Christopher Williams - "Narcissus" Program

OUR SEASON OF ANNIVERSARIES CELEBRATING 10 YEARS OF LIVE ARTS AND 40 YEARS OF THE BILL T. JONES/ARNIE ZANE COMPANY

LIVE FEED Christopher Williams Narcissus WORLD PREMIERE OCT 28-30, 2021 NARCISSUS (a Boeotian youth) Taylor Stanley/Cemiyon Barber ECHO (a mountain nymph) Mac Twining OREADS (a tribe of mountain nymphs) Jack Blackmon, Casey Hess, Alexander Olivieri, Michael Parmelee, & Logan Pedon BACCHANTES (Boeotian priestesses) Christiana Axelsen, Brecklyn Dávila Drescher, & Caitlin Scranton BOEOTIANS (tribespeople of Boeotia) Ching-I Chang, Janet Charleston, Alan Good, Shayla-Vie Jenkins, Justin Lynch,& Jake Montanaro

Choreography: Christopher Williams Music: Narcisse et Echo - Opus 40 by Nikolai Tcherepnin (1873-1945) recorded by the Residentie Orchestra The Hague conducted by Gennady Rozhdestvensky Costume Designs: Andrew Jordan Costume Construction: Andrew Jordan & Iggy Soliven Set Design: Andrew Jordan Lighting Design: Joe Levasseur Stage Manager: Philip Treviño Cover image by Andrew Jordan Running time: 55 mins Oct 29 Stay Late Conversation moderated by Aaron Mattocks Enjoy this presentation and your experience at Live Arts?

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We acknowledge and pay respect to Lenape people, elders, and ancestors past, present, and coming in the future. We acknowledge Indigenous people who may be present right now. We acknowledge and offer deep gratitude to Lenapehoking where we are now - the land, and waters of the Lenape homeland.

SPECIAL THANKS I would like to extend my heartfelt thanks to Janet Wong, Bill T. Jones, and all the staff at New York Live Arts, all the staff at Lower Manhattan Cultural Council, Jennifer Homans, Andrea Salvatore, Sabrina Yudelson, Allan MacLeod, Christen Douresseau, and all my fellow alumni fellows at the Center for Ballet and the Arts, Laura Harrison, Ivana Folle, Alessandra Natale, and all the folks at the Bogliasco Foundation, Lanah Koelle, Zoie Lafis, and Greg Nagy at the Center for Hellenic Studies, all the staff at the Anderson Center, Beth Elkins Wales & Suzanne Evans at Sky Hill Farm Studio, David Lyons, Abigail Lewis, and Bonnie Bradley at Bethany Arts Community, Joan Finkelstein and all the folks at the Harkness Foundation for Dance, Randy James and 10 Hairy Legs, Eric Wright, Mariah Anton, Anna Stavrokopolou, Joe Levasseur, Philip Treviño, Andrew Jordan, Iggy Soliven, Douglas Dunn, Grazia Della Terza, Joan Acocella, Judy Hussie-Taylor, Betsy Sobo, Anne Bonaparte & Judd Williams, Donna Williams & Pierce Bounds, Jo Ann Engelhardt & George Elder, Alison Granucci, Marc Safran, Robert & Linda Bond, Patti Bradshaw & Tom Ross, Eliza Miller & Justin Samaha, Caroline Williams, Margrit Diehl, Apryl Grover, Sigrid Meinel, Ellen Runge, Norm & Alice Hatt, Rebecca Lazier, Juliette Crump & Bill Bevis, Barbara Busackino, Beverley, Greg, Allison, & David Matthews, Bryna Keenan Subherwal & Maneesh Subherwahl, Terry Keenan, and the late Jane Keenan, Elise Knudson, Barbara Williams and the late Stuart Williams, and of course the wonderful cast of dancers who have been involved in both the creation and/or performance of this work including Christiana Axelsen, Cemiyon Barber, Jack Blackmon, Alex Biegelson, Ching-I Chang, Janet Charleston, Derek Crescenti, Brecklyn Dávila Drescher, Tyner Dumortier, Alan Good, Casey Hess, Russell Janzen, Shayla-Vie Jenkins, Gildas Lemmonier, Justin Lynch, Chazz McBride, Domenico Muscianisi, Alexander Olivieri, Logan Pedon, Michael Parmelee, Nicholas Sciscione, Caitlin Scranton, Taylor Stanley, William Tomaskovic, Joshua Tuason, Mac Twining, and Sammy Wong.

