LINCOLN CENTER

David Geffen Hall
New York Philharmonic

Handel - The Messiah

"The Messiah of all Messiahs! The New York Philharmonic’s Messiah is the must-see, must-hear holiday event. Every bar of Handel’s greatest masterpiece — whether upon first encounter or at a yearly ritual — speaks to us with passion, beauty, spirituality, and joy. Dazzling solos, instrumental fireworks, and the most glorious choral writing of all time never fail to thrill."

"Messiah represents the quintessential classical music highpoint of the Christmas season. Handel’s inspired setting of Biblical texts is a three-part meditation on the prophecy and fulfillment of God’s plan to redeem the world through a savior. Part I is filled with the joy of anticipation of that savior (epitomized in the jubilant chorus “Unto Us a Child is Born”). Part II reflects the sorrow and agony surrounding Christ’s passion and death, and the exultation of the resurrection, captured in the stirring “Hallelujah” chorus. Part III is a hymn of thanksgiving for the final defeat of death and for life eternal. Among the many other highlights of the oratorio are the noble concluding chorus, “Worthy is the Lamb” and the final “Amen.” Messiah’s dazzling solos, firework-filled instrumental passages, and some of the most glorious choral writing of all time have made it the undisputed holiday favorite of concert halls and churches throughout the world."

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MUSEUM

The Morgan Library and Museum

At the end of the 1520s, at the time of the siege that brought to an end the last Florentine Republic (1529–1530), the painter Jacopo da Pontormo, (1494–1557) created one of his most moving and groundbreaking paintings, the altarpiece of the Visitation. The recent restoration of this masterpiece of Mannerist art has created the extraordinary opportunity for the work to travel for the first time from Carmignano (near Florence in Italy) to the United States. Pontormo: Miraculous Encounters presents Pontormo’s spectacular altarpiece together with its preparatory drawing and with another masterpiece by the artist, the Portrait of a Young Man in a Red Cap (Carlo Neroni?). Pontormo painted this portrait of the handsome yet enigmatic young man during the same dramatic months of the siege of Florence. Believed to be lost, it has only been recently rediscovered in a private collection in Europe.

This exhibition is made possible with lead funding from an anonymous donor in memory of Melvin R. Seiden and generous support from Mr. and Mrs. J. Tomilson Hill and Mr. and Mrs. Lawrence R. Ricciardi.

The Library.

LINCOLN CENTER

Alice Tully Hall
The Chamber Music Society of Lincoln Center

Baroque Collections

"As the holidays approach, many give thanks for their blessings, and for music lovers, there’s nothing to be more grateful for than the entire Baroque era, lasting roughly 150 years until the death of Bach in 1750. The art of chamber music was born during that time, performed on newly-improved instruments by the greatest composer-virtuosi of the day."

Quantz - Concerto No. 161 in G major for Flute, Strings, and Continuo, QV 5:174 (c. 1745)
Handel - “Eternal Source of Light Divine” from Ode for the Birthday of Queen Annefor Soprano, Trumpet, Strings, and Continuo (1713)
Bach - Aria No. 1 “Jauchzet Gott in allen Landen” from Cantata Jauchzet Gott in allen Landen for Soprano, Trumpet, Strings, and Continuo, BWV 51 (1730)
Handel - “Per te lasciai la luce” and “Un pensiero voli in ciel” from Il delirio amorosofor Soprano, Flute, Strings, and Continuo, HWV 99 (1707)
Vivaldi - Concerto in A minor for Bassoon, Strings, and Continuo, RV 497 (after 1720)
Handel - Armida abbandonata for Soprano, Two Violins, and Continuo, HWV 105 (1707)
Handel - “Let the Bright Seraphim” from Samson for Soprano, Trumpet, Strings, and Continuo, HWV 57 (1741-42)
Vivaldi - Concerto in D major for Violin, Strings, and Continuo, RV 208, “Grosso Mogul” (c. 1710)

"Our annual Baroque Collection program allows us to sample the enormous variety of music composed during that very fertile period of music history. It was a time when forces of change were at work, opening doors for previously unimagined instrumental capabilities, sound colors, and styles of concert experience.

