We partner with dozens of cultural organizations yearly. We are a Founding Member of the Museum of African American History and Culture in Washington, D.C., International Tour Sponsor of the Chicago Symphony Orchestra and serve as the main sponsor of approximately ten museum exhibitions a year.
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Visionaries: Creating a Modern Guggenheim
Solomon R. Guggenheim Museum, New York
Bank of America is pleased to provide major support for Visionaries: Creating a Modern Guggenheim. On view from February 10, 2017 to September 6, 2017 on the occasion of the eightieth anniversary of the Solomon R. Guggenheim Foundation, Visionaries: Creating a Modern Guggenheim features more than 170 modern objects from the permanent collections of the Solomon R. Guggenheim Museum, New York, and the Peggy Guggenheim Collection, Venice. Assembling many of the foundation’s most iconic works along with treasures by lesser-known artists, this celebratory exhibition explores avant-garde innovations of the late nineteenth through mid-twentieth centuries, as well as the groundbreaking activities of six pioneering arts patrons who brought to light some of the most significant artists of their day and established the Guggenheim Foundation’s identity as a forward-looking institution. This exhibition showcases the museum’s exceptional modern holdings as organized through the perspectives of six proponents of the avant-garde who intersected with the Guggenheim Foundation in the early decades of its history and gave their personal collections, in whole or in part, to the institution.
Visionaries includes important works by artists such as Alexander Calder, Paul Cézanne, Marc Chagall, Vasily Kandinsky, Paul Klee, Fernand Léger, Piet Mondrian, Pablo Picasso, Jackson Pollock, and Vincent van Gogh.
Of these visionaries, foremost is the museum’s founder, Solomon R. Guggenheim, who, with support from his trusted advisor, the German-born artist Hilla Rebay, set aside a more traditional collecting focus to become a great champion of nonobjective art—a strand of abstraction with spiritual aims, epitomized by the work of Vasily Kandinsky. Amassed against the backdrop of economic crisis and war in the 1930s and 1940s, Guggenheim’s unparalleled modern holdings formed the basis of his foundation, established eighty years ago in 1937 with the goal of encouraging art, art education, and enlightenment for the public.
The Solomon R. Guggenheim Foundation’s formative collection was subsequently shaped through major acquisitions from contemporaries who shared Guggenheim’s pioneering spirit. These acquisitions include a group of prized Impressionist and early School of Paris masterworks from Justin K. Thannhauser; the eclectic Expressionist inventory of émigré art dealer Karl Nierendorf; the rich holdings of abstract and Surrealist painting and sculpture from self-proclaimed “art addict” Peggy Guggenheim, Solomon’s niece; and key examples from the estates of artists Katherine S. Dreier and Hilla Rebay, both pivotal in promoting modern art in America. Highlights from each of these collections feature prominently in Visionaries and convey a narrative on avant-garde innovation in the late nineteenth and early twentieth centuries.
Visionaries offers a rare opportunity to explore in-depth key artists represented among the museum’s holdings, such as Kandinsky and Klee, through multiple examples that reflect the shared interest in their work among the six featured patrons. The exhibition includes nearly twenty-five works from the Peggy Guggenheim Collection, seldom displayed outside of the Venice palazzo, including canvases by Max Ernst, René Magritte, and Yves Tanguy, and sculptures by Joseph Cornell and Alberto Giacometti. Among this group, Jackson Pollock’s Alchemy (1947), considered among his finest paintings and a celebrated icon of postwar abstraction, will be shown in the United States for the first time in almost fifty years. More than a dozen works on paper by Picasso and Van Gogh, rarely on view to the public, will also be on view. Additionally, sculptures by Edgar Degas and paintings by Pierre-Auguste Renoir, Paul Gauguin, and Édouard Manet will be placed on the ramps for the occasion of the exhibition. In May, a fresh selection of works on paper by artists including Klee, Picasso, and Van Gogh will replace the first grouping.
Several conservation projects have been initiated as part of the planning of this anniversary exhibition. The preservation and comprehensive research of Picasso’s Woman Ironing (1904) was made possible through support from the Bank of America Art Conservation Project. Conservators had discovered the existence of a male portrait beneath the composition of Woman Ironing in 1989, but lacked the sophisticated technology and resources needed to precisely document the earlier work. The funding enabled the Guggenheim Conservation Department to conduct an in-depth, scholarly study of the earlier portrait, incorporating advanced imaging techniques as well as scientific analysis of pigments and historical research. Conservation treatment of the painting was a central component of the project, and comprised overall cleaning, stabilization, and editing of old and mismatched restorations.
