The National 9/11 Memorial Museum, located in lower Manhattan, on the site of the World Trade Center, opens to the public today, Wednesday, May 21.
Except for the handsome entry pavilion designed by the Norwegian architects Snøhetta, the greater part of the vast 10,000 square feet of exhibition space is 70 feet below ground level, at the foundations of the original twin towers. Visitors are drawn into the chasm through a series of ramps, escalators, and viewing platforms that lead to the Manhattan core, its bedrock, where the museum—the thoughtful design the work of Davis Brody Bond, a New York City firm—divides into two, large square aluminum structures with a luminous sheen.
Throughout 2013-14, New York City Ballet has celebrated its 50th anniversary at Lincoln Center for the Performing Arts in grand style, with 50 ballets, some classic repertory, some new works. To cap off the season, the company brings gives the world premiere of Everywhere We Go, a ballet commissioned from two impressive talents: choreographer and NYCB dancer Justin Peck and the American singer-songwriter Sufjan Stevens, who has supplied the score. The work runs in repertoire through May.
Bryce Pinkham was recently nominated for a Tony Award as best actor in a musical for his role as the charming and scheming Monty Navarro inA Gentelman's Guide to Love and Murder, unquestionably the best, funniest and wittiest, original musical on Broadway this season. Pinkham talks to T+L about the demands of giving eight performances a week and travels that range from Madagascar to Japan to the Middle East.
There are many reasons to visit Savannah, Georgia: its historic architecture, delicious food, and hospitality. If you are a golfer, Hilton Head Island and its courses are only an hour away. But now, while an endless winter keeps its grip on the Northeast, there may be no better reason to visit the gracious city where spring is in full bloom, than the Savannah Music Festival.
Complaints and their potential to effect change for the better is at the heart of Power of Design 2014, an exhibition and series of talks and panel discussions hosted by the Wolfsonian-Florida International University last weekend in Miami Beach.
Cincinnati is rightly admired for its rich cultural life—art museums, theaters, summer opera as well as the annual May Festival, devoted to choral music. It also has one of the country’s leading symphony orchestras and in one of the biggest gets in the classical music world appointed Louis Langrée as its new music director.
One of the most anticipated new operas of 2014 has premiered at Madrid’s Teatro Real: Brokeback Mountain, with a libretto by Annie Proulx, based on her short story, and a score by American composer Charles Wuorinen. Brokeback Mountainis, of course, widely known because of the acclaimed 2005 film by Ang Lee that starred Heath Ledger and Jake Gyllenhaal, as Wyoming sheep-herders, who fall in love in a landscape and a time inhospitable to their passion.
The exhibition, “The Armory Show at 100: Modern Art and Revolution,” at the New York Historical Society, is a don’t-miss, by any standard. The original show was organized in 1913 by the Association of American Painters and Sculptors and represented the first large-scale exhibition of modern art in the United States. So large scale, in fact, that the 1,300 paintings, works on paper, sculpture, and decorative arts had to be displayed in an unconventional space: New York City’s 69th Regiment Armory (located on Lexington Avenue, between 25th and 26th Streets). The exhibition introduced the American public to European modernity and a clutch of stylistic “-isms,” including Fauvism, Cubism, and Futurism. It shocked and provoked. It also marked a turning point in the country’s cultural life.
There may be no greater reason for cultural travel now than the extraordinary new pavilion designed by Renzo Piano for the Kimbell Art Museum in Fort Worth, Texas. The building plays a compliment in design and spirit to architect Louis Kahn's celebrated original structure, a modernist masterpiece of travertine and concrete, renowned for its deployment of natural light. Yet, the Piano Pavilion is its own distinct achievement. It sits on the lawn across from the Kahn and, like it, follows a tripartite plan, distinguished by an arrangement of bleached Douglas fir beams, transparent end walls, and galleries with a roof of fritted glass through which light imparts a singular luminous quality to exhibition spaces. For the next several weeks, much of the Kimbell's permanent collection—a veritable treasury of masterworks—is showcased in the Piano building.