Italian composer Antonio Vivaldi provides a good example of the diversity of musical activity taking place between roughly 1650 and 1750. Vivaldi's output includes sacred music (he was an ordained priest), over 40 operas, and more than 500 concertos. In addition, he produced a wealth of sonatas for solo instrument plus continuo, trio sonatas, duos, and just about every other combination of instruments that form the basis of the chamber music literature (save the string quartet and modern piano trio). The output of Johann Sebastian Bach is similar if not quite as voluminous, with his more than two hundred cantatas and multiple oratorios substituting for opera, making up in unmatched quality what he lacked in quantity.

Bach and Vivaldi moved fluidly during their careers between the church and secular musical environments. Vivaldi busied himself presenting concerts by the young girls of his orphanage; Bach had his Collegium, which performed in Zimmermann's coffee house in Leipzig. These famous composers and their countless contemporaries availed themselves of the growing number of opportunities during the Baroque to bring music to people in all manner of venues, a trend which continues today.

Today's program brings to the stage a variety of instruments which were fully utilized by Baroque composers. The flute, bassoon, trumpet, and harpsichord all strained at the bit as the violin soared to perfection in the hands of Antonio Stradivari around 1715, and by the end of the 18th century would begin to sprout the keys and valves that guaranteed them technical accuracy. In perspective, the demands on all instruments made by Baroque composers necessitated the instrumental improvements that today afford their works to unprecedented life and resplendent beauty."

THEATER

Classic Stage Company
The Resistible Rise of Arturo Ui

“With a cast of wily, willing storytellers headed by a blistering good Raúl Esparza, John Doyle’s Arturo Ui is a sly, fearsome sideshow, a deceptively humble, hugely exciting piece of work…It’s Richard III meets Jimmy Cagney by way of the vaudeville circuit, and in the hands of Doyle and his actors, it’s both rollicking and frightening.” 
– Sara Holdren, New York Magazine / Vulture

“The eight ensemble members here are delightfully resourceful. You could even imagine this version of Arturo Ui winning the flinty heart of its author for its imaginative interpretation of the Brechtian dictates of style and sensibility.”
– Ben Brantley, The New York Times

★★★★ “You laugh at him, you fear him, you realize you know him. You certainly can’t resist him”
– Helen Shaw, Time Out New York

In 1930s Chicago, mobster Arturo Ui will stop at nothing to control the cauliflower trade. Terror and bloodshed follow. Can anyone stop him? Brecht’s skewering of Adolf Hitler and totalitarianism is given renewed significance in a production directed by John Doyle. Written in 1941, the play was one of the Berliner Ensemble’s greatest box office successes.

https://www.wsj.com/articles/the-resistible-rise-of-arturo-ui-review-a-man-of-fuhrer-words-1543527578?mod=searchresults&page=1&pos=1

‘The Resistible Rise of Arturo Ui’ Review: A Man of Führer Words

John Doyle’s revival of Bertolt Brecht’s 1941 satire about a Hitler-like Depression-era Chicago gangster largely avoids nudge-nudge references to the present moment.

Terry TeachoutNov. 29, 2018 4:39 p.m. ET

The Resistible Rise of Arturo Ui

Classic Stage Company, 136 E. 13th St. 

As fine an artist as Mr. Doyle is, and as excited as I was by the prospect of seeing Raúl Esparza in the title role, I was more than a little bit apprehensive about this production going in. “Arturo Ui,” after all, isn’t one of Brecht’s masterpieces—its satire is too cartoonish—and I’ve seen a fair number of shows in recent months whose claims to artistic seriousness were undercut by the willingness of their makers to stoop to over-obvious anti-Trump pandering. But Mr. Doyle mostly avoids blatant point-making, instead giving us an electrifyingly coarse and colloquial show into which Mr. Esparza’s complex performance fits with surprising neatness.

When Brecht’s own Berliner Ensemble came to London in 1959 to perform “Arturo Ui,” Kenneth Tynan described the play as “a jagged, raucous parody of Hitler’s rise to power” performed in a manner “somewhere between Erich von Stroheim and the Keystone Cops.” Mr. Doyle, who designed Classic Stage’s production in addition to directing it, is aiming for the same effect, keeping in mind at all times the couplet spoken at play’s end and rendered as follows by George Tabori, whose pungent translation is used in this revival: “If we could learn to look instead of gawking, / We’d see the horror in the heart of farce.” Not only is the action of the play, which unfolds in a fluorescent-lighted warehouse, grotesquely comic in tone, but Mr. Esparza turns Ui-Hitler into a figure of fun (his whiny, nasal voice reminded me of Jerry Lewis).