FUNDING The creation of Narcissus was supported by the Live Feed Residency program with generous funding from the Rockefeller Brothers Fund and Partners for New Performance. The work was also made possible in part with public funds from Creative Engagement/Creative Learning, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council and a grant from the Harkness Foundation for Dance. The work was also made possible in part with public funds from Creative Engagement/Creative Learning, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council and a grant from the Harkness Foundation for Dance. The work was developed with the support of a Bogliasco Foundation Fellowship, a Resident Fellowship at the Center for Ballet and the Arts, visiting artist residencies at Harvard University’s Center for Hellenic Studies, creative residencies at Sky Hill Farm Studio, Bethany Arts Community, The Anderson Center, and many individual donors including Anne Bonaparte & Judd Williams, Donna Williams & Pierce Bounds, Jo Ann Engelhardt & George Elder, Alison Granucci, Robert & Linda Bond, Patti Bradshaw & Tom Ross, Eliza Miller & Justin Samaha, Caroline Williams, Margrit Diehl, Apryl Grover, Sigrid Meinel, Rebecca Lazier, Juliette Crump & Bill Bevis, Barbara Busackino, the Matthews family, Bryna & Maneesh Subherwahl, Terry Keenan, and the late Jane Keenan.

Choreographer’s Note (Narcissus) Of the roughly fifty species of narcissus flower, it’s predominantly the poet’s narcissus (Narcissus poeticus) that is identified with the Narcissus written about by the Greeks and Romans.1 Found only in fragmentary form in a handful of ancient Greek sources,2 the more than 2000-year-old myth we have come to know (in which a beautiful, ill-fated youth rejects all suitors and falls fatally in love with his own image in a spring) became widespread via Book III of Ovid’s Metamorphoses. Popularized since then in countless works of art of many genres including painting, sculpture, poetry, drama, dance, photography, and film (notably James Bidgood’s 1971 Pink Narcissus - a glorious arthouse paean to the fantasies of a gay male sex worker), the myth’s protagonist famously lent his name to the psychoanalytical term “narcissism”3. When I first heard Nikolai Tcherepnin’s gorgeous yet unsung ballet score Narcisse et Echo composed in 1912 for the Ballets Russes, I had already been drawn to its mythic scenario’s indelible mark on western culture and foregrounded homoeroticism common to many ancient Greek myths. I knew I had to reimagine the ballet in my own contemporary queer cultural idiom.

Interestingly, it appears that no poet or mythographer had combined the tale of Narcissus with his tragic suitor Echo, the oread (or “mountain nymph”) who had been cursed to repeat only the last words spoken to her for distracting Juno/Hera from noticing several amorous affairs of her husband Jupiter/Zeus, before Ovid. Literally wasting away and fading into naught but a voice in thin air, she represented yet another spurned female character denied power by the norms of Greco-Roman culture. Intending to bring more depth and agency to the character in what I still wished to conceive of as a fundamentally male homoerotic world in this piece, I have chosen to represent her onstage as an intersex being fighting for acceptance and inclusion within their tribe’s society - a scenario which many people identifying outside a still largely rigid gender binary face today. When the Echo in my work is doubly spurned, first by their own supernatural tribesmen and then by their newfound human lover (who ends up rejecting them in favor of

his own image), rather than waste away by his side, they choose to seek their own path.

It’s important for me to note that the visual portrayal of Echo and the oreads with conspicuous genitalia (a nod to satyrs pursuing nymphs portrayed as ithyphallic in countless works of Greek art) is inspired by vegetal phallocrypts (or “penis sheaths”) known as koteka, worn for various purposes including decoration, ceremonial or ritual display, and/or simply protecting or concealing the male member among the mainly highland ethnic groups in New Guinea. This use of vegetation to conceal the penis and the fact that flowering, for plants, is a showy display of their sexual organs, gave me the original germ for the work’s concluding image in which Narcissus, in his “union” with his own image, becomes both sexually exposed and lost forever in his own “petite mort.” The poetically tragic endings of the myth itself (in which the youth either actually transforms into a flower, or spills his own blood from which a flower springs forth) instantly calls to my mind other Greek flower-associated boys (including Hyakinthos/hyacinth, Adonis/anemone, and Paeon/peony) whose origins can all be traced back to what are most likely truly ancient fertility deities and their associated rites involving blood sacrifice. In light of this association of ritual immolation with the earliest fertility rites, Narcissus’s end may perhaps be seen less as an act of selfishness, but rather as an act of selflessness. His is also the age-old death of an old deity or ritual king in order to fructify the earth and make way for new growth so that others, such as Echo, may thrive and succeed him. In a world where we risk ignorance, stagnation, and ultimately decay unless we constantly evolve in our awareness, we must always make way for the new. __________________________________________

1 From The Mythology of Plants by Annette Giesecke.

2 Known Greek sources for the Narcissus myth include the late 1st century BCE - early 1st century CE Stories of Konon, a snippet by Parthenius in the Oxyrhynchus Papyri, and Pausanius’s Descriptions of Greece.