The Bank of America Art Conservation Project also funded the preservation of Manet’s Woman in Evening Dress (1877–80), which will be on view in the late spring. The painting was studied by a group of curators, conservators, and scientists who traced the history of the work, and conducted an in-depth scientific investigation of the technique and materials including the discolored resin varnishes and retouchings on the surface. An intricate treatment removed this coating to reveal a cool palette, vigorous brushwork, and the fine details of Manet’s sketchy composition.
Red Lily Pads (1956), a painted steel sculpture by Alexander Calder spanning nearly 17 feet that will be suspended over the rotunda’s fountain, underwent extensive historical research and analysis, resulting in a beautifully integrated surface and restoration of the mobile’s proper balance. Conservators at the Peggy Guggenheim Collection restored The Studio (L'Atelier), 1928, an oil and crayon canvas by Picasso, before the work traveled to New York. Additionally, works by Josef Albers, Kandinsky, and Mondrian, among others, were treated in preparation for the exhibition.
In addition, Exploring “Alchemy”: Jackson Pollock will be on view in the Guggenheim’s Sackler Center for Arts Education concurrently with Visionaries. This didactic exhibition presents an in-depth investigation of Pollock’s materials and working process. Visitors will enter the world of the scientist and the conservator to follow the investigative process and the treatment of the complex surface of Alchemy.
A rich digital archive of enhanced collection information and materials including biographies of each of the six featured collectors, historical photographs, and videos will be available online during the exhibition at guggenheim.org/visionaries.
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum.
Pablo Ruiz Picasso (Spanish, 1881–1973)
Woman Ironing (La repasseuse), 1904
Oil on canvas, 45¾” x 28¾” (116.2 x 73 cm)
© 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Tate Modern, London
Bank of America, global sponsor for Robert Rauschenberg
Bank of America is honored to be the global sponsor of Robert Rauschenberg, a major exhibition of the work of Robert Rauschenberg organized in collaboration with Tate Modern, London, and The Museum of Modern Art, New York. It will be the first posthumous retrospective and the most comprehensive survey of the artist’s work in twenty years, on view from December 1, 2016 through April 2, 2017 at Tate Modern. The exhibition will travel to The Museum of Modern Art (May 21, 2017–September 17, 2017) and the San Francisco Museum of Modern Art (November 4, 2017–March 25, 2018).
In London, the retrospective been has been hailed as "the exhibition of the year" and "a must-see" by art critics. Prominent British newspapers The Times, The Telegraph and The Guardian awarded the show five stars.
The Telegraph’s Mark Hudson wrote, “This is, to my mind, the exhibition of the year.” The Guardian’s Adrian Searle described it as “impossibly rich and rewarding.” Writing in The Times, Rachel Campbell-Johnson said, “The breadth of vision is mind-opening.”
The first American artist to win the Golden Lion at the Venice Biennale in 1963, Robert Rauschenberg (1925-2008) blazed a new trail for art in the second half of the twentieth century. Moving between painting, sculpture, photography, printmaking, digital technology, stage design and performance, he refused to accept conventional boundaries in art and in life, his quest for innovation fired by his openness to the world, his enthusiasm for collaboration and his passion for travel. Rauschenberg’s radical approach to his artistic practice was always sensational, with the artist producing works so experimental that they eluded definition and categorization.
Each chapter of Rauschenberg’s six-decade career is represented by important international loans that rarely travel due to the fragile condition of the works. Among these is a selection of his iconic Combines, a term Rauschenberg coined for his works that integrated aspects of painting and sculpture and would often include materials found on the streets of New York in the 1950s, such objects as a stuffed eagle or goat, street signs, or a quilt and pillow.
Among these is Monogram, 1955-59, traveling to the UK for the first time in over half a century. The Combines marked a clear break with the works of the previous generation of abstract expressionist painters, such as Barnett Newman and Mark Rothko, who previously had dominated American art. Assembled from materials including a stuffed angora goat, a rubber tire, a tennis ball and a shoe heel, the work demonstrates Rauschenberg’s bold challenge to the hierarchical distinction between traditional art materials and everyday objects.
