New York Cultural Giants Bring Major Art Installations To JFK's New Terminal

Four of New York’s most iconic museums are joining forces to transform JFK’s Terminal 6 into a global arts hub, with installations by MoMA, the Met, Lincoln Center, and the American Museum of Natural History.

Copyright Courtesy of JFK Millennium Partners and The Port Authority of New York and New Jersey

When John F. Kennedy International Airport unveils its new $4.2 billion Terminal 6, visitors won’t just be greeted by sleek gates and high-tech screens – they’ll walk straight into a mini New York arts district.

As reported by Artnet, four of the city’s most renowned cultural institutions – the Museum of Modern Art, the Metropolitan Museum of Art, the American Museum of Natural History, and Lincoln Center for the Performing Arts – are teaming up to showcase major installations inside the terminal.

The artworks, all on loan from each institution’s permanent collection, will be displayed in the international arrivals corridor. It’s part of a wider effort to make Terminal 6 not just a place to pass through – but a cultural experience in its own right.

Rendering of the arrivals area in Terminal 6 at JFK. Courtesy of JFK Millennium Partners and The Port Authority of New York and New Jersey.

“Thanks to the collaboration with four of New York’s premier cultural institutions, Terminal 6 will offer arriving visitors from around the world a unique New York experience before they leave the terminal,” said Port Authority executive director Rick Cotton.

In addition to these pieces, the terminal will feature 19 permanent, site-specific installations curated by Public Art Fund, plus a rotating display of local work selected by Jamaica Center for Arts and Learning.

Lincoln Center is contributing a 140-foot mural celebrating its work across music, dance, theatre and opera. MoMA has partnered with artist Yoko Ono on a piece inspired by her 2019 work PEACE is POWER. The American Museum of Natural History will create a display drawing from its scientific collections, while the Met’s installation nods to its diverse collection, showcasing 5,000 years of global art.The effort is led by architect Stanis Smith and will also feature 19 site-specific permanent installations curated by Public Art Fund and rotating local artworks curated by Jamaica Center for Arts and Learning.

The Metropolitan Museum of Art in New York City Hugo Schneider / CC licence

“We’re honoured to collaborate with such prestigious institutions – icons in the global arts community and deeply rooted in the spirit of New York City,” said Steve Thody, CEO of JFK Millennium Partners (JMP), which is leading the project with the Port Authority. “Each installation will reflect and celebrate the vibrant cultural heartbeat of New York as we welcome the world to JFK and beyond.”

The effort is led by architect Stanis Smith and will also feature 19 site-specific permanent installations curated by Public Art Fund and rotating local artworks curated by Jamaica Center for Arts and Learning.

The 1.2 million-square-foot terminal will feature 10 gates and is expected to create around 4,000 jobs. Airlines including JetBlue, Lufthansa, Swiss, ANA, Avianca, and Cathay Pacific will operate from the terminal. Cotton noted that the terminal will boast “state-of-the-art architecture, cutting-edge technology and iconic, [and] locally inspired dining and shopping."

The first six gates are set to open later this year, with full completion expected by 2028.

While JFK’s new terminal celebrates New York’s artistic spirit, the wider US cultural landscape faces increasing political scrutiny.

A letter sent by the White House last week ordered several US museums to align their content with Donald Trump’s interpretation of American history.

The move follows Trump’s signing of an executive order in March titled “Restoring Truth and Sanity to American History,” which accused the Smithsonian of coming under the influence of a “divisive, race-centered ideology” and called upon it to “remove improper ideology” from the institution's museums.

In February, Trump removed the Kennedy Center’s Board of Trustees and replaced them with his supporters. He even named himself chairman and vowed to end events featuring performers in drag, indicating he would take on a larger role in dictating the institution's programming schedule.

https://www.euronews.com/profiles/3106

Lincoln Center Announces 2018 White Light Festival, October 16th-November 18th.