3 The term was first introduced in 1899 by Paul Näcke in a study of sexual perversions, and then codified in Sigmund Freud’s 1914 essay On Narcissism.

BIOGRAPHIES Christopher Williams (choreographer), dubbed “one of the most exciting choreographic voices out there” (The New York Times) and “the downtown prodigy” (The New Yorker), is a choreographer, dancer, and puppeteer devoted to creating movement-based works in NYC and abroad since 1999. His work has been presented internationally in France, England, Italy, Spain, Holland, Colombia, Malawi, and Russia, nationally in Philadelphia, Los Angeles, Princeton, Bainbridge Island, Kalamazoo, Interlochen, Kaatsbaan, and Jacob’s Pillow, as well as in local venues including City Center, Lincoln Center, Dance Theater Workshop, Danspace Project, P.S. 122, the 92nd Street Y, and La Mama. His collaborators have included renowned directors Peter Sellars and Michel Fau, conductor Raphaël Pichon of Ensemble Pygmalion, members of the Anonymous 4 and Lionheart, as well as critically-acclaimed composer Gregory Spears, and visual designer Andrew Jordan.

His recent commissioners include The Joyce Theater, New York Live Arts, Danspace Project, Interlochen Center for the Arts, The Blanket, Reid & Harriet Design, and 10 Hairy Legs, and he has

previously been commissioned by the Opéra Royal de Château de Versailles/Opéra National de Bordeaux, English National Opera, Teatro Real, Perm Opera & Ballet Theater, NYU’s Tisch School of the Arts, Princeton University, the Harkness Dance Center, Dance Theater Workshop, and through HERE Arts Center’s Dream Music Puppetry Program. He was named a choreography fellow of the John Simon Guggenheim Memorial Foundation in 2021, and his past awards include a 2005 New York Dance & Performance “Bessie” Award, fellowships from The Foundation for Contemporary Arts, the New York Foundation for the Arts, and the Bogliasco Foundation, as well as residencies via the Robert Rauschenberg Foundation, at Robert Wilson’s Watermill Center, Kaatsbaan Culture Park, the Harkness Dance Center, the Bogliasco Foundation, Movement Research, Joyce SoHo, Djerassi, Bethany Arts Community, Yaddo, and The Yard.

His collaboration with director Michel Fau and musical director Raphaël Pichon on a production of Jean-Philippe Rameau’s Dardanus presented at the Opéra Royal du Château de Versailles won the Grand Prix du Syndicat de

la Critique 2015 in the category of “best Spectacle Lyrique of the year” and his collaboration with Peter Sellars on a new adaptation of Henry Purcell’s The Indian Queen presented at The Bolshoi Theater won five Golden Mask Awards in Moscow. He earned his Bachelor of Arts degree from Sarah Lawrence College as well as a diploma of study from the École Internationale de Théâtre Jacques Lecoq in Paris.

Instagram: @faycavalier Website: christopherwilliamsdance.org Christiana Axelsen has had the pleasure to work with many wonderful dance artists including Christopher Williams, Korhan Basaran, Molissa Fenley, Beth Gill, Mana Kawamura, Raja Kelly, Courtney Krantz, Jules Skloot, Michou Szabo, Pam Tanowitz and zoe|juniper. Axelsen graduated summa cum laude with a degree in dance and geology from Mount Holyoke College and completed the Merce Cunningham Professional Training Program.

Cemiyon Barber, originally from Jackson, Mississippi, graduated from SUNY Purchase Conservatory of Dance in 2018.

Since then, he has had the pleasure of dancing for choreographers Bill T. Jones, Austin McCormick, Megan Williams, Liz Gerring,

Vladimir Varanova, and Christopher Williams. He has also been featured in fashion editorials for Vogue Russia & Numero Berlin Magazine, and has made guest TV appearances on PBS Social and MTV networks. Just before the pandemic, Cemiyon was dancing the principal role of Company XIV’s newest production Seven Sins.

