park avenue armory house presents program

Leonardo’s Last Supper: A Vision by

December 3, 2010 — January 6, 2011

1 www.armoryonpark.org Park Avenue Armory is New York City’s most exciting new arts center, dedicated to visual and performing art that cannot be mounted in traditional museums and performance halls.

board of directors

Chairman Marvin Chudnoff Joel I. Picket Elihu Rose, PhD. Sandy Ehrenkranz Joel Press President and CEO Michael Field Genie H. Rice Rebecca Robertson Karl Katz William D. Rondina MG Edward G. Klein, NYNG (Ret.) Janet Christine Ross Adam R. Flatto, Vice Chair Arie L. Kopelman Jeffrey Silverman Marjorie L. Hart, Vice Chair Kenneth S. Kuchin Donald J. Toumey William A. Ackman Stephen Lash Harrison M. Bains Pablo Legorreta Founding Chairman, 1999-2009 Kent L. Barwick Burt Manning Wade F.B. Thompson Cora Cahan Anne L. Millard

2 www.armoryonpark.org Photo: dbox LEONARDO’S LAST SUPPER: A VISION BY PETER GREENAWAY PARK AVENUE Production Credits ARMORY PRESENTS

ITALY OF THE CITIES (Prologue) VERONESE’S WEDDING AT CANA (Epilogue) a project of Change Performing Arts, Milan a project of Change Performing Arts, Milan commissioned by the Italian Trade Commission (ITC) in cooperation with Fondazione Giorgio Cini Leonardo’s Last Supper: and originally promoted by Ambassador and Semana de Musica Religiosa de Cuenca Umberto Vattani in collaboration with Sociedad Don Quijote de Conmemoraciones for the Italian Pavilion of World Expo Shanghai 2010 Culturales de Castilla La Mancha A Vision by Curator Franco Laera Curator Franco Laera Concept Uberto Siola Visual Design Reinier van Brummelen Dancer Roberto Bolle Photography Adam Lowe / Factum Arte Video Editing Elmer Leupen Peter Greenaway Original Texts Peter Greenaway Video Design Matteo Massocco Music Andrea and Giovanni Gabrieli: Grand Ceremonial Music Photography Luciano Romano for the Coronation of Doge Marino Grimani Calligraphy Brody Neuenschwander Antonio Vivaldi: Concerto for Bassoon, String Bass Continuo Image Research Laura Artoni with Elena Ciapparelli and Federico in A Minor Del Prete Sound Design Huibert Boon and Stefano Scarani December 3, 2010–January 6, 2011 Holiday Hours Scientific Commitee Uberto Siola, Renato Capozzi, Francesco Dubbing Editor Huibert Boon Showings are on the hour. There is no late entry. December 24 (Christmas Eve): 12:00–4:00 pm Collotti, Gianni Fabbri, Gino Malacarne, Daniele Vitale, Sound Studio Boon & Booy Last showing is one hour before close. December 25 (Christmas Day): CLOSED Federica Visconti Video Design Matteo Massocco December 31 (New Years Eve): 12:00–4:00 pm Catalog Skira, 2010 Video Editing Irma de Vries Tuesdays–Sundays: 12:00–8:00 pm January 1 (New Years Day): 12:00–8:00 pm Assistant Video Design Neda Gueroguieva Monday, December 27: 12:00–8:00 pm LEONARDO’S LAST SUPPER Digital Sculptor Rod Seffen a project of Change Performing Arts, Milan Vfx Production Eva Haak Wegmann (Closed all other Mondays) For information and ticketing, please visit with the Italian Ministry of Cultural Heritage and Activities / Catalog Charta, 2009 www.armoryonpark.org or call (212) 933-5812 Superintendency for Architectural and Environmental Heritage of Milan CHANGE PERFORMING ARTS, MILAN originally commissioned by Fondazione Cosmit Eventi under the Artistic Directors Franco Laera & Elisabetta di Mambro patronage of FederlegnoArredo Financial and Operating Director Franco Gabualdi in collaboration with the Municipality of Milan/Culture and the Project Managers Matteo Massocco, Valentina Tescari Italian Trade Commission (ITC) Video Programming Nicola Grillo, Marco Tufariello supported by the Italian Ministry of Economic Development Technical Director Amerigo Varesi Curator Franco Laera Light Design Marcello Lumaca Visual Design Reinier van Brummelen Props Master and Decorator Marco Teatro Music Marco Robino Production Coordinator Izumi Arakawa Performed by Architorti: Giovanna De Liso, Efix Puleo, Logistic and Organization Lidia Gavana, Kristine Grazioli Piermichele Longhin, Serigo Origlia, Marco Robino, Press Office Laura Artoni Paolo Grappeggia Visual Technology Andrea Bianchi, Reinhard Bichsel, Virginia Sound Editing Stefano Scarani and Huibert Boon Forlani, Valeria Palermo High Definition Photography HAL9000 / Haltadefinizione Administration Patrizia Mangone Facsimile/Clone Production Factum Arte: Adam Lowe with Bianca Set Installation Goppion under coordination of Maurizio Morini Nieto Gomez, Rafael Rachewsky, Michael Roberts, Piers Wardle Digital Media Partner Mediacontech Group / Euphon An initiative by I SALONI MILANO Video Editing Irma de Vries A project of CHANGE PERFORMING ARTS, Milan Video Design Matteo Massocco PARK AVENUE ARMORY Production Digital Sculptor Rod Seffen with the Italian Ministry of Cultural Heritage and Activities / Superintendency for Architectural and President and Executive Producer Rebecca Robertson Compositing Neda Gueorguieva Consulting Artistic Director Kristy Edmunds Environmental Heritage of Milan, in collaboration with the Municipality of Milan/Culture, the Italian Trade Installation PhotographyPLuciano Romano / Technical Director Townsend Olcott Commission (ITC) and supported by the Italian Ministry of Economic Development. Additional support provided Change Performing Arts Catalog Charta, 2008 by the New York City Department of Cultural Affairs in partnership with the City Council, the Robert Lehman Foundation and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties.

