryistanbul

www.twitter.com/Contemporaryist

Event to be held Wednesday, November 6, 2013 Beverly Wilshire Hotel

The Museum of Contemporary Art (Los Angeles) has announced that award-winning actress and activist Sharon Stone will host the 8th MOCA Award to Distinguished Women in the Arts luncheon on November 6, 2013 at the Beverly Wilshire Hotel, Beverly Hills. This year’s highly anticipated award welcomes guests from the contemporary art, philanthropy, film, fashion and entertainment worlds and honors celebrated Los Angeles artists Lita Albuquerque, Helen Pashgian, Nancy Rubins and Betye Saar. Ticket prices range from $275 to $1,000 and tables for
10 are $5,000.

The MOCA Award to Distinguished Women in the Arts was established in 1994 by the MOCA Projects Council to recognize the many gifted women providing leadership and innovation in the visual arts, dance, music, and literature. Past recipients include noted collector and patron Beatrice Gersh (1994), editor Tina Brown (1997), choreographer Twyla Tharp (1999), actress and director Anjelica Huston (2001), and artists Barbara Kruger (2001), Yoko Ono (2003), Jenny Holzer (2010), and Annie Leibovitz (2012).

This year’s event is led by Event Chairman Ricki Ring. Honorary Co-Chairmen are Dallas Price-Van Breda, Carolyn Powers, Catharine Soros, Maria Hummer-Tuttle, and Andrea L. Van De Kamp. The Honorary Event Committee includes Wallis Annenberg, Maria A. Bell, Jackie Blum, Edythe Broad, Kimberly Brooks, Betye Burton, Judy Chang, Christine

Sharon Stone

Alexandra Chiu, Aviva Covitz, Rosette Delug, Mandy Einstein, Susan Gersh, NJ Goldston, Joanne Heyler, Sydney D. Holland, David G. Johnson, Wonmi Kwon, Annie Leibovitz, Deborah McLeod, Marti Oppenheimer, Carla Sands, Sutton Stracke, Lilly Tartikoff Karatz, and Orna Amir Wolens.

Presented by The MOCA Projects Council, one of the museum’s major support organizations, the event will benefit MOCA’s award-winning education programming, particularly Contemporary Art Start, which received the 2012 Superintendent’s Award for Excellence in Museum Education, an honor jointly awarded by the California Association of Museums and the Office of the State Superintendent of Public Education.

Event Chairman Ricki Ring said, “We are delighted that Sharon Stone will participate in this year’s MOCA Award to Distinguished Women in the Arts. She has established herself prominently in the world of film and humanitarian activism. We are proud to include her in this diverse group of outstanding individuals who have set a standard for contemporary visual arts, culture and entertainment in Los Angeles.”

Lita Albuquerque was among the first founding artists for MOCA and gained international acclaim for her ephemeral pigment installations. Helen Pashgian was one of the pioneers of the California Light and Space movement of the 1960s and participated in The Artist’s Museum (2010). Nancy Rubins blazed a trail as one of the most important sculptors of her generation, and her large-scale, outdoor sculpture has been a striking presence at MOCA Grand Avenue for more than a decade. Betye Saar, one of the great  assemblagists of our time, participated in important solo and group exhibitions at MOCA including WACK! Art and the Feminist Revolution, 1965-1980 (2007) and Sanctified Visions (1990). The four artists were all represented in various exhibitions that were part of the Getty initiative Pacific Standard Time: Art in L.A. 1945 – 1980, celebrating the birth of the Los Angeles art scene.

A fashion presentation by Los Angeles-based curated space Just One Eye, which offers extraordinary pieces of art, fashion, jewelry and objects and facilitates and fosters creative relationships between artists and designers, will be part of the event.

Sharon Stone is an actress, producer, writer, song writer/lyricist, activist, and humanitarian. She became one of Hollywood’s most sought-after leading ladies after her role in “Basic Instinct” (1992). She received the Golden Globe Award for Best Actress and an Academy Award nomination for “Casino” (1995) as well as the Emmy Award for Outstanding Guest Actress in A Drama Series and has starred in many critically-acclaimed film and television roles. Off screen, she has dedicated herself to various humanitarian causes and has been recognized for her activism, notably as a long-time advocate for HIV/AIDS research and hunger relief.

A pioneer in arts education, MOCA Education has consistently presented award-winning programming that benefits adults, families, students, and community members of all ages and backgrounds. For three decades, the museum’s professional educators have made MOCA’s collection and exhibitions accessible to diverse audiences through a myriad of offerings that enable visitors to build relationships with works on view. These programs range from public tours, free Sunday workshops, art talks, courses, and teen internships to community collaborations, such as Contemporary Art Start (CAS)—a nationally recognized art education program that annually serves more than 170 teachers and 5,500 elementary, middle, and high schools students in over 65 schools across the greater Los Angeles area, encouraging creativity and critical thinking through an interactive study of contemporary art. For 24-hour information on current exhibitions, education programs, and special events at MOCA, please call 213/626- 6222 or access MOCA online at www.moca.org.

Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings

September 27, 2013–January 5, 2014

The eighteenth century witnessed Venice’s second Golden Age. Although the city was no longer a major political power, it reemerged as an artistic capital, with such gifted artists as Giambattista Tiepolo, his son Domenico, Canaletto, and members of the Guardi family executing important commissions from nobility and the church, while catering to foreign travelers and bringing their talents to other Italian cities and even north of the Alps. Drawn entirely from the Morgan’s collection of eighteenth-century Venetian drawings—one of the world’s finest—Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings chronicles the vitality and originality of an incredibly vibrant period. The exhibition will be on view from September 27, 2013–January 5, 2014.

“In the eighteenth century, as the illustrious history of the thousand-year-old Venetian Republic was coming to a close, the city

Giambattista Tiepolo, (1696–1770), Psyche Transported to Olympus, Pen and brown ink, with brown wash, over black chalk, on paper., The Morgan Library & Museum, New York; 1997.27, Gift of Lore Heinemann, in memory of her husband, Dr. Rudolf J. Heinemann

was favored with an array of talent that left a lasting mark on western art,” said William M. Griswold, director of the Morgan Library & Museum and principal curator of the exhibition. “The names Tiepolo, Canaletto, and Guardi are almost synonymous with the time and place, and their paintings and frescoes are the works most commonly associated with the Settecento in Venice. But their greatness as painters is only part of a much larger story. The drawings in this exhibition, chosen entirely from the Morgan’s collection, bring to light the full spirit of eighteenth-century Venetian art and the many extraordinary individuals who participated in the resurgence of cultural activity that characterized the final years of the Republic.”

The Morgan has more than two hundred sheets by Giambattista Tiepolo, spanning his long and immensely successful career. Over thirty are on view in the exhibition, including a monumental early drawing of Hercules, dozens of luminous studies in pen and wash the frescoed ceilings for which Tiepolo was most famous and a late study for an overdoor decoration that he created in Madrid, where he lived and worked from 1762 until death in 1770.

Many of Tiepolo’s most beautiful drawings relate to the vast fresco depicting Apollo accompanied by other deities and the Four Continents, which the artist painted in 1740 on a ceiling in the Palazzo Clerici, Milan. Several works in the show, such as a drawing of Father Time and Cupid, relate directly to the finished fresco. A number of others were ultimately rejected by Tiepolo, or instead relate to the spectacular oil sketch for the Palazzo Clerici ceiling that now belongs to the Kimbell Art Museum, in Fort Worth.

Giovanni Battista Piazzetta (1682–1754), Young Woman with Tambourine , Black chalk, heightened with white chalk, on paper., 17 x 13 1/2 inches (432 x 343 mm.), The Morgan Library & Museum, New York; IV, 90

A highlight of the exhibition is Tiepolo’s remarkable drawing The Virgin and Child Seated on a Globe, which like a number of other sheets on view formerly belonged to an album of exceptionally large, finished studies once in the collection of Russian Prince Alexis Orloff. The sheet counts a rare example of the artist’s designs for metalwork, in this case perhaps a processional mace for the Scuola Grande dei Carmini, Venice.

   Giovanni Battista Piazzetta was a half a generation older than Giambattista Tiepolo, and he exercised a profound influence on the work of the younger artist. The exhibition includes nine of the Morgan’s more than two hundred drawings by Piazzetta, including figure studies, drawings of ideal heads made for sale to collectors, and a selection of sheets that relate to the artist’s work as a designer of book illustrations.

    Sebastiano Ricci played a crucial role in reorienting Venetian painting toward a new, painterly grand manner inspired by such earlier masters as Paolo Veronese. Ricci’s paintings, distinguished by their bright colors and flickering brush work, were a source of inspiration for later eighteenth-century Venetian artists. In addition to two drawings by him, the exhibition also features five sheets by Sebastiano’s nephew and pupil Marco Ricci. Best known for his imaginary landscapes, the younger Ricci’s drawings reflect diverse influences, including Renaissance and later Italian painters and printmakers, and even seventeenth-century Dutch art.

