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., Global Sponsor of the Chicago Symphony Orchestra and serve as the main sponsor of approximately ten museum exhibitions a year.
Scroll down to view a selection of our current and upcoming partnerships.
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Grant Wood: American Gothic and Other Fables Whitney Museum of American Art, New York
Bank of America is pleased to sponsor Grant Wood: American Gothic and Other Fables, on view at the Whitney Museum of American Art, New York, from March 2 through June 10, 2018.
Grant Wood's American Gothic is perhaps the most recognizable painting in twentieth century American art, an enduring icon of Americana, and Wood's most famous work. It has been the subject of countless pop culture parodies in magazines, advertising, film and television. The painting, which belongs to the Art Institute of Chicago, does not travel frequently. Although most viewers generally assume American Gothic portrays a farmer and his wife, Wood actually enlisted his dentist, Byron McKeeby, to pose for the work with the artist’s sister, Nan Wood Graham. This will be the first major retrospective of Wood’s work in New York since the Whitney’s 1983 exhibition Grant Wood: The Regionalist Vision.
Wood's career consists of far more than one single painting. Grant Wood: American Gothic and Other Fables brings together the full range of his art, from his early Arts and Crafts decorative objects and Impressionist canvases through his mature paintings, murals, and book illustrations. The exhibition reveals a complex artist whose image as a farmer-painter was as fictional as the fables he depicted in his art. Wood sought to fashion a world of harmony and prosperity that would answer America's need for reassurance at a time of economic and social upheaval brought on by the Great Depression. Yet underneath its pastoral exterior, his art reflects the anxiety of being an artist and a closeted gay man in the Midwest of the 1930s. By depicting his subconscious anxieties through populist images of rural America, Wood crafted images that speak both to American identity and to the estrangement and isolation of modern life.
The exhibition includes approximately 130 works, and features many of Wood’s classic paintings depicting the pastoral life and landscapes of rural America in the 1920s and 1930s. But it also delves into his experimentation with different mediums, including decorative art objects such as a corncob chandelier; a reconstruction of a stained-glass window; and original illustrations for the Sinclair Lewis novel Main Street.
Grant Wood, American Gothic, 1930. Oil on composition board, 30 3⁄4 x 25 3⁄4 in. (78 x 65.3 cm). Art Institute of Chicago; Friends of American Art Collection 1930.934. Art © Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY. Photograph courtesy Art Institute of Chicago/Art Resource, NY
Through the Eyes of PicassoThe Nelson-Atkins Museum of Art, Kansas City, Missouri
Bank of America is pleased to be presenting sponsor of Through the Eyes of Picasso on view at the Nelson Atkins Museum of Art in Kansas City from October 20, 2017 – April 8, 2018, the only United States venue in a limited tour. The exhibition was conceived by musée du quai Branly – Jacques Chirac in partnership with Musée national Picasso-Paris and adapted by The Nelson-Atkins Museum of Art and The Montreal Museum of Fine Art/Musée des beaux-arts de Montréal.
The groundbreaking exhibition Through the Eyes of Picasso explores Pablo Picasso’s life-long fascination with African and Oceanic art, as well as works from the Americas, uniting his paintings and sculpture with indigenous art that had a decisive impact on his own creative process. Picasso’s initial discovery of African artworks in 1907 transformed his artistic vision when he encountered them at the Musée d’ Ethnographie du Trocadéro (now in the collections of the Musée du Quai Branly in Paris). He became a passionate collector of non-western art. They were a constant source of inspiration, which manifested itself in the lifelong reinvention of his work.
The exhibition features 170 works of art, including more than sixty paintings, sculptures, and ceramics by Picasso alongside more than twenty works of African and Oceanic art that were part of his personal collection, many of them displayed for the first time in the Americas. Visitors can see pieces Picasso collected, lived with, and kept with him through numerous studio moves, many still owned by his family, and others that are in the Musée national Picasso-Paris. Through the Eyes of Picasso also features a selection of personal photographs of the artist at work and play, including images by celebrated American photojournalist David Douglas Duncan. The Duncan images were a recent gift to the Nelson-Atkins.