Jack Blackmon (he/they) was born and raised in Tahoe City, where they received their early dance training. They attended NYU Tisch School of the Arts before working for contemporary choreographers throughout New York, including Sean Curran, Paul Singh, Larry Keigwin, Emily Schoen, Nicole Wolcott, Jordan Lloyd, among others. In 2018, they joined the cast of Punchdrunk NYC’s Sleep No More, and performed several roles for nearly two years before the pandemic. Blackmon’s goal is to incorporate as much levity, humor, absurdity, and queerness into whatever project they may be doing. This is their first performance with Christopher Williams.

Ching-I Chang is made in Taiwan. She has worked with choreographers Susan Marshall, Gesel Mason, Michel Kouakou, Marta Renzi among many others. She was an original cast

Brecklyn Dávila Drescher is from member of Punchdrunk’s OffPhoenix, Arizona. She graduated Broadway hit production, Sleep from SUNY Purchase and No More NYC as well as the studied abroad at Taipei National rehearsal director of Sleep No University for the Arts. She has More Shanghai. She holds an since performed with Beth Gill, MFA from University of Utah Netta Yerushalmy, Emmanuelle School of Dance, and received an Huynh, Coleman Collective, Juri Anne Riordan Scholarship, and Onuki, the Merce Cunningham Dee R. Winterton Award. She Trust, and more. She is based is a certified Laban/Bartenieff Movement Analyst, Yoga Teacher, between New York City and Paris Yoga Nidra Meditation Facilitator, working as a Model, Movement Director, and Choreographer as well as the co-artistic director of Tipsy Point Projects with fellow with Fashion brands and multidisciplinary artists such as Taiwanese artist Kuan-Yu Chen.

Okay Kaya, Lemaire, Courreges, And she loves bananas.

A—Company, Léa Peckre, Mara chingichangbigelow.com Hoffman, Lauren Manooigan, and others. She has taught for Janet Charleston has danced Wide Rainbow, Movement for with Christopher Williams since Everybody, and has held residence 2005, beginning with the role at The Croft. This is her second of “Saint Lucy” in Ursula and the project with Christopher Williams.

11,000 Virgins. She also dances and rehearsal directs for Douglas Dunn + Dancers. She was a member of the Alan Good danced with Merce Cunningham for 16 years, and in Lucinda Childs Dance Company for five years, and has worked with Kota projects by Kenneth King, Martha Graham, Pauline Koner, Wally Yamazaki, David Parker, RoseAnne Cardona, Liz Magic Laser, Tere Spradlin, Chamecki/Lerner, June O’Connor, Rika Burnham, Vicky Finch, Stephen Koester and Schick, Pam Tanowitz, Sasha Robert Wilson (in Einstein on The Waltz, and Ellen Cornfeld. Since Beach), among others. Charleston 2017 Good has collaborated with is on faculty for the Cunningham Allen Fogelsanger on eveningTrust and teaches at universities (currently, Sarah Lawrence College) length movement/sound works, most recently Ground/Frame, for and independently. Fulbright fve-camera video, and Long Flat Scholar, Chile; MFA in Dance, Red, live, both at Scholes Street University of Illinois, U-C.

Studio in 2021. They appear next in Green Space’s Take Root Series in March 2022. Good teaches technique at the Cunningham Trust. His company Henge, Inc. designs sculptural concrete objects like ping pong tables for parks and plazas.

Casey Hess recently completed an AmeriCorps service year with Metropolitan Family Service in Portland, OR. Hess has danced for Peridance Contemporary Dance Company, Merce Cunningham Centennial at CAP UCLA, and Marc Jacobs NYFW Fall 2020 choreographed by Karole Armitage. Through the Covid-19 pandemic Hess guested with BodyVox and participated in numerous Sonic Gatherings facilitated by Brandon Collwes and John King. Hess is a graduate of the Juilliard School (2017, Martha Hill Prize).

Allister Sprang, and Moriah Evans.

Jenkins’ recent choreography includes On Buried Ground: remember them, a site-specific work for the Christ Church Burial Ground and hand in mine, a collaboration with violinist Juliette Jones. She is an Assistant Professor at University of the Arts.

Andrew Jordan (Costume Designer) is a visual artist and designer currently residing in Waawiiyaataanong [Detroit].

He has designed for stage and screen with recent forays into opera, ballet, parade, and experimental performance.