View painting—or vedutismo—flourished in eighteenth-century Venice, and both local collectors and foreign grand tourists eagerly sought images that replicated or merely evoked the unique topography of the city. Such topographical views and architectural capricci inspired by Venice’s architecture, canals, and lagoon were the specialty of Canaletto, who is represented in the exhibition with five drawings. These range from sketches made on the spot to finished works intended for sale. Francesco Guardi similarly excelled in depictions of Venice and nearby locations. Two of his drawings on view depict the richly decorated bucintoro, the state barge on which the doge journeyed each year on Ascension Day to reenact Venice’s symbolic marriage to the sea. Guardi’s drawing of Count Giovanni Zambeccari’s balloon ascent—launched from a platform in the Bacino di San Marco in 1783—is a faithful record of an event, whereas other works by the artist mingle the real with the imaginary.

The Morgan is one of the world’s principal repositories of drawings by Giovanni Battista Piranesi, an artist whose spirited work reflects a variety of influences, from late Baroque stage design to the monuments of ancient Rome. Although few of his surviving drawings were made in his native Venice, the Morgan has a small group, of which a selection is on display. These include a magnificent, large sketch of a gondola, several designs for the interior decoration of Venetian palaces, and one of a very small number of freely drawn figural compositions that apparently date to the first years of the artist’s career.

The last truly great Venetian artist of the period was Domenico Tiepolo, who lived until the first decade of the nineteenth century and saw the collapse of the Venetian Republic in 1797. In 1740 Domenico entered his father Giambattista’s busy workshop, where he rapidly became a key member. The influence of his father was profound, and many drawings by the younger Tiepolo relate to those of Giambattista, but Domenico’s tremulous pen work and layering of wash set his work apart from that of the older artist.

Between 1786 and 1790, Domenico Tiepolo executed a series of more than three hundred New Testament scenes. Six of the Morgan’s twenty-three sheets from the series are on display, including a moving Christ on the Mount of Olives, Saints Peter and John at the Beautiful Gate, and The Holy Family Arrives at the Robbers’ Farm, an unusual subject derived from the Apocrypha In another series of about eighty large drawings the artist depicted scenes of Venetian life during the final years of the Republic. The six drawings from the series in the exhibition wittily describe the foibles and excesses of the artist’s contemporaries from all walks of life, including a quack dentist, a storyteller, a bride-to-be with her prospective mother-in-law, and bewigged magistrates.

Toward the very end of his life Domenico Tiepolo undertook one last, important series of drawings: theatrical vignettes chronicling birth, childhood, youthful advenmiddle age, illness, death, and resurrection of the Commedia dell’Arte character Punchinello. Begun in 1797, the year the last doge stepped aside and the thousand-year-old Republic of Venice ceased to exist, these drawings are among the greatest achievements of eighteenth-century Venetian art.

In addition, Tiepolo, Guardi, and Their World present drawings by some of the many lesser-known artists who worked alongside Sebastiano Ricci, Piazzetta, and Giambattista Tiepolo. These include Gaspare Diziani, Franceso Fontebasso, Mattia Bortoloni, Pietro Longhi, Pietro Antonio Novelli, Francesco Tironi, and Giacomo Guardi, whose postcard-like Venetian views in gouache on paper mark the end of a long, glorious tradition.

PUBLIC PROGRAMS

GALLERY TALK

Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings

Friday, October 18, 6:30 pm

An informal exhibition tour with Edward Payne, Moore Curatorial Fellow in the Morgan’s Department of Drawings and Prints. Free with museum admission

GALLERY TALK

Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings

Friday, November 8, 6:30 pm

William M. Griswold, Director of the Morgan, will lead an informal tour of the exhibition. Free with museum admission

Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings is organized by Morgan Director William M. Griswold and Jennifer Tonkovich, Curator in the Department of Drawings and Prints. This exhibition is generously supported by the Sherman Fairchild Fund for Exhibitions, Kasper, and Mr. and Mrs. Clement C. Moore II.

The Morgan Library & Museum

The Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today, more than a century after its founding in 1906, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. In October 2010, the Morgan completed the first-ever restoration of its original McKim building, Pierpont Morgan’s private library, and the core of the institution. In tandem with the 2006 expansion project by architect Renzo Piano, the Morgan now provides visitors unprecedented access to its world-renowned collections of drawings, literary and historical manuscripts, musical scores, medieval and Renaissance manuscripts, printed books, and ancient Near Eastern seals and tablets.

The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

General Information

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405

212.685.0008

www.themorgan.org

Just a short walk from Grand Central and Penn Station

Hours

Tuesday–Thursday, 10:30 a.m. to 5 p.m.; extended Friday hours, 10:30 a.m. to 9 p.m.; Saturday, 10 a.m. to 6 p.m.; Sunday, 11 a.m. to 6 p.m.; closed Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day. The Morgan closes at 4 p.m. on Christmas Eve and New Year’s Eve.

Admission

$18 for adults; $12 for students, seniors (65 and over), and children (13–16); free to Members and children 12 and under accompanied by an adult. Admission is free on Fridays from 7 to 9 p.m. Admission is not required to visit the Morgan Shop and Café.

Bob Mizer & Tom of Finland

November 2, 2013-January 26, 2014

MOCA Pacific Design Center, 8687 Melrose Ave., Design Plaza G102, West Hollywood, CA 90069

MOCA PACIFIC DESIGN CENTER (http://www.moca.org/museum/moca_pdc.php) presents Bob Mizer & Tom of Finland, the first American museum exhibition devoted to the art of Bob Mizer (1922–1992) and Touko Laaksonen, aka “Tom of Finland” (1920–1991), two of the most significant figures of twentieth century erotic art and forefathers of an emergent post-war gay culture. The exhibition features a selection of Tom of Finland’s masterful drawings and collages, alongside Mizer’s rarely seen photo-collage “catalogue boards” and films, as well as a comprehensive collection of his groundbreaking magazine Physique Pictorial, where drawings by Tom were first published in 1957. Organized by MOCA Curator Bennett Simpson and guest co-curator Richard Hawkins, the exhibition is presented with the full collaboration of the Bob Mizer Foundation, El Cerrito, and the Tom of Finland Foundation, Los Angeles.

Tom of Finland is the creator of some of the most iconic and readily recognizable imagery of post-war gay culture. He produced thousands of images beginning in the 1940s, robbing straight homophobic culture of its most virile and masculine archetypes (bikers, hoodlums, lumberjacks, cops, cowboys, and sailors) and recasting them—through deft skill and fantastic imagination—as unapologetic, self-aware, and boastfully proud enthusiasts of gay sex. His most innovative achievement though, worked out in fastidious renderings of gear, props, settings, and power relations inherent therein, was to create the depictions that would eventually become the foundation of an emerging gay leather culture. Tom imagined the leather scene by drawing it; real men were inspired by it… and suited themselves up.

Bob Mizer, Physique Pictorial Volume 10 Number 4, april 1961, publication, printed with permission of Bob Mizer Foundation, Inc.

Bob Mizer began photographing as early as 1942, but unlike many of his contemporaries in the subculture of illicit physique nudes, Mizer took the Hollywood star-system approach and founded the Athletic Model Guild in 1945, a film and photo studio specializing in handsome natural-bodied (as opposed to exclusively muscle-bound, the norm of the day) boy-next-door talent. In his myriad satirical prison dramas, sci-fi flix, domesticated bachelor scenarios, and elegantly captivating studio sessions, Mizer photographed and filmed over 10,000 models at a rough estimate of 60 photos a day, seven days a week for almost 50 years. Mizer always presented a fresh-faced and free, unashamed and gregarious, totally natural and light-hearted approach to male nudity and intimate physical contact between men. For these groundbreaking perspectives in eroticized representation alone, Mizer ranks with Alfred Kinsey at the forefront of the sexual revolution. Thanks to the Guild, Mizer was not only a subversive and kitschy force in the art world but also one of the first to instill an open, gay community before the concept even existed.

Bob Mizer, Physique Pictorial Volume 16 Number 4, February 1968, Publication, Printed with permission of Bob Mizer Foundation, Inc.

Though Laaksonen did not move to Los Angeles until the 1970s, he had long known of Mizer and the photographer’s work through Physique Pictorial, the house publication and sales tool for Athletic Model Guild. It was to this magazine that the artist first sent his drawings and it was Mizer, finding the artworks remarkable and seeking to promote them on the magazine’s cover, but finding the artist’s Finnish name too difficult for his clientele, who is responsible for the now famous “Tom of Finland” pseudonym.

By the time the gay liberation movement swept through the United States in the late 1960s, both Tom of Finland and Bob Mizer were already well-known and widely celebrated as veritable pioneers of gay art. Decades before Stonewall Inn and the raid on the Black Cat Tavern these evocative and lusty representations of masculine desire and joyful, eager sex between men proliferated and were disseminated worldwide at a time when the closet was still very much the norm—there was no such thing as a gay community. If these artists were not ahead of their time, they might just have foreseen and even invented a time.