Festival Features Cross-Cultural Performances Embracing  Individual Contemplation and Communal Artistic Experiences October 16–November 18, 2018 Highlights include:   A fresh and insightfully comic interpretation of Samuel Beckett’s Waiting for Godotfrom Ireland’s Druid theater company and Tony Award–winning director Garry Hynes The White Light Festival return of Sutra, following its sold-out run in 2010, by Belgian choreographer Sidi Larbi Cherkaoui and featuring ancient martial arts by China’s Shaolin monks The New York premiere of Borderline by Company Wang Ramirez, combining hip-hop and contemporary dance forms with aerial movement  XENOS, Akram Khan’s solo work evoking the shell-shock of a First World War soldier through a combination of classical Indian kathak and contemporary dance, in its U.S. premiere and Khan’s final performances in a full-length piece The world premiere of Framing Time with pianist Pedja Muzijevic and choreographer/dancer Cesc Gelabert, a meditation on music, light, and movement featuring Morton Feldman’s Triadic Memories  William Christie and Les Arts Florissants revisit Haydn’s monumental oratorio The Creation; violinist Hilary Hahn plays solo Bach; Takács Quartet celebrates Schubert, and more The U.S. premiere of Blak Whyte Gray from East London’s Boy Blue, the group’s first full-length abstract work fusing hip-hop dance with African-inspired grooves and an electronic score The U.S. premiere of Kaija Saariaho’s chamber opera Only the Sound Remains, based on two Noh plays as translated by Ezra Pound and directed by Peter Sellars, featuring Philippe Jaroussky and Davóne Tines