Monogram, on loan from the Moderna Museet, Stockholm, will take center stage in a gallery dedicated to Rauschenberg’s Combines. Bed, 1955, will travel from The Museum of Modern Art, New York. This influential work was assembled from what was allegedly Rauschenberg’s own pillow and a quilt given as a gift by fellow artist, Dorothea Rockburne, stretched like a canvas and covered with abstract pencil drawings and paint.
The exhibition also features the signature silkscreen paintings that signaled Rauschenberg’s early commitment to political activism, including Retroactive II 1964, which portrays John F. Kennedy, who had recently been assassinated.
Rauschenberg begins in the late 1940s by considering the artist’s early experiments at Black Mountain College near Asheville, North Carolina, a center for creative innovation in the postwar era. Here he studied under legendary Bauhaus figure Joseph Albers and embarked on his first collaborations with fellow artists and friends John Cage, Merce Cunningham, Jasper Johns, David Tudor, Cy Twombly and Susan Weil. This time lead to his seminal Erased de Kooning Drawing in 1953. An almost blank piece of paper in a simple gilded frame, the work paid tribute to the achievements of abstract expressionism as much as it tested the limits of what art could be.
Rauschenberg’s work with Experiments in Art and Technology (E.A.T), an organization of which he was a founder and which developed collaborations between artists and engineers in the 1960s, is also explored, showing how he helped to blur the boundaries between the visual arts, performance and science.
In the early 1970s Rauschenberg moved his studio and primary residence to Captiva, Florida, and began to travel extensively across Europe, the Americas and Asia. His Cardboards 1971-72 – a wry comment on the forces of globalization – and his sumptuous fabric works such as The Jammers 1975-76 – inspired by his visit to the Indian textile manufacturing center of Ahmedabad – demonstrate his skillful play with unconventional materials. The epic project Rauschenberg Overseas Culture Interchange (ROCI), a traveling exhibition that took place between 1984 and 1991 taking in Chile, China, Cuba and Tibet, is also featured.
Performance and dance remained key interests for Rauschenberg and form a central strand of the exhibition, as is his interest in pushing the limits of image-making with new materials such as printing on translucent textiles, polished steel or oxidized copper. A striking group of late inkjet paintings, combining dozens of images taken at home and abroad through the use of digital technology, will reveal how he continued to innovate into the twenty-first century.
Robert Rauschenberg, Monogram, 1955–59.
Moderna Museet, Stockholm. © Robert Rauschenberg Foundation, New York. All Rights Reserved.
Paint the Revolution: Mexican Modernism, 1910-1950
Bank of America is pleased to be the national sponsor of the most comprehensive exhibition of Mexican Modern art in the United States in more than 70 years. From October 25, 2016 through January 8, 2017, the Philadelphia Museum of Art, in partnership with the Museo del Palacio de Bellas Artes in Mexico City, will present Paint the Revolution: Mexican Modernism, 1910-1950, drawn from both US and Mexican collections.
Featuring portable murals and sculptures, easel paintings and prints, photographs, books and broadsheets, Paint the Revolution: Mexican Modernism, 1910-1950 sheds light on the artistic and intellectual influences and debates that took place between the Mexican Revolution and the immediate aftermath of World War II – periods of momentous change in the country.
The exhibition begins in 1910 with a survey of Modern art in Mexico City during the decade-long Mexican Revolution. It features artists influenced by avant-garde styles, including Impressionism, Symbolism and Cubism, and whose works reflect both ancient and modern Mexican culture.
Special consideration of the works of two avant-garde groups of artists, the Stridentists and the Contemporaries, highlight those who turned away from folkloric and historical subject matter and focused on themes of modern urban life.
Works created after the Mexican Revolution showcase the social idealism shared by many Mexican artists and the tremendous influence some would have in the United States as they worked and traveled throughout the country during the 1920s and 1930s. From the mid-1930s to 1950, the exhibition focuses on the renewal of socially and politically oriented art, highlighting experiences and encounters between North America and South America.