4 www.armoryonpark.org As a prelude to the architectural paintings of da Vinci Pinacoteca di Brera in Milan, Picasso’s 1937 Guernica sought to emphasize the portraits of the 12 disciples that PETER GREENAWAY: and Veronese – to house them, protect them, inspire in the Reina Sophia Museum in Madrid and Velasquez’s reflect their identities and ages and their relationships to A DIALOGUE WITH ITALIAN them – we have made an introductory prologue of an 1636 Las Meninas in the Prado, Madrid, Monet’s 1920 Christ. We have isolated the musical disposition of the Italy of the Cities. Water Lilies in Paris, Seurat’s 1884 La Grande Jatte in frieze of active hands and their gestures which, it is said, ART & ARCHITECTURE Chicago, Pollock’s 1950 One:Number 31 in MoMa, New play out a musical score that reflects the Song of Solomon TEN CLASSIC PAINTINGS REVISITED York, and Michelangelo’s 1541 Last Judgment in the and Beethoven’s Ode to Joy. ITALY OF THE CITIES Sistine Chapel in the Vatican in Rome. We have had two thousand years of Western painting We have searched out the disposition of the objects on For at least two thousand years of competitive separate and only 115 years of cinema. Both are supposedly in the table – plates, glasses, cutlery, meat, fish, fruit and LEONARDO DA VINCI’S THE LAST SUPPER city-states, Italian urban life developed with great the business of delivering ideas by making pictures, by chicken bones, whose arrangement, some say, creates a ingenuity and variety but always kept in mind a desire making images. The Last Supper by Leonardo da Vinci was painted in plan of the night sky seen over Northern Italy, at Easter, for a complete domestic lifestyle that is enviable. 1498 at the height of the Renaissance in Milan, in the Do they do it well? Do they share the same language? showing the position of the planet Pluto, four hundred center of Northern Italy, almost exactly one thousand A great deal of this lifestyle was centered around the Are they in the same business? years before this planet was discovered by astronomers five hundred years after the biblical event it depicts. piazza, nominally a square with a fountain or basin in in 1930, all the while being not unaware that the How is it that they are both slaves to text? Painting was the center, and the four sides representing the four major The painting is regarded as the most significant perspective representation of the table is different from an illustration of text till almost the start of cinema, and aspects of civilized life grouped around in harmony – representation of the much-depicted biblical story the perspective of the room such that should an accurate have you ever seen a film that did not start life as a text, religion, politics, culture and commerce – the church, in which Christ ate with his disciples in a suburban three-dimensional model be made of the painting, the a bunch of words? the town-hall, the opera-house and the market. Jerusalem restaurant on a Thursday evening and crockery and cutlery would slide forward off the table – Supposing we try to hold a dialogue between the two? announced he was about to be betrayed to the legitimate painter’s license to marry illusion with retinal Backed by parallel and associated streets, this piazza To mingle and share and cross-refer their vocabularies, authorities as a prelude to his arrest, torture and death and compositional satisfaction. serviced a community of perhaps a thousand people, so to speak. To use painting to fix and stabilize and limit on Friday, before his resurrection on the following before another piazza opened up to do the same all A painting such as this viewed by the faithful and the and frame the image…and to use cinema to make a Sunday. over again, maybe on a smaller and more modest scale, skeptical, by historical experts and aesthetes and wishful painting move and change, have a temporal life and have maybe on a larger scale. A casual Jerusalem evening meal becomes a super- thinkers hoping for magic, has accrued significances a sound-track. charged event affecting the lives of hundreds of millions which have become part of its cultural baggage, its And in such a manner you crossed the town or the city We have tried to do these very things. We have taken ten of people for two thousand years. Da Vinci’s image is an cult status, its apocrypha, its existence as an item of – piazza by piazza – local centers of civilization making very famous paintings – paintings that you could say are authoritative painted representation of space, of solidity, veneration and worship, and the dividing line between islands of architecture stretching like an archipelago cinematic in size and ambition – full of life and activity weight and symmetry and is generally considered to fact and fiction, the intended and the unintended is east and west and south and north till you came to the – figurative and non-figurative – from da Vinci, and we demonstrate the culmination of a tradition of Last not to be drawn so heavily. There are those who say, for boundary of the city to the outside world – a river, city hope to Jackson Pollock, from Veronese and we hope to Supper paintings stretching back twelve hundred years example that its perspective lines – remembering that walls, a major highway to the next town, a mountain Michelangelo – and we have given them movement and that is not equaled in its ability to visually depict the this is a painting that cannot be moved from its original range or the start of valuable farmland. changing shadows, changing color, active , significance and gravity of the event. site – prophesied the building of the Eiffel Tower and This balanced, harmonious, and essentially domestic, different atmospheres, we have given them music and we the Empire State Building. With the sophisticated contemporary technology of architectural landscape sprouted up all over Italy – but have given them dialogue. the projection of light and image, we have sought to with different building materials, different local styles, VERONESE’S WEDDING AT CANA In doing this, we hope to give some indication of how do several things in association with this painting to different economic experiences, century by century, If the da Vinci Last Supper is undoubtedly a table the paintings were painted, how the painters constructed celebrate its significance. aesthetic epoch after aesthetic epoch. The continuities them; we hope to discover some ideas of their multiple painting, then so is Paolo Veronese’s Wedding at Cana. prevailed through war and peace, dearth or glut, good Certainly we address the power of its construction. Da layers of meaning, the techniques used and the Accredited as a superlative colorist operating without times and bad times. Italian cities are enviable. The Vinci had a concern for the symbolic significance of metaphors intended. We hope certainly to investigate a developed sense of chiaroscuro, Veronese, in his Italians were, and are, fully aware of this, and their the number three, resonating ideas of the Trinity, God and educate but also to fascinate and celebrate these repeated return to images of a grand banquet, with this paintings are full of architecture, from Giotto to Raphael the Father, God the Son and God the Holy Ghost – extraordinary complex images that belong to all our painting with its story of Christ’s first miracle of turning to de Chirico, from Crivelli to Botticelli to the Carracci, energizing the painting’s composition, emphasizing the inheritances – that have opened our eyes, that have water into wine, appears to have painted his most from Masaccio to della Francesca to Michelangelo. From centralized perspective that dominates our view-point enriched our visual literacy and visual awareness. ambitious and most fully articulated work, where there da Vinci to Veronese. and matches the perspective lines of the hall in which it are at least 126 fully realized figures depicting a social We have worked with ’s 1642 Nightwatch in is painted. Dream cities, ideal architecture. What these painters hierarchy from aristocrats to table waiters, ecclesiastics to the Rijksmuseum, Amsterdam, and with da Vinci’s 1498 saw and experienced and lived in became developed We have attempted to indicate the painting’s various entertainers, Christ’s disciples to children, and also five The Last Supper in Milan, and with Veronese’s Wedding and fantasized, reworked and refashioned, extended light sources, certainly the small left hand window dogs, a cat and a parrot. at Cana painted for the refectory of San Giorgio in and improved. Architecture sheltered paintings of through which constantly changing day-light shone Venice in 1563. We are working now to see how we can Supposedly this miracle-story takes place somewhere architecture. on the painting and changed its reading, its color approach Raphael’s 1504 Wedding of the Virgin at the in the biblical early thirties AD, and to fix the purpose temperature, its atmosphere and its tonality. We have