Lincoln Center for the Performing Arts today announced its 2018 White Light Festival, which will run October 16 through November 18. The multidisciplinary festival will feature events presented in six venues across the city, including world, U.S., and New York premieres. The ninth annual international festival will explore transcendence, interior illumination, and the communal impulse as exhibited through artistic expression across continents and centuries. “Today we are both more connected and less connected than ever before,” said Jane Moss, Ehrenkranz Artistic Director of Lincoln Center. “This year’s White Light Festival offers an array of exemplary cross-cultural performances that explore inner contemplation as well as outward creative expression, offering new, profound communal experiences.” The festival takes its name from a quotation by Estonian composer Arvo Pärt: “I could compare my music to white light, which contains all colors. Only a prism can divide the colors and make them appear; this prism could be the spirit of the listener.” The 2018 White Light Festival opens on Tuesday, October 16 with the return of Sidi Larbi Cherkaoui’s Sutra, which had its U.S. premiere in a sold-out run at the inaugural White Light Festival in 2010. The Belgian choreographer mixes contemporary dance with martial arts in this singular piece featuring warrior monks from China’s Shaolin Temple, a Zen Buddhist enclave devoted to kung fu. In another bold fusion of East and West, British choreographer Akram Khan presents the U.S. premiere of XENOS, which marks his final performances as a dancer in a full-length piece. Combining classical Indian kathak and contemporary dance, Khan conjures up the shell-shocked dreams of a colonial soldier in this exploration of identity, personal mythology, and the universal horrors of war. Two more groundbreaking works bring contemporary dance to the stages of White Light. Cutting-edge Company Wang Ramirez based in the South of France, presents the New York premiere of Borderline in which dancers, attached to cables, bring to light and transpose the desire of freedom inherent in all forms of dance to create a visual poetry of gravity and weightlessness. East London’s Boy Blue, founded by Michael “Mikey J” Asante and Kenrick “H2O” Sandy, epitomizes physical virtuosity with a fierce political bite in the U.S. premiere of the dance-theater work Blak Whyte Gray. Ireland’s inestimable Druid theater company and Tony Award–winning director Garry Hynes present Samuel Beckett’s irreverent existentialist masterpiece, Waiting for Godot. In this refreshing reimagining infused with slapstick comedy, Druid’s award-winning production joins the festival for a 14-performance run. Framing Time combines music, movement, and light in a performance of Morton Feldman’s piano work Triadic Memories. For this world premiere production, co-presented with Baryshnikov Arts Center, pianist Pedja Muzijevic performs Feldman’s spare, poetic piece alongside captivating movement from Spanish choreographer and dancer Cesc Gelabert. The human voice steps into the light in a concert version of The Creation, Haydn’s triumphal oratorio depicting the birth of the universe, presented by Les Arts Florissants under William Christie with a trio of archangel soloists. In a more intimate a cappella offering, the Latvian Radio Choir pairs transcendent Mahler with contemporary Latvian composers at the Church of St. Mary the Virgin. Violinist Hilary Hahn revisits Bach’s captivating sonatas and partitas in a solo recital at Alice Tully Hall, and the Takács Quartet appears with new violinist Harumi Rhodes in a sublime exploration of Schubert, joined by cellist David Requiro. The festival closes with the U.S. premiere of Kaija Saariaho’s chamber opera Only the Sound Remains, directed by Peter Sellars. Based on two Noh plays, the hypnotic work creates a shimmering world of supernatural encounters, given voice by countertenor Philippe Jaroussky and bass-baritone Davóne Tines, and embodied by dancer Nora Kimball-Mentzos. As in prior years, the 2018 White Light Festival will offer opportunities for audiences to delve further into the themes of the festival with pre- and post-performance artist talks, film screenings, and a special panel discussion moderated by John Schaefer. White Light Lounges follow many performances: these receptions are exclusive to White Light Festival ticketholders and provide opportunities to mingle with artists and fellow concertgoers while enjoying a complimentary glass of wine or sparkling water. The White Light Festival is one of many programs offered by Lincoln Center that annually activates the campus’s indoor and outdoor spaces across a wide range of the performing arts. Additional presentations include the Mostly Mozart Festival, American Songbook, Midsummer Night Swing, Lincoln Center Out of Doors, ongoing free performances at the David Rubenstein Atrium, and Live From Lincoln Center broadcasts that reach beyond the iconic campus. Lincoln Center also presents a myriad of education programs and presentations for families throughout the year. LincolnCenter.org. Tickets for the 2018 White Light Festival are available online at WhiteLightFestival.org, by calling CenterCharge at 212.721.6500, or at the David Geffen or Alice Tully Hall Box Office (Broadway and 65th Street). Single tickets will be available to purchase beginning June 25, 2018. American Express® Card Members can purchase tickets to Waiting for Godot before the general public beginning Wednesday, June 20 at 10:00 am (EST) through Friday, June 22 at 9:59 am (EST). Tickets at WhiteLightFestival.org/Godot and 212.721.6500. Presale tickets for Waiting for Godot are available to Audience Rewards® members from June 22 at 10AM through June 24 at 11:59PM EST. It’s free and fast to join at www.AudienceRewards.com. *

Lincoln Center Stage, New Onboard Classical Music Venue, Debuts On Holland America Line’s MS Eurodam

 

Chamber music ensemble to perform daily during week-long Caribbean cruise

Lincoln Center Stage, a new onboard classical music venue created in an exclusive partnership between Holland America Line with Lincoln Center for the Performing Arts, made its debut on Sunday, January 24 when the ms Eurodam left Fort Lauderdale for a seven-day cruise of the Eastern Caribbean.  The new venue is an intimate recital space which takes its design cues from Lincoln Center’s venues.  A Steinway & Sons piano sits on the wood paneled stage.   The pattern of the room’s windows evokes those of some of Lincoln Center’s iconic buildings.

Lincoln Center Stage will showcase a chamber music ensemble, comprised of five musicians who are recent graduates of renowned music schools and conservancies, performing multiple programs nightly.  On those occasions when guests are enjoying a leisurely day at sea, the ensemble also will play afternoon recitals. The wide-ranging programs feature works by Bach, Mozart, Beethoven, Schumann, and Brahms as well as by American, Eastern European, French, and Latin American composers, and arrangements of songs by such groups as The Beatles and Radiohead.

