Showing posts sorted by relevance for query naomi beckwith. Sort by date Show all posts
Showing posts sorted by relevance for query naomi beckwith. Sort by date Show all posts

Wednesday, April 13, 2011

MEDIA NEWS: Naomi Beckwith Named Curator at MCA Chicago

WBEZ radio interview link added to this post on 06/20/11.
Image Credit: Photo by Paul Mpagi Sepuya.

Naomi Beckwith has been appointed the new Curator at the  Museum of Contemporary Art (MCA), Chicago. Beckwith is currently the Associate Curator at The Studio Museum in Harlem, where she has focused on themes of identity and conceptual practices in contemporary art, artists of African descent, and managing the Artists-in-Residence program. She will assume her new responsibilities at the MCA on May 11, 2011.
                                                                         
“Naomi is an up-and-coming talent in our field who has wide-ranging interests and experiences,” says Michael Darling,  James W. Alsdorf Chief Curator of MCA. “Her work at the Studio Museum demonstrates a highly intelligent and complex approach to the art of our time. Her exhibition 30 Seconds off an Inch, in particular, was groundbreaking. As we expand our commitment to artist residencies, Naomi brings great expertise in this area and her scholarship on African-American art will strengthen the MCA's Collection. Naomi is outgoing, confident, and eloquent which makes her a great ambassador for the museum. We are excited to welcome her to Chicago and bring her voice to our programming.”

Beckwith said, "As a native Chicagoan, I am delighted to return to this great city and to practice my curatorial craft at this vibrant community and forward-thinking museum. The MCA was formative to my education in contemporary art: from the original galleries on Ontario Street, to the cultural and architectural beacon that it is in its current formation. I very much look forward to working with Madeleine, Michael, and the entire MCA team to shape its future trajectory of major international programming in the visual and performing arts."

At the Studio Museum, Beckwith's most recent projects include Lynette Yiadom-Boakye: Any Number of Preoccupations (2010-11) and Zwelethu Mthethwa: Inner Views (2010), two acclaimed exhibitions of work by international artists, as well as 30 Seconds off an Inch (2009-10), a major group exhibition that explored ways in which artists playfully and irreverently engage with black culture, history, and identity in the wake of mid-twentieth-century neo-avant-garde movements.

Prior to her tenure at the Studio Museum, Beckwith was the 2005-07 Whitney Lauder Curatorial Fellow at the Institute of Contemporary Art, Philadelphia, where she worked on numerous cutting-edge exhibitions including Locally Localized Gravity (2007), an exhibition and program of events focused on over 100 artists whose practices are social, participatory, and communal. Beckwith has also been the BAMart project coordinator at the Brooklyn Academy of Music, a Helena Rubenstein Critical Studies Fellow at the Whitney Museum of American Art, and a guest blogger for Art21. She has curated and co-curated exhibitions at New York alternative spaces Recess Activities, Cuchifritos, and Artists Space.

Beckwith received an MA with Distinction from the Courtauld Institute of Art in London, completing her Master's thesis on Adrian Piper and Carrie Mae Weems, and a BA in history from Northwestern University in Illinois. She was a 2009 grantee of the Andy Warhol Foundation for the Visual Arts, and was named the 2011 Leader to Watch by ArtTable. She serves on the boards of the Laundromat Project (New York) and Res Artis (Amsterdam).

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Sunday, December 19, 2010

POSE: Naomi Beckwith / Associate Curator / Studio Museum In Harlem / T Magazine / December 4, 2010

Naomi Beckwith, Associate Curator at The Studio Museum in Harlem recently showed off her art world swirl  for The New York Times T Magazine:
Photograph by Sebastian Kim. Fashion Editor: Andreas Kokkino. Hair by Andre Gunn at the Wall Group. Makeup by Stevie Huynh at the Wall Group. Fashion assistants: Adam Ballheim, Jean Hall and Guillaume Harrison.
The Times isn't the first to document Beckwith's self-described "Tomboy-Femme" chic on camera. In early 2010, she sported attire for a J. Crew catalog:

Read more about Naomi Beckwith at:
http://ybpguide.com/2010/10/13/naomi-beckwith-black-arts-newest-it-girl/

Tuesday, August 2, 2011

CLIP ART: Naomi Beckwith / Ebony Magazine / August 2011


Clipped from the August 2011 issue of Ebony magazine. 