Jordan experiments with the interplay between various art forms driven by his interest in the relationships between sculpture, textiles, installation, puppetry, movement, and form of the human body. He received his MFA with an emphasis in sculpture from the Cranbrook Academy of Art Shayla-Vie Jenkins is a performer, and his BFA in Fine Arts, with a maker, and educator currently minor in Media Studies, from based in Philadelphia, PA. Jenkins was a member of the Bill T. Jones/ the Columbus College of Art and Design. Andrew is also known Arnie Zane Company (2005under the moniker andytoad.

2016). She has also performed in projects with The Francesca Harper Project, Yaa Samar! Dance Joe Levasseur (Lighting Designer) has collaborated with many Theater, Yanira Castro, Yara dance and performance artists Travieso, Ni’Ja Whitson, Yvonne including: Meredith Monk, Pavel Rainer, David Gordon, James

Zuštiak/Palissimo, John Jasperse, Sarah Michelson, Jodi Melnick, Jennifer Monson, Neil Greenberg, and Beth Gill. He lit both Wendy Whelan’s 2013 breakout Restless Creature, and her subsequent collaboration with Brian Brooks Some of a Thousand Words (2016).

He has received two ‘Bessie’ awards (including one with Big Dance Theater) and a Knight of Illumination Award for his work on Meredith Monk’s Cellular Songs.

When not designing, Levasseur also engages in a visual art practice. Instagram: @sirjoelevasseur joelevasseur.com Justin Lynch is from Kingston, Jamaica and has performed with Christopher Williams, the Bang Group, the Metropolitan Opera, Elisa Monte, and others. For the past several years he has also performed as a dancer, actor and pianist with Third Rail Projects, including the productions Then She Fell, The Grand Paradise and the currently-running Return the Moon. Lynch completed his musical education at the Royal College of Music and Boston University, holds a J.D. from Columbia Law School and leads a double life as an immigration and business attorney for artists and other creatives.

Jake Montanaro (Jimmy Sprinkles) earned his BFA in Dance from Montclair State University in May 2020. While at MSU, he performed works by Martha Graham, Ohad Naharin, Bill T. Jones, Alwin Nikolais, and more. When he is not dancing he is performing and teaching color guard at the world class level at The Cadets, The Black Watch, and at several high school teams across New Jersey.

In 2019 he performed in Ajijaak on Turtle Island at The New Victory Theater. He is also a co-founder of the Sakan Dance Company.

This is his first performance with Christopher Williams.

Alexander Olivieri is a dancer, educator and screendance maker based in Seattle, WA. He danced in New York City for eight years with 10 Hairy Legs, Abarukas, BARE Dance Company, Shawn Bible, and Barkin and Selissen to name a few.

He is currently earning his MFA in Dance from the University of Washington, and is thrilled about returning to New York to perform in Narcissus.

Michael Parmelee is a dance artist in Brooklyn, NY. He is from Michigan, where he received an MFA, Dance Choreography and Performance from the University of Michigan (2016). He performs

currently dancing in a new work by with Amanda + James and has Netta Yerushalmy. She joined the performed for Ishmael HoustonJones in the 2018 revival of THEM Lucinda Childs Dance Company as a soloist in 2009 and continues (1986). He has shown work at to perform and produce for the DrafterWorks DanceSpace company. In 2015 she co-founded Project, JACK, Dixon Place, the dance production organization WestFest Dance Festival, and The Blanket, which produces the Spoke the Hub. Parmelee received work of Lucinda Childs and others. a 2021 City Artist Corps Grant with collaborator Josanna Vaz for Scranton has had the privilege of their work Stardust & Mud (2021) working with Christopher Williams since 2010. in Fort Greene Park.

Taylor Stanley was born in Philadelphia, Pennsylvania and began his dance training at the age of three at The Rock School in Pennsylvania. He attended summer programs at Miami City Ballet in 2006 and 2007 and at the School of American Ballet, the official school of New York City Ballet, during the summer of 2008 before enrolling full-time at SAB in the fall of that same year. In September 2009, Taylor became an Apprentice with New York City Ballet, and joined the Company as a member of the Corps de Ballet in September 2010. He was promoted to Soloist in February Caitlin Scranton is a dancer, 2013 and to Principal Dancer teacher, and producer, and holds in May 2016. Taylor received a BA in History from Smith the Mae L. Wien Award for College. Scranton has worked with Cornfield Dance, Mark Dendy, Outstanding Promise in 2009 and was the 2011-2012 recipient of the the Metropolitan Opera Ballet, Janice Levin Award. He performed Phantom Limb, Ramon Oller, with NYCB Soloist Troy Mark Morris Dance Group, and is

Logan Pedon began his dance training at the age of 13 in a small studio in Columbus, Ohio. After attending Walnut Hill school for the Arts he graduated with a BFA from SUNY Purchase where he performed work by Ori Flomin, MadBoots Dance, Shannon Gillen, 2nd best, and Ellen Cornfield.