At the same time, though, he also plays the dictator as a man given to startling outbursts of self-pity and doubt, a quality remarked on by many people who knew Hitler personally, Albert Speer among them. Only at the end of the play, when Ui (whose name is here pronounced to rhyme with “phooey”) has finally attained power, does his personality come fully into focus and we see him for what he is, a monster capable of doing anything necessary to get what he wants, up to and including ordering the killing of his closest friend.

Raúl Esparza Photo: Joan Marcus

Mr. Doyle’s staging, which attends to the Brechtian book of rules—everything is played straight out to the audience with glaring clarity—without being rigid about it, is full of touches for which the right word, unlikely as it sounds, is “elegant.” I loved the moment when he turns a folding table into a coffin by simply covering it with a white sheet and a handful of rose petals. Then Mr. Esparza pulls the sheet off the table, covers himself with it and sinks to the floor, beset by a Shakespearean nightmare vision of Ernesto Roma, the friend he has murdered (outstandingly well played by Eddie Cooper). A moment later, he flings the same sheet over his shoulder, turning it into a toga, and delivers the climactic oration in which he proclaims his plan for the future: “New York! New York today! The world tomorrow!”

It is in this speech that Mr. Doyle draws for the first and only time a crudely explicit parallel with the contemporary object of his satire, making the crowd listening to Ui yell “Lock her up! Lock her up!” It’s as if a reformed shoplifter, having successfully strolled all the way through a store without pinching anything, slipped a pack of gum into his pocket at the cash register before walking out the door. Otherwise, though, his “Arturo Ui” is free from such lapses of taste, though I didn’t care for the interpolated radio bulletins in which an announcer spells out the factual basis for each scene (“Reichstag Fire Trial Ends in Uproar!”). Perhaps Mr. Doyle fears that his audience knows nothing of Hitler’s rise to power—and he may, of course, be right. Otherwise, this production not only serves “Arturo Ui” with full faithfulness (save for the absence of incidental music, a surprising and unfortunate omission) but is the ideal vehicle for Mr. Esparza’s sensational performance. Brecht was a hard man to please, but my guess is that he would have liked it very much.

—Mr. Teachout, the Journal’s drama critic, is the author, most recently, of “Billy and Me.” Write to him at tteachout@wsj.com.

LINCOLN CENTER

Alice Tully Hall
The Chamber Music Society of Lincoln Center

Windstorm

Lise De La Salle - Piano

Adam Walker - Flute

Stephen Taylor - Oboe

David Shifrin - Clarinet

Marc Goldberg - Bassoon

David Holley - Horn

Reicha - Quintet in E-flat major for Flute, Oboe, Clarinet, Bassoon, and Horn, Op. 88, No. 2 (1811-17)
Thuille - Sextet in B-flat major for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano, Op. 6 (1891)
Copland - “New England Countryside” from The City, arranged for Flute, Oboe, Clarinet, Bassoon, and Horn (1939)
Mozart - Quintet in E-flat major for Oboe, Clarinet, Bassoon, Horn, and Piano, K. 452 (1784)

"The sonic array of a wind instrument chamber music concert is unsurpassable. Although we revel in the thunder of the modern piano and the warmth of the violin, the soundscape of combined flute, oboe, clarinet, bassoon, and horn—the classic wind quintet heard in this program—offers a rich tasting menu for the ear. Come hear CMS’s exceptional lineup of wind players tackle this demanding and rewarding repertoire."

Listen to this hear bliss...

"Even a momentary glance into the program biographies of Reicha and Thuille will reveal extraordinary relationships, experiences, and accomplishments that made both men, who lived a century apart, central figures in the musical landscapes of their eras. While Anton Reicha was a friend and colleague of Beethoven since their teenage years (they were both born in 1770), he managed to live a full musical life not in Beethoven’s shadow—an enormous credit to his creative energy. While Beethoven did compose 16 string quartets, Reicha composed 24 woodwind quintets, setting the standard for the genre for generations of composers to follow. And the looming presences of Wagner and Strauss did not stop Ludwig Thuille from composing his own six operas (one of which was performed by the Metropolitan Opera here in New York in 1911), as well as many songs, piano compositions, and orchestral works.