Tom of Finland Drawing

Spanning five decades, the exhibition seeks a wider appreciation for Tom of Finland and Bob Mizer’s work, considering their aesthetic influence on generations of artists, both gay and straight, among them, Kenneth Anger, Rainer Werner Fassbinder, David Hockney, G.B. Jones, Mike Kelley, Robert Mapplethorpe, Henrik Olesen, Jack Pierson, John Waters, and Andy Warhol. The exhibition also acknowledges the profound cultural and social impact both artists have made, especially in providing open, powerful imagery for a community of desires at a time when it was still very much criminal. Presenting the broader historical context and key aspects of their shared interests and working relationship, as well as more in-depth solo rooms dedicated to each artist, the exhibition establishes the art historical importance of the staggering work of these legendary figures.

In addition to approximately 75 finished and preparatory drawings by Tom of Finland spanning 1947–1991, the exhibition includes a selection of Tom’s never before exhibited scrapbook collages, and examples of his serialized graphic novels, including the legendary leatherman Kake, as well as a selection of Mizer’s “catalogue boards,” AMG films, and a complete set of Physique Pictorial magazine. An accompanying publication includes texts by the exhibition co-curators and a selection of images.

Bob Mizer, Untitled [Ray Hornsby, Motorcycle], Los Angeles, c. 1957, Vintage large-format black and white negative Silver gelatin print, , 8 x 10 inches. Printed with permission of Bob Mizer Foundation, Inc .

Together for the first time in a comprehensive exhibition, Skarstedt Gallery London (23 Old Bond Street London, W1S 4PZ, +44 20 7499 5200) present Richard Prince: Protest Paintings (1989 – 1994), the artist’s sixth solo exhibition at the gallery. Devoted solely to this exceptional body of work and including paintings from across the entire series, a detailed catalogue of the Protest Paintings will be published to accompany the exhibition.

Untitled (Protest Painting) (1994), Untitled (Protest Painting) (1994) by Richard Prince, courtesy of Skarstedt

Painted on a vertical canvas in the shape of a protest placard, the Protest Paintings alternate between monochromatic minimalism and richly layered colorful abstraction. Incorporating recycled jokes, printed and hand-written, as well as mined pattern details silkscreened onto the canvas, these paintings are characteristic of Prince’s tenet of appropriation. A mainstay in his oeuvre, the classic one-liners offers comic respite, whilst also challenging the antipathy between high and low art. Masking a menacing truth behind a veil of humor, the jokes are subversive in their purpose. As the curator Nancy Spector writes in an essay on Prince: ‘humor is a serious business.’ 1

Purposefully ambiguous, the scrawled slogans resist interpretation, enacting their very own protest through language. Refusing to conform to the standards of the art value system, the Protest Paintings seemingly channel the spirit of the 1960’s counterculture, a defining era to which Prince bore witness.

Featuring paintings from public and private collections, the exhibition demonstrates the breadth of Prince’s creativity in this singular body of work. The range of paintings on show includes monochrome canvases with printed and handwritten jokes, patterned canvases with block text and brightly colored abstract compositions overlaid with graffiti and drip marks.

In contrast to the formulaic design of the earlier Monochrome Joke paintings, in the Protest Paintings we see Prince’s full creative involvement. Carefully assembling different segments of canvas to form the symbolic crossbow shape of the protest placard, Prince combines gestural brushstrokes with under-painting, silkscreen and disjointed signs, to create a palimpsest of art historical reference and his own particular brand of humor. A visual expression of the performativity that is both characteristic of a protest and a constant element throughout Prince’s oeuvre, the Protest Paintings are a masterful example of Prince’s unique artistic practice.

Rising to prominence in the 1980s, Richard Prince is a celebrated pioneer of a critical approach to art making. Appropriating images and text from advertising and popular culture, his photographs, sculptures and paintings explore ideas of American identity and consumerism, whilst simultaneously challenging ideas of authorship and the privileged status of the unique artwork. Prince has been the subject of solo exhibitions at leading institutions worldwide, including Serpentine Gallery, London; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and IVAM, Valencia amongst others.

Art Miami’s Sister Fair to Feature 69 International Galleries Presenting Cutting-Edge Works by Emerging and Mid-Career Talents

Art Miami LLC is pleased to announce its roster of exhibitors for CONTEXT, taking place at a 45,000-square-foot pavilion in the renowned Wynwood Arts District from December 3 through December 8, 2013. CONTEXT’s successful 2012 debut established it as the ultimate platform for international galleries to present cutting-edge works by emerging and mid-career talents. The fair provides insight into the latest trends in contemporary art by contextualizing them with some of the finest examples of groundbreaking 20th century movements at its neighboring sister fair Art Miami.

The following galleries have been confirmed for participation at CONTEXT in 2013:

532 Gallery Thomas Jaeckel | New York; Accola Griefen Gallery | New York; Alicia David Contemporary Art | London; Alida Anderson Art Projects | Potomac; Amstel Gallery |Amsterdam; Andrea Schwartz Gallery | San Francisco; Anna Kustera Gallery | New York; Arch Gallery | Miami; Art Lexing | Miami; ASYMMETRIK | New York; Athena Contemporânea | Rio de Janeiro; Aureus Contemporary | Providence; Baang + Burne Contemporary | New York; blunt | Toronto; camara oscura galeria de arte | Madrid; Casa de Costa | New York; Cheryl Hazan Contemporary Art | New York; CONNERSMITH. | Washington DC; Cube Gallery | London; Da Xiang Art Space | Taichung; Denise Bibro Fine Art | New York; Eduardo Secci Contemporary | Florence; Eli Klein Fine Art | New York; Fabien Castanier Gallery | Studio City; FitzRoy Knox Gallery | New York; Galeria Enrique Guerrero | Mexico City; Galeria Sicart | Barcelona; Galleria Ca’ D’Oro | Rome; Galerie Berlin | Berlin; Galerie Kornfeld | Berlin; Galerie Kuhn + Partner | Berlin; Galerie Obrist | Essen; Galerie Richard | New York; Galleri Urbane Marfa + Dallas | Dallas; Gallery Henoch | New York; Heitsch Gallery | Munich; JanKossen Contemporay | Basel; JJ Joong Jung Gallery | Seoul; Julian Navarro Projects | Long Island City; Kathryn Markel Fine Arts |New York; Kavachnina Contemporary |Miami; Kim Foster Gallery | New York; Library Street Collective | Detroit; LICHT FELD | Basel; Lyle O. Reitzel Arte Contemporaneo | Santo Domingo; Lyons Wier Gallery | New York; Magnan Metz Gallery | New York; Mark Wolfe Contemporary Art | San Francisco; metroquadro | Rivoli; N2 Galería | Barcelona; Officine dell’Immagine | Milan; P.S.H. project | Miami; Packer Schopf Gallery | Chicago; Patricia Conde Galería | Mexico City; Pentimenti Gallery | Philadelphia; Porter Contemporary | New York; Schmalfuss Berlin contemporary fine arts | Berlin; Seager Gray Gallery | Mill Valley; Shulamit Gallery | Venice; Sous Les Etoiles Gallery | New York; Stephan Stoyanov Gallery | New York; Susan Eley Fine Art | New York; Swedish Photography | Berlin; Tammen & Partner | Berlin; The McLoughlin Gallery | San Francisco; The Proposition | New York; ZIMM GALLERY | Prague; White Room Art System | Naples; Whitestone Gallery | Tokyo

CONTEXT along with the 24th edition of Art Miami will commence on December 3, 2013 with CONTEXT Art Miami’s highly anticipated Opening Night VIP Preview to benefit the Miami Art Museum (PAMM. The 2012 benefit preview attracted 11,000 collectors, curators, artists, connoisseurs, and designers and the fair hosted a total of 60,000 attendees over a six-day period.

This immediately reinforced the CONTEXT fair as a proven destination and serious marketplace for top collectors to acquire important works from the leading international galleries representing emerging and mid career cutting edge works of art.

The combined exhibition space of CONTEXT Art Miami and Art Miami will increase the overall roster of galleries to 190 participants and cover 200,000 square feet. Ample and convenient parking is available for both fairs through the use of a four-story parking garage with 2,000 spots, located directly across the street from the CONTEXT& Art Miami Pavilions as well as valet parking. A network of complimentary shuttle buses will run round-trip service between Art Miami, CONTEXT, Aqua Art Miami and Art Basel Miami Beach.

Linked by a courtyard installed with curated projects, CONTEXT Art Miami and Art Miami create a diverse art community with nearly 200 roomy booths on 250,000 square feet of Midtown Miami at the center of the city’s cultural expansion. Last year this accessible pairing broke records by attracting more than 60,000 visitors and generating sales of more than $50 million.