Since graduating he has trained at Springboard Danse in Montreal and worked as a freelance dancer in New York performing work

by Cornfield Dance, the Dive collective, and Althea Dance Company in Manhattan and Paris.

Schumacher’s BalletCollective from 2010-2015, and has had the privilege of working with various choreographers such as Jodi Melnick, Andrea Miller, Annabelle Lopez-Ochoa, Liz Gerring, Pam Tanowitz, Kim Brandstrup, Christopher Williams, Rashaun Mitchell + Silas Reiner, and Omar Roman de Jesus. Taylor has also participated in workshops with Hubbard Street Dance Chicago, Nederlands Dans Theater, and Batsheva Dance Company. In 2019, he received a Bessie Award for “Outstanding Performance” in Kyle Abraham’s The Runaway, choreographed for NYCB in 2018.

In 2020, Taylor danced a solo work choreographed by Abraham titled Ces noms que nous portons, filmed at Lincoln Center’s Josie Robertson Plaza. He has also been a guest artist with Andrea Miller’s company GALLIM, appearing in the 2020 film adaptation of Miller’s BOAT and the live performance installation titled You Are Here presented at Lincoln Center’s Hearst Plaza in the summer of 2021. Taylor is currently pursuing his Bachelor’s Degree through St. Mary’s College of California’s LEAP program.

Mac Twining trained in classical ballet with Nadege Hottier at the Premiere Division Ballet

School, and grew up absorbing knowledge of release technique and postmodern dance through his mother, Darla Stanley. He has had opportunities to work with the Merce Cunningham Trust, Dakshina/Daniel Phoenix Singh Dance Company, and the late Aileen Passloff. In addition to Christopher Williams, Mac currently works with the Stephen Petronio Dance Company, Cornfield Dance, and Kimberly Bartosik/Daela.

Aaron Mattocks (Moderator), is a Sarah Lawrence College alumnus, two-time New York Dance and Performance (Bessie) Award nominee for Outstanding Performer (2013, 2016) and was named one of 2016’s best performers by Dance Magazine for his longstanding relationship with choreographer Annie-B Parson and her company Big Dance Theater. He is currently the Director of Programming at The Joyce Theater. Prior to his work at The Joyce, he was the Executive Director of Big Dance Theater, producing director for Pam Tanowitz, company and general manager for the Mark Morris Dance Group (2002-2010) and produced projects, premieres and tours for Faye Driscoll, Beth Gill, and Steven Reker.

MAXlive 2021: The Neuroverse NOV 5-7

Live performance and today’s most innovative neuroscience and AI technology collide in explosive new ways to in the festival MAXlive 2021: The Neuroverse. Featuring sound installations, live music and theater, robots, immersive installations, and provocative conversations.

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Raja Feather Kelly | the feath3r theory WEDNESDAY DEC 1-4, 8-10 AT 8PM

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$5,000 - $9,999 Deborah Hellman & Derek Brown Paula Cooper & Jack Macrae Caroline & Paul Cronson Claire Danes & Hugh Dancy Anne Delaney Agnes Gund Bill T. Jones & Bjorn Amelan Jeffrey B. & Wendy Liszt Robert Longo Deborah Ronnen Melissa Schiff Soros Cindy Sherman Temple St. Clair & Paul Engler Kristalina & Jack Taylor Williams Family Foundation $1,000 - $4,999 Jody & John Arnhold | Arnhold Foundation Anonymous The Angelson Family Foundation Jonathan J. Cohen Charitable Fund Jeannie Colbert Kim Cullen Emily Dalton Joan Davidson Lil & Jim DeMarse Dobkin Family Foundation Margaret Doyle John Fitzgibbon Mimi Garrard Judith & Steven Gluckstern Michael & Deborah Goldberg Thomas & Barbara Gottschalk Jeanine Heriveaux Jenny Holzer Otho Kerr Spike Lee Nancy Meyer & Marc Weiss Susan Micari Meridee Moore & Kevin King Thomas Nichols & Daniel Chadburn Mark O’Donnell Deborah Pines Rita Salzman The Susan Stein Shiva Foundation Catharine R. Stimpson Megumi & Bruce Williams Timothy Wu & Eric Murphy

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