ARTICLE BY ADRIENNE SAMUELS GIBBS | PHOTOGRAPH BY DONTE TATUM


One bracelet. No earrings. Hair pulled back. Virtually no makeup. Refined jacket. Flat shoes. Clear desk. One large green leaf in a vase. A treetop view. No blinds.

Cultural “It” girl Naomi Beckwith, the newest curator at Chicago’s Museum of Contemporary Art (MCA), is a study in minimalism. She seems to reserve all the flash and chutzpah for her heady installations, the most recent of which were stationed at the Studio Museum in Harlem. In a profession full of grand egos and lofty concepts, Beckwith’s self-assured-yet-grounded analysis of who’s got next in the world of art is refreshing. She’s from Chicago, moved to London, worked in New York City and finally has returned home. She’s got a lot to share. Listen up.

EBONY: Your installations seem to be about exposing the world to artists who happen to be Black, versus exposing the world to Black artists.

BECKWITH: Yes and no.  There’s no difference between a Black artist and an artist who happens to be Black. I think there is a difference between Black art and art that’s made by a Black person. When you start to make all sorts of presumptions about what the artwork is, based on the fact that the person is Black, I think that’s where you start running into trouble. There’s plenty of art being made about one’s cultural background, whether that be Black or not. But there’s also plenty of art that should be seen, I think, through all sorts of other prisms outside of that sense of biography and culture.

EBONY: Why is it important, then, to collect a variety of art?

BECKWITH: We all leave this world at some point. Civilizations even go. The structures of the worlds go, but the only things that we really look at in the end are those archeological records—the cultural artifacts. A couple millennia from now, people are going to be interested in the jewelry that people had, and [asking] how we decorated our houses.

EBONY: Will collecting this stuff, then, make us rich?

BECKWITH: It’s not just about building up literal income,  it’s also about acquiring cultural capital, which I think is one of the most important things to have in the world—not that I’m going to disparage money in any sort of way. But the question is, what do you do with that money?


Tuesday, December 11, 2012

POSE: Theaster Gates and Naomi Beckwith for Burberry's Art of the Trench Photo Project

Artist Theaster Gates photographed by Tim Klein in Chicago.

Burberry recently embarked on a photo campaign called "Art of the Trench." They’ve identified stylish denizens in various cities around the world and photographed them wearing Burberry trench coats. A few black visual artists (and one fashionable curator) have been included in the mix. Images posted here are via burberry.tumblr.com. 



Curator Naomi Beckwith photographed by Tim Klein in Chicago. 

Artist London Bambi photographed by Amy Creyer in Chicago.

Fine artist Michelle Noel photographed by Jon Cardwell on Regent Street in London.



YouTube: Christopher Bailey Introduces Art of The Trench in Chicago

View more "Art of the Trench" images here. 


Tuesday, December 6, 2011

POST: Hot Black Artists, Hotter Scene at Art Basel / The Root

Monday, December 13, 2010

POST: Lynette Yiadom-Boakye / T Magazine / November 15, 2010

Lynette Yiadom-Boakye’s Fashionable Eye

9am JerezCourtesy Jack Shainman Gallery, NY“9am Jerez de la Frontera,” 2010.
At the opening of her solo show at the Jack Shainman Gallery last April, Lynette Yiadom-Boakye wore a strapless, ruffled minidress in an of-the-moment Liberty print. The British artist could easily have been mistaken for one of the fashionable-looking characters in her large-scale, oil-on-canvas portraits, except for the fact that her subjects exist only in her imagination.
“They are suggestions of people,” said Yiadom-Boakye, 33, who was in New York last week for the opening of “Lynette Yiadom-Boakye: Any Number of Preoccupations,” her first solo museum show at the Studio Museum in Harlem on Nov. 11. “They don’t share our concerns or anxieties. They are somewhere else altogether.”
Where that is, is anyone’s guess. The 25 fictional portraits on view give few clues. Broad brushstrokes and subdued tones draw on formal aspects of traditional portraiture, but her subjects are of African descent. The backgrounds, devoid of the possessions that would denote social standing, time or place, swirl into murky nothingness drawing the eye to their seemingly contemporary ensembles.
Yiadom-Boakye insists that clothes are not her focus, and that the painted accouterments are arbitrary.