“The overwhelmingly positive response to the premiere of CONTEXT last year affirmed the art world’s appetite for a fresh approach to presenting cutting-edge artwork,” said Nick Korniloff, Director and Partner of Art Miami LLC. “We saw many new faces enjoying its unique flavor while our loyal patrons appreciated seeing even more of the high-quality artwork they have come to expect from our fairs. We look forward to connecting them with the prestigious and adventurous galleries whose addition in 2013 will take CONTEXT to the next level.”

To stimulate meaningful dialogue among artists, galleries and collectors, CONTEXT will offer special programming that enlightens fairgoers about innovative techniques and market developments. Highlights include the sixth edition of Art Miami’s popular Art Video | New Media Lounge, curated by LaRete Art Projects, which will feature an institution specializing in digital and moving images inside the CONTEXT pavilion and extend out to the courtyard with the new exhibition ZOOM IN. In a series of video boxes opening onto the walkway between the CONTEXT and Art Miami pavilions, five galleries will screen moving images chosen by Julia Draganovic, Elena Forin and Claudia Löffelholzof LaRete. An independent jury of video art experts will view the pieces onsite and honor one artist with the inaugural ZOOM IN Award on Saturday, Dec. 7.

Additionally, CONTEXT will once again explore Berlin’s influential art scene with ART FROM BERLIN, a showcase of six of the city’s best contemporary galleries selected by a panel of accomplished curators and art critics. The Galleries Association of Berlin (lvbg) - which presents ART FROM BERLIN with official support from the municipality of Berlin and the European Union (EU) – will entertain and inform guests at the BERLIN LOUNGE. This microcosm of the global art capital’s dynamic gallery community will include a cross-section of established and emerging exhibitors: Galerie Berlin, Galerie Kornfeld, Galerie Kuhn + Partner, Schmalfuss Berlin contemporary fine arts, Swedish Photography and Tammen & Partner.

Art Miami is the leading international contemporary and modern art fair that takes place in Miami’s Midtown Wynwood Arts District each December during Miami Art Week. In addition it is one of the most important annual contemporary art events in the United States attracting more than 65,000 motivated collectors, curators, museum professionals and art enthusiasts from around the globe. Entering its 24th year Art Miami remains committed to showcasing the most important artworks of the 20th and 21st centuries in collaboration with a selection of the world’s most respected galleries.

Art Miami showcases the best in modern and contemporary art from more than 125 international art galleries.

Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors, and interior designers providing an intimate look at some of the most important work at the forefront of the international contemporary art movement.

Aqua Art Miami 13 will celebrate its ninth consecutive installment this December and its first as one of the Art Miami LLC family of fairs. It is one of the best fairs for emerging art during Miami Art Week. Over the years, the fair has been recognized for presenting vibrant and noteworthy international art programs with a particular interest in supporting young dealers and galleries with strong emerging and early-to-mid-career artists.

Set within a classic South Beach hotel with spacious exhibition rooms that open onto a breezy intimate courtyard, Aqua’s surroundings will certainly be a favorite gathering spot not only for fun and relaxation during the busy week but also as a place to exchange and disseminate new contemporary art ideas.  And with its close proximity to Art Basel and continuous shuttle service to Art Miami and CONTEXT Art Miami, Aqua Art Miami will transform into one of the top attended satellite art events for collectors, artists, curators, critics and art enthusiasts alike.

Aqua Art Miami will feature 45 dynamic young galleries from North and South America, Europe and Asia; and innovative special programming including performance art, new media and solo installations.  With this commitment to artistic excellence, along with building a dynamic young marketplace with new and increased opportunities around marketing and audience services, Aqua Art Miami is sure to surpass all expectations for 2013.

Immediately recognized as an unparalleled opportunity for galleries on the rise to gain exposure to influential collectors and curators, CONTEXT attracted even more distinguished applicants from around the world for its second outing. A committee of discerning contemporary art dealers have selected 69 exhibitors from 15 countries: Brazil, Canada, the Czech Republic, the Dominican Republic, Germany, Italy, Japan, Mexico, South Korea, Spain, Switzerland, Taiwan, the Netherlands, the United Kingdom and the United States. This eclectic mix from 35 cities will converge to once again make CONTEXT the premier destination for procuring contemporary art and encountering important players in the global art market.

CONTEXT and Art Miami will kick off Miami Art Week with a VIP Preview on Tuesday, December 3. Attended by 11,000 art connoisseurs last year, the opening celebration will benefit the Pérez Art Museum Miami (PAMM), concurrently debuting its grand new Herzog & de Meuron-designed building on the downtown waterfront. This exclusive evening will serve as the first opportunity for collectors to acquire the most coveted works of art available from the 20th and 21st centuries before the fairs open to the general public.

London-based Christie’s International Real Estate has once again been named the Official Luxury Real Estate Partner for CONTEXT and Art Miami. The JW Marriott Marquis Miami and Hotel Beaux Arts Miami have also partnered with CONTEXT and Art Miami to offer special rates for the fairs’ VIP attendees during Miami Art Week. Curators, collectors, artists, connoisseurs and members of the press will have unlimited access to the daily shuttle buses that will connect Art Miami and CONTEXT with Aqua Art Miami, Art Basel Miami Beach and the JW Marriott Marquis Miami.

Art Miami LLC is a partnership consisting of art and media industry veterans Nick Korniloff, Mike Tansey and Brian Tyler. In addition to the three fairs during Miami Art Week, the company annually produces Art Wynwood during Presidents Day weekend in February and Art Southampton in July. Art Miami LLC recently announced the launch of Art Silicon Valley/Art San Francisco in October 2014.

Art Miami’s generous 2013 sponsors and partners include: Christie’s International Real Estate - Official Luxury Real Estate Partner of Art Miami; JW Marriott Marquis Miami and Hotel Beaux Arts Miami - Official Luxury Hotels of Art Miami; Pérez Art Museum Miami, Greater Miami Convention and Visitors Bureau, Universal Travel, Midtown Miami, Art From Berlin, LaRete Art Projects, Balthazar, Bootlegger 21 NY Vodka, Heineken, Art in America, The Art Newspaper, Art Nexus, Arte Al Día, Art Circuits, Artfacts.Net, Hyperallergic, The Miami Herald, The New York Observer and Mutual Art.

For more information, latest updates + events , visit www.contextartmiami.com

ART MIAMI and CONTEXT

Opening Night | VIP Preview:

Tuesday, Dec. 3, 2013, 5:30 to 10 p.m.

Benefiting the Pérez Art Museum Miami (PAMM)

Exclusively for VIP cardholders and members of the press

AQUA ART MIAMI

Opening Night | VIP Preview:

Wednesday, Dec. 4, 2013, 4 to 11 p.m.

Exclusively for VIP cardholders and members of the Press

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art announced that the presentation of three special exhibitions during the spring/summer 2013 season—Impressionism, Fashion, and Modernity; Punk: Chaos to Couture; and The Roof Garden Commission: Imran Qureshi—generated an estimated $742 million in spending by regional, national, and international tourists to New York, according to a visitor survey released by the Museum today. Using the industry standard for calculating tax revenue impact, the study found that the direct tax benefit to the City and State from out-of-town visitors to the Museum totaled some $74.2 million. (Study findings below.) The full-year estimate of visitor spending in New York by out-of-town visitors to the Museum in fiscal year 2013 is $5.4 billion.

Impressionism, Fashion, and Modernity considered the role of fashion in the works of the Impressionists and their contemporaries. The exhibition was made possible in part by The Philip and Janice Levin Foundation, the Janice H. Levin Fund, and the William Randolph Hearst Foundation.

Additional support was provided by Renée Belfer. The exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. The exhibition was organized by The Metropolitan Museum of Art, New York,  the Art Institute of Chicago, and the Musée d’Orsay, Paris.

Impressionism, Fashion, and Modernity

February 26–May 27, 2013

Total Visitors: 440,973

Average/Day: 5,128

Punk: Chaos to Couture examined punk’s impact on high fashion from the movement’s birth in the 1970s through its continuing influence today. The exhibition was made possible by Moda Operandi. Additional support was provided by Condé Nast.

Punk: Chaos to Couture

May 9–August 14, 2013

Total Visitors: 442,350

Average/Day: 4,706

The Roof Garden Commission: Imran Qureshi presents the first large-scale installation in the United States by the contemporary artist Imran Qureshi. The exhibition is made possible by Bloomberg.

Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky.

The Roof Garden Commission: Imran Qureshi

May 14–November 3, 2013

Total Visitors through August 31: 259,858

Average/Day: 2,625

Campbell noted: “It is particularly gratifying to see that visitors from around the globe continue to respond enthusiastically to the Met’s diverse exhibitions and renowned permanent collection. A visit to the Met was cited repeatedly—by more than half of the out-of-town visitors in our survey—as a key reason for deciding to travel to New York.”