For Picasso, the power of these masks and sculptures was in the unknown artists’ exploration of line, abstraction of the human body, and its constant transformation. While Picasso did not formally study the African, Oceanic or American cultures, his encounters with non-western art influenced him tremendously and allowed him to free himself from western traditions and reinvent modern art, despite the fact that he never left Europe. “He was working inside the tension that existed between the Classicism in which he was trained as a child and the abstraction and directness he saw in African art,” said exhibition curator Julián Zugazagoitia. “He was seeking the ‘essence’ of art, which he felt in the iconic status of those works. Seeing his art side by side with the richness and complexities of African art will be a revelatory moment for our visitors.”
Anthropomorphic Mask, Ivory Coast, Dan culture, before 1966.
Wood, 9 7/8” x 6 1/8” x 3 5/16”.
Musée du quai Branly-Jacques Chirac, Paris
Image © musée du quai Branly-Jacques Chirac
Photo: Claude Germain
Pablo Picasso, Spanish (1881-1973), Male Bust (study for “Les Demoiselles d’Avignon”), 1907
Oil on canvas, 22 1/16” x 18 5/16”
Musée national Picasso Paris
© 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Image © RMN-Grand Palais / Art Resource, NY. Photo: René-Gabriel Ojéda
ModiglianiTate Modern, London
Bank of America is pleased to sponsor Modigliani, a retrospective on view at Tate Modern, London, from November 23, 2017 – April 2, 2018.
Amedeo Clemente Modigliani (Italian, 1884 –1920) was a painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style, characterized by elongation of faces and figures. His work was not received well during his lifetime, but later found worldwide admiration and today is seen as having modernized figurative painting. During his lifetime, Modigliani had little success. Managing only one solo exhibition and giving his work away in exchange for meals in restaurants, Modigliani died destitute.
The exhibition begins with the artist’s arrival in Paris, exploring the creative contexts that shaped his life and work. Modigliani spent his youth in Italy, where he studied the art of antiquity and the Renaissance until he moved to Paris in 1906. There he met prominent artists such as Pablo Picasso and Constantin Brâncuși. Modigliani began to develop his own distinctive visual language, and pushed the boundaries of the art of his time. Including almost 100 works, the exhibition looks afresh at the experimentation that shaped his career and made Modigliani one of the greatest artists of the twentieth century.
Modigliani’s nudes are a highlight of the exhibition – with twelve nudes on display, this is the largest group ever reunited in the UK. These sensuous works proved controversial when they were first shown in 1917, leading police to censor his only solo exhibition on the grounds of indecency. Legend has it that the nudes drew such a crowd around the gallery that it eventually caught the attention of a police officer. The officer was offended, and promptly ordered them to be taken down. Whether or not this actually happened, the exhibition certainly caught the imagination of the public, and contributed to Modigliani's reputation as a scandalous playboy. Modigliani’s modern women are a symbol of sensuality and defiance. Their unapologetic stares and poses convey women in control of their bodies and their livelihoods (models at the time earned relatively good money). This, in itself, made a real statement.
Also included are his lesser-known but radical and thought-provoking sculptures. For a few years of his life Modigliani abandoned painting to focus on sculpture. He was even chosen to exhibit in the Salon d’Automne in 1912, a great honor for a young artist at the time. However, given his financial difficulties, biographers have wondered how Modigliani managed to afford the expensive materials needed to make these works. It may be that, like a number of other sculptors at the time, he pilfered unguarded stone to support his practice. Montparnasse, where he lived, was one of the last areas of Paris to be renovated, with a wealth of limestone set aside for its building sites. It may not be a coincidence that Modigliani’s series of Heads are carved from the same type of stone.
Tate Modern has received a grant through the 2017 Bank of America Art Conservation Project, with the objective of gaining a better understanding of Modigliani’s working methods and materials through research on three paintings in the exhibition created during different stages of the artist’s career, Portrait of a Girl, c. 1917; The Little Peasant c. 1918; and Madame Zborowska 1918. Through the high profile of the exhibition, and through collaboration with colleagues in the UK and overseas, the research is sure to reach well beyond Tate.
Robert Rauschenberg: Erasing the Rules
San Francisco Museum of Art (SFMOMA)
Bank of America is honored to be the global sponsor of Robert Rauschenberg: Erasing the Rules, 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 is the first posthumous retrospective and the most comprehensive survey of the artist’s work in twenty years. Formerly presented at Tate Modern and the Museum of Modern Art, the exhibition’s final stop at the San Francisco Museum of Modern Art pays special tribute to SFMOMA’s close and longstanding relationship with Rauschenberg, and is on view from November 18, 2017–March 25, 2018.