DESCRIPTION
“Any Number of Preoccupations, 2010.” Courtesy Jack Shainman Gallery, NY

“Lynette works in modes of appropriation, all her paintings are a collage,” said Naomi Beckwith, the show’s curator, pointing out that in “Any Number of Preoccupations, 2010,” for which the show is named, Yiadom-Boakye is referencing John Singer Sargent’s 1881 portrait, “Dr. Pozzi at Home.” “In this case, she is quoting social portraits of stylish and fashionable people.”
In both portraits the subjects wear identical blood-red robes, but while Dr. Pozzi is almost overpowered by his — some critics think of his portrait as “red with a face” — the seated man in Ms. Yiadom-Boakye’s work is incredibly imposing. “[Many of] the poses and the gestures suggest self-presentation or an exhibitionist dimension,” said the critic and curator Okwui Enwezor. “But clothing is not really the primary thing. It’s about visibility and invisibility. She has really figured out conceptually how to insert a black figure into the discourse.”
Yiadom-Boakye’s star has been on the rise since her work appeared in Flow, a critically acclaimed survey of emerging African diaspora artists (her parents are Ghanain) hosted by the Studio Museum in 2008. At the Armory Show in March this year, a month before the show at Jack Shainman, her European gallery, Faye Fleming & Partner, dedicated its entire stand to her work.
In “Wrist Action, 2010,” a young black woman with a wide smile wears a white turtleneck and dark trousers. One hand is enrobed in a salmon-pink glove that is threatening to melt into a blob. It’s as if Yiadom-Boakye is throwing down the gauntlet (literally), using the accessory as an excuse for what she wants to do with form.
She says: “Painting for me is the subject. The figures exist only through paint, through color, line, tone and mark-making.”

Monday, May 20, 2013

CAPTURED: Theaster Gates & Thelma Golden

Art world titans Theaster Gates and Thelma Golden photographed May 18, 2013 at MCA Chicago. BlackArtistNews photo. All rights reserved.

BlackArtistNews | May 20, 2013

Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem was among several art world movers and shakers who came out in support of Theaster Gates and the opening of his exhibit 13th Ballad on view May 18 – October 16, 2013 at The Museum of Contemporary Art Chicago.  

In addition to Golden, Naomi Beckwith, Dawoud Bey, Lamont Hamilton, Richard Hunt, Tony Lewis, Hank Willis Thomas and Hamza Walker also added to the spirit of celebration.  



Wednesday, March 7, 2012

POST: Jayson Musson / NYTimes

Jayson Musson photographed by James Estrin for The New York Times
Biting Humor Aimed at Art
By Austin Considine | New York Times

February 29, 2012

WHEN Damien Hirst’s spot paintings opened at
11 Gagosian galleries worldwide in January, critics busied themselves redrawing many of the familiar battle lines that have helped Mr. Hirst become very rich.

Meanwhile, a YouTube video critique featuring Hennessy Youngman, a video character who wears a goofy baseball cap and layers of gold chains, was going viral in the art world, mixing hip-hop lingo and profanity with high-minded art criticism.

“I understand that, as an artist, if you actually touch your own artwork, the value of said artwork is severely depreciated,” he says wryly about Mr. Hirst’s paintings, which are made by assistants and can sell for millions of dollars.

The video was part of a YouTube series called “Art Thoughtz” created by and starring a Brooklyn artist named Jayson Musson. (The character Hennessy Youngman, he said, is a reference to the standup comic and Hennessy cognac, a favorite reference in hip-hop music.) His roughly two dozen videos on topics like “relational aesthetics,” “the sublime” and “Poetic Waxin’ ” have made him something of a court jester to the art establishment.

Mr. Musson’s following isn’t enormous: His videos have received nearly 770,000 views since April 2010. But his following is well placed. Art in America described him as “Ali G with an M.F.A.” ArtNet, an art market Web site, called him “George Carlin and Paul Mooney rolled into one.” The Huffington Post described the videos as work “through which serious criticism flows with a sick beat.”

“Everyone sees it as a real, critical performance, and a lot of that is because most of his audience is right here in the art world,” said Naomi Beckwith, a curator at the Museum of Contemporary Art, Chicago, which has twice invited Mr. Musson to lecture in character. “They get it,” she said. “They understand that the character that’s speaking shouldn’t have access to that knowledge, so therefore there must be some kind of subterfuge going on.”