This April, a new Lincoln Center Stage will launch on two other Holland America ships. Holland America Line’s new Pinnacle Class ship, ms Koningsdam, sails on its inaugural voyage on April 8, 2016.  The venue will also be featured on ms Oosterdam when she sails in April.   Additional Lincoln Center Stage openings on more Holland America ships will be announced at a later date.

Programming Announced For Lincoln Center Festival 2015, July 6th Through August 2nd.

20th Season of festival to run from July 6 through August 2, 2015

Nigel Redden, Director of Lincoln Center Festival, today announced the line-up for the 20th edition of the Festival, which runs from July 6 through August 2, 2015. The Festival will unfold in six venues on and off the Lincoln Center campus. There will be a total of 58 performances by artists and ensembles from Germany, China, England, Ireland, Russia, USA, and Japan.

The festival opens on July 6 with Danny Elfman’s Music from the Films of Tim Burton, a multimedia orchestral experience of specially created suites from a majority of the film collaborations by the legendary composer and visionary director, combined with montages of film clips, sketches, drawings and storyboards edited by Burton. John Mauceri, one of the world’s foremost conductors of live film music, will lead a full orchestra and choir, with Danny Elfman making a special guest appearance. Audience members are encouraged to come to the performance dressed as their favorite character from the films.  There will be eight performances in Avery Fisher Hall through July 12.

Druid Theatre Company of Galway, Ireland, returns for a fourth engagement at the Festival with artistic director Garry Hynes’s staging the North American premiere of DruidShakespeare: The History Plays, playwright Mark O’Rowe’s adaptation of William Shakespeare’s four history plays that make up the key foundational narrative of the English monarchy—Richard II,Henry IV Part One, Henry IV Part Two, and Henry V.  Performances will be in the Gerald W. Lynch Theater at John Jay College, July 7 – 19, with four marathon performances over the two weekends and two-part performances on consecutive weeknights.

The National Ballet of China and National Ballet of China Symphony Orchestra will perform two full-evening story ballets representing distinctly different periods in Chinese history: The Peony Pavilion, a romance based on a 400-year-old epic masterpiece of Kunqu opera, choreographed by Fei Bo; and, in celebration of its 50th anniversary, The Red Detachment of Women, the first ballet created in the new nation, the People’s Republic of China, choreographed by Li Chenxiang, Jiang Zuhui, and Wang Yangiao.  There will be three performances of The Peony Pavilion and two of The Red Detachment of Women, July 8 – 12 in the David H. Koch Theater.

The Cleveland Orchestra returns to Lincoln Center with four concerts July 15–18 in Avery Fisher Hall led by its esteemed music director Franz Welser-Möst, highlighted by two performances of a concert version of Richard Strauss’s rarely-performed opera Daphne, as well as two additional orchestral programs featuring music by Beethoven, Strauss, Messiaen, and Dvorák.

Cheek by Jowl director Declan Donnellan and designer Nick Ormerod reignite the savage comedy of Ubu Roi, Alfred Jarry’s 1896 proto-surrealist and absurdist comedy about a scheming, murderous yet ridiculous dictator, in a contemporary production set in a chic French apartment featuring an ensemble of

French actors affiliated with the Cheek by Jowl company. This is Donnellan and Ormerod’s second Lincoln Center Festivalproduction. In 2009 they memorably staged the Chekov International Theatre Festival production of Pushkin’s Boris Godunovwith a cast including actor Yvgeny Mironov (see Miss Julie below). There will be five performances of Ubu Roi, July 22?26, at Gerald W. Lynch Theater at John Jay College.

Renowned Russian actors Chulpan Khamatova and Yvgeny Mironov will make a rare New York appearance when they star in August Strindberg’s drama Miss Julie, staged by iconoclastic German director Thomas Ostermeier, known for his provocative and stylishly contemporary stagings of Ibsen’s plays in recent years. Mironov, a hugely popular stage and film actor who was in the 2009 Festival production of Boris Godunov staged by Declan Donnellan, is also artistic director of the Theatre of Nations, Moscow. Ostermeier’s production of Miss Julie premiered there in 2011.  The play was adapted by Russian playwright Mikhail Durnenkov and is set in modern day Russia. Using contemporary language, the adaptation takes on the same themes of class warfare that appear in Strindberg’s original 1888 Swedish text. There will be six performances at New York City Center, July 27 – August 2.