Three iconic Modernist murals by renowned Mexican artists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros will be featured in digital form alongside portable murals, works by Frida Kahlo and Rufino Tamayo, as well as artists well known in Mexico but likely new to many U.S. audiences, such as Dr. Atl, María Izquierdo, Roberto Montenegro, Carlos Mérida, Manuel Álvarez Bravo and many others.
Collectively, the exhibition of more than 300 works will capture the panorama of Mexican art and offer insights into the broader historical context and vital cultural role the visual arts have played in the history of the country.
Self-Portrait on the Border Line Between Mexico and the United States, 1932, by Frida Kahlo (Colección Maria y Manuel Reyero, New York)
Credits: © 2016 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York
Smithsonian National Museum of African American History and Culture (NMAAHC)
September 24, 2016, will mark a special moment in the history of the United States, when our only national museum devoted to African American history and culture opens on the Washington Mall after more than 12 years of planning and development. Following an Act of Congress in 2003 which sought to establish the museum, work to raise funds and develop the museum’s plans began in earnest. The NMAAHC is the 19th Smithsonian Institution museum.
Bank of America is honored to be part of this important moment in our history. We were an early supporter of the yet-to-be-built museum through our sponsorship of “Save our African American Treasures,” a national program which traveled the country to discover important artifacts that citizens might have in their possession. These holders of treasures in some cases gifted them to the museum, but also received expert advice as to their significance, value and their maintenance through this program.
Fast-forward to 2011, when the museum Council was formed, and our CEO, Brian Moynihan, became one of its members. Our company became a founding donor in 2014 and, more recently, undertook to be a sponsor of the opening events that will take place throughout late September and early October of this year.
Building on some of our existing programs, the Bank also provided funding through our Art Conservation Project to conserve nine important works by African American artists, which will be a permanent feature of the museum’s exhibitry.
In addition, we were pleased to donate a collection of more than 60 photographs by Jeanne Moutoussamy-Ashe. The distinguished photographer developed this collection from 1977 through 1982, to document the unique culture of the Gullah community of Daufuskie Island in South Carolina.
The NMAAHC building’s lead designer David Adjaye and lead architect Philip Freelon, together with their architectural team Freelon Adjaye Bond/SmithGroup, won an international competition in 2009 to design and deliver the museum. Groundbreaking occurred in 2012. The nearly 400,000-square-foot museum will be the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and showcasing the African American experience.
The National Museum of African American History and Culture. Architectural photo by Alan Karchmer
The Menil Collection, Houston
Bank of America is the lead corporate sponsor for Picasso The Line, the first exhibition to explore the essential role of line drawing in the artist’s practice. Exclusively presented at the Menil Collection, this presentation underscores the long-standing commitment of the institution to drawing as a distinct art form, which brings viewers close to the progress of an artist’s mind.
Supremely gifted as a draftsman and fascinated from an early age by the highly linear art of nineteenth-century painter Jean-Auguste-Dominique Ingres, Pablo Picasso (Spanish, 1881–1973) made line drawings at every stage of his career, adapting them to the astounding variety of styles and themes he developed. Picasso has long been recognized as a master across disciplines and one of the most accomplished draftsmen of the last century. This exhibition will explore how he followed up on the groundbreaking lesson of Ingres, trying to resolve the three dimensions of form with a linear arrangement, thus relinquishing perspective.
Famous for pioneering Cubism in the early 1900s, Pablo Picasso pursued drawing diligently throughout his career. Settling in Paris in 1904, Picasso established himself as a prominent participant in avant-garde circles of that city, absorbing, transforming and originating some of the most influential ideas of his time. Picasso’s work convinced John and Dominique de Menil where other modern art had failed. Initially reluctant to engage with the art of their time, as Dominique stated, “The reservations that at first tempered admiration vanished before the genius of the greatest artist of our time.”
Picasso The Line includes drawings from the most important periods of the artist’s long career; it gathers close to 100 of his works on paper that span a wide range of mediums, from pen or pencil to charcoal and collage. The exhibition presents work from public and private collections in the United States and Europe dating from 1901–1902 (shortly after Picasso settled in Paris) through 1970, not long before his death in 1973. The exhibition includes seldom-seen drawings by Picasso from the Menil’s holdings, as well as works on loan that have never before been exhibited in the United States.