It is perhaps not as well known that Aaron Copland was a very successful composer for film (he shares this distinctive musical sideline activity with a host of famous figures such as Shostakovich, Prokofiev, and Korngold). For the evocative miniature of Copland’s we hear tonight, we have a contemporary composer, Erik Morales, to thank for constructing this expert arrangement, in the tradition of countless great composers going all the way back to Haydn.

Need we say anything about Mozart? Perhaps it’s best to quote him on his quintet, from a letter to his father of April 10, 1784: “It had the greatest applause...I myself consider it to be the best thing I have written in my life.”

THEATER

Theater for a New Audience
The Prisoner

"A man sits alone outside a prison. Who is he? What is he doing there? Is he free? Or is he the prisoner?"


“Red earth of somewhere, not European…In The Prisoner, the stage has a look that has come to be associated with the work of Peter Brook…and when an elderly white man appears (an understated and slightly self-mocking Donald Sumpter), it is, indeed, to introduce a story that began for him long ago, during a journey in a distant land.

Outside a prison…a man sits, staring at its walls. Asked what he is doing, he says that he is there “to repair”…In this version of the story by Peter Brook and his collaborator Marie-Hélène Estienne…the audience learns almost immediately what his story is and what crime he committed.

It is a peculiarly shocking one, committed under shocking circumstances…a story which actually implies a consensual sexual relationship between a 13-year-old girl and her father.

Yet for reasons that soon become clear, the man cannot believe in himself as a righteous avenger of the girl’s abuse; in Hiran Abeysekera’s beautiful central performance, we see him, over the years, feel his way towards a resolution, through his interactions – often random, but somehow meaningful – with local people, visitors, passers-by. And the whole show, at a brief 70 minutes, achieves a magnificent balance of stillness, relaxation and narrative tension; compelling us to pause, to breathe and to reflect, but also moving the story towards its end with the inevitability and energy of a natural force, harnessed by an absolute master.”
-The Scotsman (Edinburgh)

https://www.newstatesman.com/culture/music-theatre/2018/09/prisoner-national-theatre-peter-brook-review

The National Theatre’s The Prisoner is a moving example of Peter Brook’s “late style”

The playwright’s latest work nods most fondly to two classical texts he is connected with: Oedipus and Hamlet.

Two Peters – Brook and Hall – were the leading directors of English classical theatre after the Second World War. Their work went in radically different directions: Hall ran big buildings (the RSC and National) and encouraged new writers, while Brook retreated to Paris, working at a small customised playhouse on experimental, trans-cultural works, researched and rehearsed for years.

Yet though Brook was the elder of the two men, he has remarkably, at the age of 93, brought his latest work, The Prisoner, to London only a week after Hall’s memorial service in Westminster Abbey. The coincidence is poignant and instructive. Hall’s published Diaries, while agonising over some fight with the government, Arts Council or theatre unions, wander into envious reveries about Brook, who represented a servant of art in a country committed to culture. Just after celebrating Hall heroically getting his hands dirty in the engine room of theatre, we get to reflect on the fruits of Brook’s easier, cleaner career.

Artistic “late style”, Edward Said argued, tends towards a concentrated presentation of a career’s themes and techniques, often with a stubborn final attempt to resolve obsessive contradictions and obsessions. The Prisoner can, without insensitivity, be described as an extreme example of this.

A touching sequence in the play – co-directed by Brook’s frequent collaborator, Marie-Hélène Estienne – involves birdsong, echoing The Conference of the Birds, Brook’s fabled nomadic production based on a 12th-century Arabic text. The modern writer who most influenced him is Samuel Beckett, and the set that David Violi has created might easily double for a production of Waiting for Godot: a few rocks and branches stand on a stage dirtied with earth.

A narrator called the Visitor – played by Donald Sumpter, a presumably deliberate bald, beaky lookalike of Brook – glosses the setting as “a faraway country”, but the casting suggests Africa, setting for Brook-Estienne pieces including The Iks (about a Ugandan tribe), The Suit (from a book by Can Themba) and projects with South African theatre-makers Athol Fugard, Percy Mtwa, Mbongeni Ngema and Barney Simon. The text, though, nods most fondly to two classical texts connected with Brook: Oedipus, which he directed at the National in 1968, and Hamlet, the Shakespeare play to which he has most often returned.