The videos are funny partly because they are incongruous: insightful jabs made by a hip-hop personality whose faux-outsider perspective is intended to challenge the art world’s pretensions and inaccessibility. In his most-watched video, “How to Make an Art,” Hennessy sarcastically criticizes his audience for using terms like “talent” with regard to art — while wearing a baseball cap depicting Ernie from “
Sesame Street” and an outsize medallion of a pharaoh.

“Hennessy comes out of a specific reaction to graduate school and the academic, fine-art world that I was exposed to at school,” said Mr. Musson, who received a Master of Fine Arts from the University of Pennsylvania last spring. The character starts partly from “a place of anger,” though, for him, “the relationship between anger and laughter are very, very close,” he added.

The blend makes for a poignant critique, said Brian Boucher, an editor and critic at Art in America, who interviewed Hennessy, the character, by e-mail last March. “Bringing urban black language and attitudes to the generally pretty-white world of contemporary art commentary just seemed unbelievably bold, and once he did it, it seemed incredible no one had done it before, at least not so effectively,” Mr. Boucher said.

In person, Mr. Musson, 34, presents a contrast to the swearing, swaggering Hennessy. Gone are the heavy gold chains, the puffy coats and hard-core language (mostly). He arrived at a Brooklyn pizzeria in a tan cardigan and an understated knit cap — more Bob Ross than Jay-Z.

Mr. Musson was born in the Bronx and grew up in Spring Valley, N.Y., a suburban village with a large African-American and Caribbean population. At 17, he moved to Philadelphia to attend college and stayed for his master’s. In August, he moved to Brooklyn.

Though he recognizes that the popularity of his videos somewhat overshadows his other work at the moment, Mr. Musson continues to produce paintings and cartoonlike drawings, which can be viewed on his Web site,
jaysonmusson.com. Like his videos, much of it employs humor to navigate serious issues like politics, race and sex.

“I feel like a big part of my work is always waiting for the joke,” he said. “It’s a serendipitous way of working, but it’s always how I work.”




Friday, November 21, 2014

NEW YORK: Lynette Yiadom-Boakye

Lynette Yiadom-Boakye, Geometric Longings, 2014 , oil on canvas, 71 x 63 1/8 inches. ©Lynette Yiadom-Boakye. Courtesy of the artist, Jack Shainman Gallery, New York and Corvi-Mora, London.
The Love Within
November 21, 2014 – January 10, 2015

Opening reception: Friday, November 21, 2014, 6-8pm

513 West 20th Street
524 West 24th Street
New York, NY

From jackshainman.com:

No Talk of the Love Without. No Care for Knowledge of the Shag Pile Rug, Rolled-In Hay or the Bed-Sheet Creases. The Backhand Slap nor the Fingertip Brush across Cheeks. The Eyes into Eyes nor the Inguinal Gush. Little talk of Taking and even less of Giving. No Twilit Tangoes nor Hand-Holding. The Almost Total Abdication of Responsibility to Another. No Hint of a Betrayal nor The merest Whiff of Resentment.

No Love Gone Awry, Nor Astray, Nor AWOL.

And Yet, Everything Felt More Keenly Than Ever. Fruit Plump and Ripe with Nectar Crammed to Bursting like the Bramble in Autumn.  Pricked By Thorn, The Bleed of Blackberry Juice onto grass, petal and shirt front. The progress of the Honey from The Tongue-Tip, down the Gullet and into the Stomach. The Pictures in the Optic Disc. A Hotness in The Chest and a Burning in the Southern Region. And a Light, the Twinkle of Twitch of a Smile, from behind a Battered-down hatch. A Sweet Song Sung By The Owl in The Eaves, That Leaves You in No Doubt As To Where and How You Should Save Yourself.

The Strength (and Stubbornness) To Know What The Owl Knows.

And Put It Into Practice.

The Cackle that Comes After The Smile.

The Love Within.
                                                                                -Lynette Yiadom-Boakye


Jack Shainman Gallery is pleased to announce Lynette Yiadom-Boakye’s third solo exhibition with the gallery which will include new oil paintings on canvas and occupy both of their Chelsea locations, 513 West 20th Street and 524 West 24th Street.