Picasso The Line is organized by guest curator Carmen Giménez, founding director of the Museo Picasso Málaga, whose previous exhibitions have included the groundbreaking Picasso and the Age of Iron (1993) and Picasso Black and White (2012–2013) for the Solomon R. Guggenheim Museum in New York, also sponsored by Bank of America. Clare Elliott, Associate Curator at the Menil Collection, has overseen the exhibition on behalf of the museum.
The Chicago Symphony Orchestra
Founded in 1891, The Chicago Symphony Orchestra (CSO), is widely regarded as one of the world’s greatest orchestras. Bank of America has partnered with the CSO for more than a decade, becoming Global Sponsor in the historic 2010/11 season when Maestro Riccardo Muti began his tenure as Music Director, and continuing through the Orchestra’s landmark 125th-anniversary season in 2015/16. Muti’s dedication to bringing live symphonic music of the highest artistic caliber to the broadest possible audience has served as the cornerstone of the CSO’s mission.
As part of our ongoing commitment to that mission, Bank of America is proud to sponsor the CSO’s International Tour scheduled to launch in January of 2017. As part of the 2016/2017 season, Muti and the CSO will tour Europe for the sixth time together, performing 11 concerts from January 13 to 27. Performances will take place in Paris, Hamburg, Aalborg, Milan, Vienna, Baden-Baden and Frankfurt.
Highlights of the tour include several debuts: the orchestra’s first appearance at the Philharmonie de Paris, on January 13; celebratory performances as the first international orchestra to appear at Hamburg’s brand-new, state-of-the art Elbphilharmonie, on January 14 and 15, part of the concert hall’s grand-opening week; followed by two concerts at the Musikkens Hus in Aalborg, on January 16 and 17.
The CSO will also make highly anticipated returns to the Teatro alla Scala in Milan, on January 20 and 21; the Musikverein in Vienna, on January 23 and 24; the Festspielhaus in Baden-Baden, on January 25; and the Alte Oper in Frankfurt, on January 27.
Among the featured works in the CSO’s tour repertoire are Paul Hindemith’s Concert Music for String Orchestra and Brass; Edward Elgar’s In the South (Alassio); Modest Mussorgsky’s A Night on Bald Mountain; Maurice Ravel’s orchestration of Mussorgsky’s Pictures from an Exhibition; Richard Strauss’s Don Juan; Pyotr Tchaikovsky’s Symphony No. 4; and Antonin Dvořák’s Husitská Overture—first performed by the CSO as part of its premiere concerts in October 1891.
Photo Credit: Chicago Symphony Orchestra, ©Todd Rosenberg Photography
Season Sponsor, Carnegie Hall
The world’s most famous concert hall
Bank of America is the proud Season Sponsor of Carnegie Hall. Carnegie Hall features the world’s finest orchestras, chamber ensembles and recitalists, as well as pop, world and jazz artists, along with new music and special commissions.
Carnegie Hall’s mission is to present extraordinary music and musicians on the three stages of this legendary hall, to bring the transformative power of music to the widest possible audience, to provide visionary education programs, and to foster the future of music through the cultivation of new works, artists and audiences.
Bank of America also supports Carnegie Hall’s Musical Exchange education program, which provides a global online community where young musicians (ages 13 and up) connect with each other, share their musical performances and participate in groups and projects led by professional artists from Carnegie Hall. Musical Exchange focuses on musical sharing, creativity and international collaboration. Young musicians from all over the world — at all levels and representing all musical styles — are invited to join the community, created by Carnegie Hall’s Weill Music Institute, the Hall’s education and community arm.
Some of the current projects under way include an extended online workshop called The Singer’s Audition Handbook, providing resources to help aspiring singers to identify, prepare for and successfully audition for educational and performance opportunities; Songwriting Exchange, where professional songwriters Deidre Rodman Struck and Mike Viola help students explore songwriting techniques through a series of creative prompts, video blogs and live chats; and a humanitarian project called Music from the Mountains, developed by violinist Hannah Schneider to encourage struggling musicians in the poverty-stricken, religiously and ethnically divided North Caucasus of Russia to transcend their circumstances and differences and unite through the power of music.