6 www.armoryonpark.org www.armoryonpark.org 7 of this painting, we have given every character dialogue Artist Biography The Cultural Basis for A History of Leonardo da Vinci’s Last Supper as befits the nature of a product of sound-cinema. The Greenaway’s Last Supper Born in Wales and educated in London, Peter Leonardo da Vinci came to Milan in 1483, where he dialogue is variously used, sometimes clearly spoken The Superintendency for Architectural and Natural Greenaway trained as a painter for four years and worked at the Duke’s Court as architect, engineer, for emphasis, sometimes overlapping itself for effect Heritage of Milan, in charge of the management and started making his own films in 1966. He now lives painter, sculptor and set designer. He painted The Last adjusted to Veronese’s indicated space of upper and especially of the conservation of Leonardo’s masterpiece, in Amsterdam. He has continued to make cinema in Supper between 1494 and 1498, on the north wall of the center balconies and the dining-room floor open to the supported this project from the outset, acknowledging a great variety of ways, which has also informed his convent’s refectory. fresh air. in it not simply a spectacle, albeit a high-quality one, curatorial work and the making of exhibitions and but a genuine work of art. The performance devised by The artist knew the other Last Suppers realized in The dialogue is not only recorded to convey conversation installations in Europe from the Palazzo Fortuny in Peter Greenaway with new instruments (lighting, sound, Florence by artists such as Domenico Ghirlandaio appropriate to a Jewish wedding with chatter concerning Venice and the Joan Miro Gallery in Barcelona to the shadows, images) aims at offering an unconventional and Andrea del Castagno, who portrayed the exact arrivals and wedding presents, guest relationships, the Boymans van Beuningen Gallery in Rotterdam and reading of The Last Supper, attesting once again to the moment of Judas’s identification as traitor. In his Last presence of the disciples and Judas Iscariot, formal the Louvre in Paris. He has made 12 feature films and greatness of this work, which is not only an icon to Supper, da Vinci innovates the traditional iconography etiquette and wealth and the richness of the food and some 50 short films and documentaries, been regularly admire but a living matter that continues to be a source choosing precisely the preceding moment, in which the the drink and the plate, including the introduction of nominated for the Film Festival Competitions of of artistic inspiration. uncertainty over who will betray Jesus has not yet been the fork into Italian good manners, but also to give Cannes, Venice and Berlin, published books, written solved. The moment is highly dramatic and triggers voice to the validity of miracles, their appropriateness, opera librettos, and collaborated with composers Light is the primary instrument for every painter, intense emotions, which profoundly shakes the apostles. their suggestion of trickery and counter-productive Michael Nyman, Glen Branca, Wim Mertens, Jean- but Leonardo here presents us with an unbeatable Da Vinci is also innovative with regard to pictorial exhibitionism that was talked of with anxiety in the Baptiste Barriere, Philip Glass, Louis Andriessen, Borut accomplishment by painting two sources of light. composition, in that an extraordinary use of perspective Gospels, and to be prophetic about what eventually Krzisnik and David Lang. In the background, the sunset still sends its vivid rays creates a sense of continuity between the real space and followed from Christ’s presence here, all the way to the His first narrative feature film, The Draughtsman’s and the imminent evening is announced with the the painting. crucifixion. Some of the dialogue is direct quotations Contract, completed in 1982, received great critical gradation of celestial blue tones. Light also has a highly from the Gospel of St John. To complete The Last Supper, da Vinci did not use acclaim and established him internationally as an symbolic value as it shines directly over Jesus, who sits the traditional “buon fresco” technique. Instead, he There is a layered negotiation in the dialogue to original film maker, a reputation consolidated by the against the light at the centre of the scene. experimented on the dry wall, using a technique similar acknowledge the idea of a Jewish wedding of the late films, The Cook, The Thief, His Wife & Her Lover, The But yet another light source, this time outside the scene, to one normally used for painting on canvas, to yield the thirties AD, and also to acknowledge the conditions and Pillow Book, and The Suitcases. Greenaway’s shines upon the characters as though coming from the best lighting and chiaroscuro effects. Unfortunately, the characteristics of a wedding celebrated in Venice in 1565 most recent feature films are the 2009 Festival window on the refectory wall; Judas is the only character choice proved ill-fated, due to unfavorable micro-climate by Veronese’s contemporaries with local and national presentations Nightwatching and J’Accuse. These two being overshadowed, denied by the light, which conditions. A few years after completion, an unstoppable allusions, and also to acknowledge our 2010 sensibilities films form part of the ambitious series of digital video therefore performs not only as a pictorial element but as process of deterioration began. as to the validity of miracles and their implied chicanery. installations that Greenaway began in 2006 with a theatrical feature. There are also indications to hint at what many people his exploration of Rembrandt’s Nightwatch in the In 1652, a door was built in the middle of the painting, have surmised is in fact not a wedding where Christ Rijksmuseum in Amsterdam. In June 2008, after much Peter Greenaway uses light as a paintbrush, respectfully which cut off Christ’s feet. In 1799 the convent was is an incidental guest, but where Christ is in fact the negotiation and all necessary precautions, Greenaway revisiting The Last Supper and speaking to the audience suppressed and the refectory became a stable and hayloft groom at his own wedding, performing miracles with all staged a one-night-only event in front of the original with a new language which, nonetheless, finds its for the Napoleonic army; in August 1943, a bomb the inevitable remarks of skepticism and exhibitionism Last Supper in the refectory of Santa Maria delle Grazie reference and inspiration in Leonardo’s thinking. crashed into the adjacent cloister causing the vault and the eastern wall to collapse. hinted at in the gospels whose authors were wary of in Milan to a select audience. In June 2009 Greenaway —Alberto Artioli adverse criticism. On more than one occasion Veronese exhibited his digital exploration of The Wedding at Cana Superintendent for Architectural and Natural Heritage of Milan The Last Supper’s fragility triggered many restorations was obliged to excuse and explain himself before by Paolo Veronese on the occasion of the 2009 Venice throughout the centuries. These often proved the Inquisition who found his paintings too worldly Biennial while the film The Marriage about the same detrimental because of methods considered inadequate and certainly remiss in the right degree of Christian painting and installation has been recently completed today. The last restoration, from 1978 to 1999, aimed at orthodoxy. and shown in the frame of the Venice Biennial Film recovering as much of the original painting as possible. There are seldom such positive stories in the bible that Festival 2009. Layers of color, glues and materials that had been added we can wholeheartedly celebrate. over the centuries were removed with great difficulty. This is certainly one of them. When the restoration was complete, the painting was revealed in all its fragmented state, but the recovery of —Peter Greenaway Leonardo’s painting marked the return of an artwork with all its renewed emotions. —Giuseppe Napoleone Director, Cenacolo Vinciano Museum (home of The Last Supper)