Yiadom-Boakye was born in 1977 in London where she lives and works today. She attended Central Saint Martins College of Art and Design, Falmouth College of Arts and the Royal Academy Schools.

She has had several important solo museum shows, most recently at the Pinchuk Art Centre in Kiev, Ukraine, as the winner of the Future Generation Art Prize. She has also had solo shows at 32 Edgewood Gallery at the Yale School of Art, 2014; the Utah Museum of Fine Arts, 2013; Chisenhale Gallery, London, 2012 and the Studio Museum in Harlem, New York, 2011. Yiadom-Boakye will be included in the upcoming Sharjah Biennial 12: The past, the present, and the possible, 2015. She has also been included in many other group exhibitions including MIRRORCITY: London artists on fiction and reality, Hayward Gallery, London, 2014; The Encyclopedic Palace, The Central Pavilion, 55th Venice Biennale, Italy, 2013; The Ungovernables: 2012 New Museum Triennial, New Museum, New York, 2012; 11th Lyon Biennial of Contemporary Art, Lyon, France, 2012; and the 7th Gwangju Biennale, Gwangju, South Korea, 2008. In 2013 she was shortlisted for the Turner Prize.

Yiadom-Boakye is included in many institutional collections including the Tate, London; the British Council, London; the Victoria and Albert Museum, London; the Miami Art Museum, Florida; the Museum of Contemporary Art, Chicago, Illinois; the Seattle Art Museum, Washington; the Saatchi Collection, London; the Studio Museum in Harlem, New York; the Arts Council Collection, London; the CCA Andratx Collection, Mallorca; and the Nasher Museum of Art, North Carolina.

A new monograph, Lynette Yiadom-Boakye (Prestel) is now available and includes contributions from Naomi Beckwith, Donatien Grau, Jennifer Higgie in addition to Yiadom-Boakye’s renowned fiction.









Tuesday, July 26, 2011

POSE: Black Americans (Pictorial) / CODE Magazine BV / Spring-Summer 2011


André Singleton, Artist

Hank Willis Thomas, Artist

Mickalene Thomas, Artist


Amani Olu, Curator


Ouigi Theodore, Fashion Designer

F. Stokes, Rapper

Latoya Ruby Frazier, Photographer/Filmmaker

Sean Qualls, Artist

Naomi Beckwith, Curator


Thursday, February 20, 2014

MEDIA NEWS: High Museum of Art Names Lyle Ashton Harris 2014 Recipient of David C. Driskell Prize

Chuck Close, Lyle, 2006, Jacquard Tapestry, 103 x 79 in. (261.6 x 200.7 cm). Image via barbaradavisgallery.com.
Artist to be honored at the 10th anniversary Driskell Prize Dinner in Atlanta on May 2

From High Museum of Art press release:

The High Museum of Art has named artist Lyle Ashton Harris the 2014 recipient of the  David C. Driskell Prize. This year marks the 10th anniversary of the prize, which the High established in 2005 as the first national award to honor and celebrate contributions to the field of African American art and art history.

For more than two decades, Harris has cultivated a diverse artistic practice ranging from photographic media and collage to installation and performance. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic.

Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases the viewers’ perceptions and expectations, recalibrating the familiar with the extraordinary. Harris’ works were previously on view in the Atlanta metro area in his spring 2013 exhibition “Accra My Love” at Kennesaw State University’s Zuckerman Museum of Art.

As the 10th Driskell Prize recipient, Harris will be honored at the Driskell Prize Dinner in Atlanta on May 2, 2014 at 6:30 p.m.

“Lyle Ashton Harris’ award-winning artwork has been widely celebrated with exhibitions, commissions and acquisitions,” said Michael E. Shapiro, Nancy and Holcombe T. Green, Jr. director of the High. “His work tackles issues of global and personal relevance, and it is only fitting that we recognize his artistic excellence on the 10th anniversary of the David C. Driskell Prize.”

The Driskell Prize, named for the renowned African-American artist and art scholar, recognizes an early or mid-career scholar or artist whose work makes an original and important contribution to the field of African-American art or art history. In celebration of the 10th anniversary of the award, the High is currently presenting the exhibition “A Decade of David C. Driskell,” which showcases works by Driskell as well as works by Driskell Prize honorees and others acquired by the Museum with the David C. Driskell African American Art Acquisitions Fund and the David C. Driskell African American Art Endowment.