Carnegie Hall’s 126th season opens Thursday, October 6 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra in a performance of Stravinsky’s vivid ballet scores for Pétrouchka and Le sacre du printemps (The Rite of Spring). Throughout its illustrious history, the Hall has played host to more than 10,000 premieres. Carnegie Hall’s commitment to new music continues with the second year of its five-year 125 Commissions Project, over the span of which at least 125 new works will be commissioned from today’s leading composers. Launched during the Hall’s 125th anniversary season, the project features new solo, chamber and orchestral music from both established and emerging composers, including works in the new season by Yves Chauris, Donnacha Dennehy, Sofia Gubaidulina, James MacMillan, Frederic Rzewski, Caroline Shaw, Chris Thile and Jörg Widmann, among others.
Building upon a recent and highly successful emphasis on early-music programming, Carnegie Hall leads a citywide festival — La Serenissima: Music and Arts from the Venetian Republic — in February 2017 with concerts that feature vocal masterpieces and virtuoso instrumental music that emanated from the Republic that flourished for more than 1,000 years until it fell to Napoleon in 1797. Highlights include a survey of music from Venice, Istanbul, Cyprus and Crete by Jordi Savall and his ensembles Hespèrion XXI, Le Concert des Nations and La Capella Reial de Catalunya.
The festival extends throughout New York City with events at leading cultural institutions, including lectures, art exhibits, panel discussions and other performances that examine not just the unparalleled cultural innovations of the Venetian Republic, but also the scandalous, ribald and libertine history that the passage of time has rendered less familiar.
Carnegie Hall is proud that the music education and community programs of the Weill Music Institute (WMI) will now serve more people than ever before — nearly 600,000 participants during the coming season. Highlights include a renewed focus on expanding access to instrumental and orchestral instruction nationwide through NYO2 and PlayUSA, two initiatives that target communities underserved and underrepresented in classical music.
In summer 2016, the National Youth Orchestra of the United States of America (NYO-USA), featuring the country’s best young players ages 16–19, is led by conductor Christoph Eschenbach in a concert at Carnegie Hall that also features pianist Emanuel Ax, before NYO-USA embarks on a European tour with conductor Valery Gergiev and pianist Denis Matsuev.
Link Up, a WMI program for grades 3–5 offered for free to more than 90 orchestras nationally and in selected international locations, continues to grow, adding a fourth curriculum, The Orchestra Swings, and Musical Explorers, for grades K–2, continues to serve students across the country. WMI’s Summer Music Educators Workshop brings teachers from across the nation together to share best practices and cultivate a strong community of music educators. Among WMI’s acclaimed master classes and workshops for young musicians, Joyce DiDonato, Marilyn Horne, Dame Felicity Lott, Margo Garrett, The Tallis Scholars and Jonathan Biss lead sessions in the 2016–2017 season.
Photo: ©Jeff Goldberg/Esto
Nation to Nation: Treaties Between the United States and American Indian Nations
Bank of America is pleased to sponsor Nation to Nation: Treaties Between the United States and American Indian Nations, on view at The Smithsonian’s National Museum of the American Indian from September 21, 2014, through fall 2018.
Nation to Nation, 10 years in the making, brings together the largest historical collection of treaties made between the United States and American Indian Nations, along with more than 125 related artifacts, photographs and contemporary objects. It is divided into five chapters: Introduction to Treaties; Serious Diplomacy; Bad Acts, Bad Paper; Great Nations Keep Their Word; and The Future of Treaties.
Introduction to Treaties provides an overview of the vastly different perspectives held between non-native settlers and Native Americans, from concepts of land ownership, civic organization and leadership to the very nature and purpose of diplomacy.
Serious Diplomacy reveals the initial good intentions of settlers of the early republic, seeking security and peaceful coexistence. One of the earliest treaties on display is the Treaty of Canandaigua, signed in 1794 by members of the Iroquois Confederacy, Cornplanter, Red Jacket and Handsome Lake, and President George Washington. It allowed for the establishment of Indian territories and provided annual compensation to tribes in exchange for free passage through their lands and access to their harbors and rivers.
Bad Acts, Bad Paper highlights the events that transpired in the 1800s, when the United States’ territorial ambitions led it to craft treaties designed to confiscate Indian lands and push Native Nations west of the Mississippi. These nations also fell victim to the competing interests and conflicts between individual states and the federal government. Many states sought and won exemptions from federal treaties and went on to take the law, and Indian territories, into their own hands.