8 www.armoryonpark.org www.armoryonpark.org 9 The Creation of The Last Supper’s “Clone” When New York’s visitors enter into the Armory’s Drill ON FLUENCY: PETER GREENAWAY AT PARK AVENUE ARMORY Since access to view The Last Supper is highly restricted, Hall, they experience for the first time a creative mosaic we were approached to make a copy, a facsimile of the multimedia experiments conducted by Peter To describe Peter Greenaway’s knowledge of art history that could reproduce the original both in terms of Greenaway with the team at Change Performing Arts in as encyclopedic teeters on the edge of understatement. dimensions and characteristics of matter, to be installed these last three years. And describing the depth and breadth of his in a tridimensional reconstruction of the Refectory. The prologue is a symphony of images and sounds, the contemplation of painting as “epic” seems altogether casual. His body of knowledge and robust investigations There is a long tradition of copying in the history of innovative experiment of “architectural cinema,” an of the possible dialogue between painting and cinema art and the team of Factum Arte means to refer to that audio and visual celebration of Italy’s countless towns is viscerally apparent in his installation for Park Avenue tradition. We have developed pioneering technologies and architecture, from the bimillenary architecture of Armory, Leonardo’s Last Supper: A Vision by Peter that allow us to reproduce absolutely exact two- and Pompeii to postwar Rome. Greenaway. three-dimensional copies of any given artwork, created Originated as an installation for the Italian pavilion for conservation purposes in collaboration with the at World Expo 2010 in Shanghai, visitors are guided Sequenced in three parts, the work is a provocation , Louvre and Prado in Madrid. through this timeless architectural journey by images of to revisit our relationship to our visual literacy in the 21st Century. Greenaway’s dialogue gives us a liberated For The Last Supper, we used high resolution dancer Roberto Bolle to a second space which recreates and masterful lens through which to consider how photographic data recorded using a panoramic process the walls of the Refectory of Santa Maria delle Grazie we ourselves might approach looking. Within what by the Italian company Haltadefinizione – through the in Milan and Leonardo da Vinci’s The Last Supper, is now referred to as the ‘Information Age,’ the act of use of a panoramic procedure with thousands of shots the world’s most celebrated piece of Western art. This looking is primarily a speed through of visual stimulus. – together with the data of the 3D scan made by the perfect clone, including spandrels and cupola, was According to museum surveys, the majority of viewers Central Institute for Restoration. manufactured by Factum Arte, in close collaboration with the Superintendency for Architectural and spend between 2 and 20 seconds looking at a work of The following phase was color matching: we examined Environmental Heritage of Milan in order to increase art. At the Louvre, the Mona Lisa apparently receives a hues, tone and character of the color for every single part the number of viewers, as viewings of the fragile original 15 second average gaze. At that pace, the experience of a of the painting. Subsequently, we worked out collectively are limited to small groups for only 15 minutes. work of art in the modern world is at best, efficient. how to treat this huge amount of data: we wanted to Greenaway and his creative collaborators have turned reproduce the complexity of the surface to preserve Walking out of the Refectory, visitors step into the their formidable command with visual languages in variations and imperfections. Venetian atmosphere of one of the most controversial Italian paintings, Paolo Veronese’s Wedding at Cana. service to expand our experience of looking and by The last stage consisted in making the surface in the Originally located at the rear wall of the Refectory on extension, “our understanding of who we are.” same materials as the original and printing the image the Island of San Giorgio Maggiore, the large painting In richly detailed and variously layered ways, Leonardo’s using a purpose-built printer that enables us to overprint was taken by Napoleon and now on display at the Last Supper is a generous invitation and provocation in perfect registration. The final phase of the work goes Louvre in Paris, just opposite da Vinci’s Mona Lisa. to see. back to the hands of expert restorers so that our clone can recreate the emotional impact that is often prevented The cinematic eyes of Peter Greenaway breathe new life I wish to acknowledge the many individuals and entities by the inaccessibility of the original. into this vibrant painting, and the music soundscape involved in making this work possible in the first takes the audience to a final sensory experience with the instance, and ensuring its presentation in New York for —Adam Lowe brass wind instruments of the Vivaldi and the Gabrielis’ Director and Founder, Factum Arte Park Ave Armory. Venetian music. As we embark upon our 2010/2011 artistic program, Theater of the Arts There was no word at the time – and there still isn’t Greenaway’s installation also reminds us to imagine one – to name the awesome encounter between a During the 2006 celebrations for Rembrandt’s 400th deeply the propositions of artists – past, present and painting masterpiece and the vision of the contemporary year, the Rijksmuseum in Amsterdam gave Peter those to come – who seek and offer relevant expressive artist. For the Welsh film-maker, who has repeatedly Greenaway the opportunity to place the original truths across time, place and expectation. announced the death of cinema, this is the chance to Nightwatch canvas in a separate room where he offered —Kristy Edmunds reinvent it, using special effects and moving images that his own vision of the painting using pioneering image Consulting Artistic Director, Park Avenue Armory combine a cinematographic performance with music technologies. Every seven minutes, the museum lights and visual arts in a ritual approach. He created a twenty- faded out and a single light source projected changing first-century new theater of the arts. light effects on the artwork in order to enhance its character, composition, shapes and mysteries, while a —Franco Laera soundtrack completed the illusion of a living painting. Curator and Artistic Director, Change Performing Arts