The selection process for the 2014 recipient of the Driskell Prize began with a call for nominations from a national pool of artists, curators, teachers, collectors and art historians. Harris was chosen from these nominations by review committee members assembled by the High Museum of Art, which this year included Michael Rooks, the High’s Wieland Family curator of modern and contemporary art; Naomi Beckwith, Marilyn and Larry Fields curator at the Museum of Contemporary Art Chicago; and  Andrea Barnwell Brownlee, 2013 Driskell Prize recipient and director of the Spelman College Museum of Fine Art.

The 2014 Driskell Prize Dinner is co-chaired by Lovette Russell and Jack Sawyer with Honorary Chair F. Terry Stent. Tickets for the black-tie event can be purchased by contacting Rhonda Matheison at rhonda.matheison@woodruffcenter.org or 404-733-4403.

About Lyle Ashton Harris

Based in New York City, Harris is an associate professor at New York University and has exhibited his work internationally, including at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum and the 52nd Venice Biennale.

Harris’ work has been acquired by major international museums such as the Museum of Modern Art in New York; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts Boston; and the Solomon R. Guggenheim Museum, among many others. His commissioned work has been featured in a wide range of publications, including The New York Times Magazine and The New Yorker.

Born in New York City, Harris spent his formative years in Dar Es Salaam, Tanzania. He received his bachelor of arts with honors from Wesleyan University in 1988 and a masters in fine arts from the California Institute of the Arts in 1990. He recently joined the board of trustees of the American Academy in Rome.

Harris is the recipient of numerous awards and fellowships including the 2009 Goddard Award, the 2009 American Photography Award, the 2001 Rome Prize Fellowship, and the 1991 National Endowment for the Arts Regional Fellowship for the Visual Arts, among others.

About the David C. Driskell Prize

Established by the High in 2005, the David C. Driskell Prize is the first national award to honor and celebrate contributions to the field of African American art and art history. Past recipients include Andrea Barwell Brownlee (2013), Rashid Johnson (2012), Valerie Cassel Oliver (2011), Renee Stout (2010), Krista A. Thompson (2009),  Xaviera Simmons (2008), Franklin Sirmans (2007), Willie Cole (2006) and Dr. Kellie Jones (2005). A cash award of $25,000 accompanies the prize. Proceeds from the High’s annual Driskell Prize Dinner go toward both the David C. Driskell African American Art Acquisitions Fund and the David C. Driskell African American Art Endowment. Through the David C. Driskell African American Art Acquisitions Fund, the High acquired works by artists including Rashid Johnson, Radcliffe Bailey, Nick Cave, Willie Cole, John T. Scott and Renee Stout.

About David C. Driskell

David Driskell is a practicing artist and scholar whose work on the African Diaspora spans more than four decades. The High’s relationship with Driskell began in 2000, when the Museum presented the concurrent exhibitions “To Conserve a Legacy: American Art from Historically Black Colleges and Universities” and “Narratives of African American Art and Identity: The David C. Driskell Collection,” which examined African American art in the broad historical context of modern and contemporary art. Born in 1931 in Eatonton, Ga., Driskell is distinguished professor emeritus at the University of Maryland, College Park. He received his bachelor of arts degree from Howard University in 1955 and his master of fine arts degree from Catholic University in 1962. He also attended the Skowhegan School of Painting and Sculpture in Maine in 1953 and studied art history in The Hague, the Netherlands, in 1964. More information about Driskell is available at www.driskellcenter.umd.edu.

About the High Museum of Art

Founded in 1905 as the Atlanta Art Association, the High Museum of Art is the leading art museum in the Southeastern U.S. With more than 14,000 works of art in its permanent collection, the High has an extensive anthology of 19th- and 20th-century American and decorative art; significant holdings of European paintings; a growing collection of African American art; and burgeoning collections of modern and contemporary art, photography, folk art and African art. For more information visit www.High.org.

About The Woodruff Arts Center


The Woodruff Arts Center is ranked among the top four arts centers in the nation. The Woodruff is unique in that it combines four visual and performing arts divisions on one campus as one not- for-profit organization. Opened in 1968, the Woodruff Arts Center is home to the Alliance Theatre, the Atlanta Symphony Orchestra, the High Museum of Art and Young Audiences. To learn more visit www.WoodruffCenter.org.