Emily K. Rafferty, President of the Metropolitan Museum—who also serves as chair of NYC & Company, the city’s official tourism agency—stated: “Tourism—both domestic and international—is vital to New York’s economic health. The Metropolitan Museum is the most-visited cultural attraction in the City. We are proud of this strong record of attracting visitors from beyond the five boroughs, and of the Met’s clear impact on the economy.”

In the spring/summer 2013 survey period, Impressionism, Fashion, and Modernity, on view from February 26 to May 27, 2013, drew 440,973 visitors. Attendance for Punk: Chaos to Couture was 442,350 during its run from May 9 to August 14. And The Roof Garden Commission: Imran Qureshi attracted 259,858 visitors from May 14 through August 31, 2013, when this survey was completed.

The survey found that 1.7 million or 77% of the Museum’s visitors traveled from outside the five boroughs of New York. Of these travelers, 21% were from the Tri-State area, 31% were from other states, and 48% were international visitors. Seventy-eight percent of travelers reported staying overnight in the City and, of these, three-quarters stayed in a hotel, hostel, or rented apartment. The average length of stay was 6.6 days. These out-of-town visitors reported spending an average of $1,139 per person ($773 for lodging, sightseeing, entertainment, admission to museums, and local transportation, and another $366 for shopping). Overall spending per person was 3% lower than in 2012, primarily due to a decline in shopping. The amount reported for lodging and other expenses is virtually unchanged from 2012.

Fifty-four percent of travelers cited visiting the Met as a key motivating factor in visiting New York. Using a scale of one to ten, 26% of visitors responded with a rating of 8 or above when asked how important seeing one of the three exhibitions was in motivating them to visit New York, and 54% gave a rating of 8 or above with regard to the Met in general. The primary purpose of traveling to New York was pleasure for 84% of visitors, business for 4%, and combined business and pleasure for 12%.

The latest economic impact survey was conducted by the Museum’s Office of Market Research/Marketing & External Relations Department.

Results of Visitor Survey

– The number of visitors surveyed was 1,076. Fifty-one percent of visitors surveyed planned to see at least one of the three exhibitions in this study. The Metropolitan Museum of Art—the most visited cultural attraction in New York City—welcomed 6.2 million visitors in Fiscal Year 2013 (July 1, 2012–June 30, 2013).

Survey Results: Visitor Demographics

– Of the Museum’s 2.3 million visitors from May through August (the time frame of this study), 77% came from outside the five boroughs of New York City. Approximately half of those out-of-town visitors were domestic and the other half international tourists. International visitors on average spend more and stay longer than domestic visitors.

Visitor Spending

– The total estimated visitor spending in NYC by out-of-town visitors to the Museum’s spring/summer exhibitions is $742 million. Using the standard estimated 10% tax rate (combining sales and hotel taxes), the tax benefit for New York City and State would be roughly $74.2 million.

– Fifty-four percent of the out-of-town visitors reported that visiting the Met was a key motivating factor in their decision to visit New York. 26% of the out-of-town visitors said that seeing one of the three exhibitions (Impressionism, Fashion, and Modernity; Punk: Chaos to Couture; and The Roof Garden Commission: Imran Qureshi) was an important motivating factor in visiting New York. Using a scale of 1 (not at all important) to 10 (very important), 26% of visitors gave a rating of 8 or above in regard to the exhibitions, and 54% gave a rating of 8 or above to visiting the Museum in general.

– The estimated visitor spending is $401 million for just the portion of visitors who reported their visit was highly motivated by a trip to the Museum, and $193 million for the portion of visitors who reported that the exhibitions were a key motivation for their trip, yielding an estimated tax benefit of $40.1 million, and $19.3 million, respectively.

– Visitors from out-of-town reported spending on average $1,139 per person during their stay in New York City: $773 for expenses and $366 for shopping. The overall spending per person declined by 3% compared to last year’s study, which was primarily due to a decline in the amount spent on shopping. Expenses included hotel, dining, entertainment, and local transportation but excluded transportation to the City.

– Seventy-eight percent of the out-of-town visitors stayed overnight in the City and, of these, three-quarters stayed in a hotel, hostel, or rented apartment. The average length of stay was 6.6 days.

Museum visitors are active participants in other cultural activities. During their visit to New York, 73% visited other museums, 47% saw a Broadway show, and 19% attended an opera, ballet, or concert. These results are similar to last year’s results and indicate that visitors continue a wide participation in multiple cultural activities while in New York.

– In terms of other leisure activities, 65% of visitors shopped while in New York and 70% dined at a restaurant. Again, the level of these activities is similar to what was seen in last year’s study.

Full-year Estimate of Visitor Spending

– The full-year estimate of visitor spending in New York, by out-of-town visitors to the Museum in Fiscal Year 2013, is $5.4 billion. During that year, The Metropolitan Museum of Art welcomed 6.2 million visitors, 24% of them from NYC, and 76% (or 4.72 million) from outside the five boroughs.

– For those whose visit to New York was highly motivated by a trip to the Museum, the estimated annual impact is $2.9 billion, with a tax impact of $290 million.

FESTIVAL TO BE HELD AT THE AMERICAN MUSEUM OF NATURAL HISTORY

“What compelled you to see for yourself?”

“To cherish the life of the world…”—Margaret Mead

Fourteen filmmakers are eligible for the top honor at the 2013 Margaret Mead Film Festival, which runs from October 17 through October 20 (at the American Museum of Natural History NYC) and honors the legacy of groundbreaking anthropologist and Museum curator, Margaret Mead (1901-1978).

The Margaret Mead Film Festival encompasses a broad spectrum of work, from indigenous community media to experimental nonfiction and is distinguished by its outstanding selection of titles, which tackle diverse and challenging subjects, representing a range of issues and perspectives, and by the forums for dialogue with filmmakers, invited speakers, and film protagonists.

This year’s theme invites audiences to come to the Museum to engage in the powerful experience of seeing culture on film. It is an invitation to come to the festival to see new reflections of “your” ”self,” to have audiences understand themselves in relation to other individuals and to various communities. It invites viewers to reflect on ways of seeing—how we perceive visual culture and how our identities shape how we look and what we see. The theme also raises questions about what it means to authentically see something for yourself—do you need to be in a place physically to understand a place or its cultures? Or how can we be transported to “see for ourselves” through film?

Tackling diverse and challenging cultural and social issues, the Mead Festival has introduced New York audiences to such acclaimed films as the Oscar-winning documentary The Blood of Yingzhou District (2006), Oscar-winning animated short The Moon and the Son: An Imagined Conversation (2005), The Future of Food (2004), Power Trip (2003), and Spellbound (2002). The Mead Festival has a distinguished history of “firsts,” including being the first venue to screen the now-classic documentary Paris Is Burning (1990) about the urban transgender community.

The 2013 Festival will take place October 17-20 at the American Museum of Natural History (You can view the scedule for the festival here : http://www.amnh.org/explore/margaret-mead-film-festival/schedule

The Margaret Mead Filmmaker Award recognizes documentary filmmakers who embody Mead’s spirit, energy, and innovation by offering a new perspective on a culture or community in their films, which will be making their U.S. or world premieres at the festival. The 2013 winner or winners will be announced at the festival’s closing-night ceremony on Sunday, October 20. The Mead Filmmaker Award jury includes HBO’s Lisa Heller, Columbia University Professor of Professional Studies Jamal Joseph (Drive By: A Love Story), Reel 13’s Richard Peña, and author and filmmaker Sadia Shepard (The September Issue). The Margaret Mead Filmmaker Award winner will be announced on closing night.

The 2013 Margaret Mead Filmmaker Award Contenders, presenting U.S. premieres at the festival, are:

” Gerardo Barroso and Lisa Tillinger for Calle López

” Vincent Coen and Guillaume Vandenberghe for Cinema Inch’Allah!

” Uli Gaulke for As Time Goes By in Shanghai

” Sarah Gavron and David Katznelson for Village at the End of the World

” Alicia Harrison for Taxiway

” Lalita Krishna for Mallamall

” Juliet Lamont for Miss Nikki and the Tiger Girls

” Sebastien Mez for Metamorphosen

” Miriam Smith and Christopher Pryor for How Far is Heaven

” Kesang Tsetan for Who Will Be a Gurkha

” Pegi Vail for Gringo Trails

Cinéma Inch’Allah! By Vincent Coen and Guillaume Vandenberghe

Cinéma Inch’Allah!

Vincent Coen and Guillaume Vandenberghe

2012 | 80 minutes | Belgium

U.S. Premiere | Director in Attendance

Cinéma Inch’Allah! is a moving exploration of the struggle of four young Belgian-Moroccan men to reconcile artistic passion with religious belief, family obligations, and their place as Muslim filmmakers in modern Belgian society. Now in their thirties, Reda, Mohamed, Farid, and Nourredine have worked together since adolescence on more than 30 low-budget comic action movies. With infectious enthusiasm, they have thrown themselves into their collective endeavor, often starring in their own films and using their work not only to channel their fears and aspirations but as a way of projecting an image of themselves to their community and the outside world. Cinéma Inch’Allah! captures them at a pivotal moment, when one member of the group decides to radically change his life, threatening their common artistic goals and even their friendship.