10 www.armoryonpark.org ABOUT PARK AVENUE ARMORY 2010-2011 SEASON Part palace, part industrial shed, Park Avenue Armory In its first full season of artistic programming, fills a critical void in the cultural ecology of New York by the Armory presents: enabling artists to create, and the public to experience, Leonardo’s Last Supper: A Vision by Peter Greenaway unconventional work that could not otherwise be (December 3, 2010-January 6, 2011) mounted in traditional performance halls and museums. A multimedia celebration of Italian painting, centered With its soaring 55,000-square-foot Wade Thompson around Leonardo da Vinci’s masterpiece. Drill Hall—reminiscent of 19th-century European train stations—and array of exuberant period rooms, Tune-In Music Festival the Armory inspires artists to draw upon its grand scale (February 16-20, 2011) and distinctive character and captivates audiences with A music festival curated by eighth blackbird that brings its ability to provide intense, dramatic, intimate, and together today’s leading new music groups. immersive experiences. Ryoji Ikeda’s transfinite (May 13-June 11, 2011) HISTORIC ROOM TOURS The Armory’s third annual visual art commission is a The Armory is one of America’s finest landmarks, vast and immersive landscape of digital imagery. combining a rich social and military history with an Royal Shakespeare Company extraordinary ensemble of 19th-century period rooms. (July 6-August 14, 2011) The reception rooms on the first floor and the Company An unprecedented six-week residency, co-presented with Rooms on the second floor were designed by the most Lincoln Center Festival in association with The Ohio prominent designers and artists of the day including State University. Louis Comfort Tiffany, Stanford White, Herter Brothers Shen Wei Dance Arts and Pottier & Stymus. (November 30-December 4, 2011) During exhibition hours, the period rooms on the first Artist-in-residence Shen Wei presents a new work Lectures Family Education Workshops floor are open to the public to view in a self-guided unhindered by traditional Western staging. Duplicating da Vinci: It’s About Looking! (all ages) tour. There are printed guides available and information STREB The Art of Cloning a Masterpiece Light Wall (ages 8+) in each room. Group tours with Kirsten Reoch, the (December 14-22, 2011) Wednesday, December 1, 6:30-8:00 pm Saturday, December 11, 10:30 am-12:30 pm Armory’s historian, are available by appointment and last approximately 45 minutes. To request a tour, please A powerful new work by MacArthur “genius” Elizabeth Lecturer Adam Lowe, Factum Arte Streb that stretches the limitations of the human body. It’s About Looking! (all ages) email [email protected] or call (212) 616-3937. Factum Arte has developed pioneering technologies Merce Cunningham Dance Company that allows them to reproduce exact two- and three- Sunday, December 12, 10:30 am-12:30 pm JOIN THE ARMORY (December 29-31, 2011) dimensional copies of any given artwork. Director Adam Interactive family workshops, led by teaching artists, The celebrated dance company ends its two-year farewell Park Avenue Armory members support the continuing Lowe discusses the meticulous creation of Leonardo’s guide participants to create their own visual art Legacy Tour with an engagement at the Armory. preservation of one of America’s historic treasures and The Last Supper and other facsimiles, including tombs response to Leonardo’s Last Supper: A Vision by Peter the development and presentation of groundbreaking in the Valley of the Kings and Paolo Veronese’s Wedding Greenaway. The workshops encourage participants to arts and educational programming. Join today and enjoy at Cana. Lowe shares the developments made by work both individually and collaboratively, crafting BUY TICKETS FOR ARTISTIC PRODUCTIONS advanced notice of ticket sales and exclusive previews of Factum Arte over the past decade and considers their original works of art that provide a tangible record of Be the first to know when tickets go on sale! Sign up at visual and performing art events before they are open to applications and implications for the protection of our how Greenaway’s work impacts the way they look at art. www.armoryonpark.org/tickets to receive notice of ticket shared cultural heritage. the public! $5 material fee for each participant (including both sales and keep current with what’s happening at the Armory. Artist Talk: A Conversation with Peter Greenaway adults and children); Free for Armory Members. For more information about Park Avenue Armory membership, please contact: Pre-registration required for educational workshops. Saturday, December 4, 10:30 am-12:00 pm [email protected] or call (212) 616-3952. For more information, visit www.armoryonpark.org Visionary artist and filmmaker Peter Greenaway reflects or call (212) 933-5803. upon his influences, processes, and extensive body of work.