The Prisoner has an Oedipal protagonist, Mavuso, who has killed his father after finding him in an embrace with Nadia, Mavuso’s sister. This variation on Seneca/Sophocles seems to stray towards Elsinore when the father’s ghost appears to Mavuso, whose dilemma – is revenge killing ever justified? – is exactly that of the Prince of Denmark. Having responded in the affirmative, Mavuso is punished by an “ancient” rite that involves sitting opposite a prison and watching it until he achieves spiritual freedom.

That image – fabulist, obscurely beautiful – is late Brook at his best. As for the rest, my own preference is for him as a Shakespeare director: his Beckett-influenced King Lear with Paul Scofield (filmed in a version available for streaming) remains the best of the 20 or so attempts at that play I have seen.

Brook’s work with Estienne aims for a theatrical Esperanto, creating pictures, gestures and sounds that will resonate anywhere. But the cost of this is an ideological generality. And weirdly, despite the long rehearsal times that were a justification for Brook’s French retreat, the actors sometimes seemed to be ad-libbing, loosening and lengthening lines in the published text.

In late style, Said identified a refusal to admit defeat. In The Valley of Astonishment, a Brook-Estienne piece about synaesthesia at the Young Vic in 2014, a key moment was described, rather than shown, because it was not actable. In The Prisoner, one scene features a real fire but an imagined rat. It seems unwise to direct us to what the art form can’t do. It’s a pleasure to applaud Brook on his late lap of honour. But I harbour a fantasy in which he stayed in Britain and worked on Shakespeare at the National and RSC.

RECITAL

Carnegie Hall
Chris Thile

Chris Thile, Mandolin and Vocals

Program to include:
Bach - Selected works
Chris Thile - New Work (World Premiere, commissioned by Carnegie Hall)

"In two intimate Weill Recital Hall shows (one at 6:30 PM and the other at 9:30 PM), Chris Thile—this season’s holder of the Debs Composer’s Chair—performs a program that includes an original piece commissioned for the occasion by Carnegie Hall, as well as works by Bach and other selections sure to delight and excite."

An interview with Chris Thile...

MUSEUM

The Metropolitan Museum of Art
Delacroix

"A glorious retrospective . . ." —New York Times (Critic's Pick)

"There's no lack of celebrated and ravishing paintings." —Wall Street Journal

"C'est magnifique!" —Daily News

". . . a once-in-a-lifetime opportunity to experience the painter anew." —Art & Antiques

". . . astounding in its scope . . . a tour de force of curatorial skill . . ." —Artforum

"No other museum catalogue text about this master—or many others—is so lucidly written, accessible, and fun to read." —Vulture

Website for exhibit with video...



"French painter Eugène Delacroix (1798–1863) was one of the greatest creative figures of the nineteenth century. Coming of age after the fall of Napoleon, he reconnected the present to the past on his own terms. Delacroix produced an extraordinarily vibrant body of work, setting into motion a cascade of innovations that changed the course of art. This exhibition is the first comprehensive retrospective devoted to this amazing artist ever held in North America.

The exhibition, a joint project with the Musée du Louvre, illuminates Delacroix's restless imagination through more than 150 paintings, drawings, prints, and manuscripts—many never before seen in the United States. It unfolds chronologically, encompassing the rich variety of themes that preoccupied the artist during his more than four decades of activity, including literature, history, religion, animals, and nature. Through rarely seen graphic art displayed alongside such iconic paintings as Greece on the Ruins of Missolonghi (1826), The Battle of Nancy (1831), Women of Algiers in Their Apartment (1834), and Medea about to Kill Her Children(1838), this exhibition explores an artist whose protean genius set the bar for virtually all other French painters."

CONCERT

Merkin Hall
What Makes it Great?

Dvořák's American Quartet

"Listen to iconic masterpieces with new ears as NPR & PBS music commentator, conductor, composer, author and pianist Rob Kapilow shows you what you've been missing!