Great Nations Keep Their Word focuses on the 1900s, when the surviving Native Nations more successfully appealed for the enforcement of treaties and their rights. Efforts by Congress to nullify many pre-existing treaties were met with strong opposition and eventual defeat, while others would ultimately be struck down in U.S. courts. These victories helped to restore both the dignity and self-determination of the Native Nations.
The Future of Treaties focuses on the impact that existing treaties continue to have on relations between the United States and Native Nations and points to a future likely to be filled with both struggle and hope.
Thomas Jefferson peace medal, 1801, owned by Powder Face (Northern Inunaina/Arapaho), Oklahoma Bronze Copper alloy, hide, porcupine quills, feathers, dye, metal cones
Photo credit: Walter Larrim
Alvin Ailey American Dance Theater
Bank of America is the International Tour Sponsor for Alvin Ailey American Dance Theater.
Enabling major American performing arts organizations to tour internationally is part of Bank of America’s efforts to increase cultural understanding and open opportunities for dialogue through the arts. At each destination, thousands of people enjoy masterful performances and share cultural experiences with fellow audiences around the world.
Alvin Ailey American Dance Theater has been celebrating the African-American cultural experience and the American modern dance tradition for more than 50 years. Recognized by the U.S. Congress as a vital “Cultural Ambassador to the World,” the Company has performed for more than 23 million people in 48 states and in 71 countries on six continents.
Under the leadership of its artistic director, Robert Battle, the Ailey Company will bring its uplifting artistry to a dozen European cities. Among the Company’s diverse repertory, audiences will enjoy inspiring performances of such classics as Cry, the female solo made famous by Judith Jamison and dedicated to “all black women everywhere — especially our mothers”; Night Creature, a dazzling ballet set to the music of Duke Ellington; and Revelations, the Company’s signature American masterpiece inspired by Alvin Ailey’s childhood memories of life in rural Texas, and the song-sermons, gospel songs and holy blues he experienced as a parishioner in the Baptist Church.
Since its debut in 1960, Ailey’s Revelations has moved audiences around the world through its powerful storytelling and soul-stirring music, evoking timeless themes of determination, hope and transcendence. More people have seen Revelations than any other modern dance work in history.
In addition to these classics, the Company will premiere Robert Battle’s 2015 work, Awakening, and celebrated choreographer Ronald K. Brown’s 2015 Cuban-inspired creation, Open Door, set to the Grammy Award–winning music by Arturo O’Farrill and the Afro Latin Jazz Orchestra.
From September 6 to October 19, the Company will perform throughout England, Wales and Scotland, with inaugural debuts in Southampton and Canterbury, England. On October 22 and 23, the Company returns to Salle Métropole in Lausanne, Switzerland, followed by seven performances at the Tivoli Concert Hall in Copenhagen, Denmark, from October 26 to October 30.
Alvin Ailey American Dance Theater was founded in 1958 by dancer/choreographer Alvin Ailey to share the richness of African-American culture and American modern dance with the world.
Caption Credits: Linda Celeste Sims and Yannick Lebrun. Photo by Andrew Eccles
SFMOMA’s grand transformation: The largest modern art museum in the United States opens
Bank of America is pleased to support the new San Francisco Museum of Modern Art (SFMOMA), which recently opened its doors after a three-year transformation. As a Premier Sponsor, our support extends to SFMOMA’s special exhibitions and art, education and community programs. Among the exhibitions sponsored by Bank of America is the inaugural exhibition The Campaign for Art: Modern and Contemporary.
Partnering with architecture firm Snøhetta, SFMOMA’s 235,000-square-foot building expansion will nearly triple gallery space and include 45,000 square feet of art-filled space open free of charge. SFMOMA will be the largest museum for modern and contemporary art in the United States, and attendance will total more than 1 million visitors annually. The new SFMOMA will offer new ways to inspire, educate and engage visitors, through seven floors of galleries, special exhibitions and absorbing digital learning initiatives. The new Pritzker Center for Photography will be the largest space in any American art museum dedicated to the exhibition, research and interpretation of photography. In addition, admission will be free for visitors age 18 and under. The new museum will provide a showcase for works by Alexander Calder, Chuck Close, Frida Kahlo, Ellsworth Kelly, Agnes Martin, Jackson Pollock, Gerhard Richter, Richard Serra, Cindy Sherman, Andy Warhol and many others, along with postwar and contemporary artworks from the 1,100-piece Doris and Donald Fisher Collection.