12 www.armoryonpark.org www.armoryonpark.org 13 supporters Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. Membership in Park Avenue Armory supports the continuing stabilization and meticulous care of the building and its innovative, immersive, and ground- breaking arts programming.

$1 m i l l i o n o r m o r e The Surrey / Denihan Hospitality Irene and Jack Banning Dr. and Mrs. Andy Bronin Mr. and Mrs. A. J. C. Smith Lucia Woods Lindley and Jeffrey Crespin Mr. James H. Rosenfield Group Helaine and Victor Barnett Building Conservation Associates, Inc. Helene and Robert Sorin Daniel A. Lindley Jay and Devon Cross Ms. Maria E. Salgar The Arthur Ross Foundation and Carolyn and Laurence Belfer / Kathleen and Neil D. Chrisman The Dorothy Strelsin Foundation / Judith and Michael Margulies Ms. Susan R. Cullman & Sapsis Rigging, Inc. J & AR Foundation $10,000 t o $24,999 Laurence D. Belfer Family Christie’s Americas Enid Nemy The Mercein Family Mr. John Kirby Mr. and Mrs. Rudy Schott Charina Endowment Fund, Inc. Foundation Young Yang Chung, PhD. Summit Security Services, Inc. Anne and Peter Millard Drs. Eileen and Lawrence Cutler Ms. Rozita Shay Empire State Development Anonymous Judy and Howard Berkowitz Crum & Forster Judith and Michael Thoyer Ms. Sandra E. Mintz Marguerite De La Poer Ms. Virginia W. Sheerin Corporation Mr. and Mrs. Leon Black Friederieke and Jeremy Biggs Mr. and Mrs. Edgar Cullman, Jr. Universal Builders Supply Inc. The New York Community Trust / Mr. and Dr. De Rosa C & M Silver New York City Council and Council Daniel and Estrellita Brodsky Mr. and Mrs. Alexandre Chemla Caroline C. Culver Ambassador and Mrs. The Safer-Fearer Fund Ms. Veronica Deberardine & Mr. Robert Silvers Member Daniel R. Garodnick Eileen Campbell and Struan Robertson David and Frances Eberhart Laurel Cutler and Theodore J. Israel, Jr. William J. vanden Heuvel Mr. and Mrs. Wilson Nolen Mr. Bruce Campbell Bennett Paul Soulellis New York City Department Marvin and Diana Chudnoff / Foundation Mr. and Mrs. Raymond Dalio Mr. and Mrs. Hugh B. Vanderbilt, Jr. The Ostgrodd Foundation, Inc. Ms. Gayle Dizon Patricia and David Kenneth Specter of Cultural Affairs The Family Chudnoff Richard and Barbara Debs Joan K. Davidson / Anastasia Vournas and Mr. and Mrs. Gunnar S. Lydia Emil Wenke Thoman Sterns Susan and Elihu Rose Mary Cronson / Ms. Jean Doumanian The J.M. Kaplan Fund J. William Uhrig Overstrom, III Mr. and Mrs. Thomas N. Farmakis Barbara Stewart and Erich Glanz Joan and Joel Smilow Evelyn Sharp Foundation Lisa and Sanford B. Ehrenkranz Dewey & LeBoeuf LLP Dr. and Mrs. Samuel Waxman Renfro Design Group Mr. and Mrs. William Felder Lynn G. Straus Wade F.B. Thompson* CulturesFrances Inger McCabe Elliott James Dinan and Elizabeth Miller Dr. Mary H. White Mr. and Mrs. Richard Riegel, II Ms. Donna Fisher Ms. Andrea Vittorelli Emme and Jonathan Deland French American Cultural Exchange Florence Fearrington Kate R. Whitney Roadtrek Motorhomes, Inc. Ms. Ella M. Foshay Mr. and Mrs. Charles Warren $250,000 t o $999,999 The Felicia Fund Mr. and Mrs. George J. Gillespie, III Fisher Dachs Roger and Kimberly Yaseen Aaron M. Rose Freedman Seating Co. Marie-Helene Weill The Grand Marnier Foundation John R. and Kiendl Dauphinot Mary Ann Fribourg / Marlene Hess and James D. Zirin Rudin Management Co., Inc. Bruce Geismar Ms. Jane Wenner William and Karen Ackman / Agnes Gund Gordon Fund The Fribourg Family Ms. Beth Rustin and Mr. Lee Stettner General RV Center, Inc. George and Betsy White The Pershing Square Foundation Molly Butler Hart and Mr. and Mrs. Peter Gottsegen Bart Friedman and Wendy