Co-presented by Flanders House and Park 51

Gringo Trails by Pegi Vail

Gringo Trails

Pegi Vail

2013 | 79 minutes | U.S., Bolivia, Thailand, Mali, Bhutan

World Premiere | Director in Attendance

A timely documentary raises urgent questions about how we travel and the unintended cultural and environmental consequences of tourism around the globe. Gringo Trails follows well-worn travelers’ routes through Latin America and beyond to Africa and Asia. The film reveals the complex relationships between colliding cultures, such as the host countries’ need for financial security and the tourists who provide it in their quest for authentic experiences. Through the stories of both travelers and locals, and with stunning footage from Bolivia, Thailand, Mali, and Bhutan, Gringo Trails explores the dramatic impact of travel and tourism around the world over the past 30 years.

This screening will be followed by a Q&A with travel writer Rolf Potts and Costas Christ, National Geographic Editor at Large.

Co-presented by Solimar International and Women Make Movies

How far is Heaven

How far is Heaven

How Far is Heaven

Miriam Smith and Christopher Pryor

2012 | 99 minutes | New Zealand

U.S. Premiere | Directors in Attendance

This is a story of powerful dualities: Maori and Christian spirituality, gang parties and prayers, pig hunting and perfume appreciation. It unfolds in an isolated village known both as Jerusalem and Hiruharama, home for the last 120 years to New Zealand’s only homegrown Catholic order, the Sisters of Compassion. Through the four seasons, the film focuses on Sister Margaret Mary, the newest sister, as she and the other two remaining sisters engage with the broader community. Conflicting feelings arise as their daily spiritual practices meet those of the Maori community, as the juxtaposition reveals parallel but ultimately fundamentally different approaches to navigating the harsh realities of life.

Plays with Queen of the Desert

Co-presented by Center for Media, Culture and History, NYU

As Time Goes By in Shanghai

As Time Goes By in Shanghai

Uli Gaulke

2013 | 90 minutes | Germany, The Netherlands, China

U.S. Premiere | Director in Attendance

As Time Goes By in Shanghai captures a city and a country in flux through the eyes of the venerable Peace Old Jazz Band, a group that has played together for more than 30 years and includes musicians who have been performing since the 1940s. Jazz and their dedication to it have endured as the world around them has continuously transformed, from the Japanese occupation through the Cultural Revolution to today’s turbo-charged capitalist society. As Shanghai remakes itself again and again, and China with it, they watch, and they play. With rare insights into this most mutable city as a backdrop, the film follows the band across the world to the Rotterdam’s North Sea Jazz Festival on a journey that crystallizes the joy and hope they find in their music.

This screening will be followed by a Q&A moderated by Dr. Eugene Marlow, a composer, author, and Professor, Department of Journalism and The Writing Professions, Baruch College.

Co-presented by China Institute

Calle Lopez

Calle Lopez

Calle López

Gerardo Barroso and Lisa Tillinger

2013 | 80 minutes | Mexico

U.S. Premiere | Director in Attendance

This film occupies an unusual place somewhere between visual anthropology and art-house cinema: it offers up a microcosm of Mexican society, alive with implicit social commentary, but plays as a stunning work of cinematic poetry. Two photographers, Gerardo Barroso and Lisa Tillinger, move with their baby to the busy Calle López in historic downtown Mexico City, a bustling cauldron of everyday life so textured and vibrant that they become inspired to document it. Following the street’s residents with their cameras, they capture a parade of street vendors, beggars, and tequeros that becomes a kind of urban symphony in black and white.

Co-presented by Cinema Tropical

Mallamall

Mallamall

Mallamall

Lalita Krishna

2012 | 74 minutes | Canada, India

U.S. Premiere | Director in Attendance

Mallamall, which literally translated means “bountiful goods,” offers a fascinating look at the struggle playing out on the battlefield of global capitalism. India is in the throes of a retail revolution as a burgeoning middle class looks for more Western goods and services. Modern malls have arrived to meet the demand, radically shifting the shopping culture and threatening the livelihood of traditional merchants. The landscape of retail is transforming from vibrant open-air markets with jewel-colored saris, aromatic spices, and feisty personalities to homogeneous, clean, and meticulously branded chain stores. One set of Indians is jumping on the modern mall bandwagon, enjoying new luxuries and heading up local efforts to further international investment. Another set vehemently protests the forces of globalization, fighting for the rights of thousands of bazaar owners and small farmers, as well as for a centuries-old way of life

Co-presented by Incredible India!

Metamorphosen

Metamorphosen

Metamorphosen

Sebastian Mez

2012 | 84 minutes | Germany, Russia

U.S. Premiere | Director in Attendance

A harrowing cinematic conjuring of a danger that can’t be physically perceived and of the strength of a people who bear its weight, Metamorphosen chronicles life near the Mayak nuclear facility in Russia’s Southern Urals region. Still in operation, Mayak was the first plant for the production of fissile material for nuclear weapons in the Soviet Union.  Although unknown to the general public, accident upon accident at Mayak repeatedly irradiated the area, affecting the people and nature in the area in untold ways. This carefully constructed documentary, more impressionistic than investigative, explores the impact of those accidents, illuminating along the way the resilience of those who coexist with this constant, invisible menace.

Co-presented by CEC Artslink

Miss Nikki and the Tiger Girls

Miss Nikki and the Tiger Girls

Miss Nikki and the Tiger Girls

Juliet Lamont

2012 | 75 minutes | Australia, Burma

U.S. Premiere | Director in Attendance

How many films combine the giggly fun of an all-girl pop group with rare insights into a country in the throws of transition from military dictatorship to civilian government? In September 2010, oppositionist leader Aung San Suu Kyi would be barred from the general election and a military regime would almost certainly return to power. Against this bleak backdrop an unlikely all-girl group arises when Australian free spirit Miss Nikki May meets hard-headed Burmese entrepreneur Peter Thein. Initially packaged for pop stardom, The Tiger Girls, recently renamed the Me N Ma Girls, begin a long and rocky journey toward self-expression, and with every step the women take toward freedom and actualization—the lyrics of their pop confections often brandishing a surprising feminist edge—Myanmar’s political situation marches in tandem. The film, which we are thrilled to present to opening night of the 2013 Margaret Mead Film Festival, ultimately tells two interwoven stories of remarkable change and courage.

Co-presented by the Asia Society

Taxiway

Taxiway

Taxiway

Alicia Harrison

2013 | 60 minutes | France, U.S.

U.S. Premiere | Director in Attendance

What does it mean to try to become who you want to be? How do you choose your life instead of letting it be shaped by circumstance? French-American director Alicia Harrison’s documentary poses these universal questions from an unlikely place: the interiors of taxicabs across New York City. She weaves together immigrant drivers’ stories of struggle, resignation, and hope, opening a rare window into the lives of the taxi drivers so many of us interact with regularly without ever really knowing. Harrison grew up in the city, and her sharp eye for people and place and sympathetic questioning help shape an intimate portrait of contemporary New York City as seen through its streets and the cab drivers who navigate them.

Co-presented by the Cultural Services of the French Embassy

Village at the End of the World

Village at the End of the World

Village at the End of the World

Village at the End of the World

Sarah Gavron and David Katznelson

2012 | 76 minutes | U.K., Greenland (Denmark)

U.S. Premiere

Village at the End of the World presents a rich real-life human drama, full of humor and hope, set against a backdrop of steadily melting ice that portends larger ecological changes for the whole planet. The Inuit village of Niaqornat in Northern Greenland grapples with many of the same challenges as other small communities around the world: a dwindling population; a lack of industry and jobs threatening the local economy; traditional ways of life giving way to modernity. It also happens to be one of the most remote human habitations on Earth. Lars, the only teenager in town, dreams of a different life and plans his escape even as the community pulls together to try to reopen the fish factory and revive its prospects for the future.

Co-presented by Scandinavia House

Who Will Be a Gurkha

Who Will Be a Gurkha

Who Will Be a Gurkha

Kesang Tseten

2012 | 75 minutes | Nepal

U.S. Premiere

Sam Manekshaw, former chief of staff of the Indian Army, once quipped: “If a man says he is not afraid of dying, he is either lying or is a Gurkha.” The prestigious, centuries-old Nepali mercenary unit features prominently in the imaginations of young Nepali boys, but the inner workings of the Gurkha tradition and its trials remain obscure in America. Enter Kesang Tseten, whose new film Who Will Be a Gurkha depicts the fiercely competitive training and recruitment of new cadets with lucidity and poetry. At the British Gurkha Camp in Pokhara, the struggle sets the stage for introspection, hot tempers, caste prejudices, and occasionally, rambunctious singing.

This screening will be followed by a Q&A with Ashok Gurung, senior director, India China Institute.