A fuse was lit in the 1953 art world when Robert Rauschenberg convinced Willem de Kooning to allow him to erase one of his drawings; Jasper Johns executed the inscription within the frame: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953.” Now seen as a bombshell that shook the foundations of Abstract Expressionism, Erased de Kooning Drawing (1953) is an example of Rauschenberg’s irreverent yet incisive style, and it famously pushes the limits of what art can be.
This special work was acquired by SFMOMA from Rauschenberg through a gift of Phyllis C. Wattis, an instrumental member of the museum’s board of trustees who befriended Rauschenberg late in her life. It now anchors the museum’s important holdings of the artist’s early work and is a highlight in the West Coast exclusive of Robert Rauschenberg: Erasing the Rules.
From hosting his first retrospective in 1976, to spearheading the recent Rauschenberg Research Project—an ambitious digital resource published on sfmoma.org that makes art historical and conservation research about Rauschenberg works widely accessible—SFMOMA has long been devoted to this extraordinary and trail-blazing artist.
A defining figure of contemporary art, Rauschenberg produced a prolific body of work across a wide range of media—including painting, sculpture, drawing, prints, photography and performance—defying the traditional art practice of his time. SFMOMA’s presentation emphasizes his iconoclastic approach, his multidisciplinary working processes and frequent collaborations with other artists.
Organized chronologically, the exhibition begins with the artist’s wide-ranging early work, from bold blueprint photograms (photographic images made without a camera) and intimate photographs to his delicate Scatole personali (boxes filled with found objects). These galleries introduce Rauschenberg’s break from artistic conventions, his innovative approach to materials and his multi-disciplinary and collaborative nature, all of which were driving forces throughout his career. This early period features three locales: Black Mountain College, a fertile ground for experimentation where Rauschenberg studied with Josef Albers and Hazel Larsen Archer, and entered into his first important collaborations with Susan Weil, Cy Twombly, John Cage and Merce Cunningham; North Africa and Italy, where Rauschenberg traveled with Twombly; and lower Manhattan, where he established his early studios and worked closely with Jasper Johns.
Among the many highlights of the exhibition is Automobile Tire Print (1953) from SFMOMA’s collection, made when the artist instructed composer John Cage to drive his Model A Ford through a pool of paint and then across twenty sheets of paper. The layered paper and fabrics in his Black paintings and Red paintings led to the artist’s landmark Combines (1954–64), a body of work that breaks down the boundaries between painting and sculpture. Collection (1954/1955) and Charlene (1954) are presented together for the first time in almost four decades, providing a rare opportunity to see and compare the range of strategies Rauschenberg explored in the Combines’ formative stages. Monogram (1955– 59), his landmark work assembled from a taxidermied goat with a painted tire around its body, anchors this presentation.
The exhibition continues by presenting key periods of the artist’s career, including a gallery devoted to transfer drawings and silkscreen paintings. For the Thirty-Four Illustrations for Dante’s Inferno (1958–60), Rauschenberg clipped pictures from magazines and newspapers, illustrating Dante’s epic poem with images from contemporary American life. Rauschenberg’s merging of classical themes, art history references, contemporary politics and pop culture culminate in the silkscreen paintings, such as the vibrant Scanning (1963) and Persimmon (1964).
Rauschenberg also actively explored technological innovations for his performances and artworks in the early 1960s. Collaborations with Billy Klüver and a team of engineers lead to the inclusion of embedded radios in Oracle (1962–65). For the sound-activated work Mud Muse (1968–71) the artist constructed an enormous vat of vigorously spurting and bubbling mud. Originally conceived for an exhibition in Los Angeles and inspired by a hydrothermal basin in Yellowstone National Park, this presentation marks Mud Muse’s first return to California since 1971.
In 1970, Rauschenberg relocated to Captiva Island, Florida, where he lived and worked for the rest of his life. These new surroundings prompted the creation of the series Cardboards (1971–72). SFMOMA’s Rosalie/Red Cheek/Temporary Letter/Stock (Cardboard) (1971), one of the earliest of the series, encapsulates this move with a mailing label from Rauschenberg’s New York studio. Rauschenberg constantly welcomed visitors and continued to travel frequently. A trip to India inspired his lively series Jammers (1975–76); a 1982 visit to China ultimately lead to the launch of ROCI (the Rauschenberg Overseas Culture Interchange), an intense seven-year project encompassing travel, art-making and exhibitions in over ten countries. Rauschenberg’s own photos from this period of travel appear in many later works including SFMOMA’s Port of Entry [Anagram (A Pun)] (1998).