The Campaign for Art: Modern and Contemporary, on view from May 14 through September 18, is one of several exhibitions highlighting contributions from the museum’s Campaign for Art. This installation will introduce a wide range of newly committed and gifted modern and contemporary works, filling in gaps and building on strengths of SFMOMA’s collection. Illustrating the extraordinary growth in every curatorial department, this exhibition will present a multidisciplinary selection from donated works to Painting and Sculpture, Photography, Media Arts and Architecture and Design. Highlights include paintings by Jackson Pollock, Jasper Johns and Robert Rauschenberg, and an entire gallery dedicated to Joseph Beuys.
The exhibition is organized around notable aesthetic breakthroughs and constellations of related European, Bay Area, and other American artists. The dawn of the twentieth century saw the rise of abstraction in tandem with the explosive growth of urban centers. Art of postwar Germany has been a particular focus for the museum over the past 25 years. The museum’s long-standing commitment to artists working in California, and especially in the Bay Area, has also been greatly reinforced by the Campaign; an array of such works are featured here and In Art of Northern California: Three Views. Photography has been fundamental to SFMOMA since the museum’s founding, and a gallery devoted to the late work of Diane Arbus showcases a major addition to the photography collection. Media arts highlights include historic pieces by performance and video pioneers Ant Farm, Lynn Hershman Leeson and Nam June Paik. The architecture and design collection presents a selection of chairs, each of a single material, and a group of experimental works of architecture by contemporary practitioners that bring innovation into focus.
This presentation of modern and contemporary works on paper inaugurates SFMOMA’s first space dedicated to the medium. Part one of a two-part exhibition, it reveals the rich array of drawings, collages and watercolors pledged to the museum through the Campaign for Art. Together the works on view reflect diverse creative approaches, including explorations of radical abstraction, conceptual control and psychological experience.
Photo credit: Snøhetta expansion of the new SFMOMA; photo: © Henrik Kam, courtesy SFMOMA.
The Met: HD Live in Schools
Major funding for The Met: HD Live in Schools was made possible by Bank of America, with program support provided through a partnership with the New York City Department of Education and other school districts across the country.
Through HD Live in Schools, teachers, students and parents can experience the world’s greatest conductors, directors, musicians and singers in riveting productions. The program, which uses opera to teach music, theater, history and English language arts, reaches students in five New York City high schools and 40 school districts in 30 states throughout the country. Teachers receive educator guides and annual training opportunities that enable them to conduct in-class workshops, which prepare students to attend live movie theater transmissions of operas—direct from the Met stage—all free of charge.
Each opera is chosen based on a variety of considerations, including the opera’s applicability to the general curriculum and engaging content for young audiences. Last season’s featured operas included Richard Strauss' Elektra, Alban Berg's Lulu, Giuseppe Verdi's Otello, as well as revivals of Giacomo Puccini's Turandot and Madama Butterfly.
Elektra is the riveting ancient Greek tale of the title character’s quest for vengeance for the murder of her father, Agamemnon. Renowned soprano Nina Stemme played the title role.
Lulu is considered one of the most important stageworks of the twentieth century. It tells the story of a young dancer who rises in German society through her relationships with wealthy men, but who later meets a tragic fate. Soprano Marlis Petersen played the title role.
Giuseppe Verdi’s Otello, based on Shakespeare’s masterpiece and originally performed at the Met in 1891, brought together an outstanding cast led by Aleksandr Antonenko in the title role.
Two revivals of Giacomo Puccini’s work were brought to the Met stage last season, Anthony Minghella’s production of Madama Butterfly and Franco Zeffirelli’s production of Turnadot. Set in the port city of Nagasaki at the end of the twentieth century, Madama Butterfly is the story of a young geisha who clings to the belief that her arrangement with a visiting American naval officer is a genuine marriage. Soprano Kristine Opolais reprised her role in the original production. Puccini’s Turnadot—his final opera—is an epic fairy tale about a Chinese princess whose riddles her suitors must solve, on pain of death if mistaken, in order to win her hand. Sopranos Lise Lindstrom and Nina Stemme took turns in the title role.
Photo Credits: EXPLORING PARTNERSHIPS: Ken Howard/Metropolitan Opera.