Co-presented by the Rubin Museum

The winner(s) will be announced on closing night.

Other noteworthy films to be screened at the festival includes:

And Who Taught You to Drive?

And Who Taught You to Drive?

And Who Taught You to Drive?

Andrea Thiele

2012 | 84 minutes | Germany, India, Japan

New York Premiere

Driving lessons become life lessons in this poignant and funny documentary, which turns the efforts of three people attempting to get their local licenses in foreign countries into a sly and warmhearted exploration of cultural difference and acceptance. American Jake in Japan; Mirela, transplanted from Germany to India; and Hye-Won, recently arrived in Germany from South Korea—each of these charming protagonists illuminates the joys and frustrations of navigating new rules of the road, revealing along the way much of themselves and of their adoptive homes. German-born and U.S.-based filmmaker Andrea Thiele was inspired by her own experience with driving tests in other countries, and she infuses her film with deft touches to which anyone who loves to travel (or hates to drive) will relate to.

Co-presented by the Asia Society

The Beautiful Game

The Beautiful Game

Victor Buhler

2012 | 84 minutes | U.K., U.S., Cote D’Ivorie, South Africa, Kenya, Ghana, Egypt, Nigeria

New York Premiere | Producer in Attendance

“Soccer,” Desmond Tutu says in this inspiring documentary, “isn’t like a religion in Africa. It is bigger than religion.” Uniting the continent in a passionate common dialogue, the game has the power to unite, uplift, heal—and corrupt. The Beautiful Game tells dynamic stories from six countries—Kenya, Egypt, South Africa, Nigeria, Ghana, and Ivory Coast—ranging in tone and theme from inspirational to tragic, personal to universal, that reveal the powerful place soccer occupies in cultures across the continent. Woven together with commentary from such various observers as Archbishop Tutu, Kofi Anan, F. W. de Klerk, will.i.am, Femi Kuti, and a who’s who of African soccer stars, the stories coalesce into a deeply affecting picture of the modern continent in the full grip of its aspirations and struggles.

Co-presented by the New York African Film Festival

Finding Hillywood

Finding Hillywood

Finding Hillywood

Leah Warshawski and Chris Towey

2013 | 58 minutes | U.S., Rwanda

New York Premiere | Directors in Attendance

A unique chronicle of the very beginning of Rwanda’s film industry, this phenomenon film captures the concurrent threads of hope and horror that define modern life after the genocide: the urge to move forward and embrace the future and the impossibility of escaping the moral devastation of the past. As pioneers bring locally made films to rural communities on a giant inflatable screen, thousands come for their first experience of cinema, watching in stadiums that were built next to mass graves. Centered around one man’s efforts to use film both to heal his country and to face his own history, Finding Hillywood deftly fuses the personal and the universal to tell a story about the role art can play in rebuilding a broken society.

Co-presented by The New York African Film Festival

” Iceland Year Zero, directed by Sigurður Hallmar Magnússon.

” Iceland Year Zero, directed by Sigurður Hallmar Magnússon.

Iceland Year Zero

Sigurður Hallmar Magnússon

2012 | 52 minutes | Iceland

U.S. Premiere | Director in Attendance

In October 2008, Iceland’s three main banks collapsed, driving what had been one of the most stable and prosperous nations in the world into bankruptcy and erasing the assets and jobs of thousands of its citizens. Iceland Year Zero looks at the aftermath of the crisis, documenting the personal stories of people from a range of social and economic backgrounds and arriving at a surprising picture of a society on the brink of despair but willing to reassess its capitalist values in the name of hope.

Co-presented by Scandinavia House

the Infmaous T

the Infmaous T

the Infmaous T

The Infamous T

Melissa Koch

2013 | 30 minutes | U.S.

New York Premiere | Director in Attendance

This story of Jonathon, a vibrant 18-year-old sinking under the weight of his lot in life, distills the trials of a segment of queer youth in America. Homeless, bullied, and failing out of high school, Jonathan seems about to find stability when a GLBT host program matches him with a middle-class family. Struggling to adjust after a lifetime of homophobia and poverty, he’s ultimately redeemed by the love of his chosen family and friends.

This screening will be followed by a Q&A moderated by Steve Mendelsohn, co-president of NewFest and deputy director of The Trevor Project.

Co-presented by NewFest and The Trevor Project

A Self-Made Man

A Self-Made Man

A Self-Made Man

Lori Petchers

2013 | 56 minutes | U.S.

NY Premiere | Director in Attendance

This moving documentary examines the social and psychological dynamics of being transgender through an intimate portrait of trans youth advocate Tony Ferraiolo. Tony guides children as young at eight and their parents through the confusing journey of defining themselves when their physical appearance conflicts with their self-image. Even as he struggles to come to terms with the complexities of his own life as transgender person, he labors to offer safety and assurance to families immersed in an often frightening transition. A Self-Made Man navigates the issues Tony and his charges face with a tone both candid and compassionate—much like it’s protagonist himself.

Co-presented by NewFest and The Trevor Project

Tea or Electricity (Le Thé ou l’Electricité)

Tea or Electricity (Le Thé ou l’Electricité)

Tea or Electricity (Le Thé ou l’Electricité)

Jérôme le Maire

2012 | 93 minutes | Belgium, France, Morocco

New York Premiere

The implementation of electricity in a tiny isolated village in the middle of the Moroccan High Atlas is an occasion for anticipation, joy, and the unintended consequences of predatory capitalism. Shot season after season, this gorgeously filmed story slowly reveals how the people of Ifri join the grid of modern civilization. Before our eyes, a small village and a way of life are transformed by the comforts and complications of connecting to the rest of the world. The villagers yearn for modernization, and the electric company is eager to invest in new customers.  As we watch the inevitable effects that electrical tools—lights, cell phones, and televisions—have on their way of life, the film builds upon itself to eventually illuminating the transformation of social values by technological progress.

Co-presented by Human Rights Watch Film Festival

Festival Information and Tickets

All screenings take place at the American Museum of Natural History. Opening and closing night tickets are $15. All other screenings are $12. Members/students/seniors should call or check online for discounted rates. Shorter films may be grouped together in single programs. The Friend of the Festival Pass (opening-night film and reception for two, plus six other programs) is $99 (a $150 value). Tickets can be purchased by phone at 212-769-5200, online at www.amnh.org/mead, or at any of the Museum’s admission desks. For more information, the public should call 212-769-5305 or visit www.amnh.org/mead.

Support

The Margaret Mead Film Festival is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The American Museum of Natural History gratefully acknowledges HBO, Inc. for its generous support of the Mead Films and cultural programming for New York City Public High Schools. Additional support provided by the Consulate General of the Federal Republic of Germany and India Tourism.

AMERICAN MUSEUM OF NATURAL HISTORY (www.HYPERLINK “http://www.amnh.org/”AMNHHYPERLINK “http://www.amnh.org/”.HYPERLINK “http://www.amnh.org/”ORG)

The American Museum of Natural History, founded in 1869, is one of the world’s preeminent scientific, educational, and cultural institutions. The Museum encompasses 45 permanent exhibition halls, including the Rose Center for Earth and Space and the Hayden Planetarium, as well as galleries for temporary exhibitions. It is home to the Theodore Roosevelt Memorial, New York State’s official memorial to its 33rd governor and the nation’s 26th president, and a tribute to Roosevelt’s enduring legacy of conservation. The Museum’s five active research divisions and three cross-disciplinary centers support 200 scientists, whose work draws on a world-class permanent collection of more than 32 million specimens and artifacts, as well as specialized collections for frozen tissue and genomic and astrophysical data, and one of the largest natural history libraries in the Western Hemisphere. Through its Richard Gilder Graduate School, it is the only American museum authorized to grant the Ph.D. degree. In 2012, the Museum began offering a pilot Master of Arts in Teaching program with a specialization in Earth science.

Approximately 5 million visitors from around the world came to the Museum last year, and its exhibitions and Space Shows can be seen in venues on five continents. The Museum’s website and collection of apps for mobile devices extend its collections, exhibitions, and educational programs to millions more beyond its walls. Visit www.amnh.org for more information.

ON-SITE PURCHASE*

September 3–October 17

Tickets may be purchased during Museum hours at the Advance Group Sales desk in the Theodore Roosevelt Rotunda (Central Park West at 79th Street entrance) and at the Rose Center for Earth and Space (81st Street entrance).

DURING THE FESTIVAL*

October 17–20

Tickets may be purchased at the 77th Street entrance only, between Central Park West and Columbus Avenue.

*Each program is identified by a program code.  For on-site and phone purchases please refer to the program code when purchasing tickets.  Have your credit card information ready when you call.

Advanced ticket purchase is recommended, as programs may sell out.  Tickets are not refundable.  Programs are subject to change.

ENTRANCE

Entrance for screenings is on 77th Street between Central Park West and Columbus Avenue.