Legendary director Yukio Ninagawa celebrates his 80th birthday with a return to Lincoln Center Festival for the U.S. premiere of his production of Haruki Murakami’s internationally best-selling novel, Kafka on the Shore, starring actors Rie Miyazawa,Naohito Fujiki, and Nino Furuhata. The play is about two journeys.  In one, the teen-age hero, Kafka Tamura—who has adopted the name of the great writer whose work is filled with the themes and archetypes of alienation—packs his backpack and, with his alter-ego/companion Crow, flees his home in an attempt to escape his father’s Oedipal curse. At the same time, an old man, Nakata, suffering from an inexplicable childhood affliction that stole his memory, is compelled to set out on a voyage for reasons he does not understand. Their odysseys entwine in modern-day Japan.  There will be four performances, July 23?26 at the David H. Koch Theater.

The Ruhrtriennale’s production of Harry Partch’s music theater spectacle Delusion of the Fury will receive its U.S. premiere in a co-production by Lincoln Center Festival, Holland Festival, Ensemble Musikfabrik, and the Ruhr. Heiner Goebbels returns to the Festival to direct this maverick composer’s work, considered his magnum opus. Ensemble Musikfabrik is bringing a complete set of Partch instruments which the ensemble has recreated for these performances. There will be two performances, July 23 and 24, at New York City Center.

Rezo Gabriadze and his acclaimed puppet-theater troupe from the Republic of Georgia, The Gabriadze Theatre, make their fourth Festival appearance with Ramona, the story of two ill-fated steam engines who fall in love in the USSR.  This humorously stark tale of compassion and loss is accompanied by music inspired by Georgian folk songs. As is the case with all of Gabriadze’s previous puppet plays, Ramona is produced on a small scale with extraordinary puppets and sets made from such commonplace objects as string, bits of cloth, twigs, and wire.  There will be ten performances, July 27? August 1, in the Clark Studio Theater.

Yarn/Wire, the Queens-based chamber quartet, part of a new wave of young contemporary ensembles specializing in the performance of 20th- and 21st-century music for piano and percussion, will make its Lincoln Center Festival debut on July 15 in the intimate Stanley H. Kaplan Penthouse with a concert dedicated to contemporary music commissioned for the group by a new generation of young French composers. The program offers world premieres by composers rarely heard in the United States: Misato Mochizuki, Raphaël Cendo, and will also feature new work by the acclaimed Tristan Murail, one of spectral music’s principal founders and theoreticians, resulting in a survey of important recent trends in French contemporary classical music.

Said Mr. Redden, “For 20 years Lincoln Center Festival has been recognized in the U.S. and abroad for presenting some of the broadest and most original performing arts programs in New York. Work by the leading artists of our time has graced the stages of Lincoln Center and venues across the city.  This summer we welcome back Garry Hynes and the Druid Theatre Company; Franz Welser-Möst and the Cleveland Orchestra; Yukio Ninagawa and his eponymous theater company; director Declan Donnellan and designer Nick Ormerod; Heiner Goebbels and Ensemble Musikfabrik; director Rezo Gabriadze and The Gabriadze Theatre; and the great Russian actor, Yvgeny Mironov.  They join other artists stretching the boundaries of performance who will be appearing at the Festival for the first time.”

Tickets: Lincoln Center Festival packages go on sale on January 23 to Friends of Lincoln Center and to the general public on February 2. Single tickets for the entire festival go on sale to Friends of Lincoln Center on March 23 and the general public on starting March 31. For more information and to buy tickets, visit LincolnCenterFestival.org or go to the Avery Fisher or Alice Tully Hall box offices, or call CenterCharge, 212-721-6500.

Programs, artists and ticket prices are subject to change.