A. Stein $1,000 t o $2,499 Sanford L. Smith & Associates W. Dwight Glover P. D. Wilson, M.D. Adam R. Rose and Peter R. McQuillan Michael D. Griffin Hugh O’Kane Electric Company, Inc. Jane and Budd Goldman Mr. Paul Scarbrough & Akustiks Mrs. Bette-Ann Gwathmey Mr. Peter W. Wood Donna and Marvin Schwartz Pamela Newman Kates and Nina and Bill Judson John H. and Susan K. Gutfreund Anonymous Ann Schaffer Mr. and Ms. Martin Halbfinger Henry E. Kates Hon. Bruce M. Kaplan and Janet Mr. and Ms. Alexander Klatskin Ms. Monika Abbott Gregg Schenker Cassandra S. and David H. Harris List as of November 12, 2010 $100,000 t o $249,999 Mr. and Mrs. Robert Kaufman Yaseen Kaplan Phyllis L. Kossoff Eleanor M. Alger Mr. Barry Schwartz & M&F Phyllis V. Harris Coco and Arie L. Kopelman Mariana and George Kaufman Levien & Company, Inc. Ann and Steven Ames Worldwide Corp. Mr. Steve Hasday *Deceased The Achelis and Bodman Foundations Mr. and Mrs. Bruce Kovner Stephen S. Lash and Mimi Levitt ArtForum Brendan Sexton and Karen Dalzell Mr. and Mrs. Steven Hoffman Linda and Earle S. Altman Christina and Alan MacDonald Wendy Lehman Lash Michele and Michael R. Littenberg Mr. and Mrs. Norton Belknap Nannette Sloan Mrs. Fern Hurst American Express Historic Ms. Nancy Marks Levenstein Family Foundation, Inc. Margaret and Daniel Loeb / Ms. Melva Bucksbaum & Squadron A Foundation John Canning Painting & Preservation Fund Sylvia and Leonard Marx, Jr. Mary and Larry McCaffrey Third Point Foundation Mr. Raymond Learsy Kathryn Steinberg Conservation Studios Michael Field and Jeffrey Arnstein Mary W. Harriman Foundation The Donald R. Mullen Family Heather Lubov Marian Burke Mr. and Mrs. Michael Stubbs Hilda Jones Mr. and Mrs. Peter L. Malkin and Mr. and Mrs. Lester S. Morse, Jr. Foundation, Inc. Mr. and Mrs. Michael Magdol Nancy N. and Colin G. Campbell Mr. and Mrs. William C. Tomson Ms. Younghee Kim-Wait & The Malkin Fund, Inc. Peter and Beverly Orthwein Achim and Colette Moeller Mr. and Mrs. Vincent Mai Mr. and Mrs. Arthur L. Carter Helen Tucker / The Gramercy Park Mr. Jarett F. Wait The Andrew W. Mellon Foundation Mr. and Mrs. Jeffrey Peltier New York State Council on the Arts Juliana and Jon May Brad Cloepfil Foundation Major General Edward G. Klein, New York Media Joan and Joel I. Picket Anne and Chuck Niemeth Mr. Raymond McGuire Ms. Anne Coriston Gilbert Turchin NYNG (Ret.) The Rockefeller Foundation Judith and Burton Resnick Platt Byard Dovell White Architects Mary Ellen Meehan and Mrs. Daniel Cowin Henry van Ameringen Ms. Andrea Klepetar-Fallek Marshall Rose Family Foundation Genie and Donald Rice Preservation League of New York Richard Oldenburg Lise Scott and D. Ronald Daniel Ms. Karen Wells and Mr. Andrew J. Paul C. Lambert Amy and Jeffrey Silverman Robert Lehman Foundation, Inc. Joel and Andrea Press The Military Society of the War Mr. and Mrs. Maurice Deane Canning Mr. and Mrs. Fernand Lamesch The Thompson Family Rebecca Robertson and Byron Knief Amanda and Richard Riegel of 1812 Mr. Jules Demchick Leonard A. Wilf / Mr. and Mrs. Christian Lange Foundation, Inc. Mrs. Frederick P. Rose Mary Jane Robertson and Jock Clark Mr. and Mrs. Frank Moore Ms. Hester Diamond & L.A.W. Foundation Inc Mr. Richard Layne Isabel Rose and Jeffrey Fagen May and Samuel Rudin Familly Sue and Alan Morris Mr. Ralph Kaminsky Jon and Reva Wurtzburger Mr. and Mrs. Richard Leder $25,000 t o $99,000 Jonathan F.P. Rose and Foundation, Inc. / Leslie and Curt Myers Ms. Barat B. Ellman & Mr. Jay Golan Mr. William Zabel & Brenda Levin Diana Calthorpe Rose Mr. and Mrs. Eric Rudin New York City Department of Youth Mr. and Mrs. Thomas