GETTING HERE

B train (weekdays only) or C train to 81st Street–Museum of Natural History

1 train to 79th Street

M79, M7, M11, M86, M10, M104

FOOD AND DRINK AT THE MUSEUM

Food and drink is available for purchase at Café on One. Café on One is located immediately left of the Grand Gallery on the way to the Kaufmann and Linder Theaters and will be open from 10am until 7:30pm all four days of the Margaret Mead Film Festival.

FOLK COUTURE: FOLK ART AND FASHION will explore the polemical yet fascinating ways in which fashion engages with art. Conceived as an encounter between two worlds of creative endeavor, “Folk Couture” will feature the work of thirteen established and emerging designers (John Bartlett , Michael Bastian, Chadwick Bell, Fabio Costa (NotEqual), Creatures of the Wind, Gary Graham, Catherine Malandrino, Bibhu Mohapatra, Ronaldus Shamask, Yeohlee Teng, threeASFOUR, Koos van den Akker and Jean Yu) who will create an original ensemble based on a selection of paintings, sculptures, photographs, quilts, and furniture chosen from the museum’s outstanding collection. The designers have selected approximately thirty artworks, drawn from every time period and in every medium considered by the museum, not only for their potential fashionability and capacity to inspire new styles of clothing but also for their background stories that inject powerful notes of intimacy and authenticity. The original couture and the works of art from the museum’s collection will be exhibited together in juxtapositions that promise to be both stunning and provocative.

FOLK COUTURE: FOLK ART AND FASHION will be curated by Alexis Carreño, guest curator and Stacy C. Hollander, chief curator and director of exhibitions at the America Museum of Folk Art.

The exhibition is supported in part by Joyce Berger Cowin, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Ford Foundation, and the David Davies and Jack Weeden Fund for Exhibitions. Lectures and symposia are supported in part by an award from the National Endowment for the Arts.

AMERICAN MUSEUM OF FOLK ART

2 Lincoln Square

Columbus Avenue at 66th Street

New York, NY 10023

JANUARY 21 – APRIL 23, 2014

The METROPOLITAN MUSEUM OF ART’s Apollo Circle group for young patrons will hold its TENTH GALA BENEFIT at the Museum on Thursday, November 14, from 9 p.m. to midnight at THE TEMPLE OF DENDUR in THE SACKLER WING.  The theme of this year’s black-tie event, Between the Seams, is inspired by the exhibition Interwoven Globe: The Worldwide Textile Trade, 1500-1800, on view at the Met through January 5, 2014.

The Benefit is sponsored by Maiyet, the luxury fashion brand which celebrates rare artisanal skills and textiles from unexpected places and in doing so, seeks to promote prosperity and dignity in places that need it most.

Apollo Circle Chairs Genevieve Kinney, Alejandro Santo Domingo, and Laura Z. Stone will be joined by Benefit Chairs Alexi Ashe and Seth Meyers, Ariel Ashe, Meredith Melling Burke, Selby Drummond, Sylvana Ward Durrett, Amanda Hearst, Joanna Hillman, Jessica Joffe, Joann Pailey, Sophie Pera, Ashley Wilcox Platt, Lauren Remington Platt, Bettina Prentice, Caroline Cummings Rafferty, Elettra Wiedemann, the Benefit committee, and nearly 1,000 guests for cocktails and dancing.  Brendan Fallis will DJ.

The Apollo Circle, founded in 1997, is a special Membership group for young donors of the Museum. Named after the Greek god of youth and the arts, The Apollo Circle engages its Members in a variety of educational and social activities and provides incomparable insights into the Museum’s collection and special exhibitions.  Proceeds from the Benefit support The Apollo Circle Fund for Art Conservation.

A design-driven luxury label founded in 2011, Maiyet makes women’s ready-to-wear clothing, jewelry, handbags, and shoes.  The company, which seeks to elevate the next generation of master craftsmen from places such as India, Indonesia, Italy, Kenya, Mongolia, and Peru, is deeply committed to forging partnerships with artisans to promote sustainable business growth and has a strategic partnership with Nest, an independent nonprofit organization dedicated to training and developing artisan businesses. Nest deploys customized programs which allow craftsmen to create higher quality products, earn higher wages, employ more people, and encourage stability and prosperity in their communities.

INTERWOVEN GLOBE: THE WORLDWIDE TEXTILE TRADE, 1500-1800 is made possible by The Andrew W. Mellon Foundation, the Diane W. and James E. Burke Fund, The Coby Foundation, Ltd., The Favrot Fund, the Gail and Parker Gilbert Fund, and the Quinque Foundation.

Ticket prices are $200 for Apollo Circle Members ($250 after November 7), $300 for non-Apollo Circle Members ($350 after November 7), and $500 for Benefactor Tickets.  Ticket packages are also available.  Tickets will not be sold at the door.  Tickets can be purchased online at www.metmuseum.org/apollocirclebenefit.

October 18, 2013–November 03, 2013

The Donald B. and Catherine C. Marron Atrium, second floor, and other locations throughout the Museum

Images provided by The Museum of Modern Art

Choreographer Boris Charmatz (French, b. 1973), in collaboration with his groundbreaking institution Musée de la danse, brings a three-week dance program to The Museum of Modern Art this fall. Musée de la danse: Three Collective Gestures takes place in the Donald B. and Catherine C. Marron Atrium and other spaces throughout the Museum over the course of three consecutive weekends, from October 18 through November 3, 2013. All three performances are U.S. premieres. 20 Dancers for the XX Century (2012/13) will be performed October 18–20; Levée des conflits (extended)/Suspension of Conflicts (Extended) (2010/13) will be performed October 25–27; and Flip Book (2008/13) will be performed November 1–3, with Saturday performances to be live-streamed on www.MoMA.org.

Musée de la danse. 20 Dancers for the XX Century. Dancer: Lénio Kaklea. Les Champs Libres Rennes (FR). 2012. Photo: Nyima Leray

Musée de la danse. 20 Dancers for the XX Century. Dancer: Magali Caillet-Gajan. Film: Watermotor. Choreography and interpretation: Trisha Brown. Film by Babette Mangolte. 1978. Les Champs Libres Rennes (FR). 2012. Photo: Nyima Leray

Musée de la danse. 20 Dancers for the XX Century. Dancer: Raphaëlle Delaunay. Les Champs Libres Rennes (FR). 2012. Photo: Nyima Leray

Musée de la danse. 20 Dancers for the XX Century. Dancer: Fabian Barba. Les Champs Libres Rennes (FR). 2012. Photo: Nyima Leray

In 2009, Charmatz became director of the Centre chorégraphique national de Rennes et de Bretagne in northwestern France and promptly renamed it Musée de la danse (The Dancing Museum), in order to articulate the idea of dance divested of notions of “choreography,” “center,” and “national.” Through this gesture and his broader practice, Charmatz emphasized the museum not only as a space for predetermined, scripted movement and exhibition, but also as a framing device for dance that redefines traditional notions of museums and collections.

Boris Charmatz. 2011. Photo: Richard Dumas

Over the past five years, Musée de la danse has functioned as a museum in progress, extending far beyond the space in Rennes and engaging dancers, artists, architects, and scholars from various contexts. For Musée de la danse: Three Collective Gestures, American and European dancers and performers engage in three different projects, each experimenting with different formats and re-imagining the function of dance and its relationship with the body, society, and the institution. The subtitle “Three Collective Gestures” suggests the importance of collaboration, participation, and transmission in all the three projects.

Musée de la danse. Flip Book. 2008. Concept: Boris Charmatz. Performed in 2012 in the Tanks, Tate Modern. Photo: Tate Photography, Gabrielle Fonseca Johnson. © Tate, London, 2013

Musée de la danse. Flip Book. 2008. Concept: Boris Charmatz. Performed in 2012 in the Tanks, Tate Modern. Photo: Tate Photography, Gabrielle Fonseca Johnson. © Tate, London, 2013

Musée de la danse. Flip Book. 2008. Concept: Boris Charmatz. Performed in 2012 in the Tanks, Tate Modern. Photo: Tate Photography, Gabrielle Fonseca Johnson. © Tate, London, 2013

Musée de la danse. Flip Book. 2008. Concept: Boris Charmatz. Performed in 2012 in the Tanks, Tate Modern. Photo: Tate Photography, Gabrielle Fonseca Johnson. © Tate, London, 2013

Musée de la danse: Three Collective Gestures is organized by Ana Janevski, Associate Curator; with Martin Hartung, Curatorial Assistant; Leora Morinis, Curatorial Assistant; and Jill Samuels, Producer, Department of Media and Performance Art; in collaboration with Boris Charmatz, Director; Sandra Neuveut, Deputy Director; and Martina Hochmuth, Production Director, Musée de la danse/Centre chorégraphique national de Rennes et de Bretagne.

The project is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Additional funding is provided by the MoMA Annual Exhibition Fund. The Museum acknowledges support from the Cultural Services of the French Embassy in the United States.