SFMOMA’s presentation is also distinguished by a single gallery presentation featuring Hiccups (1978), a work comprising 97 pieces of handmade paper, each with transfer images and collaged bits of fabric and ribbon. Individual sheets are connected with zippers, with the intent that they could be reorganized into any order. In 1999, Rauschenberg gave Hiccups to SFMOMA in honor of Phyllis Wattis. This treasured work will be installed as a continuous frieze around the perimeter of a gallery.
The exhibition culminates with Rauschenberg’s late work, including his series Gluts (1986–94), assemblages of scrap-metal that point to the excessive consumption of American society, yet also incorporate humor. The artist’s metal paintings of the 1990s, such as Holiday Ruse (Night Shade) (1991), feature subtly layered images silkscreened onto sheets of aluminum and bronze with tarnishing agents. The color transfer paintings of the 1990s and 2000s employ photographs printed with environmentally-friendly inks via cutting-edge digital printers and image-editing software, a testament to the artist’s ongoing embrace of emerging technologies and materials.
Peter Moore. Photograph of Robert Rauschenberg’s Pelican (1963) as performed in a former CBS television studio, New York, during the First New York Theater Rally, May 1965.
Photo © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York.
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’s global partnership with the CSO began with the historic 2010/11 season, when Maestro Riccardo Muti began his tenure as Music Director. 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 be the Global Sponsor of all CSO main series classical concerts at Chicago’s Symphony Center, two signature fundraising events, Symphony Ball and Corporate Night, and exclusive corporate Global Sponsor of CSO tours, both domestic and international.
The CSO’s 127th season is one of celebration and exploration. Over the course of 2017/2018, CSO performances will mark the anniversaries of major composers, including the 150th anniversary of Gioachino Rossini’s death, the centennial of the birth of American composer Leonard Bernstein, the 150th birthday of Claude Debussy and the 200th birthday of Charles Gounod. 2018 also marks the sixtieth anniversary of the acclaimed Chicago Symphony Chorus and will be celebrated with performances of choral works by Franz Shubert and Rossini.
In April, beloved American composer and conductor John Williams will join the CSO for a special program that celebrates his significant contribution to the film world and the concert stage. Williams will conduct a program that features his Oscar-winning film scores performed by the CSO.
The season’s musical explorations include premieres of new works by three American composers: Mead Composer-in-Residence Elizabeth Ogonek; Pulitzer Prize-winner Jennifer Higdon and CSO viola and composer Max Raimi; and continued exploration of symphonies by Josef Anton Bruckner. In addition, fifteen guest artists and conductors will make their CSO debuts, including violinist Isabelle Faust, and conductors Giovanni Antonini, Jiří Bělohlávek and John Storgårds.
Muti bookmarks the CSO season’s weeklong residencies beginning with renowned violinist Anne-Sophie Mutter, who will join the orchestra in performances of concertos by Wolfgang Amadeus Mozart and Pyotr IlychTchaikovsky in September, and cellist Yo-Yo Ma for a performance of Dmitri Shostakovich’s Second Cello Concerto and Sergei Prokofiev’s Third Symphony in June.
In the 2017/18 season, the CSO also continues its tradition of touring with two major U.S. tours, beginning in Kansas City, Missouri in October 2017; followed by California performances in Berkeley, Costa Mesa, San Diego, Palm Desert, Santa Barbara and Los Angeles. For its second tour, in February 2018, the CSO will perform at Carnegie Hall; Washington, D.C.’s Kennedy Center; and the Artis-Naples in Naples, Florida.
Smithsonian National Museum of African American History and Culture
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 world’s most famous concert hall
Season sponsor and Musical Exchange program supporter
Bank of America is the proud Season sponsor of Carnegie Hall, home to the world’s finest orchestras; chamber ensembles; recitalists; world, jazz and pop artists; premieres; and special commissions.
Carnegie Hall’s mission is to bring the transformative power of music to the widest possible audience by featuring extraordinary performances on its three stages, leading visionary education programs and advocating for the future of music through the cultivation of new works, artists and audiences.