E. Engel Ms. Debra Miller Donna and Wayne Lowery The Avenue Association Wendi and Joseph B. Rose Foundation Dr. and Mrs. Thomas P. Sculco and Community Development Jane S. Englebardt and Leland S. Judy F. Zankel Mr. and Mrs. Ian R. Mackenzie Harrison and Leslie Bains Mr. Robert Rosen & Ms. J.L. Simonds Nancy Newcomb and John Hargraves Englebardt Ms. Andrea Mann & Bloomberg Dr. Dale Atkins-Rosen Mr. and Mrs. Howard Solomon David P. Nolan Foundation Mr. and Mrs. Bernard T. Ferrari $500 t o $999 Mr. Mitchell Scherzer Paul Chan and Donald J. Toumey Charles and Deborah Royce Peck Stacpoole Foundation Ms. Francesca S. Nye Mr. and Mrs. Nicholas L. D. Firth Ms. Heather McNally The Cowles Charitable Trust Mr. and Mrs. William H. Sandholm Elizabeth Stribling and Guy Robinson Nancy and Morris W. Offit Charlotte Moses Fischman A Tech Electric Enterprises Inc. Ms. Sally Minard & Elizabeth Morse Genius Foundation Skadden, Arps, Slate, Meagher & Mrs. Jennifer Thompson Mr. Mario Palumbo Barbara and Peter Georgescu Allade Inc. Mr. Norton Garfinkle Mr. and Mrs. Andrew L. Farkas Flom LLP Barbara and Donald Tober Eileen and Thomas L. Pulling Ms. Marian Goodman / Mr. and Mrs. Peter Barnet Ms. Amanda Moszkowski FederlegnoArredo / Cosmit The Peter Jay Sharp Foundation Trans-Americas Textile Recycling Co. Jane Bryant Quinn and Carll Tucker Marian Goodman Gallery Bauerschmidt & Sons, Inc. Anne Pasternak I Saloni Milano Joan and Michael Steinberg R. T. Vanderbilt Trust Ms. Rebecca G. Haile & June and Kent Barwick Mrs. Beverly Payeff-Masey & Olivia and Adam Flatto Tishman Construction Corporation $2,500 t o $4,999 Richard Ravitch and Kathy Doyle Mr. Jean E. Manas Mr. and Dr. Richard Benenson Mr. Jack Masey Kevin and Connie Hackett Tishman Speyer Properties, LP Liz Rosen Harbour Mechanical Corporation Elaine S. Bernstein Ms. Beverly Perry Marjorie and Gurnee Hart Akustiks Samuel W. Rosenblatt / David P. Hunt Mr. and Mrs. Gene M. Bernstein Gladys P. Preston Kenneth Kuchin $5,000 t o $9,999 The Amphion Foundation 180 Varick Street Corp. Alison and Jim Kallman Andreas Beroutsos Anna Rabinowitz The Lauder Foundation / Eda and Steven Baruch Bonnie and Peter Sacerdote The Kandell Fund / Donald J. Gordon Dr. Linda M. Bierer Ms. Doreen Remen & Leonard and Evelyn Lauder Fund 42nd Street Development Corporation, Mr. Lawrence B. Benenson / Paola and Michael Schulhof Drs. Sylvia and Byram Karasu Eugenie Birch Mr. Steven Weiner Lynne and Burt Manning 42nd Street Fund Benenson Capital Partners Mr. and Mrs. Axel Schupf Karl and Elizabeth Katz Mr. and Mrs. Harvey Blau Mr. and Mrs. Ira M. Resnick Kimberly and Scott Resnick ALTOUR Allison M. Blinken / Dr. George Schwab Loeber and Barbara Landau Ms. Esther Brandwayn Ms. Sheila J. Robbins William D. Rondina Helen and Robert J. Appel Blinken Foundation Alice Shure / The Charles Evans Levien & Company, Inc. Elizabeth Coleman Robert W. Baird and Co. Daniel & Joanna Rose Fund, Inc. Milton and Sally Avery Arts Howard Brenner and Foundation Mr. and Mrs. Samuel H. Lindenbaum Colonial Airstream Ms. Charlotte Rosenblatt Janet C. Ross Foundation, Inc. Barbara Bellin-Brenner Mr. and Mrs. Alan Siegel Mr. and Mrs. Milton Cooper Sheila and Daniel Rosenblum

14 www.armoryonpark.org www.armoryonpark.org 15 park avenue armory presents

Peter Greenaway December 3, 2010 – January 6, 2011 Tune-In Music Festival February 16 – 20, 2011 Ryoji Ikeda May 13 – June 11, 2011 Royal Shakespeare Company July 6 – August 14, 2011 Shen Wei Dance Arts November 30 – December 4, 2011 STREB December 14 – 22, 2011 Merce Cunningham Dance Company December 29 – 31, 2011

www.armoryonpark.org