Featuring the Aeolus Quartet
Antonín Dvořák came to America in 1892 to head the newly-formed American Conservatory of Music, ushering in an extraordinarily fruitful period of creativity that included the triumphant New World Symphony and his Cello Concerto in B minor. In the idyllic surroundings of a small Iowa town, he wrote what would become one of chamber music’s most popular pieces in just 16 days: The String Quartet in F major, nicknamed the "American Quartet." Fascinated with African-American and Native-American music, Dvořák absorbed the spirit of America’s folk melodies into his work and advocated for an American composition school based on the country’s own indigenous music. Rob Kapilow and the Aeolus Quartet explore the difference between influence and imitation as they investigate what makes the American Quartet “American.”

Rob Kapilow reveals the origins of What Makes It Great?

RECITAL

Marble Collegiate Church
Monday Soul Break Concerts

Colin MacKnight finished his program with this piece.  It was wonderful.  At 12:10 after about 4 minutes of the fugue, the original theme thunders back in with the pedals while the fugue continues on with the hands.  It was a magic moment.

Phantasie über den Choral 'Hallelujah, Gott zu loben bleibe meine Seelenfreud'

LINCOLN CENTER

Alice Tully Hall
The Chamber Music Society of Lincoln Center

Beethoven - Variations on “Bei Männern, welche Liebe fühlen” from Die Zauberflöte for Cello and Piano, WoO 46 (1801)
Schubert - Sonata in A minor for Viola and Piano, D. 821, “Arpeggione” (1824)
Bottesini - Gran duo concertante for Violin, Double Bass, and Piano (1880)
Schubert - Quintet in A major for Piano, Violin, Viola, Cello, and Double Bass, D. 667, Op. 114, “Trout” (1819)

"While great music can be gripping, heart-wrenching, and profound, it is just as often exactly what’s needed to entertain, distract, and lift the spirits. In a program almost too pleasant for words, CMS offers musical diversions featuring opera melodies, an homage to an extinct instrument, an astounding display of double-bass virtuosity, and Schubert’s beloved masterpiece, composed for friends, based on a song about a fish."

Trailer for concert...

MUSEUM

The Whitney
Andy Warhol—From A to B and Back Again

A video on the exhibit...

"Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing power of images in contemporary life and helped to expand the role of the artist in society. This exhibition—the first Warhol retrospective organized by a U.S. institution since 1989—reconsiders the work of one of the most inventive, influential, and important American artists. Building on a wealth of new materials, research and scholarship that has emerged since the artist’s untimely death in 1987, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century.

Explore the artworks below to learn more about the life and work of Andy Warhol."

The exhibition positions Warhol's career as a continuum, demonstrating that he didn't slow down after surviving the assassination attempt that nearly took his life in 1968, but entered into a period of intense experimentation. The show illuminates the breadth, depth, and interconnectedness of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and 70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his own imagery challenge our faith in images and the value of cultural icons, anticipating the profound effects and issues of the current digital age.

This is the largest monographic exhibition to date at the Whitney's new location, with more than 350 works of art, many assembled together for the first time."

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Artworks

By section

1

Warhol Before Warhol

One of Madison Avenue’s most in-demand illustrators

2

Hand-Painted Pop

Scrutinizing the signs and symbols of postwar America

3

Mechanical Reproduction

Discovering the heroism of everyday objects (over and over again)

4

Silver Screens

From screen to canvas, Warhol reflects on our obsession with celebrity

5

Death and Disaster

Exploring the dark side of American culture

6

Most Wanted Men

A controversial mural for the 1964 World's Fair in Queens

7

Flowers

Warhol perfects his systemic approach to art making

8

Filmmaking

Warhol, (super) star maker

9

Installations

Warhol announces his “retirement” from painting

10

Performance and Experimentation

After a near-death experience, Warhol gets back to work

11

Mao

Warhol’s take on the most widely reproduced portrait in the world

12

Time Capsules

Boxing (and unboxing) Warhol’s personal archives

13

Ladies and Gentlemen

A major series depicts members of New York’s drag and trans community

14

Still Lifes and Shadows

Questioning how images create meaning

15

Abstraction

A radical new approach to abstract art

16

Portraits

Warhol attempts to create a “portrait of society”

17

Andy Warhol Enterprises

The Factory expands its ventures in contemporary media

18

Collaborations

Warhol inspires—and is inspired by—a new generation of artists

19

The Last Supper

A meditation on militancy, spiritual sacrifice, and mourning