A common theme running through its 2017–2018 season is the influential role that music can play in changing the world. A celebratory Opening Night Gala concert by The Philadelphia Orchestra marks the 100th anniversary of Leonard Bernstein’s birth with performances of the composer’s Symphonic Suite, from On the Waterfront, and Symphonic Dances, from West Side Story.
A citywide festival entitled The ’60s: The Years That Changed America, inspired by writer Robert A. Caro, includes two offerings that explore the nexus of music, protest and social change: one featuring legendary singer-songwriter and activist David Crosby with Snarky Puppy, and another led by acclaimed composer, music director and producer Ray Chew with a lineup of prominent guest artists from the worlds of folk, rock, soul and R&B. The festival also features a performance by the Philip Glass Ensemble and new works premiered by the Kronos Quartet — one referencing Dr. Martin Luther King Jr.’s “I Have a Dream” speech and the other based on the works of author and activist Studs Terkel.
Carnegie Hall has appointed Philip Glass to hold its Richard and Barbara Debs Composer’s Chair for the 2017–2018 season. With this residency, the Hall joins the yearlong celebration of the eminent composer’s 80th birthday year, presenting performances that feature Glass classics and premieres performed by the Philip Glass Ensemble, Nico Muhly, American Composers Orchestra, and the JACK Quartet, plus the Louisiana Philharmonic Orchestra and Pacific Symphony in their Carnegie Hall debuts.
Carnegie Hall’s Perspectives series brings violinist Janine Jansen and pianist Daniil Trifonov to the fore. Jansen curates five concerts, featuring chamber music performances with an all-star roster of collaborators and concerto appearances with the Royal Concertgebouw Orchestra and The Philadelphia Orchestra. Trifonov is featured in seven concerts, including an exploration of Chopin; solo recitals; and collaborations with baritone Matthias Goerne, pianist Sergei Babayan, Kremerata Baltica, and cellist Gautier Capuçon. Together with the Mariinsky Orchestra, Trifonov premieres his own piano concerto.
It is Carnegie Hall’s core belief that as one of the world’s foremost cultural institutions, it has the responsibility to create world-class resources and share them free-of-charge. Carnegie Hall fulfills this goal through the extensive programing of Carnegie Hall’s Weill Music Institute (WMI). Expected to reach more than half a million people in the 2017–2018 season, WMI’s programs are specially designed for students, teachers, families, young musicians and audience members of all ages, and are offered at low or no cost to participants. WMI introduces audiences to music, trains and nurtures young artists, and harnesses the power of music to create opportunities for social impact, making a meaningful difference in people’s lives.
WMI has also created the National Youth Orchestra of the United States of America (NYO-USA), comprising the best instrumentalists, ages 16–19, and NYO2, an intensive training program for younger musicians, ages 14–17, that seeks to further expand the pool of young musicians in the U.S. who are equipped with the tools to succeed at the highest level. In 2018, NYO-USA returns to Asia for a tour with conductor Michael Tilson Thomas and pianist Jean-Yves Thibaudet. Now in its second year, NYO2 musicians will once again work with WMI partner Giancarlo Guerrero and The Philadelphia Orchestra.
Along with NYO-USA, WMI’s PlayUSA initiative supports additional young players nationwide through partner organizations that offer instrumental music education programs to low-income and underserved students.
With music education programs for grades 3–5, WMI’s Link Up program continues to grow, reaching over 400,000 students and teachers through partnerships with more than 100 orchestras across the country and around the globe.
Also growing, the Music Educators Workshop brings teachers from throughout the U.S. together to share best practices and cultivate a strong community through an intensive summer program, with ongoing support throughout the school year.
As part of its focus on social impact, WMI partners with the Arts for Incarcerated Youth Network in Los Angeles this season for Create Justice, a series of national forums that bring together a wide range of thought leaders, including representatives from nonprofit organizations, artists and policymakers to consider the role of the arts in juvenile justice reform, culminating in a March 2018 Carnegie Hall concert that features art and music created by young people.
Among WMI’s series of master classes and workshops for young professional musicians, the great mezzo-soprano Marilyn Horne celebrates her final season as artistic advisor for The Song Continues in January 2018, an annual festival dedicated to the art of the vocal recital. Ms. Horne will then pass the torch to soprano Renée Fleming, who will lead the series in years to come.
Alvin Ailey American Dance Theater
Global tour sponsor
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
Nation to Nation: Treaties Between the United States and American Indian Nations
Smithsonian National Museum of the American Indian
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
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.